PL F O 40 F

PAREE
U RO F
S M
AU S
DI BE H
O GI E
G
FEBRUARY - MARCH 2017

TR N E
ES
AC NE T
KS R T M
& O U
O AD S
NL V IC
IN A
E NC
No 94 LE E
SS D
Helping you become a better player O
NS

EXPERT ADVICE

IMPROVE
YOUR PLAYING
✓ Beginner keyboard class
✓ Repeated octaves
✓ Left-hand tremolo
✓ Tricky accompaniment

MEET LEEDS PIANO

COMPETITION WINNER
ANNA
TSYBULEVA LEARN
A BBA’s

12 LEARN
Thank You
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Beethoven
Lessons with the master

PIANO EXERCISES
Are they essential for
building technique?

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18031 Steinway Pianist Mag (94) LangLang_Layout 1 10/01/2017 16:23 Page 1

“ I f I a m t o p l a y m y b e s t , t h e r e i s n o w a y b u t s t e i n way .”

LANG LANG
s t e i n way a r t i s t

photo: robert ascroft, courtesy sony classical

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

p02_pianist94.indd 2 12/01/2017 10:19

 Pianist 94 C
February-March 2017 CONTENTS
F
The next issue of Pianist goes on sale 31 March
G

12
Am
Dm Em D
Bb
Gm Bm

F#m A
Eb Cm

Fm C#m
Ab E
Bbm G#m
D#m 72
Db B
70 F#
82
67

4 Editor’s Note 22 How to Play 1 Melanie Spanswick 72 Piano Exercises Hanon, Taubman,
on a new arrangement of Amazing Grace Whiteside and their kind: today’s pianists
4 Reader Competition Win a copy of (Scores pages 22) explain why exercise is important
Jean-Efflam Bavouzet’s new Mozart CD,
which is our Editor’s Choice 24 How to Play 2 Lucy Parham on 78 Lessons with Beethoven
The Swan by Saint-Saëns, arranged by Nils Franke goes back to the testimonies
6 Readers’ Letters Narrow keyboards, Alexander Siloti (Scores page 62) of his pupils for the inside story
playing by ear and choosing repertoire
26 How to Play 3 Janet Newman on 81 Subscribe today for just £4.50 an issue
8 News Saying happy birthday to Pollini, Fanny Mendelssohn’s Melodie Op 4 No 2 and choose a collection of sheet music
hello to a new record label and adieu to (Scores page 42) from Alfred Music worth £18
Anthony Goldstone; Rick Wakeman takes
on the classics; Peter Donohoe discusses 27 The Scores A 40-page pull-out section 82 August Förster Gez Kahan visits
Prokofiev, Scriabin and Mozart of sheet music for all levels: includes the German piano factory for a glimpse
Mozart, MacDowell, Debussy and Abba into the world of piano-making the
12 Anna Tsybuleva The young Russian old-fashioned way
virtuoso on her tough student years and 45 Beginner Keyboard Class
life after Leeds Hans-Günter Heumann’s Lesson No 21: 86 CD Reviews Early Schiff and late
Finger-fitness exercises Barenboim, new Chopin from Pollini
14 Leeds Renewed The competition’s and Goerner; best of all, Mozart with
new artistic directors explain their plans 67 Víkingur Ólafsson The Icelandic Bavouzet and Uchida
to Warwick Thompson pianist tells Erica Worth about playing
Glass to Glass and the revelation of seeing 88 Sheet Music Review A modern
16 How to Play Masterclass 1 Martha Argerich for the first time edition of the B minor Sonata;
Mark Tanner on mindfulness approachable Bartók; new music for
70 Understanding Theory Helping you students and Russian classical favourites
20 How to Play Masterclass 2 grasp the building-blocks of music. This
Graham Fitch answers your questions issue: modulation and the circle of fifths 90 Classifieds

Cover photo: © Vera Ley. Images this page, clockwise from top left: Vera Ley; August Förster; © Ari Magg
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_Contents94-FINALish.indd 3 13/01/2017 09:04

 DON’T MISS OUR FREE
TAP HERE TO WATCH ONLINE VIDEO LESSONS
A WELCOME FROM THE EDITIOR www.youtube.com/user/PianistMagazine

Editor’s note Pianist

F
leet fingers. Don’t we all wish we had them? Oh to be able to play
Liszt’s Mephisto Waltz at full speed, or sail through Chopin’s www.pianistmagazine.com
‘Revolutionary’ Etude. Some may say we’re born (or not) with
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4• Pianist 94 ISSN 1475 - 1348
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p05_pianist94.indd
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09/07/2013 10:19
 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.
INSIGHT

THE UPPER HAND

STAR LETTER Narrower
keyboards for
larger hands
Playing by ear Thank you for publishing
On the Letters page of issue 93, Derek Connolly says that he cannot play music without a score John Evans’ article, ‘The
in front of him, and so he is unable to improvise. This seems to be a common problem. I think Upper Hand’, in issue
F
rom how wide they can
stretch to how much they
Do the size and shape
are insured for, the hands
of
of pianists’ hands tell us
the world’s greatest pianists anything about how they
are an endless source of
Would Rachmaninov, for play?
fascination. And no wonder, one, have been

that the ability to play by ear is the first step to being able to improvise, which can be achieved 93, which highlights an
for a pianist’s hands are so as great without big hands?
display, whizzing up and
clearly on
down the John Evans
keyboard at nature-defying
speeds. points a finger at the evidence
Indeed, having a good view
of a pianist’s Photography: Amy T. Zielinski
hands is an essential requirement
lot of concertgoers, one that for a hand can overcome technical
takes smart fingering or rolling obstacles:
precedence even over a good

by everyone with a little work.   important topic of

acoustic. a chord Clearly Hofmann had no
need
Why are we so interested
in
among them. bigger hands but in the general of
at the hands of great pianists? looking Charles Rosen, the pianist
and writer, view, virtuosity and big hands public’s
we hope to find the key Perhaps was convinced that whatever are
inseparable. In the league
or, more likely, the reason
to their genius individual problems, hand a pianist’s big hands, Rachmaninov
table of
we’ll size wasn’t
as good. The size of the hand, never be one of them. ‘It must be stressed that and
(who had very little ‘webbing’ Liszt
length of the fingers and the there is no type of hand between
that is more his fingers) beat all comers

So this is how I set about improving my ability to play by ear: Because I have been a subscriber to interest to all pianists.
how far they suited with a span
can stretch: these are the to the piano than another,’ of 13. Rachmaninov was
measures we he reputed
use to identify a top pianist, wrote in the New York Review
of be able to play a chord comprisingto
explain our own pianistic
as well as He cited the example of RobertBooks. E flat, G, C and G. C,
shortcomings. Casadesus,
What of the great pianists regarded as one of Meanwhile, a paper that
No problem: a cast of their
of the past? finest pianists, who, he said, France’s published by the Australian
was
hands will ‘had fingers Piano
do. Like some holy relic, so thick he had trouble fi Pedagogy Conference in
a cast talks to tting them in

your excellent magazine from the first issue I have an amazing learning resource of scores with CDs. Research shows that
us from the grave. Better between the black keys.’ Meanwhile, December
still, 2015 claims that ‘nearly
replica, we can touch it, trace if it’s a Josef Hofmann, whom Rosen of female pianists cannot
30 per cent
as we seek clues to their soundthe fingers admired, ‘had a hand so small especially octave with even minimum an
play
that he
span, divining qualities long and hand could reach no more than
the eight while a significant majority
comfort,
since notes
It’s curious how much value lost. of an octave.’ No matter:
Hofmann asked
of males
can play an octave very comfortably,
on a pianist having large is placed Steinway to build him a grand a ninth with minimal comfort
hands,
wide span and broad, big-boned when a with narrower keys. (He also piano and

I put a cover CD on the player and listen to the first piece, probably only the first few phrases, and try the ‘one-size-fits-all’
fingers asked them a tenth on the edge.’
can actually be a hindrance to make a piano with a quicker Such findings would have
at times. In resulting in the Steinway action, been
any case, there are many Accelerated news to Dame Myra Hess
ways a small Action. But that’s another who could
story.) easily stretch a ninth, the
same as
Daniel Barenboim.
76. Pianist 93

to replicate it on the keyboard. Then I check with the music to see if I am correct. In other words I am piano keyboard does p76_Hands-FINAL.indd
76

10/11/2016 09:54
77.

listening first, reading the music second. The pieces become harder as one moves through each CD/issue. not suit all hands. The current keyboard was
I have been surprised to find that I am better at this than I expected, and my ear is definitely improving. designed to suit European male virtuosos of
Ruth Hughes, Cumbria, UK the late 19th century. During the 20th century,
the changing gender and ethnic mix of pianists
Congratulations on having found such an original way of improving your ability to play by ear! It must take has meant that for most, their hand span is not
some persevering too. A surprise CD is on its way to you. well matched to this keyboard. The link between
inadequate hand span and the pain and injury
affecting many pianists is well established in
Anyone who, like me, loves Liszt but often the performing arts health literature. Equally
MISS
DON’T
Y PAR
HAM’S
ON Franz LISZT (1811-1886) ADVANCED
LESS
LUC
TRACK 11 THIS
ON PAGE
PIECE Un sospiro
24

finds him too difficult (as in the case of Un Sospiro important is the enhanced quality of a pianist’s
first, building them up note by note
they extended cadenzas. Learn these two cadenzas
universally known by Italian titles that though, so persevere!
The Three Concert Etudes S 144 are and phrase by phrase. It’s a real crowd-pleaser
not devised by Liszt himself. Un sospiro
only gained in a second edition, possibly
(A Sigh) is the last of them and is famous
for its hand-crossing melody.
Pedal tips: Some markings are on the
score.
on this piece on page 24. Parham
Read Lucy Parham’s step-by-step lesson TRACK 11
Franz LISZT (1811-1886) ADVANCED
a challenge to learn, even for the most Un sospiro
Playing tips: This concert etude will be two performs this piece on the Pianist CD.
one. The most challenging parts are the
advanced of pianists, but a rewarding
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? bbbbb f ff f f f f f f fø sim.
f f f ff & f bfb fb fff fffff≈ff ff fff fff ff f ≈ f ff fff fff ff f ≈ f ff fff fff ff f ≈ f ff fff
b
? bb bb fø f f f f ff f ff f fø fsim. f f& f bb f ff f ff f ff f ff
b b fø fff f ff f ff f ff f ff f

editor Alan Rusbridger described learning Chopin’s While plaster casts of pianists’ hands might
sim.
? fff ff f ff ff fff fff ff f f ff fff fff ff f
? bbbbbbbbbbbb ff fff ff
ø sim. ? f fff ff f f ff fff
ø f f f f f f f f ff
b f f f
Ó? bbbbbb ff ff f f f f f fff ff f f f f f fff f f f fff
f f f f fff f f f
j f.. f.jj ‰ . ‰ f Œ
7 bbbb f. j
7
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&b b f f f.
j ‰ Jf ‰ f f f f
7
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{{
Jf. Ó .

First Ballade in a single year (and then performing it), illustrate obvious visual characteristics such as
b b ‰ f. ‰ ‰ f Œ .
. .
. . .
.
f . .
& bbbbb . ‰ J
≈
J≈
ff f ff f f
15
15 . ff
bbbbb f fff.ff fffff. f ‰f Œ fff ‰ f. fff. ‰ ff ff ‰
f
b b b f f b Ó Œ .
15
& bb b f f ≈ &b b f b ‰ Œ ÓÓ ŒŒ ff . ‰‰ ff f ‰‰ .f .f ‰‰
& bbbbbbbbf fff fff f‰f Œ
f f f f
f ff f ≈ f ff f fff f ff fff ff 15&

{
& bb b f f≈ f f f fff f ...f ..f ‰ f ..f ..
b f ≈ f b b f ‰ Œ Ó Œ ‰ ‰
&b b b f ff ff f f f f & f fbf f

even though he knew it was way beyond his playing shape and finger length, they cannot provide
f ff . .
ff ff ff ff ff
f ff f f fbbbf fbb fff . .
? bb b ff f ff f f f ff f f f f f f ff f
f ≈≈ f f ≈≈ f
f
? bbbbb f ff f f f bbbbbbbfbb
&
f f& f fff f ff f
b
? bb bb f f f f ff f ff
f f ff ffff ff &
f f fbbfbbb ff fff ff f ff fff ff ff fff ff f ff fff ff ff fff ff ≈ ff fff ff ff fff ff ≈ ff fff ff
bb f f f f f
f & b f fff f f fff f f f≈ f f f f≈f f
ff ff ff ff ff ff ff ff
56 Pianist 93
f

abilities. Everyone has the right to learn what they an accurate indication of flexibility or reach.
•

?
? bbbbbbbbbbbbb ff fff ff
? f ff f f ff f f ff f f ff f
f ff ff ff fff ff
09/11/2016 10:59 f ff ff ff fff ff f ff ff ff fff ff f ff ff
? bbbb fff f f f f f f fff f f f f f f fff f f f f f f fff f f f fff
P56 SCORES Liszt-FINAL.indd
56
bbb f f f f f f f f
f f f f

want, and to push the boundaries, just as Rusbridger The data collected in our study (referred to
57 Pianist 93
•

P56 SCORES Liszt-FINAL.indd 57 09/11/2016 10:59

did. Most of our readers tell us they don’t wish to in John Evans’ article) of the hand spans of 473
Why Un sospiro? perform in public. We think that telling a pianist pianists confirms the results of previous studies,
Your inclusion of Liszt’s Un sospiro in issue 93 not to learn a piece of music because it’s beyond their showing that hand spans among adults vary
prompts a number of questions in my mind. capabilities is like telling a novice painter to give up enormously. In our study, thumb to fifth finger
This is a virtuoso piece, requiring a consummate painting water lilies because they’ll never be as good spans ranged from 6.4 inches (smallest female)
technique. Anyone who can play it can play as Claude Monet. However, it's worth taking note of to 10.8 inches (largest male), more than the
almost anything in the piano repertoire. Anyone the advice, given by Mark Tanner in his Mindfulness width of four white piano keys. The average span
who can play it will almost certainly already have article on page 16, that you should not overreach your of adult males is one inch greater than that
the score in their library. ambitions. What do other readers think? of adult females, slightly more than the width
So why include it in Pianist? The implication of one white piano key.
would seem to be that those of us with less than Loving Un sospiro! Steinbuhler DS keyboards (www.steinbuhler.com)
consummate techniques might like to ‘have a go’ at I wanted to let you know how much I love ® particularly in North
are gaining popularity,
it, but what would the purpose or value of this be? issue 93. I have over 20 issues of Pianist and this America. These narrower keyboards effectively
Why would anyone take pleasure or satisfaction from issue is by far my favourite for both articles and give pianists ‘larger hands’. Personal reactions
performing badly pieces that are too hard for them, sheet music. What caught my eye immediately from these pianists are consistent in describing
rather than performing pieces that are within their was the inclusion of Liszt’s Un sospiro. I am an the relief from pain and injury as well as enhanced
technical capability to a good standard? And why intermediate/advanced student and have worked personal enjoyment, thus allowing them to reach
would you encourage them to do so? on this piece for the past year. What I liked best their technical and artistic potential. Our analysis
I would much rather perform a piece that was the fingering you included. This is a piece indicates that about 24% of men and 87% of
I can master technically in order to be able to I will never be able to to play in public, but women would benefit from playing a keyboard
create a meaningful interpretation than ‘busk’ that doesn’t matter to me. I find myself playing with narrower keys. For a summary of the relevant
my way through something that is far too hard it often for just myself. It’s addictive and literature on hand size and piano playing,
and consequently sounds either a mess or challenging. Keep including wonderful pieces please visit www.smallpianokeyboards.org.
meaningless, at half speed or with ‘simplified’ like this in future issues.   Rhonda Boyle, Robin Boyle, Erica Booker,
rhythms. What do you and other readers think? Sally Olson, Chicago, USA Victoria, Australia
6• Pianist 94

p06_letters94-FINAL2.indd 6 11/01/2017 13:10

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p07_pianist94.indd 5 12/01/2017 10:21

 News All the latest news from the world of the piano
MAURIZIO POLLINI TURNS 75
Concerts and CDs for veteran pianist
On 2 January Maurizio Pollini celebrated his 75th birthday. Nothing
daunted by the landmark, the Italian pianist still has a busy performing
and recording schedule. On 21 February and 14 March he gives
concerts at the Royal Festival Hall in London’s Southbank Centre.
The programmes will feature four composers who have been central to
his career: Beethoven, Chopin, Debussy and Schoenberg. His account
of Debussy’s second book of Préludes will be repeated at Carnegie Hall
on 21 May and the Salzburg Festival on 17 August.
Deutsche Grammophon has released his complete recordings for the
label in a 58CD box, including two cycles of the concertos by
Beethoven and Brahms and the major works of Chopin. There is also a
new disc of Chopin (reviewed in the next issue), issued separately, which
focuses on the composer’s late and most elusive music. The resurgence
of consumer interest in vinyl is reflected in the label’s reissue on LP of
his classic 1972 set of Chopin’s Etudes. ‘I’m in love with Chopin,’
remarked Pollini recently, 45 years after the release of that multi-award-
winning record. ‘His music never ceases to amaze me.’
Pianist will pay an extended tribute to Pollini in a future issue.
Another musical birthday fell on 31 January, when Philip Glass turned
80 years old – or young, as you can read on page 67 from Víkingur
Ólafsson’s tales of touring with the inexhaustible composer. DG again
leads the anniversary celebrations, with Ólafsson’s new disc of piano
music: this includes both studies and a solo-piano transcription of the
opening of the hit Glassworks album from 1982.
Est
C
Y
CM
MY
CY
CMY
7 - 8 chester court. albany st. london. nw1 4bu
020 7935 8682 www.marksonpianos.com
8. Pianist 94
p8 news94-FINAL.indd 8
RICK WAKEMAN’S STAIRWAY
TO THE CLASSICS
Rock pianist releases first classical album
‘My music teacher taught me
that music was colour,’ says
Wakeman of the composers he
has chosen to play on his new
album, Piano Portraits. ‘You’re
painting pictures. I hear what
I’m going to play a couple of
seconds before I actually play it.
And then I see pictures.’
Having had a classical
training, Wakeman began his
career in a folk-rock group and
as a session musician for the likes of David Bowie and Elton John.
Joining the rock band Yes brought wider fame for his coruscating keyboard
skills, but his worldwide breakthrough came in 1976 when he left Yes to
establish his own group. Wakeman made two classics of the prog-rock genre
featuring his coruscating keyboard work: Journey to the Centre of the Earth,
a concept album based on Jules Verne’s novel, and The Six Wives of Henry
the Eighth, which taps into deep Classical and folksong roots.
Now Wakeman has returned to the classics, on his 100th studio album,
with his own, idiosyncratic interpretations of Debussy, Chopin and
Tchaikovsky. They are joined by solo-piano arrangements of Amazing Grace
and pop anthems such as 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 released both on CD and as a 2LP set by Universal
Music Group, and the pianist talks to Erica Worth in the next issue about
his career and his extraordinary collection of pianos and keyboards.
1910
© Matthias Creutziger/DG (Pollini); © Erica Worth (Fitch)
16/01/2017 09:48
 OBITUARY:
ANTHONY
GOLDSTONE
Death of much-loved
duet pianist
On 2 January the death was announced
of Anthony Goldstone. For many years he
had been well-known to UK audiences
and record-buyers in a duet partnership
with his wife, Caroline Clemmow.
Born in Liverpool in 1944, Goldstone
studied at the Royal Manchester College
of Music (now the RNCM) and won international prizes and a Gulbenkian
Fellowship. There followed a busy solo career which included an appearance
at the last night of the 1976 BBC Proms, when he played the left-hand
Diversions by Benjamin Britten. ‘Thank you most sincerely for that brilliant
performance,’ Britten later wrote to him. ‘I wish I could have been at the
Royal Albert Hall to join in the cheers.’
His playing was distinguished by a communicative warmth and sincerity
but also underpinned by an intellectual rigour which he had absorbed from
his early studies with Maria Curcio, who was herself a pupil of Artur Schnabel.
Goldstone regarded Schnabel as the supreme exponent of the Classical
masters, and the two men shared a devotion to the music of Schubert.
In Goldstone’s case, this led him and Clemmow to record not only the duet
repertoire such as the turbulent F minor Fantasy, but also several discs of
‘unauthorized duets’ including versions of the completed Eighth Symphony,
the ‘Death and the Maiden’ String Quartet and Arpeggione Sonata.
He brought no less indefatigable energy to completing many of the
fragments and projects which Schubert had mysteriously abandoned
or placed in the bottom drawer such as the ‘Reliquie’ Sonata D840.
His repertoire extended far beyond the Austro-German classics, to
out-of-the-way Romantics, Russian repertoire from the Silver Age and 20th
century British composers, always chosen with an eye for the unfamiliar and
no less astute ears for the unjustly neglected.
Most of the Goldstone-Clemmow recordings were produced by Goldstone
at his local church (another string to the bow of this Renaissance man) and
are available on Divine Art, which will issue the complete Schubert as a box
set in tribute to his memory later in 2017.
GRAHAM FITCH IN CONCERT
© Matthias Creutziger/DG (Pollini); © Erica Worth (Fitch)
One of the resident keyboard gurus at Pianist, Graham Fitch appears in
concert on 17 March, playing the Goldberg Variations of JS Bach at
Rosslyn Hill Chapel in Hampstead, London. ‘A meditation in the
practice room and an epic journey on stage,’ says Fitch of Bach’s endlessly
fascinating work, which he will explore in more detail after the concert
with an audience discussion to be chaired by the pianist, teacher and
blogger Frances Wilson. All profits from ticket sales will be donated to
BAPAM (British Association for Performing Arts Medicine), and there is
a special offer for readers of Pianist: discounted tickets are available at
https://billetto.co.uk/en/events/bachs-goldberg-variations-special-offer.
9. Pianist 94
p8 news94-FINAL.indd 9
WINNER OF 2016 PIANIST
COMPOSING COMPETITION
ANNOUNCED!
Congratulations to Evelyn Dobson, who has been chosen as the winner of
our 2016 Composing Competition. She receives a Kawai upright model
K-15E worth over £3,350. Her winning score will be published inside
Pianist and performed on the covermount CD.
Dobson, from Plymouth, wowed the judges with her composition
Ceasefire. The judging panel – consisting of Pianist Editor Erica Worth,
music educator Nigel Scaife, composer John Kember and Kawai
representative Matt Ash – agreed that the piece was distinguished by its
musical intelligence, thematic consistency, subtle harmonies, originality and
a great poignancy. The 47-bar piece is prefaced with a short introduction in
which Dobson writes of children emerging onto the streets of the Syrian
city of Aleppo to play during a ceasefire. ‘This will take a while to sink in,’
she said. ‘I’m shocked, because I felt sure I hadn’t got the key quite right.
One of the things I wanted was to make it playable, so that anyone could
have a go. I did want it to be accessible.’ She is a piano teacher with 60
years’ experience, having taken on her first pupil when she was 14 years old.
Judging the competition wasn’t easy: there were 130 entrants of all
ages (the youngest being eight!) and from all corners of the globe.
A full feature about the competition – in which the judges discuss the
process, explain what they were looking for and mention other pieces
that impressed them – will appear in Pianist 96.
RUBICON CLASSICS
New label gives recording debuts
to young artists
‘Reports of my death have been greatly
exaggerated,’ said Mark Twain, and the same
could be said of the classical recording industry.
The greenest shoot in the field in 2017 is
Rubicon Classics, which has been set up by
experienced industry executives to introduce
promising musicians and develop emerging
talent alongside some young but already
renowned artists.
First out of the traps is the 29-year-old French pianist Julien Brocal,
whose all-Chopin album was released in January. Brocal has already
impressed Maria João Pires enough to form an occasional duet partnership
with him. The album is subtitled ‘In states of bliss’, which embrace a
complete set of the Op 28 Préludes as well as the Second Piano Sonata.
Pianists on later releases include Sonya Bach (playing, appropriately
enough, Bach concertos) and Esther Birringer, who partners her sister Lea
in a sonata recital of Grieg, Liszt and Franck. Danny Driver will also
accompany Chloë Hanslip in a complete set of Beethoven’s violin sonatas.
Founder-director of the label, Matthew Cosgrove, is a former record
executive for EMI and Warner Classics, and the General Manager of Onyx
Classics, which has a track record of impressive recording debuts from the
likes of Saleem Abboud Ashkar. Cosgrove promises that the label will cross
the classical rubicon with jazz and contemporary releases. It has a strong
online and social-media presence: find out more at its Facebook page or at
rubiconclassics.com.
12/01/2017 11:18
 News All the latest news from the world of the piano

Consumed by music
PETER DONOHOE
Having made complete recordings of Prokofiev and Scriabin sonatas,
the British virtuoso faces his greatest challenge yet, he tells Peter Quantrill

Now that all the sonatas are recorded, are you giving Prokofiev a rest?
Not really! I love his music more and more as I get to know the lesser-known
works, and I see it in a different light to when I was younger.

How has your attitude changed?

Most people think of Prokofiev as percussive, anti-establishment and not
very nice, and a lot of pianists and listeners are put off by his music for those
reasons. But actually he thought of himself as a lyrical composer. Even the
first movement of the Sixth Sonata is much less barbaric or monochrome
than it may first appear. Some people have treated it as a scream of horror
against the Soviet system. What about it representing the industrialisation
and modernisation of the Soviet system?

Prokofiev’s teacher complained that he over-pedalled his own music.

Do you find particular technical challenges to his music?
I tend to respond to the score. One has a certain interest in the background
to the pieces, but I don’t feel I need insider knowledge like that because what
he wants seems to leap off the page.

Not all composers convey what they want in the marks on the page.
That’s the difference between Prokofiev and Scriabin, who was scruffy in the way
he wrote down his music, especially in the placement of dynamics. It doesn’t
work if you do exactly what’s written.
Why are you doing Scriabin now?
I had a tendency to like too many pieces when I was younger. I wanted to
play everything. Someone warned me to be careful not to be a jack of all
trades, with no critical faculties. So I thought, I must find a composer I don’t
like, so I can avoid that music, and I came up with Scriabin. And I did,
apart from the Fifth Sonata and one Etude which I was required to play at
the Tchaikovsky Competition. Thirty years later, I heard a performance of
the Third Sonata at that same competition, where I was now a juror, by the
eventual winner, who was Daniil Trifonov. It was a revelation.
What did you hear in Trifonov’s playing that turned the light on for you?
The Third is very Chopinesque, and has a deeply felt, uninhibited emotion
that reminded me of Messiaen. There was something about Scriabin that
frightened me. Once you get involved in it, the music is all-consuming. You
can’t stop practising it, you can’t stop programming it, and it starts to change
your personality if you’re not careful! After some hours with the late music,
learning it and practising it endlessly, I would come down from my piano
studio and have to hide for a few minutes before I could talk to anyone.
You’ve chosen to play all ten sonatas in a single concert.
Quite an undertaking for the audience! One reason Scriabin isn’t played much
is that he’s difficult to programme. You don’t have to show different sides of
Beethoven or Brahms because all the sides are there, all the time. The humour,
the seriousness, the drama, the defiance, the conflict, they’re all in every work
you play. With Scriabin, you need more than one work to make sense of him.
I feel closest to the Second and Third Sonatas. In the Fourth and Fifth
Sonatas you can begin to hear him turning away, into himself. There’s the
way also he weirdly anticipates jazz: the Fourth at points is like playing
Art Tatum. The later works unfold like single statements,They don’t have a
feeling of climax, more like Messiaen in that way. It’s difficult for me to fully
Where should Pianist readers start with Scriabin?
The Preludes. Not the Sonatas: every one of them is transcendentally difficult!
I suspect Scriabin was quite jealous of Rachmaninov, both of his success and
the size of his hands, and you can feel that in his music. I don’t think Scriabin’s
hands were as big as his music suggests he’d like them to be. His early music
lies under the fingers if you play a lot of Chopin, but I found the late sonatas
easier to play, maybe because of my experience with 20th-century music.
They can exert an almost narcotic attraction.
Well, I needed some kind of antidote to that narcotic feeling, and the antidote
I chose was Mozart. It’s the greatest challenge of all. Or perhaps the second
greatest, after Bach’s 48. With virtually every composer other than Mozart,
it’s not so difficult to get to a point where you know what you want to do with
it, but that’s the challenge with Mozart. And the fact that you can more or less
sightread all of it makes it more difficult. A sonata such as the simple-sounding
K570 in B flat, you can play it perfectly well first time round. But it’s never
good enough. Which is going to be a bit of a problem when we record it!
Now I want to go back and listen to K284 – it’s a favourite of mine.
Mine too. It’s one of the great under-rated works of the whole Classical period.
I’ve played it about 20 times over the last couple of years, and I particularly
love it. I’ve agreed to play the first six sonatas at Chethams Summer School,
which is already terrifying the living daylights out of me. The first sonata –
which isn’t an immature work at all, it’s already K279 – is wonderful. You
can feel he found it easy to write, whereas it’s impossible for the rest of us to
play it. Even when you have a movement which is apparently based on quite
a light-hearted or trivial tune, there is something unattainable about it. With
the variation finale of K284, you need to have known it for about 40 years
before you can even begin to be thinking on the high level that it’s written.
And it has a strange formal anomaly: there is no slow movement in that
sonata until variation 11 of the finale. What an extraordinary idea.
Peter Donohoe records for Somm Records. The complete Prokofiev sonatas are now
© Sussie Ahlburg

love Nos 9 and 10 – a representation of something degenerative – because available; Scriabin and then Mozart will be issued during 2017 and 2018. He
he’d really lost it by the time he wrote those. Whereas 6, 7 and 8 work plays the Scriabin sonatas in Milton Court Concert Hall, London, on 23 April and
wonderfully in combination, like Prokofiev, coincidentally. Prokofiev’s ‘War’ trilogy at Turner Sims Concert Hall, Southampton, on 16 May.

10. Pianist 94

p8 news94-FINAL.indd 10 12/01/2017 11:18

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p11_pianist94.indd 5 12/01/2017 10:22

 INTERVIEW
Anna
LEEDS
the Way
A year after her sensational win at Leeds, the Russian pianist
talks to Warwick Thompson about the sacrifices of life
as a virtuoso and how she handles the pressure
B
y the time that the
Russian pianist Anna
Tsybuleva was awarded
first prize in the 2015
Leeds International
Piano Competition, she
had already achieved significant success
elsewhere. She received first prize at the
Gilels competition in Odessa in 2012,
and in the same year was a winner at the
Hamamatsu competition in Japan.
But getting the top gong at Leeds was a
different thing altogether. ‘It’s such a
major competition – it was a new
league,’ she says. ‘I had already begun
my path – quite a hard path – before
that, but immediately after the Leeds
prize was announced, I understood that
I was now really on the first step of my
journey. Everything I had done before
was a little step.’
Winning Leeds put her swiftly and
firmly on the radar of major orchestras
and festivals. Since claiming her prize,
she has made debuts with the Mariinsky,
St Petersburg, and Royal Philharmonic
orchestras, and she has performed at such
gold-standard venues as the Salle Cortot,
Wigmore Hall and Tonhalle Zürich.
But as many young musicians find out
p12_interview-FINALish.indd 12
(some to their cost), the life of a major
prize-winner does not consist merely
of sipping cocktails on a lounger while
waiting for a call from the Vienna
Musikverein. The hard-working and
sensible Tsybuleva (pronounced
tsih-bul-YO-va) has also performed
at plenty of worthy, if less glamorous,
venues to build her post-Leeds career,
having appeared at festivals in (for
example) Northern Aldborough,
Chipping Campden and Hebden Bridge.
It doesn’t hurt, of course, that she falls
comfortably – as her striking publicity
photos demonstrate – into that fortunate
category of performer which agents term
‘Easy to Promote’.
Tsybuleva is happy to be an
ambassador for the Leeds competition,
and for its forthcoming revamp in 2018
(see the article on page 14). When
speaking about her own experiences
there, she reveals nothing but happy
memories. ‘The atmosphere was so
friendly, so supportive. I really felt like
I was at home. And the place where we
stayed – Devonshire Hall, on the Leeds
University campus – was wonderful.
All the competitors were housed there,
and we all had breakfast, lunch and
12• Pianist 94
dinner together: and if sometimes someone
Main picture: winner Anna was nervous, or upset, we all tried to help
Tsybuleva on stage after each other. We all understood how stressful
her finals performance; the situation was.’
Inset, from left to right: Like many artists before her, Tsybuleva
conductor Sir Mark Elder, coped with the unavoidable anxiety by
Dame Fanny Waterman, treating the event as a series of concerts.
Anna Tsybuleva and ‘I didn’t think of four rounds: I thought
Dame Janet Baker of four concerts. And it helped that
the public in Leeds was so warm.
When I played the final round
[with Brahms’s Piano Concerto No 2]
they behaved as if it were a concert:
I could feel their response very deeply.’
Student years
When Tsybuleva talks of feeling ‘at home’
somewhere, it’s clear that the phrase has a
© Page 12: Leeds International Piano Competition; Page 13: © Vera Ley
particularly strong resonance for her.
She was born in 1990 in the tiny town of
Nizhny Arkhyz, roughly 1500 km south
of Moscow. This remote place formerly
housed a massive Soviet telescope, and
thus had a disproportionately high
number of high-ranking scientists and
academics among its inhabitants: and
when one considers how closely the
mathematical sciences and music have
always been related, perhaps it is not
surprising that a great musician should
have sprung from such a milieu.
10/01/2017 11:22
 From the age of six she had lessons
with her mother Svetlana, a pianist and
art historian. When it became apparent
at the age of ten that she had real talent,
Tsybuleva moved, alone, to Volgograd,
about 700km away, to continue her piano
studies. Understandably she missed her
parents, and found the new regime strict
and demanding: so much so that when
her mother came to visit, and saw how
hard her life was, she suggested giving
up the struggle and moving back home.
The ten-year-old girl answered, ‘No,
mummy. It’s too late to go back.’
How does Tsybuleva feel about that
extraordinary moment of self-
determination now? ‘It was shocking for
my mum. She wasn’t ready to hear such
a thing from her little girl. But at the
time, for me, it seemed very natural.
I could feel that I was moving forwards.
From that moment, I never doubted that
I was on the right way – and my mum
came to understand that.’
Svetlana respected her child’s wishes and
supported her development wholeheartedly
until her untimely death just seven years
later. By that time (from 2003 onwards)
Anna was working with professor
Lyudmila Roschina, with whom she
continued to study at the Moscow State
Conservatory. She also now studies with
professor Claudio Martínez Mehner at
the Basel Music Academy, but it is to her
earlier pedagogue that she gives the
laurels: ‘She’s my musical mother,’ says
Tsybuleva. ‘It’s a very Russian thing, to
have such a strong connection between
student and professor. And even now

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if I need any advice – not only musical
▲

advice – I call her. How to concentrate

before a concert, how to prepare, even
how to relax after a concert... she gives
me such useful guidance.’
After all that one learns about the early
voluntary separation from her parents,
and the death of her mother, it is easy to
understand that when Tsybuleva speaks
of ‘home’ – as she does about Leeds – it
means a great deal. And her affection for
the competition has only grown since her
triumph. ‘I’ve had such huge support from
Paul Lewis and Adam Gatehouse (the new
joint Artistic Directors). We discuss my
future repertoire together, and they help
me choose my programmes. Honestly, it’s
even more important than the prize money
[£20,000] to be guided and supported by
© Page 12: Leeds International Piano Competition; Page 13: © Vera Ley
Tap the play buttons to watch a performance
between us, and I’m happy we have this.
He has his own projects, and travels
quite often too... but we play and
perform together quite a lot.’
In addition to her schedule of practise
and performance, Tsybuleva also likes to
keep fit. ‘I go with my husband to the
gym or swimming pool around 10pm,
usually after we finish practising. I think
it’s important for musicians to be fit,
to be healthy... My husband and I even
have sports medals from our time at
of a peak, breathing the air... I know that
Brahms loved the mountains as well, and
it helps me when I play the Second
Concerto. I try to get close to the same
feelings that the composer had.’
Leeds may have been the first step: but
the journey continues for Tsybuleva. ■
Anna Tsybuleva appears in recital in the
UK at Skipton Town Hall (24 Jan),
Hinchingbrooke Performing Arts Centre,

such people. It means so much to me.’
Life after Leeds
‘Home’, in its more literal sense, also now
means ‘Moscow’ to Tsybuleva. This is
where she lives with her viola-player
husband in a small flat. ‘There are two
conservatory, when we competed in Huntingdon (27 Jan), St Mary’s Perivale,
university championships. It was a London (12 Mar), Ripon Cathedral,
wonderful feeling: rather than waiting Harrogate (13 Mar). Her debut album
to be called on stage, we were waiting will be issued by Champs Hill Records.
for the call for our swimming lanes.’
She also reveals that meditation forms
an important part of her development.

LISTEN
pianos, but one is an electronic keyboard ‘It’s a vital tool to control your thoughts.
▲

with headphones so that my neighbours Whatever feelings I experience, whatever

won’t kill me.’ She feels that being with
another musician eases some of the
burdens of her increasingly peripatetic
life: ‘There’s a good understanding
is important – I try to observe it all, and
use it in my performance. I love to climb
Tap the play buttons below to hear our bonus track
in the mountains, and it’s such a special
feeling when you’re standing on the top SAINT-SAËNS ETUDE EN FORME DE VALSE OP 52 NO 6

13• Pianist 94

p12_interview-FINALish.indd 13 19/01/2017 12:05

 INTERVIEW
Renewed Online auditions, an innovative jury system and a bigger budget:
the competition’s new artistic directors outline ambitious plans
D
ame Fanny
Waterman, the
diminutive and
indomitable motor
behind the triennial
Leeds International
Piano Competition which she founded
in 1961, announced last year that she
was stepping down from front-line duties
and handing over the reins. She was 95
years of age. Adam Gatehouse, the new
co-artistic director of the competition
with pianist Paul Lewis, tells me that the
board hoped that they might be able
directly to replace Dame Fanny in the
way she was operating. ‘But it quickly
became apparent that she was
irreplaceable,’ he says. I roll my eyes a
little bit at the use of such a well-worn
platitude, but he pulls me up short.
‘I don’t mean that in a flattering way.
I mean it quite literally. She was doing
the work of four different people.’
Gatehouse is looking forward to the next
competition in 2018. ‘If we’re going to
take the competition forward into the
21st century, you simply can’t have one
p12_interview-FINALish.indd 14
LEEDS
and visions to Warwick Thompson
person doing all that. That became
very quickly evident.’
‘I think the way in which we came
to be involved was a process of
evolution,’ says Lewis, when I meet
him at Wigmore Hall after the official
re-launch of the event. ‘It was felt that
some change was needed, and it was
time for it to happen.’
Gatehouse elaborates. ‘I’d already
served on the jury for the competition,
and they asked me for a few thoughts
about how it might go forward.
Then Mark Wingate, who’s now our
CEO, said “I’m in discussion with
one of the world’s leading pianists...
would you be interested in coming
to talk to him?” When I learned it
was Paul, I was thrilled. I’ve known
him for 24 years.’ The official meeting
was pleasant, but inconclusive.
‘But immediately afterwards we went
together to Starbucks and in about
20 minutes, had agreed on four
fundamentals which we would need
if we could see ourselves working
on the competition.’
14• Pianist 94
‘Some change was needed, These four fundamentals were
and it was time for it to announced in the re-launch event
happen’: enter Paul Lewis at Wigmore Hall in October 2016.
(left) and Adam Gatehouse and Lewis want to make
Gatehouse, directors of participation in the competition a more
the Leeds International human – even humane – experience; to
© Page 14: Simon J Price; Page 15: © SWPIX (Colli); © Leeds International Piano Competition (all other pictures)
Piano Competition expand its global reach; to make the prize
package more meaningful; and to
increase its educational work in the
community and elsewhere. ‘After about
an hour and a half in Starbucks, we’d got
the whole blueprint,’ says Gatehouse.
What’s in a prize?
They have excellent foundations upon
which to build. Waterman conceived the
somewhat daring idea of a non-
metropolitan competition in 1961,
and the first event took place in 1963.
In its 53-year history, it has given a boost
to the careers of some of the greatest
names of recent times. Radu Lupu
(1969), Murray Perahia (1972), and
Artur Pizarro (1990) all received first
prize, and went on to scale even greater
heights. But it’s also fascinating to see
who didn’t get the top gong.
10/01/2017 11:22
 ‘We all know that when one looks
at competitions, it’s not always the
first-prize winner whose career takes off,’
says Gatehouse. ‘In 1975 the first prize
went to Dmitri Alexeev, but second went
to Mitsuko Uchida, and András Schiff
came joint third... and Myung-Whun
Chung was joint fifth.’ It’s fair to say that
their careers have made a bigger splash
than Alexeev’s, and it’s for this reason
that there’s a fascinating amount of
latitude in one of the ‘four
fundamentals’. In the category of
‘meaningful prize package’, the agents
Askonas Holt have agreed to represent
one of the winners – but not necessarily
the first prize winner. ‘Askonas quite
rightly feel that they are a caring
management who really like to nurture
their artists, and they need to be sure
that they find an artist they can work
with,’ says Gatehouse. ‘Or it may even
be that the first-prize winner already has
an agent... so quite understandably, they
wanted to keep that option open.’
A more human competition
The idea that competition juries ‘get it
wrong’ (to put it in the crudest and most
reductive of terms) is one which hovers
in the minds of audiences and
participants alike. Are competitions
really a valuable indication of artistic
ability? Might it not be said that they
turn what should be a celebration of art
into a three-ring circus?
Anna Tsybuleva, the first-prize winner
in 2015 (see interview on page 12), admits
that preparing for another competition
is not always the best way of spending
time for a musician. ‘But it’s a crucial
way to get noticed, by foundations or
promoters who might support you,’ she
says. ‘I grew up very far from Moscow,
where it was difficult to get known.
And even when I came to Moscow,
I soon learned that the city was full of
great pianists – it has one of the greatest
musical universities in the world.
So in that sense, winning a competition
© Page 14: Simon J Price; Page 15: © SWPIX (Colli); © Leeds International Piano Competition (all other pictures)
is a great way to announce yourself in
the international arena.’
Paul Lewis himself has described
competitions as a ‘necessary evil’. He tells
me that the successes in his own career
do not owe much to the prizes which he
won as a young musician. ‘Rather it was
being mentored by Alfred Brendel that
was crucial for me. And deciding to
focus on certain projects like a Schubert
sonata cycle, or Beethoven sonata cycle...
that was what really built my career, my
profile, my identity.’ So why is he
supporting the Leeds, in that case?
‘What we’re trying to do is make the
competition more human. We want to
bring some of the mentoring element
into the competition, to increase the
amount of chamber music involved.
We want to create other opportunities
for all the participants, rather than for
p12_interview-FINALish.indd 15
them just to turn up and get kicked out.’
For the first-prize winner Lewis himself
will act as a mentor. There will be concert
opportunities on BBC Radio 3 and
elsewhere, a concerto appearance to
open the Royal Liverpool Philharmonic
Orchestra’s season in 2018, and a
debut recording on the boutique
Champs Hill label.
Gatehouse, who was ‘one of the lucky
musicians who never did a competition
in my life,’ expands on the theme of
inclusivity. ‘It’s crucial that all 24
participants will stay right to the end of
the event. It’s bad enough being knocked
out, but then to have to buy a plane
ticket the next day and go home is even
worse. We want them all to stay, meet
people, make contacts, join in
performances, have masterclasses, join in
education work.’ There are also plans to
hold talks, discussions, films and even
perhaps an artist-in-residence. A new
education officer will be appointed too,
and ongoing partnerships with Leeds
City Council and the University of Leeds
will be expanded to help the competition
further its outreach work.
It’s clear that Lewis and Gatehouse
want the event to be as much a festival
as a competition. The wish for a greater
global reach will be achieved by having
preliminary rounds in Berlin, New York
and Singapore in April 2018. The rounds
will all be streamed (some live) by
medici.tv, offering greater access to
online audiences. Considering the
paucity of audio-visual information
on the competition’s current website,
this can only be a huge improvement.
Voting: a new approach
Lewis and Gatehouse are also trying hard
to avoid the troubling situation in which
jurors tend to vote for their own students,
and not for the best person on the day.
‘I’ve seen it happen... it’s natural in a way,
but we want to avoid it,’ says Gatehouse.
The initial idea has been to have a jury
of nine with no more than five pianists:
so far Imogen Cooper and Lars Vogt
have been announced as members.
‘The other four would be non-pianists,’
says Gatehouse, ‘of which I’ll be one.’
Lewis continues, ‘We won’t have
full-time piano teachers on the jury.
It will be performer led. Some of those
performers will have given masterclasses,
and may know young musicians in
whom they take an interest, of course,
and those musicians might be
competitors. But it’s only really when you
have teachers with full-time students that
the situation gets complicated.’
There are some wrinkles still to be sorted.
What about transparency of voting?
Wouldn’t that solve the problem of
favouritism? ‘We’ve discussed it,’ says
Lewis, ‘but we haven’t mentioned it yet
to the people who’ve agreed to come on
the jury. It may be that some of them are
15• Pianist 94
21ST CENTURY LEEDS WINNERS
2012 Federico Colli (Italy)
Colli wowed the Leeds jury (and our editor) with his
personal slant on Beethoven’s ‘Emperor’ Concerto.
He appeared on the April-May 2014 cover of Pianist
(No 77). He received rave reviews for both his
debut UK recital and his first CD for Champs Hill
(Beethoven, Scriabin and Mussorgsky).
2009 Sofya Gulyak (Russia)
Gulyak is still based in her native Russia but has
recently toured the UK and Canada. Post-Leeds
recordings include Rachmaninov (on Champs Hill)
and Brahms (Piano Classics).
2006 Sunwook Kim (Korea)
Kim played a mature Brahms First Piano Concerto
at his Leeds finals. Releases include Beethoven
‘Emperor’ Concerto with Myung-Whun Chung and
the Seoul Philharmonic on Deutsche Grammophon,
and Beethoven sonatas on Accentus Music. He
regularly tours with cellist Jian Wang.
2003 Antti Siirala (Finland)
Sirala’s career has gone from strength to strength
since winning the Leeds with concert appearances
across Europe and the US, and well-received discs
of Schubert and Brahms for Naxos and Ondine
respectively.
2000 Alessio Bax (Italy)
Now a well-known name on the worldwide concert
platform, Bax appeared on the October-November
2014 cover of Pianist (No 80). His discography for
Signum and other labels includes duets with his
pianist wife Lucille Chung.
not comfortable with the idea of having
their votes known [but] we’ll have to be
sensitive to people’s feelings all round.’
It all sounds rather utopian – and like
all utopias, it comes at a cost. The budget
for the 2018 competition is £2.1m,
which is roughly double the cost of the
previous competition. In these straitened
times, where will they find the extra
budget? ‘Leeds City Council gives
something,’ says Gatehouse, ‘but the
majority has always been privately
donated.’ A fundraising drive has already
included positive discussions with
Arts Council England and other funds
and foundations.
Good luck to them. And, in the
meantime, if you happen to know any
bankers, financiers or philanthropists
with a desire to help young pianists,
Lewis and Gatehouse would be delighted
to hear from you. n
Applications for the 2018 competition
open in September 2017. First rounds
take place in Berlin, New York and
Singapore in April 2018, with semi-finals
and finals in Leeds in September 2018.
Further information at leedspiano.com
10/01/2017 11:22
 play HOW TO

Focus and concentration

THE MINDFUL PIANIST
In search of more focused and thoughtful practice and performance, mindfulness techniques can offer
valuable support, as Mark Tanner explains

T
his article taps into
themes in my new
book, The Mindful
Pianist, which
includes insights
from 25 expert
pianists and teachers.
It quickly became clear through
comparing their views that mindfulness
has much to offer all pianists,
irrespective of age, level or preferred
style of playing. I will present here some
fresh ideas and approaches to help foster
a more mindful approach.
Mindfulness takes myriad forms these
days. Many – like my own – hold firm
to a secular viewpoint, or what some
like to call a ‘practical meditation’. You
may prefer to substitute the word
‘purposeful’ for ‘mindful’, since the
pursuit of more thoughtful, focused
practising underpins my approach.
After all, for many adult pianists,
practising alone at home probably
constitutes between 80 and 90 per cent
of the time spent sat at the instrument.
Whether applied to bread-making,
surfing or indeed music, mindfulness
addresses the need to be present and
alert ‘in the moment’. We can be pulled
in all directions by malevolent mental
chatter; allowing this to happen saps
An ability to focus is the most
important skill pianists ever learn; when Mark Tanner is a pianist, composer,
we don’t focus, every practice session writer, ABRSM examiner, lecturer,
and performance becomes a losing presenter, adjudicator and teacher.
battle against our alter-egos. His newest book is The Mindful
Pianist (Faber), which helps pianists
Listen with honesty, play with of all ages and persuasions to
confidence focus, practise, perform and
If we learn to listen more intently engage more consistently. He is
while playing, just as a seasoned co-author of ABRSM’s Teaching
concert-goer might, we will be more Notes for the 2017-18 piano syllabus
likely to play to our best. ‘Selective and composed several pieces for
listening’ deceives the pianist only, not ABRSM’s newly released Piano Star,
the audience, examiner or festival pitched at pre-Grade 1 pianists. Also
adjudicator. The key to eliminating this published in 2016 were Christmas
is to apply a higher filter to what we are Suite, Jazz Hands (Books 1, 2 & 3)
doing, feedback continually and and Tall Stories for Short Pianists
respond decisively: we may hear, but are (Spartan Press). Mark has 20 pieces
we truly listening? Set short, achievable on current exam syllabuses.
goals when practising, then make sure
you emerge victorious. Listening with a To find an optimum speed, do not
virtuoso’s ears is surely as important as gauge your tempo by the relaxed opening
honing virtuoso fingers – this is what motif, but note the dramatic unison
I mean by ‘listening with honesty’. semiquaver sequence from bars 16-22.
In this instance, metronome indications
Mindful practice tell us nothing whatsoever about how the
By way of example, let’s take the opening composer conceived the piece. If you can
page to Mozart’s Sonata in G K283 (see establish a happy marriage – in overall
overleaf ), which is on the current pacing – between these two contrasted
ABRSM Grade 7 syllabus. Here are a musical characters (and indeed the other
few points to guide you more mindfully musical ‘characters’ that appear
towards a pristine, elegant performance. throughout the movement) your

valuable energy and distracts us from
our goals. Subordinate psychological
forces often compel us to notice what
we cannot yet manage; moreover,
our impulse to self-deprecate often
seems far stronger than our instinct
to self-praise. Whether we happen
to be unpicking knotty coordinational
issues in Bach, or applying the final
touches of una corda to some Grovlez,
our time is precious and needs
channelling accordingly.
Focus first
There needs to be a clear distinction
between practising practising, and
practising performing. Though each calls
for a special kind of focus, pianists
easily lapse into a middle ground where
little is achieved. Concentration on the
task at hand is vital. The same is true
while performing of course, though
the knack of holding concentration
on stage or in an exam becomes at least
as much about holding your nerve.
5
TOP
TIPS
FINDING THE FLOW STATE
1 Mindful piano playing begins with finding an inner serenity,
breathing rhythmically and focusing on the job to hand.
2 Before we can engage others with our playing, we first need to
engage with ourselves; devote a few minutes practice time to
careful planning, then aim to connect your mind with your body.
3 Interrogate the score, but don’t undervalue your own musical
intelligence or instinct for spontaneity.
4 Over-practising, over-thinking and over-reaching are among the
most damaging tendencies for pianists. Keep your longer-term
ambitions in check and resist comparisons with others.
5 The ‘flow state’ for pianists is that magical moment in
performance when everything comes together, finally making
sense of all the methodical, mindful activities you have
employed in your practising.
performance will acquire greater
cohesion. Better, perhaps, to view
this opening movement as a ‘minuet’,
courtly and majestic. It is your ability
to self-police, using keen aural skills,
which will set your performance
on the right track.
Sing the first few bars out loud while
you play the Alberti accompaniment
in the bass. Focus initially on your
singing and aim to include all the
marked nuances in articulation,
especially the ‘sighs’. Then switch your
attention to the LH, which should
function as more than a mere ‘engine’.
Listening closely will help to keep your
fingers under control and underpin
what is heard when you come to
assemble both hands. You could
experiment with finger-pedalling for the
bass notes of bars 1-4 by turning them
into dotted minims (G, A, F#, G),
applying subtle variants of accentuation
and even gently emphasising different
notes within each group of six quavers.
▲

16• Pianist 94

P16 HTP Tanner-FINALish.indd 16 13/01/2017 11:48

 LISTEN
Tap below to listen to a track

Arnold Schoenberg
▲

- Concerto for Piano

and Orchestra Op. 42

17• Pianist 77
 play HOW TO

Though articulation details are Opening of Mozart Sonata in G K283

commonplace in Mozart’s score, you
will observe that phrase markings are
#3 ™
Allegro
f™ f f f™ f f f f f™ f
not. A mindful approach will observe
& 4 f f f Œ f f Œ Œ f f Œ

{
this and prompt you to reach for your
pencil. The run of semiquavers at bar 8 p fp
f f f f f f f
ff f f ff f f ff f f ff ff
amounts to more than a mere scale – it
calls for finesse and subtle shaping, ? # 43 Œ Œ
without the slightest hint of hurrying. & FF
If you feel enterprising, why not swap
ffffffff ff
the hands around – just for the opening
phrase – to prove to yourself you really # f f f f™ f f. f. f. ffff f f f f f f f f f f Œ f™
& f f

{
know how the parts knit together?
Have you spotted Mozart’s implied
expressive detail? The anacruses are the fp f p
# ff ff ff ff ff fF f ff
Œ Œ Œ
f Œ
rhythmic lifeblood of this opening page,
?
but notice how much more elegant your & FF
phrasing sounds if you slightly accent F
the third beats of bars 1 and 3 as you
f™ f f. f. f. f f f f f ff ff
# fffff
slur across the bar lines, instead of the
fffff fff
more commonly emphasised first beats.
& f f f f™ f f f f f f

{
Now consider adding a little dynamic
interest. An obvious place for a crescendo fp fp f
(or indeed, a series of ever-building ff ff f ff f
crescendos) is bars 16-22, where the ? # FF ΠF
F Πf Πff ΠfF
LH has bold, ‘operatic’ octaves.
Guard against chopping up the lines:
a bar-by-bar ‘syllabic’ approach is the kiss
#
f ‰ ‰ ‰
of death in Mozart. Done well, the whole
& f f
f f f f f nf f nf f f f f f f f #f

{
f ffffff f
page should take shape as if the forte
arrival at the dominant, bar 22, is the fffff f
most logical, natural thing in the world.
? # ff ‰
p
‰ f f f f ‰ f f f f f f f f f
At all points in the learning and
performance of this innocuous looking f f f ff
page of music, a mindful, attentive
f f f f f f f f f f f f f f f f
approach will guide you forwards with
# f f f Ÿ Œ
clarity, insight and control. Practice time
will be more profitable and satisfying as & f f f f f f f f f f f f f f f f f f f f f #f

{
you lock horns confidently with the
details (rather than sigh in resignation),
and you will saunter from the practice
?# f f f f f f
room feeling contented and excited at
what you might achieve tomorrow.
Over-practising, over-thinking
and over-reaching
Over-practising is surprisingly prevalent
among serious-minded adult pianists.
Ten minutes spent with sharpened focus
is worth more than several hours of
absent-minded thrashing about. Most of
us would accept this premise, and yet it
is my experience that pianists – even or
especially advanced ones – sometimes
derive masochistic pleasure from coming
An ability to focus is the
most important skill
pianists ever learn
away from the practice room glazed in
sweat, veins popping. Our practising
ought not to resemble a gym workout,
for piano playing needs to be an artistic,
creative and mindful pursuit at all times,
f #f f
f f f f f #f f
f f f f f #f f f Œ
f f f f f f f
even when surveying the notes of a new
piece for the first time.
Over-thinking is also common.
If we underestimate our own musical
intelligence and underplay our capacity
for spontaneous risk-taking, we end up
losing that spark of inventiveness
without which our playing sounds sterile
and lacklustre.
Over-reaching, in regard to choosing
repertoire especially, undermines pianists
of all ages. A willingness to place to one
side overly challenging, unrealistic pieces,
in favour of repertoire which taps into our
current musical and technical attributes,
will set us apart from the crowd.
Remember to breathe
Because piano playing does not feed
directly from our need to breathe, in
stark contrast with a flautist, we may
easily overlook the need to fuel the brain
and keep the heart-rate in check.
18• Pianist 94
Moreover, if we can learn to breathe
in places where, say, a singer might
choose to, our physical being will
become more consistently entwined
with our musical responsiveness.
With good reason, mindfulness
activities conventionally place an
emphasis on steady, regulated breathing.
Consider starting each practice session
with a few minutes of calm repose, eyes
closed. Imagine aligning each measured
inner breath with a skier preparing to
move from the top of a mountain:
a long, slow outward breath can then
coincide with our imaginary skier as
s/he begins a gradual descent.
Now coincide an imagined raising of
the 3rd finger with your next inhalation
and allow it to descend to an imaginary
key as you breathe out. ‘Listen’ to the
note as it dissolves like snow. Next, the
breathing can match up with a ‘real’
note on the piano – eyes still closed,

P16 HTP Tanner-FINALish.indd 18 13/01/2017 11:48

 MASTERCLASS

RIBBONS AND PERFUME

Mark Tanner finds that a mindful approach unties
some tricky knots in 3 scores in this month’s issue

1 Trad arr. Scaife Amazing Grace [page 32]: Among the many
features of interest in this delightfully approachable arrangement,
it is worth rehearsing the triplet figurations (bar 9, 13 etc.) in isolation.
This is to make sure that they do not sound either crushed in,
or as three ‘straight’ quavers following a dotted crotchet. If anything,
they can be permitted to sound fractionally on the lazy side, just as
Many words
a singer might approach them. Savour the bass line, which holds
much of value. Take note of the editorial fingerings, which if
are used to describe
nothing else should be read as an indication not to trust legato to
the pedal. The pedal markings are there to provide warmth and colour, pianos
not to make up for carelessness.

2 MacDowell Beauty in the Rose Garden [page 39]: Once the

nonchalant melodic line is under control (which will require your
most deft fingerwork), keep in mind the need for a subtle management
of the texture. Notice how specific the composer’s markings are, and in
particular the call for both sostenuto and flutter-pedalling from bar 51
to the end. Pianists pedal best with their ears, not by following the
hypnotically copious horizontal lines given in the score. Listen for
nuance, and invest time in those places where trickier decisions over
voicing need to be made. Among these are the sensual chromaticism
marked ‘sadly’ at bar 39 and the aromatic chords which tie the piece
up with a pink ribbon, at bars 57-58.

3 Debussy Serenade for the Doll [page 56]: There is nothing

childish about the suite of six pieces which make up Debussy’s
Children’s Corner. Indeed, ‘Serenade for the Doll’ is a sophisticated
miniature, full of a lightness and grace which poses challenges for
any pianist, especially as regards pedalling and balance. The mindful
pianist will take care to distinguish between the unhurried, reggae-like,
off-beat accompanimental quavers which populate the first half of the
piece, and the more deliberate-sounding figurations from bar 66
onwards. The grace notes ought not to sound overly dry or Scarlatti-
esque; think of them as puffs of musical perfume, best achieved by
keeping the supplest wrists imaginable.

ears tracing the sound until it has
completely disappeared. Activities of
this kind are both mindful and of
immeasurable practical benefit to
our practice. We are, in effect,
not only practising in our head,
but uniting our mental and
physical resources.
Flow State
The white heat of a compelling
performance is born of hard graft
and concentrated periods of study.
Paradoxically, our preoccupation
with getting notes under our fingers
and into our memory often drains
our capacity to let go and become
one with what we are playing.
Once those hours of careful
spadework are behind us, it is time
to galvanise our technique, musical
instincts and emotional impulses in
pursuit of that elusive ‘flow state’.
Pausing between repetitions is at
least as important as the repetitions
themselves, but only if we use these
pauses to reflect upon what we are
doing, recalibrate and reignite our
enthusiasm. We should not confuse
long periods of calorie-burning with
creative, thoughtful practice.
We call what we do piano playing,
not piano working, and yet our
capacity to enjoy playing is directly
influenced by how effective and
mindful we are in our work.
Try to savour each passing
moment of your practice and don’t
wish your life away by focusing on
a) what might happen if you make
mistakes, or b) how much better
other people seem able to play.
Savour the here and now, and resist
dreaming of what lies ahead in an
exam or concert performance.
By prizing an engaging, beautiful
piano sound above other more
ephemeral aspects of playing, we
become more at ease with ourselves
and our music. ■

P16 HTP Tanner-FINALish.indd 19 12/01/2017 16:41

 play HOW TO

Problems solved
QUESTIONS AND ANSWERS
Pianist readers have been sending in their technical queries, from repeated octaves to tricky tremolo.
Graham Fitch finds that muscular freedom often holds the answers

I
n the past few issues of the magazine, I have invited readers to Pianist, teacher, writer
submit their questions about aspects of piano playing or specific and adjudicator Graham
pieces where they need help. I am very happy to address three Fitch gives masterclasses
readers’ questions here. You may also like to watch the video that and workshops on piano
complements this article, where I demonstrate my practical answers. playing internationally,
and is in high demand
Repeated octaves in Der Erlkönig arr. Liszt as a private teacher
Schubert wrote Der Erlkönig in 1815 to a text by Goethe. The song in London. Graham is
describes a frantic journey on horseback of a father who is holding his a regular tutor at the
sick young son, trying to get back home safely. In the end, the child dies. Summer School for
Whether you play the original song accompaniment or the transcription Pianists in Walsall and
by Liszt, you are faced by the same technical challenge: how to manage also a tutor for the
the fast, relentless repeated RH octaves without tiring. These octaves Piano Teachers’ Course
describe the galloping of the horse’s hooves, and the panic of the father, EPTA (UK). He writes
and are far from easy to bring off. a popular piano blog,
Schnell q = 152
www.practisingthepiano.
b com and has recently
&b c f f f f f f f f f f f f f f f f f f f f f f f f
3 3 3 3

{
launched an online
ffffffffffff ffffffffffff piano academy.
f
? bbc
3
∑
3
f
f f f f f fº
Next, try one drop followed by two releases (measure them carefully so
fº that the speed and range of motion is the same on the way down as on the
f way up). After you’re comfortable with this, play three down followed by
b
&b f f f f f f f f f f f f f f f f f f f f f f f f
three up. The next stage is to programme six down and six up before

{
allowing the motions to blend into a smooth, undulating wave. This is how
ffffffffffff ffffffffffff the process looks. (Note: the first bar is a good way to start the process, with
the wrist dropping down on each octave.)
? bb
3
Œ Ó
3
f
fº f f f f f fº fº wrist:

& f f f f ™™ ™™ f f f f ™™ ™™ f f f ™™ ™™ f f f f f f ™™
There are two technical elements to achieving Schubert’s demands in the ffff ffff fff ffffff
repeated octaves, and both are applicable to many other passages of piano in the keys
music with fast repeated octaves. The first is to find the place in the lower
part of the key’s descent, around the sounding point, and stay there as we Left hand tremolo in Beethoven’s ‘Pathétique’ Sonata Op 13
repeat the octaves. Of paramount importance when managing repeated One reader was struggling to control the LH tremolo at the start of the first
notes is not to bring the keys all the way back up to the top (the same movement of this sonata:
applies to trills). On a grand piano, thanks to the double escapement
Ω nffΩ ffΩ n fΩ
Allegro molto e con brio 4 3 5

b n Ω
3
mechanism (invented by Sébastien Érard in 1821), we don’t need to lift
1

f
5 5 5 1

f
1

& b bC ™™ F ™
f
f nff ffº nff bff nFF b f f
3 4 3 1 2 1
2 1 1 1
the key all the way to the surface to repeat it; we need lift it only about
n

{
f
b fº f º
halfway up in order to play it again. This means we can repeat a note very
efficiently using a smaller range of motion and without any gap in the º º º
? bb C ™™ f f f f F F
p
sound. Upright pianos generally do not work this way, unfortunately,
although some manufacturers have addressed the issue. b F F F F
f f f f F F F F F F
The second technical element is to find a way to keep mobile and FF. .
F .
b bF F FF FF wF #F
& b b F nFF nFFF nnFFF
4
muscularly free in the arm so we don’t cramp up. We can do this by adding 4 5

F F. w

{
a wave in the arm. It helps to think of playing each octave using a different 3

spot on the key surface, back and forth (a small range of motion towards cresc.
2

the fallboard and back out again). As we move towards the back of the
2

? bb F F F F #F F
keyboard, there is a gentle rising up in the wrist and forearm; as we move
b F F F
back towards the body the arm lowers (thus in and up, out and down).
F F F F F #F F
Here is a preliminary exercise in controlling the necessary motions. Begin by
dropping the octave from the key surface and come back up again – but not all I am often asked about this particular tremolo. There are two aspects
the way to the top of the key. As you repeat this slowly, it will feel like a to consider, one rhythmical and the other technical. The first thing to
vibration in the arm. Notice you are not producing any sound on the upward appreciate is that the tremolo is precisely measured in quavers (eighth notes).
part of the motion, only on the downward part. When you are comfortable, use From the second bar, Beethoven moves to the conventional way of notating
the upward movement to add another repeated octave. So that’s one octave on a tremolo, but in fact all subsequent bars need to sound in quavers in
the downward part of the motion and another octave on the upward part. exactly the same way as the first bar. When you practise the passage slowly,
20• Pianist 94

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 TAP HERE WATCH GRAHAM’S ONLINE LESSON

you are able to check that the LH 5th finger marks each crotchet (quarter carefully and sparingly to avoid muddying the texture). Focusing on the first
note) beat clearly. It is helpful to play the RH together with the LH 5th phrase in the RH, here’s how a chord legato looks when written out literally:
finger (minus the thumb) to secure the beat. Listen and feel the 5th finger 5 5 4
coinciding with the RH exactly. For the first four bars, you might try
j j‰
2 3 2

& C FFF ™ ff ‰ ff #FF ™™

1 1 1

depressing the thumb C silently and holding onto it loosely while playing
the 5th finger.
To develop the correct technique for the tremolo, we need to use forearm
rotation (as opposed to articulated finger movements). Provided the fingers
are firm enough (not floppy), the rotary movements will send the keys down;
there is no need to raise the fingers from the knuckle joints. To get the sense
of the rotations, play the octave C with both notes together. Hold onto the
5th finger (the 5th finger side of the hand is going to feel like a hinge), and
play the thumb note rhythmically a few times. As you rotate from the
forearm, the thumb will swing upwards into the air before it re-engages with
the key. One further thing to watch for, as you bounce the thumb, is to keep
the elbow in one spot (it mustn’t wiggle from side to side).
Let’s now experience the rotation the other way round. Holding onto the
thumb note (and keeping your elbow in one place), rotate towards the 5th
finger a few times. You’ll probably have noticed the range of motion on the
5th finger side is smaller than in the other direction. Don’t worry, this is
quite normal. Now that you have experienced how free the rotary
movements can feel, play the tremolo rather slowly, making sure to keep
it rhythmical. Aim to keep the range of motion equal as you swing one way
f F™
It is obviously not possible for me to pinpoint the exact source of your LH
tension without looking at your playing, but I suspect it might be coming
from keeping your hand stretched out after playing the 5th finger notes.
Your rational brain might be telling you that, since the 5th finger is needed
again very soon on the low bass notes, it makes sense to keep it stretched
out so it will be ready in position. This stretch, far from helping you, is
going to cause tension problems from the beginning. In order for the next
part of the LH figuration to work (the chromatic dip from thumb to 2nd
finger and back), the 5th finger needs to be brought back to join the rest
of the hand (rather than being held outwards), springing back out at the
last microsecond to catch the next bass note. A good exercise for practice
is to extend Czerny’s LH pattern, giving more time to experience the
closing of the hand:
& C FFF ™™™ ff #FF ™™

{
and then the other. As you bring the tremolo up to tempo, you will sense f F™
the movement becoming smaller and smaller. p
?C
f #f f f f f #f f f f f f f f ff f #f f f f f
You may find it helpful to practise a simple exercise to develop freedom 6

in tremolos. I suggest a tremolo scale in octaves in divisions of six

(accenting the 5th finger and thumb in alternation improves stability). f f f
If you are feeling adventurous, consider joining in with the RH in
symmetrical inversion, so both hands develop the same skill equally. Another practice strategy is to stop on the 2nd finger. As you come to rest
(See my article on using symmetry in practice in Pianist 93). on the key, check that your hand and arm are balanced on the 2nd finger
and the hand is closed.
? bb c f f f f f f f f f f f f etc.
b
& C FFF ™™™
> f f > f >f f > f >f f > f >f
>f f f > ff #FF ™™

{
You might also practise this exercise in the following rhythms: f F™
p
slow-quick-quick and quick-quick-slow.
?C
f #f ™f f #f ™f f f ™f f f #f ™f f
6

Freedom in the LH in Czerny’s Study Op 740 No 8 f f

Our reader complained that, despite using forearm rotation, she was f
still finding her left arm was getting tight. There is a potential problem in bar 4, where we have to put the short fingers
Molto Allegro h = 88
(5th and thumb) on black notes on the second and fourth beats. There are
5
5
3 really only two ways to manage this, by either twisting the hand from the
& C FF ™™™
2 4
wrist (tension-producing and inefficient) or adjusting our position by
ff #FF ™™
1

ff

{
F f F™ f moving in towards the back of the keyboard and out again to accommodate
p the black-and-white terrain of the passage (natural and comfortable).
?C
f#ff f#f f ff f f f#ff f #f f#ff f f n f nf#ff
f f f f Let’s look at the choreography of how this works. As you play the
three-note groups between thumb and 2nd finger – E-D#-E (first beat) and
f f f f G-F#-G (third beat) – allow the arm to travel a short distance towards the
back of the key (in the direction of the fallboard). As you slide back you
ff ff F™ ff will sense the second thumb note is a few millimetres further towards the
#f
4 2 3

& ff #fff #Ff™ f

{
f f f f 3
back of the key than the first one. This brings the 5th finger into alignment
with the black key it needs to play next with no need to twist in the wrist,
? nfff f#ff f#ff fff f#ff #f#ff nfff #f‹ff and the thumb will be in position too. There is a small adjustment back
f nf f f #f nf #f out again (towards the body) at the very end of the second and fourth
nf beats – I sense it happening between the thumb (black note) and 5th finger
(white note). The distances involved are very small but they make all the
Even though the LH is the technical focus of the study, it is still an difference between a smooth and comfortable execution of the LH and an
accompaniment to the RH. Therefore, I would suggest starting with the awkward and uncoordinated one. Remember – if you tense up in this bar,
foreground and firstly making sure your RH part has been built beautifully. you will probably bring tension into the next bar and will struggle to keep
It is all too easy to neglect this! The melody line needs to be shaped and any sense of fluency going forwards. n
projected; use chord legato wherever possible to make the connections
(don’t rely on the pedal to make all the joins – you’ll need to use the pedal In the next issue, Graham Fitch focuses on the wrist.

@ 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.
21• Pianist 94

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 play HOW TO
FULL SCORES ON PAGE 32
TRACK 4

4
4

{{{
4

9
9
&
4& b F

?b ™

& bb
&

{{
9
{{{
& bb FF ™
F™
F™
? bb F ™
&
? b nnF ™
? b nFø ™
ø
nFø
3
3

3
4
4

ø™
3
&
& b 4 mp
? bb 44333 mp
&
?

™™
b 4 ŒŒ
? b 43 mp
? b 43 Œ

4
4
1
1

FFF
DON

3Gospel
mp
f f
Œ
f
’T MISS

f style
5
NIE
MELA K’S

LESSO
SPAN N
SWIC

22

3
3
PIECE
ON THIS E
PAG

It may be useful to bear in mind the powerful words of this American Revivalist
hymn when approaching this instrumental arrangement. The first of its six verses
runs thus: ‘Amazing grace! How sweet the sound / That sav’d a wretch like me! /
I once was lost, but now am found, / Was blind, but now I see.’
Playing tips: This simple arrangement demands a natural feel for the tempo.

& bb 443 ff ff
Gospel style
Gospel style

3Gospel style
5

ff ff
3

3f f
f f
øø
ø
ø
4
4

4
4

5
5
1
1 ø33
ff ff f
5
ff 3 f
54
5
1
1

FF
5
1

5
1

2
2

2
4
4
qq =
2
2
1
q
1

2
1

2
1

4
4

FF ™™
F
F
°
°
°
°

FF ™™
F ™™
Føø ™
Fø ™
= c.
c. 88

3
3
88

FFFq =™™ c. 88
= c. 88

FF ™
FF ™™
F
F™
F™

5
5
2
2
TRAD arr. SCAIFE

3
3

ff
3

F
f
f
øø
ø
ø
bbFF ™™
3
3

3
Amazing Grace

ff
3

f
f

5
5
1
1

FFF ™
5
1

5
1
F™
F
F™
Fff
F™
føø
fø
ø
FF
F
F
## FF
#F

ff
4
4
FF

# Fff
F
F
5
5
1
1

5
1

5
1
The marking above the score states ‘Gospel style’, which asks the performer to bear
in mind how the hymn would be sung in the context of worship (a challenge in itself,
when the piano is a percussion instrument!).

føø
fø
ø
Pedal tips: Suggested pedalling by Melanie Spanswick is marked on the score.
Read Melanie Spanswick’s step-by-step lesson on this piece on page 22.

ff
f
f
øø
ø
ø 3
3
1
1

FFF
ff
f
f
4
4
1
1

FFF ™™
4
1

4
1
F
F™
F
fFFf ™
føø
fø
ø
4
4
2

fff
2

4
2

4
2

##ff
#føø
2
2

#fø
2

2
ff

ff
2
2

2
f
f
4
4
2
2

fff
ff

1
1

1
f
ff
f
føø
fø
ø
3
3
1
1

FFF ™™™
3
1

3
1

1
1

1
FF ™™
FfFf ™™
føø
fø
ø

2
2
1
1

FFF ™™
FFF

2
2

ø
2
F
F
F
FF
F
Føø
Fø
ff

f
f

ff
2
2
nnff
nføø
2
2

nfø
2

2
2
2

mf

Œ
ø
BEGINNER/
INTERMEDIATE

ff ff
mf f
mf
f
ŒŒf f
mf

4
4

ff
4
4

TRAD ARR. SCAIFE

4 4 3 5 3 4 2

9& b
F
1 4 4
™™
1 2 1 2 1 2

f bFF ™
F f f3 f f FF ff f
5
FF f
4 4 3 5 3 4 2

? bbb
? F
1 4 4
™™ ™
2 2

& ff
1 1 2 1

™™ F f f f F
bfF ™ ff FF ™™ f

{
F ™™ f f ff FF ™™ f
?b ™™ f f Fø ™
1 4 3

°
5
føø
1 4 3

° føø øø Føø ™ øø
5 5

?b ™™
5
F™ f ø
1 4
fø
3
F™
°
5
5
F™ fø 1 2 4 3
ø ø Fø ™ ø
13 5

°
3 4 5 5 5 5
13 5 3

& bb ø ffø FFF ™™ ø ø Fø ø

5
5 2 4
3 5 2 3 4

ff ff
3
1 3 3 1 1 5
2 3 3 4

f FFF
3 1 1

& ff ff3 ff f FF ™™
1

FFF ff ff

{{
13 3 5 4 3 5 2 5
F 5

13& b
2 3 4
F™ FF ™ f
1 3 1 1

ff f3 f FF ff f fff
3

FF f
2

F
5 2 3

jj
3 cresc. 4 3 5 2 5 5

? bbb
?
cresc.
2 3 4
F™ FF ™ f
3 1 1

&
1

ff f f FF f ff
FF ##cresc. nnff
f Fff ™™ ff f F™

{
2 3

?b j Fø ™
#cresc. Føø nføø f føø
3
12

Føø føø føø ™ f

4 2 1 3 2 2

ø
4 2 1 3 2 1 2

j
sim.
?b
sim.

Fø #fø Fø nfø fø ™ f fø F™
ø
4 2 1 3 2 1 2
sim.

Amazing Grace
ø ø ø ø ø ø ø
4 2 1 3 2 1 2
sim.

32• Pianist 94

P32 SCORES Amazing Grace-FINAL.indd 32 09/01/2017 10:20

A new arrangement of a classic hymn brings out the bluesy, gospel-style character of the original
melody, as Melanie Spanswick explains
Ability rating Beginner/Intermediate
Info Will improve your
Key: F major 3 Legato in a second edition by Alfred Music. Melanie recently selected the
Tempo: ‘Gospel style’ 3 Cantabile
Style: Modern 3 Chordal playing
A violent mid-Atlantic storm in 1748
prompted the conversion of a sailor,
John Newton. He was a conscript in the
British Navy who later became an
Anglican clergyman and poet. As a
curate back home in England, he wrote
the inspiring words of Amazing Grace,
which was first published in a 1779
hymnbook. Some decades later the
hymn became associated with an older
American folk tune, known as ‘New
Britain’, to which it is sung today.
This delightful arrangement lies
comfortably under the hands.
Harmonic twists and turns offer plenty
of interest to the pianist whether or not
they are familiar with other
harmonisations. The ‘Gospel style’
tempo marking suggests an easy-going
strain of expression, and the metronome
mark of crotchet equals 88 can probably
be relaxed if necessary. This three-part
transcription (two parts in the RH and
one part in the LH) is faithful to the
popular character of the Deep South
hymnbooks in which Amazing Grace
first became known.
As always, begin by practising hands
separately. This will be especially useful
when working at chords. My suggested
fingering aims to encourage legato
playing as much as possible. Start by
locating the notes in the LH, learning
note positions and fingering without
worrying about a rhythmic pulse. Then
add a firm, steady three beats in a bar,
counting out loud as you play.
When working at the RH, separate
each part. Play the melody (top line)
on its own, being careful to use the
same fingering with which you will play
the piece in full. Now focus on the
lower part alone, observing finger and
position changes. When both parts are
secure, play them at the same time,
slowly, watching how they fit together.
Balance between the hands should be
© Fabrice Rizzato
Melanie Spanswick is a pianist, author and music educator.
Her piano guidebook, So You Want To Play The Piano?, is republished
repertoire for The Faber Music Piano Anthology. She regularly
conducts workshops in Germany as well as for EPTA, and is a tutor
at Jackdaws Music Education Trust. Melanie adjudicates for the
British and International Federation of Festivals and curated the
Classical Conversations Series, where she interviewed many
eminent classical pianists on camera (published on YouTube).
Find out more about Melanie at www.melaniespanswick.com.
The aim of legato technique is to beat of bar 1, swapping fingers in
join one note smoothly to the next, a millisecond, but matching the tone
without a break or a gap. On the to that of the previous dying note
piano, the fingers must achieve this (the crotchet F on the first beat).
by changing or swapping fingers on
the same note. This technique – which
is often called finger substitution – is Learning Tip
required on several occasions, Rubato (expressive rhythmic
particularly in the bass part, where freedom) brings a lovely singing
a continuous sound is important in cantabile to this hymn, but use it
supporting the LH melody. with discretion.
An example of finger substitution
occurs in bar 21. The first D in the LH Flexible wrist and hand movements
(a crotchet) is played by the 2nd finger join notes together more smoothly.
if the proceeding C is played with the This is particularly helpful for when the
thumb, as suggested. For successful chords change position in the RH: at
legato, the 2nd finger will rotate over bar 19, for example. Good legato
the thumb (between bar 20 and 21) to technique demands attentive listening.
play the crotchet D on the first beat of Where joining fingers is impossible, the
bar 21, and immediately change to a sustaining pedal will add resonance; it
thumb on the same note, so the second can be employed throughout this piece,
D in bar 21, a minim, can also be as marked in the score.
smoothly joined. While the D is
depressed, swivel the thumb into Other techniques will also help you to
position on the D (next to the 2nd enhance a rich cantabile tone in the
finger), and swiftly swap fingers, so that melody line. Play deeply into the key
the fingers have shifted but the key stays bed with the pads of the fingers; use
down and doesn’t sound again. the weight of your arm through a
flexible wrist motion; ensure a fuller
These finger changes become second sound on longer notes and a lighter
nature with practice. They create a timbre on quick notes such as the triplet
legato sound without undue reliance on figurations. Give shape to each four-bar
the sustaining pedal. Try to play the phrase by deciding where the top or
entire arrangement by joining fingers most important part of the phrase
and holding onto notes wherever occurs, and colour it with specific sound
possible; this will reduce lumpy, uneven or articulation accordingly. The climax
playing, and make the melody smooth at bars 15-17 is just one example.
and songful. In bars 1 and 2, hold the
RH notes until the last moment, Chromatic harmony lends a piquant
avoiding gaps or holes in the sound. flavour to the arrangement. For
Play the C and F in bar 1 using the 2nd example, you could bring out the
finger (on the F) and thumb (on the C). harmonic progression at bars 18-20 and
The F requires a richer sound, so that it consider using a tenuto (held) effect to
rings out effortlessly until the F on the impart a gospel-style swing to the notes
third beat. At the end of the minim F which are articulated separately from

weighted to the RH melody line, so aim (first beat of the bar, played with the the chords, such as the triplet in bar 21.
to keep the LH and RH lower parts soft 2nd finger), change quickly to the 3rd A long ritenuto from bar 27 brings this
and light in their secondary roles. finger, playing the F again on the last arrangement to a tranquil close. ■
22• Pianist 94

P22 HTP Melanie-FINALish.indd 22 10/01/2017 11:34

 A D V E R TO R I A L
Jevdet Hajiyev
with Mstislav Rostropovich

Jevdet Hajiyev with

Dmitry Shostakovich

“ Jevdet Hajiyev is a truly talented

composer with a unique ability in
writing music of symphonic depth Jevdet Hajiyev’s hand-written score of the 24th
and philosophical content.” Prelude, age 18

D. Shostakovich

Centenary Celebrations
for Jevdet Hajiyev
Hailed by Dmitri Shostakovich as his ‘ingenious successor’, Jevdet Hajiyev
(1917-2002) is regarded as one of the leading composers of classical music
in Azerbaijan. To celebrate the centenary of his birth, Muradov Family
Archive has just released a Piano Collection Book 1. A series of concerts
will be held in some of the finest concert halls around the world, including
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Hajiyev drew his inspiration from the grand art of Azerbaijani mugham
and ashiqs as well as the sounds of traditional Azerbaijani folk instruments,
such as the tar (plucked lute), kemancha (spike fiddle) and saz (a long-
necked folk lute).
The organic fusion between classical form and folk music in Hajiyev’s
compositions is groundbreaking as it delivers unique intonations, melodies
and harmonies to the Azerbaijani symphonic classical music genre.
Hajiyev’s legacy includes eight symphonies, three poems, the opera Veten
(Motherland) written in collaboration with Gara Garayev, string quartets,
a ballade and sonata for piano, and choral and vocal works, to name but
a few. These works are treasures of classical music that will continue to
delight audiences around the world.
For more information and to order Piano Collection,
please visit elenacobb.com

Jevdet.indd 25 12/01/2017 10:44

 play HOW TO

SAINT-SAËNS ARR. SILOTI

The Swan
Unruffled grace, dynamic sensitivity and a legato touch will get you to the heart
of this magical elegy, explains Lucy Parham
Ability rating Advanced elbow for every four semiquavers. You may The minim B at the start of bar 5
Info Will improve your wish to practice this figure in all the needs the full weight of the arm.
Key: G major 3 Cantabile style major keys in order to achieve perfect This note brings the climax of the
Tempo: Adagio 3 Balance within each part legato and touch. first phrase: sink into it and then
Style: Romantic 3A bility to create different colours grade the accompanying semiquavers
Make a well-judged diminuendo at with a perfect decrescendo for the rest
the end of the first bar. This should of the bar. The phrase is repeated but
Firstly, look at or listen to the original prepare for the first statement of the the RH A# at the start of bar 7 has
score. ‘The Swan’ is the penultimate melody. In order to avoid getting stiff much more melodic significance,
movement of The Carnival of the and tight in the RH, it is important to so give it a special colour.
Animals, the ‘grand zoological fantasy’ remember to keep the elbow flexible
written within a few days in 1887 by and fluid at all times as tension here Learning Tip
Camille Saint-Saëns while on holiday will result in tension in projecting the
in Austria. In the original, the piano melody. Siloti marks the melody to Learn the LH alone and then add
plays the flowing semiquavers and a Lucy Parham performs be always singing and expressive, but the RH melody (omitting the
cello spins the luminous melody over Elégie – Rachmaninoff: remember that it is only piano at this semiquaver accompaniment).
the top of it. It is a favourite piece for A Heart in Exile at the point, and we need to pace the level of
cellists and has been choreographed Salisbury Playhouse crescendo and dynamics as the piece In bar 8 be aware that the first three
into a poignant ballet solo entitled on 21 January 2017 progresses. Note how the melody comes quavers in the LH are not melody notes
‘The Dying Swan’. This transcription with narrator Henry in groups of three crotchets at a time. and need to be balanced accordingly.
was made by the Russian pianist and Goodman. They also This means that the last note of each I suggest leaving the pedal down for
pedagogue Alexander Siloti. perform Elégie at the group needs to be a little lighter than half a bar here, although you may want
Quarry, Bedford on 26 the preceding two. Another way to to flutter it a little.
Played well, ‘The Swan’ has a February. Throughout practise this opening is to play the
spellbinding effect. While not one February, Parham accompanimental parts and sing the Broaden slightly through bar 8,
of the most technically challenging tours Rêverie – The life melody at the same time. especially the last three quavers.
pieces I have featured in the advanced and loves of Claude This movement will take you over
level section of the How to Play series Debussy with narrator Aim your phrasing towards the first the barline into bar 9, the top of the
(you may welcome a rest after Liszt’s Simon Russell Beale. note of bar 3, the minim A. Imagine phrase. Sink into this top D melody
Un sospiro in Pianist 93), it is hauntingly Performances include sustaining it as if you were bowing the note (RH, dotted minim) and use the
beautiful and it can often be heard in Richmond Theatre (17th), note on a cello, as Saint-Saëns originally accompanying semiquaver figures to
piano recitals as an encore. However, The Regent, Dorset wrote. The pedal can help with this and make a gradual decrescendo. These RH
to gain the freedom to do the piece and (19th) and Theatre Royal, it is therefore important to keep it down semiquavers need to be kept close to the
yourself full justice, you need to master Brighton (22nd). for each half bar as marked. When the B keys, with bent fingertips, so that each
the work perfectly. Cantabile is a key Her CD Rêverie – the in the LH takes over from the RH A, note sounds clearly. Leave the pedal
quality here, as is finding a good life and loves of Claude make sure you match the sound. This down for the whole bar as you want
balance both between the parts and Debussy has recently applies when you then hand the melody to keep the low B bass note resonating
between the hands. been released on the back to the RH again. In bar 4 there is a in the harmony. You should hold the
Deux-Elles label with real sense of direction and flow, so you top D melody note in your mind as you
My first piece of advice is to learn narrator Alex Jennings. should be thinking of this bar as being move into bar 10. From bars 10 to 11,
the LH alone first. Then add the RH For full details, visit one long phrase and not a series of gently highlight the LH 5th finger on
melody, omitting the semiquaver www.lucyparham.com quaver melody notes. its descent (B, Bb, A), and apply a gentle
accompaniment. This will help you to pressure to the bass line at this point.
find the basic structure and skeleton of The RH should gradually tail away from
the piece before adding the harder-to- the minim D at the start
handle semiquavers. of bar 11.

Note the Adagio tempo. The piece Bars 12-13 could have another colour.
should sound flowing, but never hurried. You could make more of an echo effect
Think of the swan gliding elegantly over in the two preceding bars. But you
a lake. The metronome marking of certainly need to reach a magical piano
crotchet equals 72 should be helpful. The dynamic in bar 14, as this is a special
LH figuration in bar 1 recurs throughout moment in the piece. When the melody
the piece. Play it legatissimo, with fingers is repeated in bar 16, aim for a warm
close to the keys, as if you have mezzo forte and drive through the C#
overlapping contact with the key bed at minim in the middle of the bar, before
all times. The RH G major arpeggio using the following semiquavers to make
© Sven Arnstein

figure (using a fingering of 1-2-5-4) a crescendo which should build to the

should be measured and perfectly even. forte RH F dotted minim at the start
Imagine drawing small circles with your of bar 17.
24• Pianist 94

P24 HTP Lucy-FINALish.indd 24 12/01/2017 16:46

 TRACK 12
SAINT-SAËNS arr. SILOTI (1863-1945) ADVANCED
The Swan

Pupil of Tchaikovsky, cousin of Rachmaninov, Alexander Siloti was prominent
among the ‘Silver Age’ of Russian musicians at the turn of the last century, as a
teacher, arranger and performer; he partnered Rachmaninov in the Second Piano
Concerto on separate occasions as both soloist and conductor! His transcriptions of
Bach and other composers are surprisinglyq delicate
Adagio = 72 compared with his contemporaries
Playing tips: When our editor first heard a performance of this Siloti arrangement
she was transfixed and immediately determined to include it within the Scores
section of Pianist. Here, at long last, it is. The melody should feel like it’s gliding by,
just as a swan would swim across a lake.
Pedal tips: See pedal markings on the score.

#6
and reflect his fastidious perfectionism: nothing is left to chance. Read Lucy Parham’s step-by-step lesson on this piece on page 24.

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FULL SCORE ON PAGE 62

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fø ø fø ø Pianist fø 62• 94
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ø ø ø ø ø ø
P62 SCORES Siloti-FINAL.indd 62 09/01/2017 10:28

Notice how the top notes are
highlighted at the end of bar 17.
This is the first time in the piece
where the accompaniment takes
the form of an inner melody. ‘Point’
these notes lightly as they are not
meant to overshadow the melody.
weave your magic here! Enjoy the RH
single crotchets that stand alone at the
end of bar 23, and change the pedal
on the final G in order to keep the
melody clean and not blurred.
Feel the LH pass its quavers at
the start of bar 24 smoothly and

Siloti marks the melody to be always

singing and expressive, but you should
observe the piano dynamic
Combine this effect with a perfectly
judged ritenuto by way of making a
return to the main theme in bar 18.
This time, however, the melody is
marked pianissimo. Imagine that you
are hearing it from afar, almost with a
muted tone. You could use the una
corda pedal here, too.
Do you:
Need a piano tuner?
Need advice about purchasing a piano?
Want to join the Association?
directly to the single-note crotchets
in the RH in the second half of the Want to become a piano tuner?
bar. There should be a good feeling
of transference, without any bumps. Visit www.pianotuner.org.uk
The tempo becomes gradually slower,
with indications of calando, or contact the Secretary on
ritardando and lento, until the 0845 602 8796
piece winds down to nothing.

The reprise is varied in bar 21 with
an accented B. This is played on the
cello as one long note, sustained
through the bar. To recreate the effect
on the piano, Siloti has repeated the
note. Use the LH to help you to
crescendo through this bar, paying
particular attention to the 5th finger
descending bass line. The first note of
bar 22 (RH) is the most expressive
note of the piece, so play it with
especial love and care!
From now on the piece conveys a
sense of ebbing away. It is as if the
swan has simply glided off to another
lake. These sublime bars should not
be hurried in any way. You need to
Alexander Siloti
In bars 26 and 27 you reach The Association provides the music profession and general
‘a tempo’. This passage should be public with
Printed by a first
greenstret class professional service in which they trust.
Publisher.
15:40PM 20/10/108
kept steady: save a concluding File SMH - Pianist 1008.dtp, page 1.
Adobe PDF
ritenuto for the final group of
semiquavers. I would suggest
mastering the LH by itself first
Pianoforte.indd 1 10/03/2015 11:07
in these two bars. Keep your fingers
close to the key bed and notice
the pattern (every eight quavers you When you need printed music,
are an octave lower and the pattern just visit the Hound ...
is repeated). The RH needs to be
very soft, and you could use the
una corda to create a more muted
effect. The pedal can be left down,
or flutter it a little if it sounds too ... and see for yourself why so many customers
much. A flexible right foot is key from around the world return to ...
here. Release the final pedal slowly
to let the sound die away. ■
www.sheetmusichound.com

O nce upon a time, the mention of

Alexander Siloti’s name was
accompanied in certain musical
an established leader in print music one-stop

circles by a sniff or a frown. He shopping
recast the slow movement of
Tchaikovsky’s Second Piano over 400,000 competitively priced scores

Concerto and reduced its length by
listed online
half in an attempt (largely fruitless) to popularise the piece. These
days, however, Tchaikovsky’s original is preferred, and Siloti is much better used by music librarians across the world

remembered as a friend and musical partner to his fellow Russian-US
emigré Rachmaninov (both men pictured above, Siloti on the left), and as a
sovereign pianist who studied with Nikolai Rubinstein and worked with
Franz Liszt. Having emigrated to New York, he taught at the Juilliard School
of Music from 1925 until three years before his death in 1945. A few
recordings of his own playing survive (in poor sound); some available on
+44(0)1667838
Email: hound@sheetmusichound.com - Tel/Fax:+44(0)845 455701
1760
YouTube, where you may also find Siloti’s daughter, Mary Alberta Siloti, Sheet Music Hound Limited – Drumdelnies, Delnies, IV12 5NT
playing The Swan on a rickety instrument but to the manner born.

P24 HTP Lucy-FINALish.indd 25 12/01/2017 15:39

 play HOW TO
FULL SCORE ON PAGE 42
TRACK 8

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Fanny MENDELSSOHN (1805-1847)

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Melodie Op 4 No 2

The Editor of Pianist suggested Fanny Mendelssohn’s music to our house pianist,
Chenyin Li, who asked to record this piece as she felt it was the most poignant and
interesting to learn. This Melodie lies at the less challenging end of the composer’s
extensive writing for the instrument, which includes a stormy Allegro molto every
bit as virtuosic as her brother’s more famous Allegro brillante.
Playing tips: When listening to this piece played beautifully by Chenyin on the
covermount CD, it all sounds so simple. Look at the score, and it might create panic!

3
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Don’t let any initial apprehension put you off. First get to grips with the three-part
texture of the piece: a top-line RH melody, a middle-part semiquaver accompaniment
and regular crotchets in the bass. Once you understand this, the learning process
will become a lot clearer, as you will find out when you read Janet Newman’s helpful
lesson, which addresses each part of the texture separately.

‰ fø
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Pedal tips: See the legato pedalling markings on the score.
Read Janet Newman’s step-by-step lesson on this piece on page 26.

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1 2 1 f 2 3 1
42• Pianist 94

P42 SCORES Fanny-FINAL.indd 42 09/01/2017 10:22

Let a dark and tragic key signature be your guide to the ruminative mood
of this song without words, says Janet Newman
Ability rating Intermediate but aim to bring your speed up towards Once the technical issues are under
Info Will improve your a two-in-a-bar pulse in order to give a control, you can work on shaping and
Key: C# minor 3 Balance between the hands sense of forward momentum. A tempo expressing the musical character.
Tempo: Allegretto 3 Finger substitution technique of dotted crotchet equals 50 seems to be The piece is dynamically muted almost
Style: Early Romantic 3 Variety in tone about right. throughout, with only one main climax
when the theme returns at bar 25.
Then look at the three layers of texture. Within these limits, the tone can
In childhood, Fanny Mendelssohn was Among the key considerations in this ebb and flow – rather as the phrases
considered no less precocious a musical piece is the balance between the lines. do – so make sure that there is variety
talent than her brother Felix. She was The music is written in differing to your sound. The phrase-ends at bars
‘extraordinarily gifted’ according to Ignaz textures, and the melody is one of 7-8, 15-16 and 31-32 have a hesitant
Moscheles, the pianist and a close friend the most important lines to project. character: linger over these bars,
of the highly cultivated Mendelssohn Then comes the bass line (which is as if they are asking a question.
family. Carl Friedrich Zelter taught written in crotchets throughout), and The answering phrases open with
both children, and described Fanny the accompanying semiquavers add to a sense of hesitancy, which contributes
to Goethe as ‘really something special’. and complete the complexities of the to the reflective and somewhat sad
Influenced by the dominant attitudes harmony. The rich sonority created character of the piece. At the end
of their time, her father and in particular by these layers can quickly become of the first section (bar 12), it seems
her brother encouraged her to compose unclear or muddy, especially if there natural to make a ritenuto before
but deterred her from publishing her is any sense of ‘grabbing’ at the pedal moving into the more positive A major
work and making a career in music. changes, which should be played as section at bar 13. These minor-major
However, she wrote music throughout smoothly as possible. shifts recur in bar 25 as well as the
her life, and left at least 460 separate ending: they need time to expand and
works after her death in 1847 following To help you differentiate the layers of develop as they contain much of the
a stroke. The depth of Felix’s grief at her the piece, practise the top line alone. expressive sentiment of the piece.
passing may well have contributed to Stick to the fingering you’ve decided

Learning Tip
the strokes which killed him less than upon – which should be mostly the 5th,
six months later. 4th and occasionally the 3rd finger.
When it comes to finger substitution As you are playing, think in long,

Give each phrase its own shape

(5, 4-5, 4 for example), take individual sweeping phrases, especially since
passages out of context and work on you have spent a lot of time

with rubato, and keep listening to

them separately until there is a confident practising in precise detail!
flexibility to your playing, making sure

your playing as you practise that you grip into the keys. Take your
time, and use the slight ‘give’ in tempo The Melodie has a slightly
to express the music – there’s no need disappointing conclusion. I feel that
to rush! Once the melody line is the harmony is badly written – the C#
Fanny wrote several collections of mastered, add the bass line and begin RH semiquaver at the end of the
instrumental songs. Some of them to build up the structure of the piece. penultimate bar almost feels as though
probably predate Felix’s own Songs It’s also a good idea at this point to add it’s a wrong note, which makes the
without Words, and this example has the pedal part, so that you become used ending tentative, to say the least!
a particularly affecting sense of the to moving your foot in the correct place. Setting that reservation aside, this is
singing style inherent within the lovely Avoid any nervousness or urgency in a sensitive and enjoyable piece, offering
melodic line. I love the key of C# minor: a ruminative piece such as this; allow a range of technical and expressive
it has a dark, melancholy quality, and plenty of musical space in which to lift challenges to any pianist. ■
is often associated by composers with and depress the pedal.
dark and tragic moods: think of
Beethoven’s ‘Moonlight’ Sonata, Practise the bass and semiquaver Sister act
Chopin’s Nocturne No 20 and the accompaniment (plus the pedal)
Fanny Mendelssohn wrote much else
slow movement of Schubert’s Bb major separately. This will help you create
of great charm and appeal to the
Sonata D960. This Romantic miniature an unobtrusive and even texture.
intermediate-standard pianist. For a
may not be in their league, but it has Keep your arms as free of tension
Janet Newman is Head Romantically yearning contrast to this
a poetry all of its own. as possible, and if you sense any
of Keyboard at the Royal Melodie, try the Song without Words
tendency to snatch at the bass note,
Grammar School in Op 8 No 3. More advanced pianists
First, consider the tempo. The time try practising from the preceding
Guildford. In addition to should look out Das Jahr (The Year),
signature is 6/8, which should have a quaver beat. While bearing in mind
her teaching, she is in a set of 12 imaginative pieces inspired
pulse of two in a bar rather than six the flowing pace of this Allegretto,
demand as a freelance by the character of each month and
separate quavers, as that would feel give each phrase its own shape with
pianist and is an examiner predating Tchaikovsky’s cycle of
rather leaden. Practise more slowly some flexible rubato, and keep listening
for the ABRSM. The Seasons by some 35 years.
until the notes are under your fingers, to your playing as you practise.
26• Pianist 94

P26 HTP Janet-FINALish.indd 26 11/01/2017 10:28

 Pianist 94
&

{{
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& 43
TRACK 3

The five-yea
September
the tutelage

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of his father
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writing this
Leopold.
at the court The character is graceful
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30 MOZART
Minuet and Trio in G K1e & f
7
ore
9 Sc
P4

Whether you fancy a timeless classic or a jazz standard, the

Pianist Digital Store is home to hundreds of pieces – from 32 TRAD ARR. SCAIFE
Amazing Grace
beginner to advanced levels – to suit everyone’s musical taste.
  34 CLEMENTI
All pieces have appeared in past issues of Pianist, so if you’ve Sonatina in C Op 36 No 1,
second movement
missed an issue or two, now’s your chance to catch up. You might
just feel like browsing to see what’s available. 36 ABBA
  Thank You For The Music
With reasonable prices (as little as £1 per score!), our sheet music 38 MACDOWELL
store is the best place to find your next piano-playing adventure. Beauty in the Rose Garden Op 4 No 3

42 FANNY MENDELSSOHN
All you need to do is go to pianistm.ag/digitalshop Melodie Op 4 No 2
to register, and then start shopping!
45 KEYBOARD CLASS
Finger Fitness Exercises

LEARN MORE WITH OUR 49 BEETHOVEN

Bagatelle Op 119 No 6

VIDEO LESSONS 52 HELLER

Curious Story, No 11 from
Head to the Pianist website to find an array of video lessons – Album for the Young Op 138
from the basics of playing to more demanding technical issues. 56 DEBUSSY
Simply go to www.pianistmagazine.com/tv to get Serenade of the Doll,
started with the complete piano learning experience! No 3 from Children’s Corner

Tim Stein and John Maul have recorded more than 30 video 62 SAINT-SAËNS ARR. SILOTI
lessons for Pianist, all devoted to the basics of learning the piano. The Swan
Perfect for the beginner pianist! Tim’s most recent lessons have been
on slurs, rhythm and using the thumb. Past video lessons include Typesetting by Spartan Press
the basics of chord playing, sight-reading, fingering for beginners, Music Publishers Ltd
Quick guide to
how to sit, geography of the keyboard and more. These beginner-
level lessons are demonstrated on a Roland digital piano. UK/North American
note value terminology
Graham Fitch gives his lessons for intermediate and advanced
pianists. There are over 35 of his masterclasses on the Pianist w = semibreve/whole note
channel, and more continue to be added. Graham’s subjects include
pedalling, chords, passagework, arpeggios, ornaments, voicing and
h = minim/half note
different touches. Graham’s lessons come directly from Steinway q = crotchet/quarter note
Hall, London, where he demonstrates on a Model D concert grand. e = quaver/eighth note
x = semiquaver/16th note
y = demisemiquaver/32nd note

p27_Scores Intro 94-ew-pq.indd 23 10/01/2017 11:36

 TRACK 1
Cornelius GURLITT (1820-1901) BEGINNER
Cradle Song, No 17 from The First Lessons Op 117

Cornelius Gurlitt won success as a performer and teacher in Copenhagen, Rome an even, steady tempo. It is most important to keep in time, making sure not to slow
and Leipzig before returning to his birthplace of Altona to end his career as a down or speed up. Note how the dynamics do not rise above mezzo forte. Aside from
bandmaster. His First Lessons include a lively ‘Back to School’ and ‘Hunt’. the crescendo and diminuendo in bar 3 and the diminuendo at bar 12, the mood is
Playing tips: This sweet piece needs to sound tender and all-enveloping. Count one of total calmness. Pedal is not required.
the pulse silently for about three bars before you begin. This will help you to attain Take a look at the technical tips within the score.
Find a good, gentle In order to produce a warm, singing tone in Aim to phrase bar 3 beautifully.Try singing it first!
tempo before you begin. the RH, dig the fingers deep into the keys.
Andantino q. = 72

6 f™ f f
& b 8 f™ f™ F™
2
The key is f™ f™ J

{
F major.

p
f f
? b 68 f f f f f f f f f f f f f f f f f f f f f f
5

The LH notes should be calm and steady, with a slight emphasis on the first beat
of the bar.Take special care with the thumb, making sure it doesn’t stand out.

Notice the change of fingering over the C in bar 5 Round off this first 8-bar section elegantly,
(now with the 4th finger and not the 2nd). possibly with a slight crescendo. Remember
Prepare the hand to reach the higher notes in bar 7. to lift the hands for the quaver rest.
5
f
&b f ™ f™ f nf f™ f ‰ ™™
4

f™ f™ f J J

{ ?b f f
f
f f
f
f f
f
f f
f
f f
5
f
f
f f

Prepare the LH for the quick upward

shift to the C at the beginning of bar 8.
f f
5
f
f
‰ ™™

Dynamics are now a little stronger, Bar 11 is the high point of the piece (the climax),
with the mezzo forte marking below. even if a calm mood should prevail.
9
f f
4

f
& b ™™ f ™ f™ f™ nf J f™ f bf
1 3 1 3

f™ J J

{ f f f f f f f f f f f f f
mf
f f f f f
dim.

? b ™™ b f f f nf ‰
3 5

The RH dotted crotchet D

below should sound poignant. Feel free to make a slight ritardando
Play softly at the start of bar 13. This last Give it a slight emphasis. towards the end, and tail off calmly,
line should be shaped as one long melody. The LH bass note B should making sure to lift both hands from the
also be slightly emphasised. keyboard at precisely the same time.

j
13
f™
&b f ™ f™ f™ f™ f f f™ f ‰ ™™

{
p

?b f f f f f f f f f f f f f f f
f f
f f f f f ‰ ™™
4 5
5 5

28• Pianist 94

P28 SCORES Gurlitt-FINAL.indd 28 09/01/2017 10:19

 TRACK 2
Alexander REINAGLE (1756-1809) BEGINNER
No 11 from 24 Short and Easy Pieces Op 1

Born into a family of Austrian musicians, Reinagle grew up in the Scottish city of
Glasgow, where he became a harpsichord teacher and published this collection of
simple studies. Later on he worked across Europe and the US, settling in Baltimore.
Playing tips: Try practising slowly at first, hands separately, to ensure clarity and
evenness in both hands. Different articulations (staccato, legato and slurs) require
careful practice in this short, sprightly16-bar piece. In order to make things flow, it
will help to think in four-bar phrases. The first four-bar phrase is repeated, as is the
same with the second part of the piece. Try to make the repeats ‘different’ (bars 5-8,
for example, are to be played much softer).
Take a look at the technical tips within the score.

Start out resolutely, with Both hands require good finger articulation.To begin with, lift each
a strong forte dynamic finger before playing the next. with an exaggerated movement.
in both hands. Allegretto h = 69 When playing faster, less movement is required.

#C 1
f f f f F f f f f f f f
5 4 5

& f. f. f. f. f f f f f F

{
The key is
G major.
f
? #C F F F f f f f F F F
1

Learning tips for the RH: The first four notes in bar 1 should be staccato (detached), with Make a slight decrescendo.
subsequent quavers in bar 2 onwards to be legato (joined).
Learning tips for the LH: The LH is the ‘foundation’ of the piece and should remain steadfast and
stricly in time.The notes should be neither staccato nor legato but somewhere in between.

#
5
F f f f f f f f
1 5

& f. f. f. f. f f f f f f f f f F

{ ?# F
p

F
The opening bars are repeated, but notice
the sudden dynamic shift to piano (soft).
F f f f f F F F

Back to a forte dynamic at bar 9, where both Reduce the dynamic

hands play staccato crotchets, completely in sync. suddenly to piano.

# f. f. f. f. f f f f F
9 4

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

& f F

{
f p

? # f. f. f. f. f.
f.
f.
f. f f F F F
3 5 5 3
4

The second phrase is repeated. Tail off elegantly

towards the end.

# f. f. f. f. f f f f F
13 4

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

& f f f f f F

{
f p

? # f. f. f. f. f.
f. f. f f F F F
f.
29• Pianist 94

P29 SCORES Reinagle-FINAL.indd 29 09/01/2017 10:19

 TRACK 3
Wolfgang Amadeus MOZART (1756-1791) BEGINNER/
INTERMEDIATE
Minuet and Trio in G K1e & f

The five-year-old Mozart had made his first public appearance as a performer in
September 1761 before writing this minuet the same December, doubtless under
the tutelage of his father Leopold.
Playing tips: The character is graceful and stately: it’s a minuet, so imagine dancers
at the court in Mozart’s time. The notes look simple enough to learn, but there are
plenty of technical and expressive details to take into account. Pay attention to the
‘down/up’ motion with the slurs (in bar 2 and throughout); lift the relevant hand
when there’s a rest, and take care to play notes in both hands simultaneously when
there are three even crotchets in a bar. Tricky moments to work on out of context
include bars 7-8 in the RH, where you should get used to the triplet timing, followed
by the trill. You may also need to work on the semiquaver runs in the Trio (they are
easy enough to find). Don’t rush through them in panic!

q = 126
qq =
= 5126
## 3q = fff126 fff ff
126
ff
5
ff
5

f ff
# 433 ff ff f
5 5

ff ff ff ff
2 2
f
1 5

& ff ff ff
5 5
f ff
1 2 5 2

& # 44 f f
& f f f f f f
2 2

{{
1
f f f f f f f
3
5 5
f
5

f f f f f f
1 2 2

& 4 f
ff ff
f f f
? #3 ff ff ff ff ff ff ff ff
? ## 44433 ŒŒŒ
? f f f f f ŒŒ
Œ f f f f f ŒŒ
Œ
? # 43 Πf f f f f f f f f f
Œ Œ
3 2 3 2
3 2 3 2
3 2 3 2

3 2 3 2

## ff ŸŸ
5 2

Ÿ
3
ff ff ##ff ff ##ff
5 5 2
5
#
1 2 5 3 2 1 2 2 3

f 3
™™
2
ff
5 5

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

& ff ff ff ff
1 2 5 3 2 1 2 2 3
™™

{{
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f
2
1
f
5
f #f
2
f
5
#f
3 2 1 2 5 2 3
f F ™™
& f f f f f f ff f
? # FF ff F
?
? ## F ff ##ff ff f ff ff ™™
f #f ff f ff f ™™
f f f ff
?# 1
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3
f
2
f 1
f f ™™
f f
1 2 3 1 2 1
1 2 3 1 2 1

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1
1 2 3 2 1
1

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9
ff ff ff
9
ff ff ff
5

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4 2 1 4 5
™™ ff ff ff ff
9
& ff ##ff ff
5
ff
4 2 1 4 5

f f f f f f
5

& ff
4 2 1 4 5
™™ f f f f

{{
&# f #f f f
nf f
9
f f f f f f
4 2 1 5 4 5

& ™™ f #f f f f f f f
ff ff ff ff ff f ff ff ff
?
? # ŒŒ f f ff f ff ŒŒ
? ## ™™
™™ Œ
ff
f f
f f f f ff
f
f f f Œ
f f f f f f f
?# ™™ Œ 5
5
5
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1
1
1
1
1
1 f f f Œ
1 1
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U
Fine
## U
13 Fine
U
5
ff
13 2 3 3 Fine
#
5 2 1 2 5 3 1 2
ff ff ff ™™
5

13&
ff
13 2 3 3
ff ff ff ff
5 2 1 5 2 5 3 1 2
f ff FF
3

&
2 3
ff ff ff
5 2 1 2 5 3 1 2
f f f ™™

{{
&# f f f ff f f f f f f F U
Fine
f
5
f
5 2 1 2 3 2 5 3 1 3 2

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3
3
f ff F ™™
ff ff f ff ff f
?
? # FF ff ff f FF
? ## ff ff f ff F ™™
3

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?# f f f F u
u ™™
f f
1 2 3 1 2 2
1 2 3 1 2 2

u
1 2 3 1 2 2

1 2 3 1 2 2

30• Pianist 94

P30 SCORES Mozart-FINAL.indd 30 09/01/2017 10:20

 TRACK 3
Wolfgang Amadeus MOZART (1756-1791) BEGINNER/
INTERMEDIATE
Minuet and Trio in G K1e & f

Trio
n ™ f
17
f f f f
5
f f
2 1 1 2 2 5 3 1 1 2 1 2 5

& ™ f f f f

{
f f f f f f f f f

? n ™™ f f f
1
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
4 1
4 5

21
f f f
f f f f f f f f f
5
™™
5 5 2

& f f #f f f

{ ? #F f f f f
1
F
f
3
f f
f F
2
™™

25
f f f f f f f f f f f f f
5

#f
5

f f f
2 1 2 5 1 2
™
& ™ f f f

{ ? ™™ f f
4
f
1
ff ff f Ff
1

3
f ff f f
1
ff ff f Ff
1

3
f
f f f f

Menuett da Capo al Fine

29 f f f f f f f f f f f U
f f
5 5

& f f f f ™™
3 2

{ ? F
f f f f
1
F f
3
f f
f F
2
™™
u

31• Pianist 94

P30 SCORES Mozart-FINAL.indd 31 09/01/2017 10:20

 S
MIS
DOMN’TANIE
EL ICK’S
SPAN
SW
ON TRAD arr. SCAIFE
LESS
TRACK 4 BEGINNER/
IECE INTERMEDIATE
HIS P
ON T AGE
P 2 Amazing Grace
2

It may be useful to bear in mind the powerful words of this American Revivalist
hymn when approaching this instrumental arrangement. The first of its six verses
runs thus: ‘Amazing grace! How sweet the sound / That sav’d a wretch like me! /
I once was lost, but now am found, / Was blind, but now I see.’
Playing tips: This simple arrangement demands a natural feel for the tempo.
The marking above the score states ‘Gospel style’, which asks the performer to bear
in mind how the hymn would be sung in the context of worship (a challenge in itself,
when the piano is a percussion instrument!).
Pedal tips: Suggested pedalling by Melanie Spanswick is marked on the score.
Read Melanie Spanswick’s step-by-step lesson on this piece on page 22.

Gospel
Gospel style
style qq =
= c.
c. 88
88

33Gospel
5 2 5 4 3

& bb 44Gospel
4 3
ff style
5 2 5 4 3

&
4 1 3 1 2 1

ff q
F fff
1 1 2 1

FF ™ ff ## FFF FFF ™™™

= c. 88

{{
3 f f Fq =™ c. 88
5 2 5 4 3

& b 4 mp
4 3
style 1 1 2 1

FF f F ff FF ™™
3
mp
™ #F
5 2 5 4 3

? bbb 44433 mp
?
4 3

& ŒŒf f
1 1 2 1

FFF™™ f F ##ff FfFf ™™ ff nnff

{
F™ # Fff ff
? b 43 mp Œ ° #føø føø f nføø
føø
2 1 2

°
4

F™ f
4 2 1 2

? b 43 Œ #fø fø f nfø
° F™ fø f
4 2 1 2

° ø ø ø ø
4 54 5 2 1 2
4 5 4

& bb FFF ™™
4 3 4 1 3 5
1 4 2 4

&
4 3 4 1 3 1 4

FF
1 2
ff FF ff
1

ff ff FF ™™ FF ff

{{
4
FF ™™ FF ™™ ff ff
5
FF FF
5 4

4& b F
4 3 4 1 3 1 1 2 4

f f F f F f F™ F mf f
F™
5
F™ mf
f
5

F™ f
4

? b F F
4 3 4 1 3 1 2 4

&
1

? bb nFF ™™ f f FF™ f Fff FF f Fff ™ ff ff FF ŒŒf f

{
n F™
F™ F™ F f F
mf

?b ø ™ føø Œ
nFø øø F™
øø øø føø F øø føø f Føø
3 2 2 1 2
3 2 2 1 2 mf

?b ™ fø Œ
nFø3
ø
2
F™
ø ø fø F ø fø 2
f 1 2
Fø
ø™ ø ø33 ø ø ø ø ø ø
9 3 5 2
4 5 2 1 2
9 4 5 3 3 4 2

b
4 1 4 3 5
2 4 3 4 2 4
2

9&& b ™™ FF
1 1 4 1 2 1 4

ff F
2 2
ff ff bbFF ™ ff
1 1 2 1

FFF ff

{{
FF
4
ff
5 4 3 5
™ 3 fff
4
FFF ™
2
ff
9 & b ™™ F
1 3 4 4

™
1 2 1 2 1 2
5f f3 f bFF ™ f FF ff f
f FF ™ f
4 4 3 5 3 4 2

? bbb ™™™™ F
? F
1 2 4 2 4

& ff
1 1 2 1

f f f bFF ™ ff FF ™™ f

{
F™
F f ff f ff FF™
FF™™ f
? b ™™ F™ f
Fø ™
1 4 3

? b ™™ °
5
føø
1 4 3

° føø øø øø øø
5 5
F™5

f ø F™
1 4
fø
3
F™
°
5
F™5
fø 1 2 4 3
ø ø F™ø ø
13 5

°
3 4 5 5 5 5
13 5 3

b ø ffø FF ™™ ø ø FFø ™ ffø

5
5 2 4
3 5 2 3 4
ff
3 3 3 1 1 5

13& b
1 2 3 3 4

ff ff ff FFF
3 1 1

& FF ff
1

F ff F™

{{
3
f 3
5 4 3 5
f
2 5FF 5

13& b F
2 3 4
F™ FF f
1 3 1 1

ff f3 f FF ff f fff
3

f ™
2

F
5 2 3

F j
3 cresc. 4 3 5 2 5 5

? bbb FF
? ffj
cresc.
2 3 4
F™ FFF™™ f
3 1 1

&
1

ff f
##cresc. f FF nnfff f Fff ™™ ff F™ ff

{
2 3

?b ø j F™
#cresc. Føø nføø føø
3
12
føø føø ™ f øø f
4 2 1 3 2 2

Fø
4 2 1 3 2 1 2

j
sim.
?b
sim.

#fø Fø nfø fø ™ f fø F™
Fø ø
4 2 1 3 2 1 2
sim.

ø ø ø ø ø ø ø
4 2 1 3 2 1 2
sim.

32• Pianist 94

P32 SCORES Amazing Grace-FINAL.indd 32 09/01/2017 10:20

 TRACK 4
TRAD arr. SCAIFE BEGINNER/
INTERMEDIATE
Amazing Grace

17 5 5 4 3 5 4 3 4 3

& b FF
4 1 3 2 1 1 2 1 2 5

f f f bFF f FF f

{
f #f b ff <n> FF ™ f

? f j
b F f F f™ f nf F™
1 4 3 2 1
5

21 4 5 4 3 5 4 5
1.

&b F
3
™™
1 1 1 1 1 2 4

f f f F f F™ F f

{
F f nF bf F f F f
2 1 mf
?b f f f f F Œ ™™
2 1 F f f 1
f 2 1 1
3 5
5

24 2.
4 5 4 5 4

&b F
3
2 4 2 1 3 1 1

f F f f f F f

{
F™ f F f nF bf
p
?b f F™ f
f
2
F 1 3 1
f 2
5 5

molto rit.

U
27 3 5

&b F ™
1

F™ F

{
F f F f F
U
2 1 2
pp
?b f f F f FF
f 2 1
5 2
5

33• Pianist 94

P32 SCORES Amazing Grace-FINAL.indd 33 09/01/2017 10:20

 TRACK 5
Muzio CLEMENTI (1752-1832) INTERMEDIATE
Sonatina in C Op 36 No 1, second movement

The opening movement of this Sonatina was published with Pianist 92. Clementi
composed it in 1797 as the first in a series of six ‘Progressive Pianoforte Sonatinas’
which were designed to gradually stretch the technique of students as they got to
grips with the sustaining power of the then-new and still-evolving instrument.
Playing tips: At the start of this elegant Andante in F major, the RH melody should
sing out sweetly (notice the ‘dolce’ marking) above the calm LH triplet
accompaniment. Even the trill at the end of bar 3 should come across as effortless,
so make sure not to accent or bring attention to it. Even if not marked, the RH
repeated notes (at the end of bar 4, as an example) should be staccato, though not
too short. A second section starts at bar 9, followed by a short development section
at bar 13. The opening material returns at bar 18, but it doesn’t last long before a
brief coda starts at bars 22-23.
Pedal tips: There are no markings on the score. We suggest barely any pedal at all;
just a touch at the end of phrases.

Andante q = 76

3Andante f
& bb
Andante q = 76 1

F f
5

43 F2
2 4

f F

{{
1

f
5

4 2
q = 76
& 3
4

f F
& bb 43 dolce
Andante q = 76 1

F f
5 4

F 3f f
5
F
1

f
f f f f f f
? b 443 dolce
&
2 4

Ff
f ff 3ff f f f f ff ff f f
3 3
f 3f f f
dolce

? b 43 dolce
f 3 f f
3 f f f f f f
f f f f f f
? b 43 f 3ff f f f f f
3 3
4 2
f f f f f f f f f f f
? b 43 f f f f f f f f
3 3
4 2
f f f
4 2
4 2

Ÿ
3 2
3
f f f f f f
fŸ
4

b f f
3 2

f
2 5 4 5 1 5 4 5

3& b
f
3 2 1 3

f f
3
f f f f f f
4
F f f f f
3 2

{{
fŸ f
2 1 5 4 5
f
5 4 5

3&
f
1 3
f
f f
3 2

F f f f f f f f f
fŸ
4

f f
& bb
f 3 2
f
f
2 5 4 5 1 5 4 5

f
3 2 1 3

F f f f f
2 3

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

f f
5
f 4
f 5

& f f
1 3
f
?b Ff f f f f ff f f f
?b
f
f f f ff f f f f
f
f
f f f Œf Œ f
f f f Œf Œ
f f f f f f f
f f Œ Œ f f Œ Œ
?b f f
2
f f f f f f f f
4

f f ΠΠf
5
f f Œ Œ
?b
5

f f f f
4
ΠΠf
5
Œ Œ
f f f
5 2

5 2 4 5

5 2 4 5
6
f
5
f f f
1

f
& bb Œ
5 1 5 1
f f f f f f f™
2 3
f
2 2

f f f f
6 5
f f f f
1

f f Œ
5

{{
f
1 5 1
f f f f f f f™
2 2 3

&
2
6
f
5
f f f
1
f f f f f f f
f
& bb Œ
5 1 5 1
f f f f f f f™
2 3
f
2 2

f f f f
6 5
ff f f fz p
f
1
f
cresc.
ff Œ
5
f
1 5 1
f f ff ff f f f™
2 3
f
2

&
2

?b f f f f f f f cresc.
f f f f fz
f ff p
f f f f f
f f f f f f f f f f pf f
?b f f f f f f
cresc.
f fz
f f pf f f
f f f
?b f f f f f f f f
cresc.
f
fz
f f f f f f
f f f f
5 2 1 3
f f f
2 2

?b f f f f f
4

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

5 2 1 3 2 4 2
5 2 1 3 2 4 2
1
f
9 2
ff ff ff f
5

ff ff ff f
4 3 1 5

b nfff ff ff nf f f nf
5 5 4

f f f f
3

9& b
f f
2 1 1 2 1
f f f f
9 2
ff ff ff
5

ff ff ff f f
4 3 1 5

nf ff ff nf f f nf
5 5

{{
4

f f f f
3

f f
9&
2 1 2 1

f f f
1
f f
2
ff ff ff
5

ff ff ff f ff ff ff
4 3 1 5

b nfff ff ff nf f f nff ff ff
5 5 4

f
3

& b ff
2 1 1 2 1
ff f f f
2
ff ff
5

ff ff ff f f
4 3 1 5

nff ff ff nf f f nf
5 5 4

f ff f f
3

f f f
cresc.
&
2 1 2 1

?b
f
f fF f ff f f
ff f f f f
cresc.
?b F cresc. f ff
f
f F f f f
?b F cresc. 1
f f 4
f f F 2
f f f 5 2

?b F 1
f f 4
f F 2
f f f 5 2

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

34• Pianist 94

P34 SCORES Clementi-FINAL.indd 34 09/01/2017 10:21

 TRACK 5
Muzio CLEMENTI (1752-1832) INTERMEDIATE
Sonatina in C Op 36 No 1, second movement
bf
12 5
F f
&b bf
4 3 3 2 4 2 4 3 5

f f f f f f f f
3 2 1
12
12
FF bbff f f #f f f

{{
ff
5

bb ff bbff
4 3 2 4 3 5

f f ff f
3 2 4
ff ff ff ff
5

& ff
4 3 2 1 3 3 2 4 2 4 3 5

ff ##ff ff f
12
& bfzf ff ff
3 2 1

FF f
5
ff f
&b bpf
5 4 3 3 2 4 2 4 3
3 5
5
f f f f
4 2 4
ff f ff f f ff
3 2 1 3 3 2 4

f f
3 2 1

F f f #ff f f
f f f
? fz
∑
p
#f
b ff
fz p
? f f ff ##ff
? ∑∑
fz p
f
? bb f ff ff
∑
f #f
b ff f
1 2 4

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

5 3 5
15 1 5 3 4

f
&b
5 3 4 1 3

f f ff ff ff ff
2

f f f f ff ff
4 3 2 2 4 2

f nf f ff ff ff
5 3 5
15
f f ff
4
f
1 5 3 5
15

{{
f
5 3

bb ff
5 3 4 4 1 3

ff ff ff ff ff ff
1 2

f
5 3

& ff ff ff ff ff ff
4 3 2 5 3 2 4 2 4 5 1 3

ff nnff ff ff ff ff
15 5 2 3
3 5
5

& ff ff ff
4 3 2 2 4 2 4
4
ff fff fff fff fff
1 5 3
f
1

&b ff fff fff

5 3 4 5 3 1
1 3
3
f f
3
fff fff fff
5 4 2
2
f f f f ff fff
4 3 2 2
2 4
4 2
2
pf f
4 3 2

f nf f f
fz
ff f f f f f
?b f fz
fz
Œ
p
pŒ
p
ff f f ff ff ff Œ
? ff fz ff ff
?
? bbb f ŒŒ ŒŒ f f f ff f f f ŒŒ
Œ Œ f Œ
1 3 2 1

1 3 2 1
1 3 2 1
1
1 3
3 2
2 1
1

18 4
f
5

&b Œ
2 1
F f
2 5
18
ff ff F
4
ff
5
18

{{
4

bb ŒŒ
2 5 1

& FF ff
2 2 1 5

ff FF
18 4

& ff f
4 2 5
5 5

&b Œ
2 1
fff F f
2 1

fff
2 5

F
2 5
dolce
f f f f f f f dolcef f f f f f f f f f f f
?b f
dolce
f ff ff ff ff ff ff f ff f ff f ff f ff f ff f ff
? ff ff fff ff ff ff ff ff
dolce
? f f f f f ff f ff f ff f ff f ff f ff f
? bbb ff
f
2

2
1

1
2

2
1

1
2

2
f f f f f f f f f f f f f f
2 1 2 1 2
2
2 1
1 2
2 1
1 2
2

Ÿ
21 3 4

f f f f
&b
1

fŸŸŸ
5 4 3 2 2

f ff ff ff
2

ff ff ff
21 3

bF nff ff ff
4
f
21 3

{{
bb ff ff ff ff
1 4
f
5 4 3 2 2

& ff ff ff ff
2 1
f
ff ff ff
21 5 4 3 2
f
3 2

nnffff ff ff
3

& bbFF
2 4
4

ff ff f f f f
&b fff fff fff
1
1
ff fff fff fff
5 4 3 2 2
2
f fff fff
2
2 5 4 3 2
ff
bF nf
ff
f f f f f fF f dolce
?b f f f f f f f
Œ
ff ff ff
dolce
? ff ff ff ff ff ff FF dolce
f
?
? bbb f f f ŒŒ
dolce
f f f f f f F F ff
Œ
2

FF 2 f
F 2
2
2

24
f f
5
Ÿ
&b f f
5

fŸŸ
5

f™ f
1 1
f f
1 3 3
24
24
f ff ff f f
5
f F™

{{
bb ff ff ffŸ
5 5
f
ff ™™ ff
1 5 1
f
& ff ff
5 5 1 3 3

ff
24 1 1

& ff f ff
1 3 3

f ff FF ™™
5
5
f f
&b
5
5 5

f
5
ff
ff ™
1 1
f f ff
1 1 3 3 1

f
1 3 3

f f f f f f F™
?b ff
f f f f f f f f f
f f f f f f ff f f f
? f ff f f ff ff f f
f
? ff ff ff ff ff f ff f
? bbb ff ff
3

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

f f
3 4
5 3 4 5 4
5 4 5
3
3 4
5
5 4 5
5 4
4
35• Pianist 94

P34 SCORES Clementi-FINAL.indd 35 09/01/2017 10:21

 TRACK 6
ABBA INTERMEDIATE
Thank You For The Music

This ingenious take on a cabaret song in the style of 1970s pop (the quasi-improvised
opening recitative conjures up 1930s Berlin) was originally included on the Swedish
super-group’s fifth album in 1977, and like all their songs, it was written and produced
jointly by Benny Andersson and Björn Ulvaeus. Six years later it became a hit single.
Playing tips: When it comes to playing a simplified version of this well-known
song, it’s not easy to emulate the four singers. Try to capture the feel of the lyrics in
terms of tempo and style. Play in a relaxed fashion, always bringing the melody to
the fore. This is a good exercise for strengthening the weaker RH fingers (fourth and
fifth) as they play a lot of the melody notes.
Pedal tips: Even if not marked, pedalling is required. We suggest a change of
pedal every time you see a change in harmony (where you see the chord signs above
the RH notes).

Moderately q = 100
Moderately q = 100
C C E¨‡…‹ D‹7 G C
j j
C
5 E¨‡…‹ D‹7 G C

& 44 f f f f fj f
1
1

fj
5 2

f f f f f ff f f w
1

fF f f f fÓ f

{
&4
2

F f f f f f f f f w
Ó
f
I'm no - thing spe cial, in fact I'm a bit of a bore.

Thank You For The Music. Words & Music by Benny Andersson & Björn Ulvaeus © Copyright 1977 Universal/Union Songs Musikforlag AB. Universal Music Publishing Limited. All Rights Reserved. International Copyright Secured.
-

?4 F
I'm no - thing spe
b##FFF
- cial, in
F
fact I'm a bit
FF of a bore.
f f f
? 44 F bF FF FF f f f
5 2 1
f
5
1 2
5 3
2 5 1 5
1 2
3 5

j ‰ fjj
4 G‹ C7 F A7

f ff #f f f f bbff nf f f ff f f
2 3

#fj
4 G‹ C7 F A7
& f
1 3 1

f f ™™ ‰ f

{
2 3

& f #f #f f f nf f f
1 3 1

f f f f f f
If I tell a joke you've pro - ba - bly heard it be - fore.

? bbFFFF F
If
f ™™
I tell a
f F
joke you've pro - ba - bly
f™
heard
f F
it be - fore.

? FF ff ™ ff FF
F J ff ™™ ff
Jf
FF
1
3
1 J f™ J F
1 5
1
3 5

jf j G f j
7 D‹ G7 Gæ C G

ffj f fj f f #f f f ‰‰ fj
1
7 D‹ G7 Gæ C
& w
1 3

f #f f f ff ff #f ff

{
1

& w
1 3
f
f f f f #f f f ff #f ff ff f f #f f f f
f f But I have a ta - lent, a won - der - ful thing, 'cause

? F j ff ™™ ff ff ff
f ff ff ##ff FF
But I have a ta - lent, a won - der - ful thing, 'cause

? FF f F f™ fj f f ff ™™ ffJ ff ff
1 F f™
5
f f f 1
3
J
5
1 5 1
5 3

C Cæ F F‹ A‹

f f f f fjj f fjj
C Cæ 4
F F‹ A‹
11
f f f ff ff
1 5

f f
4 2 1

& fF f f f #fF f bF f
11 1 5 1

f Ff f f f f
2 1

bF f f f

{
& F #F f f f
1

F 1 f f f f f
1
ev - ery - one lis - tens when I start to sing, I'm so grate - ful and proud,

? F F
ev - ery - one lis - tens when I start to sing, I'm so grate - ful and proud,
F F F
? F F
F F F F
F

36• Pianist 94

P36 SCORES Abba-FINAL.indd 36 09/01/2017 10:21

 TRACK 6
ABBA INTERMEDIATE
3
1
3
Thank You For The Music
j
1 5 5 5
ff ff ff
3
14 F/A D‹ D‹/C G7

ffjj
1 1
5 2
5 3
5

‰‰
14 F/A 3 D‹ D‹/C G7
14
&
3
F/A 3
ff ff ff
D‹ D‹/C
ff ff
G7 ff
1
5 2
5
ff ff
3
5

& FF f ff ff ff ff ff

{{
ff
1 1 2 3

‰
3
14
& F
F/A
fj f f D‹ D‹/C
f
G7
f
5
f
5
f
5
ff
f isf tof fsing f f
1 2 3

‰ fit
3

& FF f fI f floud. f f fI
F
all
all I
want
want f tof fsing
is f fit f
out
out loud.
So
So I
say
say

?
? j
ffjj
all I want is to sing it out loud. So I say
FF is to sing FF ff
? ff ™™ FF ff ff ffI
all I want it out loud. So say
F F f
? f™ fj F F F f f f
f™ f F f f f f
C D‹ G7(“4) G C A‹ A‹/G D7 G7
ff bbff ffjjj f ™
C D‹ G7(“4) G C A‹ A‹/G D7 G7
ff ff j j
17 5 4

ff f
5 3

ffjj ffjj ff
4
C D‹ G7(“4) G C A‹ A‹/G D7 G7
ff
17 3
5 3 1
4 2

ff ff ™™ ff ™™ ff ff f ™™
1
5 1
3

& fff fff fff bf ff ff ff

3 1
4 1 2
3

ffj fff ™™ JJf JJf ff ™

17 5 1 4 1

&
5 1 3

JJf f f

{{
C D‹ 4 G7(“4) G C A‹ A‹/G D7 G7
f
3 3 1 2

ff bf ff ff f™ f™
1 1

& ff ff fj fj
5 1 4
17
fJ fJ f ™
5 3

ff f f ™™ f
4

Jf - sic, f
3 3 1 2

ff f™ f™
1 1

&Thank ff
1

f sing - ing,™ f J J - ing.

J - sic, f - ing,
f
Thank You For The Music. Words & Music by Benny Andersson & Björn Ulvaeus © Copyright 1977 Universal/Union Songs Musikforlag AB. Universal Music Publishing Limited. All Rights Reserved. International Copyright Secured.

- you for the mu the songs I'm thanks for all the joy I'm bring - ing.

FF FF ff - ing.ff
##joyFFF
Thank - you for the mu the songs I'm sing thanks for all the joy I'm bring

?
Thank - you for the mu - sic, the songs I'm sing - ing, thanks for all the joy I'm bring

? FF - sic, FFF FF ff - ing.ff

? FFF FF FF #FF
Thank - you for the mu the songs I'm sing - ing, thanks for all the I'm bring

F F FF FF ff ff
? F 2
2
F F F
1
3
1 #F
2
2
F 3
1
3
1
C D‹ E A‹ 3 F
bbff
C D‹ E A‹ F
ff ff ff j
21 5 5
ff
4 3

ff ff ff ff
ffjj
C D‹ E A‹ F
ff ff ŒŒ ff ff
21 3
5 1
5 2

##fff ff ff
1
4 1
3

& fff fff fff bf ff

2 2

ff
3
5 1 2 1 1
21 5

&
4 3 2 2

JJf f f f

{{
C D‹ E A‹ F
ff fff f f Πf f
3 1 2

bf f f
1 1

& ff fj #ff
2 2

ff ff
21 5 5 4 3

Jf ff f f f f Πf f f
3 1 2
f f
1 1

& Who #ask ff

2 2

fII f
J
can live with - out it? in all ho - ne - sty, what would life be

j f™ j
Who can live with - out it? ask in all ho - ne - sty, what would life be

? ffI jj ff ff ff ™™ ff FF
ffjj - out
Who can live with - out it? I ask in all ho - ne - sty, what would life be

? ff ff fff ™™™
? fff ™™™ ff ™™ f f fJff FFF
Who can live with it? ask in all ho - ne - sty,
JfJ
what would life be

fj fj f f f ff ™™ FF
? f™ 5

f f™ f f f f 1
f
J
5 3
1
5 3
1
3
5 1
F‹ C C/B¨ 3 A
F‹ C C/B¨ A
ff ff ff ff ff ##fff ff
24 5 5 4

ff ff ff
3

ff ŒŒ ff ff ff ‰‰ ff
24 F‹ 3
5 C C/B¨ A
2
5 1
3 2
4

& fff fff fff fff fff JfJ fff

2 2

fff fff
3 2 2

fff
24 5 5 1 4

& f
2 2 3

f f f

{{
#ff
F‹ C C/B¨ A
Œ ‰
3 2 1 2

& Jf
2 2

ff ff ff ff ff ff
24 5 5 4

f ff ff
3

f Œ f f ff #we? ‰
3 2 2

f
1

& J
2 2

with - out a song or dance, what are So I say

bbff ™™ FF bF
with - out a song or dance, what are we? So I say

? ff FF - out
with - out a song or
dance,bF
dance, what are
ff
we? So I say

?
? bfff ™™™ fJff FFF F bF f ff nnffI ##say
ff
JfJ
with a song or what are we? So

? bff ™™ f FF F bF f f nf #f
nf #f
2 1 1

J f
3
2 1 1
3
2 1 1
3 slower
slower
D‹23 D‹/F 1
G7(“4)
slowerG7
1
C

bb ff f
D‹ D‹/F G7(“4) G7 C
U
3
ff ff ff j
5
27
ff
4

U
D‹ D‹/F 4
G7(“4) G7 C
1
slower
ff ff ™™
3

ffjj w
3
5 5

b f nnfff ‰‰
5
27 2 1
fff fff fff ff
4 1
4 4 1

& ff U
w
3 1
5 3
ff
5 5 4 2 1

w
27 D‹ D‹/F 1
G7(“4) G7 4 C
& ffJ ff ™™
4 1 1

{{
w
3 5

‰
5

b f nf
4 2 1
ff ff U
1 3

& ff ff ff fj
1

JfJ
5
27
f w
4 4

f™
3 5 1

‰
5 2 1
ff
4

nmu
1

& thank ff
1

- you for the f - f

sic, f
for giv - ing fJitit tof™ w
me.

U
thank - you for the mu - sic, for giv - ing to me.

? ff FF U
thank - you for the mu - sic, for giv ing it to me.
ŒŒ
-

? f - you ff w
U
? ff F FF w
thank for the mu - sic, for giv - ing it to me.
f f Πw
U
? f f
1
f
2
2
Œ
1
1 F F w
F
1
1 2 1
2 37• Pianist
1 94
1

P36 SCORES Abba-FINAL.indd 37 09/01/2017 10:21

 TRACK 7
Edward MACDOWELL (1860-1908) INTERMEDIATE
Beauty in the Rose Garden Op 4 No 3

Despite its early opus number, this third of four Forgotten Fairy Tales was written in
1897 once Macdowell had become the best-known native composer of his day in
the US. The previous year he had moved to New York to become the first Professor
of Music at Columbia University.
Playing tips: Pay attention to MacDowell’s marking: ‘Not fast; sweetly and simply’.
That’s exactly what you need to portray, especially for the first 20 bars, becoming
more poignant as the part ascends. Good voicing is required – the LH with its lush
sonorous chords (bass notes being the most important) and the RH top notes
needing to sing out. The middle section (bars 21-38) is hardest to master, as the
chordal writing becomes thicker and the hand stretches wider. We suggest working
on this section before learning the opening and the conclusion.
Pedal tips: See markings on the score. Legato pedalling is needed throughout.

Not fast; sweetly and simply

j fj F
5 5
4 1 4

4
5 4 1 4

f™
1 5 3 1

&b 4 f F
1 3

f f fF f f™ f f fF f
2 1

w F™ f

{
f F F
#f
p
? b 44 Œ FF F FFF ™™™ f FF F Fw™
2 1 1 2 1 2 1 2

°
2 5

ø ø ø ø ø ø ø ø
5
3

4 3
5 1 3 5 1
5
F
5 5
f
1 1 4

f f
2

b f
2 3

& F f
1 2 1

f f bff nFF FF ff F™
f bf

{
F f f

? b nw bFF #ff ff F
F™
F
#f
w
w
w 1 2

ø ø ø ø ø ø ø
5
ø ø ø ø ø ø

fj F j
5 3
9 3 4

w
2 1 3

&b f
1

f f f™
1

f™ f
f w f w
b fw

{
nw
f f
?b w F™ bf
bw
w
f f
R.H.

w w w &
1 2 1

ø ø ø ø ø ø ø
5

ff F
fj F
5 3

Œ f bf ff ™™
3

f
1 1

#f ™ nff
2 1
13
f 1

fF f f f F
b
& Fn bF F F J

{ & b FF bFF FF n fF #f
1
2
F
F
nf f f™
w
1
5
2
j
f F ?

ø ø ø ø ø ø ø ø ø
5

38• Pianist 94

P38 SCORES Macdowell-FINAL.indd 38 09/01/2017 10:22

 TRACK 7
Edward MACDOWELL (1860-1908) INTERMEDIATE
Beauty in the Rose Garden Op 4 No 3

3
17 3
ff F
5 2 5

&b F
1

f f f™
1
F™
1

f
f™ fJ F #Fw F f bf

{
nw w 2
F
1
p

? f™ j
b w
?
w f™ & f F w w
f F w
ø ø ° ø ø ø ø ø
2

4 4

#f
3

ff
2
21 2
fff fff
2

ff Πfff Π#fff
1

&b Œ Œ Œ Œ Œ
1 1

ff ff
nfff
fff f f f

{
f f

F f™ f F f™ f
?b F bw f f J J
3 5 4 1
well marked, almost roughly
ø ø ø ø ø ø ø ø

n fff fff FF
25
ff ff f #ff r
&b f f nFF f f ff ff ™™™™

{
f f ™™ ff FFF
f
f f
? b #F #f
f
fff f f f r
f™™ ff FF
ø ø ø ø ø ø ø ø °
3 4 1 4 1

5
5 4 3
28 2 2 1

&b Œ Œ Œ Œ
1 1 1

ff n ff ff
b ffff
ff ff

{
ff ff ff ff ff fff
f f f f f f f f ff f
?b F f™ fj
#w F F bw f f
f™ f
#w F bw f f
ø ø ø ø ø ø ø ø ø ø ø ø ø
39• Pianist 94

P38 SCORES Macdowell-FINAL.indd 39 09/01/2017 10:22

 TRACK 7
Edward MACDOWELL (1860-1908) INTERMEDIATE
Beauty in the Rose Garden Op 4 No 3

5
32 2
f f f ff
fff ff
1
ff ff
&b Œ Œ nfff Œ Œ
? f f
ff #fff
1

f f
# ff n ffff f

{
ff ff # f f ff
f

? j
b FF f™ f #F fff
f f f nf f f #f
Œ f Œ
f™ f #F f f f nf f f #f f
ø ø ø ø ø ø ø ø ø ø

4
1

Œ
36 5

? b fff f
sadly

Œ ff Œ fff Œ Ó #fff Œ Ó f f
f & F F

{ ?b
f
f
Œ
f
f
Œ
p

f
f
Œ Ó
pp

f
Œ
F
1

°
FF
4
#F
nF
2

ø
5

rit. a tempo
Πbf
40 5 2 5 5
5

b
3

f
1 3

& F f f
1

bw f
4

F w w f f
wf ™ nfJ F

{
w
bnFF
R.H.
pp
f
2

? b FF f f
1

fw FF ™™ f w
2 1
w
ø ø ø ø ø ø ø ø
5 3

4 3

fj F
3 1

fj F
Œ
5 1
4 1 1
44
f
4

f™ f
5 3
f
& b f™
1

f bF
1

w f f f F™ f f f

{
F F

? b FFF ™™™ F Fw™ #f nR.H.

w
f Fw w
ø ø ø ø ø ø ø ø ø ø
40• Pianist 94

P38 SCORES Macdowell-FINAL.indd 40 09/01/2017 10:22

 TRACK 7
Edward MACDOWELL (1860-1908) INTERMEDIATE
Beauty in the Rose Garden Op 4 No 3

3 4
1 3
48
Œ
5 3

f
&b F
2

f
bnff
2 1
f nFF #FF Ff ™ f f f f

{
f f F w

? b bFF
pp

#ff ff F
w
F F™
F™ f w
w
ø ø ø ø ø ø ø ø
2

fj F j Πf bf
4
52
f
3 5

& b f™ w nF bF
4
1 2

w fw f f™ f w

{
2
R.H.
f f
? b Fw™ bf bw f f 1

w w FF &
w w w bFF
ø ø ø øøø øøø ø ø

rit.
“”
fj f f U
5

f f
4

#f ™ F nf
2
56
f f f
3 1

b fF f f f
1

& F F f f

{ & b FF

ø
n fF
1

ø
5
#f
2

ø
p

F
F
ø
nf
3

ø
f f
3
f
2
pp
f
1
f U
2
?

w
w
j
59 a tempo
F
& b Fw F w
w fw f f™ f Fw

{ ?b w
w
°
w
w
ø
broader and very softly

w
w
ø
w
w
w
øøø
&
w
w

41• Pianist 94

P38 SCORES Macdowell-FINAL.indd 41 09/01/2017 10:22

 S
MIS
DOT N’TWMAN’S
ON Fanny MENDELSSOHN (1805-1847)
NE

LESS
JANE
TRACK 8 IECE INTERMEDIATE
HIS P
ON T AGE
P 6 Melodie Op 4 No 2
2

The Editor of Pianist suggested Fanny Mendelssohn’s music to our house pianist,
Chenyin Li, who asked to record this piece as she felt it was the most poignant and
interesting to learn. This Melodie lies at the less challenging end of the composer’s
extensive writing for the instrument, which includes a stormy Allegro molto every
bit as virtuosic as her brother’s more famous Allegro brillante.
Playing tips: When listening to this piece played beautifully by Chenyin on the
covermount CD, it all sounds so simple. Look at the score, and it might create panic!
Don’t let any initial apprehension put you off. First get to grips with the three-part
texture of the piece: a top-line RH melody, a middle-part semiquaver accompaniment
and regular crotchets in the bass. Once you understand this, the learning process
will become a lot clearer, as you will find out when you read Janet Newman’s helpful
lesson, which addresses each part of the texture separately.
Pedal tips: See the legato pedalling markings on the score.
Read Janet Newman’s step-by-step lesson on this piece on page 26.

>
Allegretto
j
4 5

#### 6 j
4

>f ™
5 3 5 3 4 5
Allegretto
ffj f f f f ™
2 2 3 4

f f f
3 1 4 2 1

#f f
1 1 3

f f ff f
4 5

& # ## 68 fj
2 1
f
4

f ff f ff f
5 3 5 3 4 5
f
2

f
3 4

{{
f f™
2
f f f f #ff f f ™
& # 8 pf
3 1 1 4 2 1

f f ff f f
1 3
2 1
ff ff ff
f
? #### 68 ‰
p
ff #f ff ff f nf ff ff
f
f f ‰ f #f ‰ f f f ‰
? #### 68 ‰ f f f nf ‰ f ff‰ f ff‰
° ‰ fø ‰ fø ‰ fø ‰ fø ‰ fø ‰
5 2 1 3 1 5 1 2 2 1 2 1

° ø ø ø ø ø
5 2 1 3 1 5 1 2 2 1 2 1

#### j j f f f
5 4 5 4 3 5 4 5 4 5 4 5 3
f™
4
f™
2 1

f f # f nf #f f™ #f f
& # ## ‹f f f ffj f f ffj f f f f f f ™
f
5 4 5 4 3 5 4 5 4 5 4 5 3
4

{{
f™
&#
2 1

f f #f nf #f
f f f™ #f f
‹f f ff

? #### #f f ff f #f ff f f #f f
? #### #f f ‰ f f‰ f f #f ‰ f f f ‰ #f f ‰
f f #f f ‰
f f
fø ‰ fø ‰ fø ‰ fø ‰ # fø ‰2

2
1

1
1

1
2

2
2

2
1

1
fø ‰2

2
1

1
ø ø ø ø ø ø

#### f ™ ffjj F ™
3

ff f f
5 3 4 5 4 5 4
7
f f ff
3 4 5

& # ## f ™ nf f f ff f f f ff f
5 4 3 4
ff ff f f
5 3 4 5
7
ff f F ™

{{
5

&#
3 4

espress.
nf f f f ff ff f f

? ## # nf ff
#
espress.
ff f f f nf ff ff
? #### nf nf ‰ f ff‰
f ff‰ f f nf ‰ f ff‰ f ff‰
nf f f
ø sim. ‰ ‰ ‰ ‰ ‰ ‰
1 2
f
1 2 5 1
f 2 2 1
f
1 2 1 2 5 1 2 2 1

ø sim.

#### f™ fjj F ™
5
5
10 4 5 1 4

f f ff ™™
1

& # ## f™ f f f™ #f f f
5

ff ff ff
5
10 5 1

{{
4 4

&#
1

f f f™ ff p #f f f f f F™ ff ff

? #### ff ff
p
f
‹f f #f f ff f f
f
? #### f f ‰ f ff‰ ‹f ‹f ‰ f #f f ‰ f ff‰ f ff‰
‰ ‰ ‰ ‰ f ‰ f ‰
f f ‹f f
1 2 1 2 3 1

1 2 1 2 f 3 1
42• Pianist 94

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 TRACK 8
Fanny MENDELSSOHN (1805-1847) INTERMEDIATE
Melodie Op 4 No 2

#### f nf f™
5 5 5

f f f <n>ff ff nf f <n>ff
3 4 3 4 5 4 5 4
13
f f f nf
2 3 2 3

f f f™
1

& ff f f f

{
cresc. dim.

ff nf f ff ff ff nf nf
? ####
f ‰ 1 2
f
1 2
‰ f
2 1
‰ f ‰ f ‰ nf 2 1
‰

#### f™ #ffj nf f
5 4 3 5 4 3 4
f f ™
16 3 4

fff
3

& fff f
ff
nf
ff
f f
™ ff

{
cresc.

ff ff ff ff ff ff
? ####
f ‰ f ‰ #f ‰ f ‰ f ‰ f ‰
2 1 1 2

> >
#### f™ ffj #f ™
5 3 5 4 5 5 4 5

f f
4 5 4 4

fff nf ™
19 4 5 4

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

{ ? #### #f
°
ff
2 1
‰ f
ff
‰ f
ø
ff
‰ f
ø
ff
‰ f
ø
f nf
2 1
‰ f
ff
‰

#### nf ™
5 4 5 4

f f f f #f f f ™ j
22 5 4 4 3 4 3 4 5

f #f f
3

& f™
ff ff f ‹f ff #f

{
f f
cresc.

? #### nf nf ff #f f ff f #f f #f
nf ‰ f ‰ #f ‰ f ‰ f ‰ f ‰
ø
1 2 1 2 3 1 3 1 1 2

43• Pianist 94

P42 SCORES Fanny-FINAL.indd 43 09/01/2017 10:23

 TRACK 8
Fanny MENDELSSOHN (1805-1847) INTERMEDIATE
Melodie Op 4 No 2

#### f ffj f f
25

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

{
f f
f
ff f
? #### f #f ff f nf ff ff
‰ f ‰ f ‰ f ‰ f ‰ f ‰
f

#### f™ j fj f f f™
28
f f #f ff nf f f™ #f f
& ‹f f ff ff f

{ ? ####
f
#f f
‰ f
ff
‰ f
f #f
‰ f
ff
‰ #f
ff
‰ f
#f f
‰

#### f ™ ffj f ™ fj f f ff f f f ff f f™
31

nf f f f
& f ff ff f f f™ ff

{
p espress.

? #### nf f ff f f f nf ff ff ff ff
nf ‰ f ‰ f ‰ f ‰ f ‰ f ‰ ‰ f ‰
f

poco rit.

fj f fj f f ff f f # ff f f Œ ™
5 3 5 4
™
5

#### f™ ffj f
5 3 4
35 4 5 4 5 4

#f f f
3

& ff ff f

{
f
p

#f f #f f ff nf f ff ff
? #### f f Ϊ
‹f ‰ f ‰ ‰ ‰ ‰ ‰
f f f™

44• Pianist 94

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 A Z E R T Y
H A NS - G ÜNTER HEUMA NN
B E Gzerty
INNERS XXXX (XXXXX) PLAGE

8 Accuracy 1
KEYBOARD CLASS
LESSON 21: FINGER FITNESS EXERCISES

2. Finger Strength and Equalization

On these four pages, Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Günter Heumann.

of all Fingers: 1
Lesson 21 offers Finger Fitness exercises to help beginner and intermediate pianists to perfect specific technical issues. Work on them
slowly at first, feeling every single note, building up the tempo over time. Advanced pianists can use these exercises to warm up.

Finger strength and��om

equalization of all��e�cise
The Virtuoso Pianist, fingers�o� 4
Exercise No 4 from Hanon’s The Virtuoso Pianist
�h���es�Louis ��non �1�1��1�00�
q = 60-108

 
    
1 2 1 2 5 1 2 2 5

f legato

 
     
3 1
4
4 3 1
5
5 5

                   
5

    

                   
    

8
 4 5 2      2 1     
 
5

1 5 4

  

   

   
1 2 1 5 5 3 1 2 3

12

                       
 

  
            
         
© 2014 Schott Music Limited, London

45• Pianist 94

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 Accuracy 1 9

HANS-GÜNTER HEUMANN KEYBOARD CLASS

3. Finger
Finger strength andStrength
A Z Eofand
equalization Rall T Equalization
Y
fingers
XXXX (XXXXX)
PLAGE Exercise No 5 from Hanon’s The Virtuoso Pianist
of all Fingers:
zerty 2
A
Make sure that each note is equal in terms of finger weight and sound. The tempo should be even throughout. When practising slowly, lift the
fingers between each note, as if you were ‘playing’ a typewriter. Apply these same learning tips for the previous exercise (on page 45).
��om The
du faux texte Bella terra et mari civilia externaque toto inVirtuoso Pianist,
orbe terrarum saepe ��e�cise
gessi, victorque omnibus�o�
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 militiae dedi. Naves cepi
�h���es�Louis
saepe gessi, ��non �1�1��1�00�
q
sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarum victorque omnibus veniam petentibus
= 60-108
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

    

1 5
militiae dedi. Naves cepi 4 5praeter
sescentas 3 4eas,2si quae 1 5 quam triremes fuerunt.Bella terra et mari civilia externaque tot.
3 minores



f legato

    
1 2 1 3 2 4 3 1
5
5

   

5 1 2 1 3 2 4 3 5

 

    

 
5 4 5 3 4 2 3 1

  
9
    
1

    

 
   
5

13

               



 
             


© 2014 Schott Music Limited, London

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10 Wrist Rotation / Lateral Swing

HANS-GÜNTER HEUMANN KEYBOARD CLASS

4. exercise
Wrist rotation WristARotation
Z E R T Exercise
Y
XXXX (XXXXX) PLAGE
zerty
As the title implies, rotate the wrist slightly between each note. This should produce a nice, relaxed feeling in the hand. Your finger articulation
should remain firm and even, however, and you should give a slight emphasis to the first beat of the bar.

q = 108 ��ns���nte� �eum�nn

                   
5 5

    
         
   
mf simile

           
         
5 5

5
                   
           
    

                
                   

   
                          
9 1

     

                    
       
1

   
13
   
                       
    

          
             
   
© 2014 Schott Music Limited, London

47• Pianist 94

p45-48_Keyboard-FINAL.indd 47 09/01/2017 10:23

 G Minor Scale 15
G Minor Scale 15
G Minor Scale 15

9. Left and Right Hand Melody

HANS-GÜNTER HEUMANN KEYBOARD CLASS
9.
9. Left
Left and
and Right
Right Hand
Hand Melody
Melody
Left and9. Left andA Z E R T Y Melody
Right
right hand melody
q = 96
Hand ��ns���nte� �eum�nn
XXXX
A short exercise4in which each hand plays the melody in turn. Make (XXXXX)
sure that the accompaniment doesn’t overpower the melody.
q = 296
PLAGE 5 4

    

q = 196
3
zerty ��ns���nte�
3 �eum�nn

                           
A
1 ��ns���nte�
1 �eum�nn
q = 4296 5 ��ns���nte�
4 �eum�nn
                          
3
4 terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque
5 3
omnibus veniam petentibus4

du faux texte Bella
1 1 1civibus peperci. Externas gentes, quibus

   mp                         
2
4 conservare quam excidere malui. Millia civium Romanorum sub sacramento 3
5 3
4
tuto ignosci potuit,
1
2 1
3 meo fuerunt circiter quingenta.
1
3 Ex quibus deduxi in colonias aut

   gentes,
remisi in municipia

 Externas  minores

  quam
 triremes
  fuerunt.Bella
 conservare
terra
 etmari civilia
 externaque
 toto
 Millia
1 sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus
1
 inorbe terrarum
  saepe gessi,
victorque
omnibus veniam
petentibus
1 pro praemiis militiae dedi. Naves cepi
agros adsignavi aut pecuniam

civiumRomanorum meofuerunt
      praemiis
sescentas praeter eas, si quae

        
cepi   terraet mari civilia
civibus peperci. quibus tuto ignosci potuit, quam excidere malui. sub sacramento circiter quingenta.
 sescentas
mp praetereas, si quae minores quam triremes
mp
      

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

   mp       1  
         1      
militiae dedi. Naves fuerunt.Bella externaque tot.

   2  2

      2   2  2  

  
1
il basso marcato    1
2

  
1 il bassomarcato 
1
1 2 1 2 2
1 il basso marcato 1 1 2 2 2

      
il basso marcato 1

             
5

5
 2 3  
1 2 3 5

5 
      
        5    
         55       22 33  
1 5

      


5
                 
1 5

 
5
               
1 5

           
                
  3
     
                 
   
                5    5   
  3    2 14       
   
 
 
      5
  33   22 11
    
5 2 1 4

 
4
5

 4
4 5
5 5
5 5
5
5

5 4  3 4  3      

9
  
         

15 3 4 3 2

9  1
1 5  4   3 
4   3   22     
  15   4   3  4    3   2     
      
        
  
    
9

                 
    
9

        


  mf    
  mf
 mf
                    
2
  mf 1   
   
  21   
 21  
2 1
 
13 rit.

 
              rit.
         
13 rit.
13   rit. 
                    
13
  
        

                p
 
        



                 
        
          
p
  
  1
p
 
    1      
  p
     
  1marcato
    11         
 
1

 
    
 
© 2014 Schott Music Limited, London


1 marcato 1
1 marcato
marcato
© 2014 Schott Music Limited, London
© 2014 Schott Music Limited, London
1
1  1
Hans-Günter Heumann continues his series for beginners in the next issue.

© 2014 Schott Music Limited, London To find out more about Heumann, go to www.schott-music.com

48• Pianist 94

p45-48_Keyboard-FINAL.indd 48 09/01/2017 10:23

 TRACK 9
Ludwig van BEETHOVEN (1770-1827) INTERMEDIATE
Bagatelle Op 119 No 6

In the bagatelle form, Beethoven composed some of his most gently whimsical and
at the same time puzzling and confrontational music: if these pieces are light-hearted,
they are not as trifling as their genre would imply. Indeed the Op 119 set (including
a 10-second Allegramente) perplexed one publisher, who turned them down on the
basis that such pieces were beneath the composer’s dignity. An expensive mistake.
Playing tips: This lesser-known Bagatelle starts out with a long recitative-like
passage until it starts ‘proper’ at bar 7. This introduction needs to sound
improvisatory (listen to the recording for guidance on that tricky-looking run).
In his article on page 78, Nils Franke offers useful tips on how to learn this work in
the manner that Beethoven might have addressed himself to it with a pupil.
Pedal tips: When you listen to the CD, you will hear hardly any pedal. To achieve
a crisp and clear texture, avoid using the pedal as much as possible.
Read Nils Franke’s article, ‘Piano lessons with Beethoven’, which appears
after the Scores section. It includes his own teaching notes on this piece.

5
Uj
#fff ##ff f nf U
Andante 4

# f ffj f f f
5 3 2

3 f™ f 1 ff f ™ #f ff ff
4 1 5

f U f
1 5
f
nff ffJfj f f ##ff f f f #f f
4 2 1 5 4

&# 3 4Andante f f
3 2 3 2 1

f f™
ff
Andante 3 2 4

f ff ff ™ f f f
5

{{
5

#f f f #f #f f
4 1 5

nf fJf f f #f f f f #f f
1
f™ f
4

& # 43 pf™ f f™ ff f f f
3 1 2 3 5 3 2 4 2 1 5 4 2 1

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

& 4
2 1

f™ ff ™ ff f™ fff fff ™b ff ff f f J #f f
? # 43 pΠf f ff ff U j
Œ Œ f™ f ff b ff ff ff ff ?
p

? # 43 Œ f™ f fff ff & f f ff U ffj

? # 43 Œ Œ Œ f™ f f™ ff ff ff b ff ff f f & Ff ff U Jffj ?
ΠΠf ?
2 4 2 1 1

ff fJf
1
& Ff
3 4 3 2
f
1

F J
2 4 2 1 1 2 1 3
3 4 3 5 2
2 4 2 1 1 1 1
3 4 3 2 3
5 2 4
1

ff fff nfff #ff ff ff nfff fff ##fff

3

U 2
2

#
3 2
5

‰ ffRf ≈ ffR ≈nffRf ≈# fR ≈ffRf ≈

4

&#
f ? ≈ ffRf≈ ffR ≈ffRf ≈##ffRf ‰& 4
3

U
5 3 1 5

‰ fffR ≈ fffR ≈nffRf ≈###fffR ≈fffR ≈ ≈ fffR ≈nnfffR ≈ffRf ≈##ffRf

4
5 f3 1 ff
2

‰ & 422

{{
f5 f3 #f1 f5 # f f f
5 f f
3
? U
&#
2

&
f f #f f f f # f f f f ? ‰ R f≈ R f≈ R f≈# fR f≈R f≈ ≈f R ≈f R ≈f R f≈ R ‰ 4
1 1 2

#f f f # f f f f f f f
nfff ≈nfffR ≈##ff ≈fff≈nfff ff ff ff ##ff U& 2
5 4

?#
2 1 1 2
#f f5 4
f #f f 5 f4 #f22 f f ≈
j fR nf R fR ffR ≈ ffRf ≈ffRf ≈##ffRf ≈ ‰ 4
U
fj ≈nnfffR ≈nffffR ≈###fffR ≈ffffR ≈nnfffR
1 1 2

?#
?#
#f f f f #f f f f
#f f f #f f f f #f ff1 f f
f ff≈ fR ≈fffR ≈##fffR ≈
fR ≈ f ≈ R ≈ R ≈ ‰ 422
U
fj ≈ R ≈ R ≈# fRR ≈R ≈ R R R ‰ 4
4 3 4 4 3 3
#f f
1 f f
4
4
3
3
4
4
4
4
3
3
3
3
Allegretto 1

# 2 f f f. f f f. f. ffjj fjj
5

. f f f.. ff f f f. . f f fjj
7
Allegretto 1 4

ff f ff
2 2 3 2

f f f. f f f.
2

&# 42 f f f. f .
1 2

f..
Allegretto 5

f ff f ff f..
7
ff ff ff fJf
f ff f. j

{{
4

ffj
fj
1

f f. f f ff. f ff f.
2 2 3 2

&# f ff ff. f ff ff.

2

42 leggiermente
1 2 5
7
f
4

f f. ffJ
1
f f
ff ff.
2 2 2 3 2

ff ff
2

& 4 f n f ff f f f
1 2

ff.
2

ff f ff f ff Jf
?# 2 leggiermente
f f ff ff ff ff f f ff ff ff ff ff ff f f. f
f..
2

fJf n ff f f
42 leggiermente f f ff ff f Jf ff f f.
f f
2

?# 42 ffJ n ff f f
f f ff f f f f ff f f f f. ff
?# f f f f ff f f f f f fJ ff
4J J f f
3 1 2 1 1 3 1 2 5 2 1 2 1
5 5 5 5 5 5 5 5 5
3 1 2 1 1 3 1 2 5 2 1 2 1
5 5 5 5 5 5 5 5 5
3 1 2 1 1 3 1 2 5 2 1 2 1
5 5 5 5 5 5 5 5 5

f
ffjj fjj ff ff fff ff
12
# ff ff f
5
4
5
1 4
ff 4 4
4
f f f
5
4

ff f ff ff 2
ff ff f ff f f
&
12 # Jf ff ff ff ff fJf fJf fJf fJf ff fff fJf Jf f fff fJff
5 5 4 5

ff
12

{{
4 4 4 4

ffj
fj
4 1

# f
2
ff ff
& ffJ ff f
5 5 4 5
ffJ ffJ ff ff fJ fJ f f fJ
ff ff. fJfJ ffJJ
4 1 4 4 4 4
2
ff ff
& ff. Jf Jf f f J J J
2

J. f ff. ff
?# f f . f..
f f . f f f. f fff ff
2
f
? # f.. f f ff. ff f f f. f f ff. f f f.. ff f fff ff f f f ff f
2

?# f f f ff f f f f. f f . fff ff f fff ff f
f fff f
3

3
1

1
2

2
f 1

1
f f f
1

1
3

3
1

1
2

2
f f
1

1
f 1

1
3

3
2

2
3 1 2 1 1 3 1 2 1 1 3 2

49• Pianist 94

P49 SCORES Beethoven-FINAL.indd 49 09/01/2017 10:24

 TRACK 9
Ludwig van BEETHOVEN (1770-1827) INTERMEDIATE
Bagatelle Op 119 No 6
f f
ff ff fff ff fjjj fjjj f ff ff ff ff f ‰ ‰ ff ff ffJ
# ff f f f fff
4 4 5
ff f
17 5 4

ff
4 3 5 3
1
ff ‰ ‰ ff ff ff
1 1

& ##
4 4 5 2 1
ff ff
17 5 4

fJff Jff Jff ff ff ff ff ff ff fJff ff ff ffJf ‰ ‰ f fJ

4 4 5 4 3 5 3
1 5
fff
17 4

‰‰ ‰‰
4 4 5 1 1 5

{{
17 4
2 3
1 5 4 5 3

&
1
f
fJ ‰ leggiermente
‰ J
4 3 1 1

fJJ JJ JJ
1 2 1 1 1 3

& f f f f JfJ f f molto

2 1

J f
f f f f f f f f f ff f ff ff f ff f f f #f molto
?# f
ff f f ff f ff f f f f f f ff f ff #f f f ff f fJf ‰‰ ‰‰ f f ‰ ‰ ff ff
leggiermente
? ff ff f ff f
? ##
molto leggiermente
ff f Jff ‰‰ ‰‰ f
molto leggiermente
ff f f f f #f ff f ff fJ ‰ ‰ ff
1 1
f
1
f 1
1
2
J 1 1
4
4
2 3 1 2
3 2 JJ 1
1
1 1 1 2 1 1 2 1 3 2
1
1 2 4
4 3 2 3 1
1
1
1 1
1 1
1 2 1
1 1
1 2
2 3 1
1 2 3 2
2
3 2

3
f f f f f f
# nf
2 4

f f f f f
5
23
nff f
3
f ff ff
1

#fff fff ff # ff ff
1
ff
1
ff
& ## nnff ff
4 3
2 4

ff ff ff ff
5
ff ff
23 3 5 3 4

nnff ff
4

ff ff
1

##fff f ff ##fff ff
5
1 2
1 4
ff
23 5 2

ff ff

{{
23 4
ff
1

& ff ff
1 1 1 5 3 4

ff ff ff ff
1 4 1

& f fff ff
4 5 3 4

ff f
5 3 4
2

nf f f poco crescendo
2

?# nn ff
2

ff ff fJf f
2
poco crescendo
?
? ## #f ##ff ff f f
f nnff ff f # f ff f # f
poco
poco crescendo
f JJ & f f crescendo
f ff f f f f f f
& f ##f
f #f f ff ff nf f ff ## ff f f ## ff ff f ff ff f
&
& ff ff f ff ff ff f
ff ff ff ff
2 1 1 3 2 2 1 2 2 1

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

# f ff ff f f f
un poco rit. a tempo
f f ff ff f f f f f
28
f
5 3
ff ff f f ff ff f f f ff ff
5

& ## f
2 1 un poco rit. a tempo
fff fff f f ff f ff
28 2 1 2 2

fff
5 3 un
un poco
poco rit. a
a tempo
28
ff ff ff f f f ff ff f f
rit. 5 tempo
ff

{{
28 5
2 3
1

& ff f f f ff
2 1 2 2
f ff f f
5 3 5

ff
5
ff ff
2 1

& f ff
2 1 2 2

f ff
2 1 2 1 2 2

f
# nf f f f f f f f f f f
? nf f f f f ff f f f f f ff f f f ff f ff f ff f ff f ff f ff f ff f
& ## f f f bf f ? n f f f f ff f ff ff
f f
ff f ff f ff ff ff ff f ff f ff ff ff f ff f ff ff
&
& ff ff f ff f bbff f ?? f f
ff ff f
1 2 1 2
1 3 3 1 4 2 3
1 2 1 2
1 2 1 1 2 3 3 1 4 2 3
1 2 1 1 2 3 3 1 4 2 3
1 3 3 1 4 2 3

# f f f
33 2
ff ff
3 3

f ff f
f ff ff ff fff fJf ffff
f
& ## f ff ff f ff ff ff fff f ffff
1
ff ff ff
1
f f f
33 2 1

f
2
fJff fff
3 3

ff ff ff ff
33
ff Jff fJff fff

{{
33 2
1 3
1 3

& ff ff
2 3 2 1

ff
3

fJJ ff f f f fJ ff ff f f f ff f
1 1

& f
2 1

JJ fJJ f
1 1 2 1

J f
j j
cresc. 3

?# nfjj f #f ff ff nfjj f #f f 33 333

33
f f f f f
2

f
cresc. 1

f f f Jff Jff Jff f Jff f

ff ##ff ff JfJ
cresc.
?
? ## nnff nnff ff ##ff ff f
cresc. 1 2

ff ff ff ff JJ JJ JJ f
1
1
2
2

JJ f f
4
1
1 f ff ff ff ff J 1
1 f ff ff ff ff ff 3 ff
1

4 3 1
1
1 1
1 3 1
4
4 3 1

2
4 l'istesso tempo
# f f f f f f f ff
5 3
38 1

ff 6 ff f #f ff f nf f f
4 4 2 2 1 2 1

f f ff ff
1 2 4 l'istesso tempo
& ## f f
4 1

ff
3
f f ff 668 f ff ##ff f f nnff f ff ff f f ff
38 2 5 5 2
1 3 1 5 1 3 1 2
l'istesso tempo
ff
4
2 2

ff f
4 4 l'istesso tempo 1 2 1

f ff ff f ff ff ff f ff f ff f
5 3
2 4
ff ff fff
38 1 3 1 4 1

{{
ff ffJ
5

fJf
38 4 4 2 1 1 2 1

& ff ff 88
2
4 5 1 2 2 3 1 5 2 1 1 3 1 2

fff
4 4 1

f
2
ff
1

& f ff ff ff f
2 5 4 1 3 1 5 1 3 1 2

f f f
2
ff ffJ ff ff f
5

fJJ
1 3 1 5 1 3 1 2

J f
?# 6
?
? ## f f f f f f f f 668 f f f f f f f f f f f f
88 f f f f f f
f ff 1 ff f ff
2 ff f ff ff f ff ff ff fff fffffff f ff f ff f ff f ff f ff f ff
ff 1
1
1
2
2
2 ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
Pianist
50• 94

P49 SCORES Beethoven-FINAL.indd 50 09/01/2017 10:24

 TRACK 9
Ludwig van BEETHOVEN (1770-1827) INTERMEDIATE
Bagatelle Op 119 No 6
##
3 2 3
42
ff f #f ff nf f f
1 2 3
1 2
1 4 3
1

f f f
42
# f ff ##ff f ff nnff f ff ff bf ff ‰‰ ‰‰
3 2 3 2

nnbbbfff ff nnfff ff ##nnnfff ff fff

1 2 1 1 4 1 5
42
&
3 1 5 1 2 1 4 1 2 5
1

& ‰ ff ‰
3 1 5 2

&#
3 2 3 5

{{
2 3

f f #f f f nf ff f f bbff ff f
3 1 5 3
42
nbff f nf f #nff f f
1
1 2
2 1
1 1
1 4
4 1
1

‰ ‰
2
2 5
5

& bf ff f
3 1 5
f f
3 1 5

n f nff # f f 3 f
f
5 1

ff
4
ff ff
3

f nnff ##ff fff ff fff

5 1

? # ŒŒ ™™™
5 1 3 4

?
? ## ‰‰ ‰‰ ‰‰
4

Ϊ f nf #f f f
1 3
f ff
‰ ‰ ‰
5
5 1 3

ff ff ff ff ff ff ff ff ff ff ff
4
ff
4

?# ff ff ff ff ff ffff fff ff ff ff ff ff ff fff ‰ FŒF ™™ nf #f f f ‰ ‰

f ff f ff f ff f F™ f
2

f f f f f f f
2
F™
4
2
5 4

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

##
4
f™
46 5 3 5 4 3
4 4
f™
2 3

ff nf #f f f fff ff nff #fff f

46
‰‰ ŒŒ ™™™ ŒŒ ™™™ ? ‰‰ &
5 1 3 5 4 1

#
5 1 2 1
ff
4 1

ff™
4 3
ff ff nff #fff ff ff ff
46
&
2 5 1 4

fff™ ff
5 1 5 3 1

Ϊ ?
1 1 2 4 1

ff
2

& ‰ Œ™ ‰&
5 1 1 1
?
2 1

&#
1
f nf #f ff f f ff nnff ##ff ff
1

{{
4
ff ff ff f
46 4 1 3
ff ™™
3 5 4

f nnff ##ff f ff ff nf #f
5
5 3 5 4 3

ff
4

‰&
2 4

‰ Œ Œ ? f f
1

f nnfff ##ff
5
5 1 2 1 2 1 1

f nff #f ff
1
1 1 2 1 1

& f™ ff ff ff f
1
1

ff & f
ff ™™ jj ff
1 2

ff FF ™™ f FF ™™ ff ™™ ff f
1 2
ff
ff ™™™ ffjj
f ff ff
1 2

?
? # fff ™ ‰‰ ‰‰ FF ™ FF ™ ff ™ f ff f
? ## ff ff
1 2
ff ™™
1 2

f ™™ f ff ‰ ‰ FF ™™ FF ™ ff ™™ f f f
?# f f
f™ ‰ ‰ F™ F™ f™ 2
2
2
2
2

ff
## ff ffjjj ffjjj jj ff ff ff nnff ff ff
51 5 5 4

ff #
ff #fjj
ff 2
4 3
ff ff ff ff ™™™ ffJ
5 4 4 4
f
51
‰‰ ‰‰ ‰‰
5

# ff # nf ff ™™™ 4422
4 3
ff f ff ™ f ff
5 4

ffj ff
51
&
5 4 4
ff ffj f f ##ff ™ JJf
4 3
ff ff ™™ ff
4 4

&
&# f nf ‰ ‰ ‰

{{
ff f f ff ™™ f ff 42
51 5 4

ff ™™
5 5 4
f ff f #ff f #f ™
4 5 3
f ff f™ f
4 3 4 4

‰ ‰ J ‰
4 4

& f f f f f ff ™ 4
f f™ f™ f f #f ™
3 2 3
f™
3 2 3 3 1

ff ff ™™™
3
ff ff ff
3 2 3 1
ff ff fff
3

? # ff ff nnff ™™™ 2
1

f ff ‰‰ ‰‰ fff ™™ ŒŒ
?
? ## f f ff ™™ ff 4422
3

f
3 2
2 3
3
f f nf ™
3

ff ™™™ ff
3
f
1
1

f f f f f f f™ ‰ f ‰ f™ Œ
?# f f f f f™ f™ f ‰ nf f ‰ 42 Œ
2
2
2
2
2
2
2
2
2
3
3
3f f 4
4
4 4
2
2 2
2 2
2 3
3 4
4

FF ffjjj ff
ff FF ffjjj ŸfŸ ff ff fff ffŸŸŸ ff ff fff
## Ff fffj Ff ff fff fff fffj fŸfŸ ff ff ##ff fff nnff
56
ff fff f ff f
2

ff fJf f f #f f nf fŸ
56
JJ ‰‰ ‰‰
2 1

# ff ff
56 2

&
1
fFf JJf fFf f
2 1

ff f f
2

& f Jf ‰ ‰ f ff f f f f #f nf f
1 2 1

&# f f

{{
56 1

f f
2
2
ff J ‰ J ‰ ff
2
2 1
1

&
1
1
1

ffŸŸŸ fff
1

ff ff fff ff f fff ff ff fff

1

? # ff ff ##ff fff ff nnff ff ff ##ff fff ff

?
? ## ŒŒ ff fJJ ‰‰ ŒŒ ŒŒ ff ff f f
1

f #f f nf fŸ f f f #f f
1

Œ ff Jf ‰ Œ Œ f ff f
?# Π2
f J ‰ Œ Œ f f 2 3 2 3
f #f 4f nf f f f
2
f #f
3 f
3
2 2 3 2 3 4 2 3 3
2 2 3 2 3 4 2 3 3
2
2 2
2 3
3 2
2 3
3 4
4 2
2 3
3 3
3

f ff ff ff ff ff
f ff
4
ff ff ff...
3
ff ff... ff ff...
3
ff
2
ff
f ff... ff ff ff... ff ff ff
## ff ff ff ff ff
2 2
f f.
2

ff ff ff
4 3 2
f f f f f f f
62 1 3

f f. f. f. f
2 4 2 1 2 2

f f
3
f f f f. f f
2 3
62
fJJ
1

# ff f f f
1 2 1 2

f f
2
f f
62 2

&
1
f f f f f f f
1 1
f f f f f
2 4 3 2
2
f f f f f f
3

& Jf
1 4 3 3

&# f f f f
2 2

{{
2 2
f f
62 1
1 1 2
2
2
2 1

J
1
1

& ff ff ff ff
ff ff ff ff ff ff ff ff ff ff ff ff ff ff
?
? # ff nnff ff ff fff ff fff ff f fff ff fff ff f
? ## fff f nf
nf
f
f
f
f f fff f f ff ff ff
ff
fff f f ff ffJ
JJf
?# f 4
4
f f 1
1
5
f 2
2
5
f f f f 2
2
5
f f 3
3
5
1
1
5
f f f f f f
J
4 1
5 2
5 2
5 3
5 1
5
5 5 5 5 5
4 1
1 2
2 2
2 3
3 1
1
4 5 5 5 5 5
5 5 51• Pianist
5 94 5 5

P49 SCORES Beethoven-FINAL.indd 51 09/01/2017 10:24

 TRACK 10
Stephen HELLER (1813-1888) INTERMEDIATE
Curious Story from Album for the Young Op 138 No 7

This French pianist and composer of Hungarian birth studied with Carl Czerny in
Vienna until (a familiar story to some readers?) his father found the fees prohibitive.
In due course he became a distinguished teacher himself, based in Paris, where he
counted Hector Berlioz as a friend and Robert Schumann as an admirer of his work.
Having written much for students, he produced late pieces tinged with Impressionism.
Playing tips: This is a fun piece to perform. It should sparkle with wit and humour.
The tempo marking is Molto vivace (yes, that’s really quick!), but start out with slow
and methodical practice. Feel the swing of two beats in a bar, where each beat is
divided into triplets: a gallop rhythm, bearing in mind the dotted quavers, where
both beats in the bar can be accented. Solid finger articulation is needed, especially
in the RH: when practising slowly, raise the fingers between each note, but keep the
hand close to the keyboard. When it comes to playing at speed, the fingers will fly
over the keyboard with much more confidence and less effort.
Pedal tips: Pedalling is not needed: every note should sound with utmost clarity.

Molto vivace q = 184

^
f.
3

2 2 ‰vivace
f ≈ ≈
4

b f f ≈ ‰
1 2 4 1 4 2
Molto
4 f2 vivace
& Molto
q3= 184
f f f ff ≈ f j
1 2 3 2 3 1

f1 4 f f f^
2 .

{{
f.
3
f q = 184
3f f ≈ ≈ f
& bMolto
42 mff. ‰3vivace ≈ ‰
1 2 4 1 4 2

f j
f. f ff ≈ f f^
3 2 3 2 3 1

f f
f.
3
f ≈ ≈
b 4 f ‰3 ff
4
qf= 184
f f. ≈ ‰
2

ff ff. ≈ f
1 2 4 1 4
pf
& f ff^. fj
2 1 3 2 3 2 3 1

f
? 422 mf. 3 ∑f J.

{{
fŒ. J.
3
3
≈ ≈‰ ‰≈ ff. ‰≈ f fŒ
4

b4 f ‰ f 3f f ‰&
1 2 4 1 4 2
pf
& f. f ff. j
2 1 3 2 3 2 3 1

f f Jf.
? b 42 mf. 3 ∑ 3 Œ fJf ‰ Jf. ‰ f ‰ fŒ
ff.
p
? b 42 mf ∑ Œ Jf. ‰ J. ‰ Jf. ‰ Œ
&
ff.
p
f f fJ &
? b 42 ∑ Œ J ‰ J ‰ f ‰ Œ &
f f f. ≈ ≈ ≈ f J ff ≈ f F^
4

f
f. ‰ f f f
f
1

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

5& b f.
2

≈ ≈ ≈ f ff ≈ f F^^
4

. f f
1

f f
3 3 3
f

{{
2

f.
2 3 2

f f f
4

‰ f f ≈ ≈ ≈ f ff ≈ f
1 4 1

& b ff. ‰ f f
2

f
1

f f
3 3 3
f
2 2 3
5 2

F
1 4 1

5& b j f. j
2

j f f ≈ ff. ≈ ff. ≈ f ffj ≈‰ f FF^

4

. f
1

f
3 3 3

{{
2 2 3 2

b ‰ ‰ f fffj ‰ ‰ ‰ ‰
4 1
ff fff
1

&
& b fff. j
2

. j Jf. Jf. ff. j ‰ F

b
& fff. f
f j ‰ f
f j ‰ fff. j ‰ f.
fJf ‰ ff. ‰ j FF
f
ff. j ‰
f fff. Jf
& b ff. j ‰ . j
‰ Jf. ‰ Jf. ‰ f. ‰
ff. j ‰
FF
b
& f. f
f ‰ f
f ‰ fff. ‰ f
J ‰ f ‰ FF
f. . J f.
f. ^
9
f f f ≈ ≈
4 2

9& b ‰ ≈ ‰
4 4
f f f ff ≈ f f^ j
3 3 1

f. f f f f f

{{
f. ≈ ≈ f
4 2

& b mff. ‰ f f f ff ≈ ‰
4 4
f f f ff ≈ f f^ j
3 3 1

f f
f. f ff.
9
≈ ≈
4 2

9& b ‰ f f. ≈ ff. ≈ f ff^. ‰

4 4

f fj
3 3 1

f f
. f? Jff.

{{
bb mf ‰ ∑f f f fŒ. ≈ ≈‰ J. ‰≈ ff. ‰≈ f . fŒ
4 2

& ‰
4 4

& mff. f j
3 3 1

f f &
b
f
∑ Œ ?f Jf. ‰ Jf. ‰ fJ. ‰ ff
. fŒ
& mf ? Jf. J. fJ f
f &
&b ∑ Œ f ‰ f ‰ ff. ‰
J ff.
Π&
?J J
&b ∑ Œ ‰ ‰ f ‰ Œ &
fJ #ff ≈ f FF^
f f f ≈ f nf ≈ ≈
4

.f f f
1 3
f
3
13
‰ f f f f
1 4

13& b
2

≈ f nf ≈ ≈ FF^^
4

f. ‰ f f f f f f f #ff ≈ f
1 3
f

{{
3 4

≈ f nf ≈ ≈
1 4

& b ff. ‰ f f
2
f f f #ff ≈ f
1 3
f FF
3
13 1 4

13& b j
2

j f f ≈ f n ff. ≈ ≈ f #nffj ‰≈ f FF^

4

.ff fj f ff.
1 3

{{
3

b ‰ ‰ f fffj ‰ ‰ ‰ ‰
1 4

& fff
& b fff. j
2

j Jf. Jf. fj F
. fff. j
b
& fff. f
f j ‰ f
f
f j ‰ ‰ f.
fJf ‰ f.
fJf ‰ nff. j ‰ FF
& b ff. j ‰ ff. j ‰
f fff. ‰ Jf. ‰
Jf.
‰ nfff. j ‰ FF
. j
b
& f. f
f ‰ f
f ‰ fff. ‰ f
J ‰ f ‰ nfff. ‰ FF
f. . J .
52• Pianist 94

P52 SCORES Heller-FINAL.indd 52 09/01/2017 10:24

 TRACK 10
Stephen HELLER (1813-1888) INTERMEDIATE
Curious Story from Album for the Young Op 138 No 7

ff.. ‰ ff ff
ff
nn ff nn ff ##ff^^ nn ff
5
ff ff ff
3

ff ff ff
17 2 1 2 3 5
1

f ffJ
3 5

b ∑∑ f. ‰‰ f f ‰‰
3

#f^
™™™ ™™™
2

nf nf nf
17 2

&
1 3 5
f f
1 2 1
17 2
f
1 3 3

& bb
1
f f f
17 2

{{
Jf
2 1 3 1

™™ ™™
1 1

& ∑ J ‰
1

™f ™
^
FF^^
ff
bb ™™™ f ff ff #f ff ŒŒ ™™™
&
&b ™™ ff
f F f ##ff f ™™
& ™ f Œ ™

ff 3
ff ff ff ff ff f nf ff ff ff ff
3 2 1 3

ff nn ff
21
ff ff
3 2

21 b ™™ f f ff ff
2 3 1

f f ff ff f nf
2 1 3

ff ff ff ff
3
f f
21 1 3

& f f f f
2 3
21 2 1

& bb ™™™ ff nnff

1 3 2 1 3

{{
3 3
f f
2
f f
1 3

f f
3

& f f f f
3

#nnffffff ™™™ ^^
####fff ™™™™
dim.

bb ™™™ ##n fff ™™™ ‰‰ ‰‰ ##nnffff ™™™ ‰‰ ‰‰

dim.
?
dim.
& ####ffff^ ™™™™
##ff ™™
dim.
?
& b ™™ ‰ ‰
?
& 2
4
2
2
2
4
2
2
#nff ™™
2
4
2
2
‰
##ff ™™
‰ ?
sfz
4
2
4 sfz
4
2
4 sfz
4
2
4
sfz
4
sfz sfz
4
sfz sfz
4
sfz
sfz sfz sfz

25

& bb ‰‰ ‰‰ ‰‰ ŒŒ ™™™
25
25 3
25
ff ff

{{
ff ff
3

& ff ff ™™
3

&b ‰ ‰ ‰ Œ
3

™
pf f pp
f f f f
fjj
pp
pp
j ffjj
3
pp
n nnff nnff f
p
# pf ™
p
f™ ff ff ffj
? # fjj
3

n f™ ‰‰ ###ffff ™™ nf ‰‰ ff ‰‰ ‰‰ ‰‰ ŒŒ
3

? bb #nffff ™™™™
# fJfj ™™
3

?b nf f f fJ
‰ ##ff ™™ ‰ fJ ‰ ff
JfJ ‰ Jf ‰ Œ ™™
™
J fJ J

29
b ‰ f ‰ ‰ ‰ j ‰ ff ‰ ff
5 1 2 3

jj ff ff
29
& ‰‰
2 1 1 2 3 4 2 1 5 4 2 1

ff ff. jj
29
‰
5 1 2 3

& bb f ‰ f ff ‰‰ ‰‰ ‰‰ f ff ff ##ff ‰‰ ‰‰
29

{{
ff ff f
2 1 5 1 2 3 4 2 1 5 1 2 3 4 2 1

n f
2 1 1 2 3 4 2 1 5 4 2 1
f
f ff f n f f. j ff ‰ ff f
1
f f
5 2 3

& f ‰ f ‰
4

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

.. ‰ f f f #f pf f
f f ff f n f f f
j
mf cresc.

ff..
p
?
p
∑ f f nf fj ‰ ∑∑ ff f #f ‰ ∑∑
mf cresc.
ff p
? b mf
mf cresc.

f.. j ‰‰ JfJ.
cresc.
∑∑ ff
? bb f
4
4
n f
f f nf f. 3 2
1
1
∑ f ff ##ff 4 3 2
2
1
1 J
‰‰ ∑
4 1 4 3
3 2 1
3 2 4
4 3 2 1 4 3 2 1
3 2

ff..
34
f ≈≈ ≈≈
4

bb ‰ ff ‰‰ ff ff ‰‰ ff ff ‰‰ ff ‰ ff ff
1 1

ff f
34
& ff
f ff ‰‰ ff f ff ‰‰ ff
4 3 2 3
34
f ff ‰‰ ff ff
1 1 4

f.
34 1

f pff

{{
& b ff ‰ ff f
1 3 2 3

≈ ≈
4
f f f
3 2 3

‰ ‰ ‰ f
1 1

& f ‰ f f ‰ f f ‰ f f
3 2 3

ff f
pf
..
pf
f p
?b ∑∑ ∑∑ ∑∑
f
f
∑∑ ŒŒ fJf. ‰‰
? fJ
? bb ∑ ∑ ∑ ∑ Œ J ‰
53• Pianist 94

P52 SCORES Heller-FINAL.indd 53 09/01/2017 10:25

 TRACK 10
Stephen HELLER (1813-1888) INTERMEDIATE
Curious Story, No 7 from Album for thef Young f Op 138 . ≈ f f ≈
4

.f f f f
^ .
3 3

f f
39 3

.f. ‰ f ff fff fff ff.. ≈≈ ff ff ≈≈

2 2 1 4

&b ≈ ff ≈ f f^^ j ‰
2 4 1 4

ff
1 4 3

f f
3
39 3

ff. ‰‰ ff f f ≈ f f ≈
2 1 4 3 3

{{
39 2

bb ≈≈ ff ≈≈ ff ff^ fjj ‰‰
2 4 3
1 4

f
2 1

39&
1 2 3

ff ff
2

f. ≈ f f
4 1 4 3
39 3

& ‰
1 1
f ≈
2 2 4

f
&b ≈ fff ≈ f f^ ffj ‰ ff.
2 4 1 4

f
1

f. f
3 3

ff. ≈ f ff
3

fj ‰ ff j ‰ f j ff.
1

j
2 2

&b ff ≈
2 4 1 4 1

? Jff.. ‰ f ff.. ‰ Œ ‰ f ‰ ‰ ‰
f jj j ffjj
f fJf..

{
b ff f & ff f j
?
? JfJ. ‰‰ fJf. ‰ ŒŒ f.
fj ‰‰ ffj ‰‰
f f. .
ffj ‰‰
f fJff. ‰‰
? bb Jf. ‰ fJf. ‰‰
JJ
fff
Œ
&
& ff f.
.. j ‰ f.
.. j ‰ f .
ff. j ‰ JJf. ‰
?b J ‰ f ‰
f
f Œ
& f f
f ‰ f ‰ f
f .
ff ‰ f ‰
b J & f f . f . f
. J
≈ ff ≈ f F^^
43
f f f f f f. ≈ f f ≈
4
43
&b ff ≈≈ ff ff ≈≈ ff FF^^ ‰ f
f ‰ f ff ff ff f.. ≈≈ f f ≈≈
43 4

{{
bb fff ≈ f F
4

ff
43
43& f f ff ‰‰ ff f f f ff. ≈ ff ff. ≈
4

&
&b f ≈ f ff ≈ f F ^ f
p
f ‰ f f f f f. ≈ f fff. ≈
4

& bb ff. j p
f ∑ ?f Jff.. f
fJf.. ‰ fjj ‰ pf
Œ ‰

{
& FF
? Jf
bb ‰‰ ff. j ‰‰
p
∑∑ ŒŒ fJ ‰‰
&
& fJf. FF ?
? Jf .
&b JfJ. ‰ ff. j ‰ ∑ Œ ‰
p
FFF f
&b f ‰ f.. ‰ FF ∑ Œ ?J ‰
J f.
f f f f
^ f ‰ f ff ff ff Jf ‰
47

&b f ≈ f ff ≈ f f^^ j ‰ ff ‰ ff f f f fJf ‰ Œ

47

{{
47
bb ≈≈ ff ≈≈ ff ff^ f j ‰ f ‰‰ f f f f JJf ‰ ŒŒ
47& ffjj ‰‰
47
& ff ff
&b f. ≈ f fff ≈ f f^
.f .
f
f j ‰ f j J j
‰ Œ
? bb
& ff
Jff.. ≈
‰ f fff. ≈‰ f ff. fj ‰
Œ
f
f j ‰ f j ‰ f j
‰
‰
Œ
Π?

{
fJf.. ‰ f
f
? JfJ. ff. f & fj f f
. f . j f
f . j
? ‰‰ . Œ ff. j ‰‰
f ‰ f j ‰ ffj ‰‰
f ŒŒ ?
? bbb Jf. ‰ fJf. ‰‰ fff ŒŒ &
&
ff ff. ‰‰ fff.. j ‰ Œ
?
?
?b J
JJ ff. & f f.. j .f. j
f fff. ‰
‰ f ‰ Œ & f ff ‰ ff ‰ Œ ?
J . . .
molto ritenuto

f. b>>f >F
51
f f
molto ritenuto 2

&b f ‰ f ‰ Œ Œ
4

bf f bf bf >
molto ritenuto
Jff.. bb>>ff f bbff bbff >
51
f ff ff
molto
‰
ritenuto
f f
2

{{
ff FF
51
bb f ‰‰ ‰‰ ŒŒ ŒŒ
4

f f bbff f bf >
2

51&
4

JfJ.
51
& ff f f f
molto
‰‰
ritenuto
ff ff b>fespress.f bf >F
2

& b ppfff. ‰ ‰ Œ Œ
4

ff. ff ff bf
f f Jff. ‰ f f bfespress.
2

& b ppfff.. ‰ f ‰ Œ Œ bf bf F
4

? ff.. fJf.. f f bf f
‰f ‰ ‰ Œ ‰ f∑ f& espress.f

{
b fJf. Jff. Jfff. f f f ffespress. FFF
?
? ‰‰ ‰‰ ‰‰ ŒŒ ∑∑ F ff ffespress. FFF
? bbb pfffJJf. ‰ JfJf. ‰
fJfJ.
fJff ‰ Œ ∑
&
& FF ff
f fff FFF
? b Jff fJf & F f
3 2 1

J ‰ J ‰ J ‰ Œ ∑ & f
2
f ff FFF
F
3 1
3 2 1
3 2 1

b>>f >F
3 2 1
56 2

&b F bf Πf bf bf >>F F
1 5 4 1 5

bb>>ff
56
‰ f f

{{
56 2

bb FF bbff ŒŒ f bbff bbff >FF FF

4
f f
56&
1 5 2 1 5
56
‰‰ ff
4

& b>f
1 5 1 5
ff
2

&b Œ
f bf
F ff ff bf F
4
f bf
>F
1 5 1 5

‰ f f bf
2

& bb F f f
∑bf
Πf bf bf F
1 5 4 1 5

‰ f f

{
& FFF f f f ff FFF FFF
bb FFF ∑∑ F f ff ff FFF FFF
&
& FF ff
&b FFF ∑ F f f fff FFF FFF
&b ∑
3

FFF f ff FFF FFF

FPianistf
3
3
54• 3 94

P52 SCORES Heller-FINAL.indd 54 09/01/2017 10:25

 TRACK 10
Stephen HELLER (1813-1888) INTERMEDIATE
Curious Story, No 7 from Album for the Young Op 138

Πbf bf
Πbb ff
a tempo

nf f f ŒŒf f f bbbfff
61

&b f nf f
4 4

f nf f #fŒŒ f f f
4 1 1
a tempo
bbff
61 a tempo
#f

{{
b #f nnff ff
61 4 4

nnff ff f f ff ff bf ff nnff f #f ff ff ff
4

&
1 1

& b ff
4 4
4 1 1

f f sfz 3 2
1 ##cresc.
ff f #f 4 2
1
sfz
##ff
1

&b ∑ Œ ∑ Œ ∑
1 L.H.
L.H. sfz 1 cresc. 4 1 sfz
sfz 3 2 cresc. 4
2
sfz
b ∑∑ ŒŒ ∑∑ ŒŒ ∑∑
3 2 2
L.H. L.H.
&
&b
L.H. L.H.

° °
°
° °
°
f f f F
4

66
ΠΠΠFF fF f f f f f
f ff ff FF
4

66 b Πnf f f Πn f Πn f FF ffF ff ff ff ff ff
4
66
& #fŒ f #Œf f f #Œf f f FF FF

{{
& bb #f nnff ff f ##ff nnff ff f ##ff nnff ff f F
& #f 4 sfz2
1
f sfz sfz f
1

&b Œ Œ ∑ FF FF FF
4 2 1
sfz f sfz sfz f
4 2 sfz f sfz sfz f

& b ŒŒ ŒŒ ∑∑ FF FF FF
&b ° ° F F F
°
° °
°
. . . . .
rit.
72 f f FF FF FF FF
f.. f..
4
Fff f rit.
f.. f.. f..
b ff ΠFF fF
rit.
& FF FF FF FF FF
72 4
ff

{{
b ŒŒ ff
72 4

& F F F F FF ffF ff ff ff ff
&b p
FF F
p FF FF
& b FFF Œ
F F
p
F F ff ? FF FF
& b F
&b F
FF FF FF FF ff. ŒŒ ?
? F F
FF FF f..

vivo
f
80
f f ff f f f f f f f f
2
vivo
f
&b ff ff ff ff f f ff ff ff f f
vivo 1

f
2 1
80
FF FF FF FF
2

Fff

{{
b
80
f f
2 1

& ff f ff
2 1

&b FF FF FF FF
1 2 1
FF F F F F p
FF F F F F .
Jff.. ‰ fjj ‰ fJ.. ‰ j ‰ ?
pf
?b FF FF FF FF FF
p
?
? bb F FF FF
&
& JJ ‰‰ f. j ‰‰ ffJ. ‰‰ f. jj ‰‰ ?
?
& f.. J ff.
.

87
f
& b f ff ff f f ∑
2 2
87
f f f f f f

{{
b f f ∑∑
87
& ff
2 2

& b ff. f ff ff ff ff f ff
2 2

ff f
f. f.. f f
? b fJf. ‰ f.. ‰ Jff. ‰
j
‰
ff f ff f f f f f f f f
? Jff. f. jj fJf ff ‰ ffŒ ff f ffJ ff ‰ ff ffŒ f f fj ‰ Œ
? bb JJ ‰‰ JJ ‰‰ JJ ‰‰ ff. ‰‰ .fJ ‰‰ ŒŒ f .ff ‰ Œ f ff . jj ‰‰ ŒŒ
. ..J . JJ ‰ Œ ff.
55• Pianist .94 .

P52 SCORES Heller-FINAL.indd 55 09/01/2017 10:25

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 11 Claude DEBUSSY (1862-1918)
Serenade for the Doll, No 3 from Children’s Corner
‘Serenade for the Doll’ would have been a more natural heading, but Debussy titled
Children’s Corner and its movements in English that was never fluent: perhaps a
gesture of gratitude for the work of ’Miss Gibbs’, the English governess of his
daughter Chou-Chou to whom the suite is dedicated.
Playing tips: This work is very fragmented. We suggested that you listen to it
several times with the score at hand, marking up the different sections. Once you
INTERMEDIATE/
ADVANCED
have understood the structure of the piece, get learning. The LH fulfils more than
a bass-line function and often takes on the melody (at bar 16 onwards, bar 45 and
elsewhere). Take careful note of the expressive and dynamic markings – Debussy
meticulously wrote them for good reasons.
Pedal tips: Even if not written in the score, you will need ample use of pedal to
create the washes of colour. Use your ears.

Allegretto ma non troppo

léger et gracieux

#### 3 ff. ff. ff. ff. ff. ff.

j j j j
5

‰ ‰ ‰ ‰
2

& 4 f f f f f f

{
f. f. f. f. f. f. f. f.
pp
#### 3
Œ j ‰ j fj ‰
& 4 f ‰ f ‰ f ‰ f ‰ f ‰ f ‰ jf
. f-
f -
. F- j f. fj f-.
j f -
.J .J .J .J .J .J
3 1
f
2 1
4 1 4 1 3 1
3 la m.g. un peu en dehors

#### j j j j j j
ff. ff.
5

& ‰ f ‰ f ‰ f f ‰ f ‰ f ‰ ff ff ff f

{
f. f. f. f. f. f. f. . . . f f.
#### j ‰ fj ‰ j ‰
f
?
& j f
. fj -. fj f. FF ™™ j FF ™™ & f ‰ f ‰
f -
j f f
.J .J
f
-

la m.d. un peu en dehors

#### Π. j f. - . . jf
.
F-
9 2 5

j f ‰ f J ‰ f. f
f J ‰#f J ‰ J ‰
1 4

jF j jf j 
& #f J f #f jf
f .
 f j
f ff

{
j
pp
f
-.
#### j j j j j j j j j j j
p

& f ‰ f ‰ f ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff
f. . f. f. . . . . . . . . .
5 2

####
ff. ff. ff. ff. . ff. ‰ ff. ff.
13

& ff FF ff f
f
f . nf

{
j j f f fJ
f
-.
f
-. f f f f
#### j j j
f p

& ‰ f ‰ f ‰ f ? ff ‰ &
f. f. f. J f ‰ f ‰ f ‰ fJ ‰ fJ ‰ nf
∏∏∏

F
.J .J J- - - -
2
.
1
4

56• Pianist 94

P56 SCORES Debussy-FINAL.indd 56 11/01/2017 10:31

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 11 Claude DEBUSSY (1862-1918)
poco a poco crescendo
INTERMEDIATE/
ADVANCED

#######
poco a poco crescendo
Serenade for the Doll, No 3 from Children’s
pocoCorner
ff... ff... ff... ff... ff... ff... fff... fff... fff... fff... fff... fff--- ff... ff... ff...
17
17 a poco crescendo
17
& #######
& ‰‰ ‰‰
poco a poco crescendo
##ff.

{{
17
ff. ff. ff. ff. ff. f. ff. ‰ JfJf. ff. f. ‰
poco a poco crescendo
fJJ. f- ff. ff.
17
& #### fff. fff. fff. fff. ff. f. fff. ‰‰ fJff. fff. ff. ‰‰ fJf. ff- -- ##ffff. ff. ff.
& #
& ### ff ff ff ff fff ff f fJ
J
f ff fJf ff - #ff fff
f
fff
f
####### f J -
&
& ##### ff ##FF nnff ## ff- ff-
& #### FFF™™™ ff ff ff ffF™ ff FFF ™ ff- ff-
& # F™ F™ f #F-- n..f F™ f-- # F™
f f-- f--
&#
FF™™™ f
FF™
f f fF™ f
ff ff ##FF- nn.ff F™ ## F™
fF™ ff-
FF™™ ff ff ff fF™
-- .. FF ™™ ff- fF™ ff-
-
2 1

fF™ - -
2 1 2
F™
3 2
3
5 2 1 5
5 5
2
3 2 1
5 5
2
3 2 1

####### j j jj j j j
5 5
2

fffjj fffjj fffjj fffjj fffjj

3

ff... ff... ff--- .. fff... fff...

22
22 5

‰‰ ‰‰ ‰‰ ‰‰ <#> ‰‰ ‰‰ ‰‰
5

& #######
& f
##ff.. ff. jj
f
22
f
ff.. jj ff.. jj ‰ <#> ff.. jj ff.. jj ff.. jj

{{
ff. ‰ ffJ. ff- ff. ff. ‰ ‰ ff. j ‰ ‰ ‰
22
& #### f ‰‰ <#>
f. ‰‰ Jf. f- -- ##ffff. ff. ff. ‰ fff. ‰‰ fff. f. ‰‰ fff. ‰‰ fff. ‰‰ fff.
22

& ####
& ff Jf
JfJ ff - #f
fff fff f‰
f.. f.. <#>
<#>fff.. f.. f.. f..
#######
f

& - f
nnff
& ##### ## ff- ff- FF FF ##ff
f
& #### FF ff- ff- nf
f-- F
f
F™ f-- # fFF ™™ f-- F #f
&##
& nnff
F™
F ## Fff ™ ff-
2
FF
1
FF ##ff
F™
1
FF ff- ff-
2

F™ FF ™™ -
1

- -
2

F™ 2 1
2 1
un
un peu
peu retenu
retenu
####### fffjj
j
fffjj
j jj
fffjj
j
fffjj
j
fffjj
j j j j j j j
ff. jj ‰‰ ff. jj ‰‰ ff. jj ff. jj ff. jj ff. jj
26
26 un peu retenu

& #######
& ‰‰ ‰‰ ‰‰ <#> ff. jj
f ‰‰ ‰‰ ‰‰ ‰‰ ‰‰ ‰‰ ‰‰
26 un peu retenu

ff.. jj ff.. jj ‰ <#> ff.. jj ff.. jj ff.. jj f.. jj ‰ f.. jj ‰ f.. jj f.. jj f.. jj f.. jj

{{
un peu retenu
‰ ‰ ff. j ‰ ‰ ‰ ‰ ‰ ‰ ‰
26
26
& #### ff‰ fff. ‰‰ fff. ‰‰ <#> fff. ‰‰ fff. ‰‰.. fff. ‰‰ fff. ‰ ‰‰ ff. ‰‰ ‰‰ ‰‰ ‰‰
& ####
& ‰ <#> p‰
ff. ff. ff. ff. ff.
f.. .. f.. . f.. f.. f.. . .. . . . .. . .
ŒŒ f.<#> ff..
1 p dim.
fŒ ŒŒ ŒŒ pŒ
ff.. nŒŒf ŒŒ ŒŒ
1 dim.
#######
1

fΠff.. pΠnndim. ##ff..

1

?
1 dim.
&
& ##### ŒF nnfŒf ŒFF f. ##ŒffŒ ŒF nf. nnŒffŒ ŒFF ##ŒffŒ
?
1

fF f. pF #f.
1

FŒŒ nfŒŒ ŒFŒ FŒŒ ŒFŒ ?

1

& ####
1
ff nnff nŒf
dim.
##ff
ff #fΠ#fΠ?
1

&##
& FF nnff ##ff FF ##ff
FF FF ?
nf
2 3 4 2
2 3 4 2
2 3 4 2
2 3 4 2
3

ff-- ff--
2 4 2

ff-- ff... ff-- ff...

5
a tempo 5 5 5 2

####### fff... fff...

a tempo 3

f-- f--
5 3 5 2
ff FF ™™ff f
30 3 2 3 1
Ff ff
3 3

ff f-- f--
30 3 1 2 5 1
a tempo
Ffff ff
3

& #######
5 5
fff ff fff fff fff
1 2

f. f-- f-- f.
1

&
3 3

f- f- F ™™fJfJ fff
30 3 2 1 5 1
a tempo
FfJfJ ff
5 5 3

f--
2

f..
1
f. f.

{{
ff f ff- f. f- f- f.
3

..JJfJf ..JJfJf
f f f
3

ff f- ff
5

Ff...Jff ..ff FF ™..Jf .f

30 1

& ####
3 2 1
Ff
a tempo 5 5 3 2

f. f.
1
f- ..ff
3
f ff ff- ff ff
3

ff- f.
.fJ ..ff
30 3 2 1 1

&##
& ff ppf
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

1 3

f ff J - ff- - ff. ff .f. .Jf.

..jJ ..f.. .Jf.
1

ff p. .. ..j - ..j .. ..j ..jJ . ..

p .jj ..J.jj . .. . ..J.jj
? #########
? ff ‰‰ & pf .j
ff..FFj
f fff.. fff..jj ff..jj .ff.. ff..j fff ff fff..jj fff.. fff..jj ff..jj .ff.. ff.. ff..j
? #### ff ‰& f. f.jj FfF.j f. f.j fff ff f.FFjj f. f.jj FfF.j™™ f. f. f.j
?
? ####### JfJf ‰‰ & fFj
& f f fFj f fj ff ff fF f f fFj™ f f fj
Jf & f fFF ff ff fFf ff ff fff fff ffF ff ff fFf ™ ff ff ff
JfJ f F
1

F f F™
1 1
3 1
3
3
4
1 3
4 5
1
3 5
3 4
1 1 4
4
3 5 3
1 3
1 3

jj j
1

j j
4

#######
4

ffFF ™™™ ffjj

3 5 1

ffjj ffjj
3
ff f ff f
5 3

ff
34 4 4 4

ff ‹ ffF ™™™ ff ##ffF ™™™™

5 4
34 5
f ff ff
4

fjj
4 1

& #######
f fff fff f fff f™ f
3

& f Ff™
5 4
34 4

f ‹FFFfFf ™™™ ff . ffFF ™™™™ . ff.jj

4 1

FFf™™™™ fj fj
3

{{
f f
5
f f f f f F f f #FFff ™™ f
& #### FFf™™™ dim. f.j
34 4 1

ff ..f ff ..f ff .. ‹FfF ™™ .. ff..j ff .. #Ff ™ .. ff..j

4

ff ..ff ff
5

.. f.
34

& ####
&
4 4

pF j ‹ . f ™. .
.. ..f .. ..f ff..jjj ‹FF##FfFfFjjj™™™™ ff.. ff.. ff..jjj fFfFFjjj™ ™™ff.. ff.. ff..jjj #nFfFF™jj™ f. f. ffjjj
.. .f f™
F j ™™™ dim.
F ff. ff..
p
.. pf FfF™
####### fff.. . fff.. . ? pfF™ j™ dim.f.. f. f.j nnF™ fF™jj f.. f..
f ™f f
ff..
dim.

&
& #####
? pfF™ jj dim. f.j #fFj™™ f. f. f.j FfFj™™ f. f. fj
& #### f.ff ff. f.ff ? fF™ f f ffj #fFfj™ ff ff ffj fFfj™ ff ff ffj nfF™ j ff ff ffj
ff ff ff ? F™ f f #F ™ nF™ f
&##
& fff fff fff ?
1
1
2
2 3
3 F™
f f
1

f 2
1
2
1
3
3
57• Pianist 94
2 3

P56 SCORES Debussy-FINAL.indd 57 11/01/2017 10:31

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 11 Claude DEBUSSY (1862-1918) cédez
INTERMEDIATE/
ADVANCED
Serenade for the Doll, No 3 from Children’s Corner
#### ‰ j j
39
‰ nf ‰ j ‰ j
39& ff ff ff ff ff fff fff f ff ff f

{{
ff ff f
cédez
#### più‰ p f. f. f. j f. f. j # f.
‰- nf. . . .. . . fj
f. f. j
& ff . ff. . ff . ff. . ff ‰-
fff f fff
‰. f
ff ff
f f. f f. f f. f ff. f f. f f. f . . .. f ff. f # ff. f. f.
? #### piùFp™ . . . F- ™ . . . F- ™ . f. f f
f f f f f f f f f f f f f
? #### F ™ 5
F™ F™ f f 3
f
5 3

####
a tempo
. ff. ff. ff. ff.
43

43&
f
f f f ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ nff ‰ ff ‰ ff
. . . . . . . . .

{{
#### f pp f. f. f. f. f.
a tempo

& ff ff f f ff ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ nff ‰ ff ‰ ff
f ff f ff f . . .
pp

? #### f ‰ ppfJ f‰ f‰ fJ f‰ . . . . . .
fJ . .J ‰ .J ‰ .J . &
fF ™™ nf f
pp j
fF ™ nf f nFF™ f
? #### f f f f f
‰
fJ .J ‰ J. ‰ .J ‰ .J ‰ .J ‰ & n
j nFF™
fF ™™ f f fF ™ nf f f
4
5 p expressif

4
p expressif

#### nn
5
48

48&
‰ nff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ f. f‰ f. f‰ nff ‰ nff ‰ nff ‰ ff n n
. . . . . . . . . . . . . nn

{{
####
& # ‰ nff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ f. f‰ f. f‰ nff ‰ nff ‰ nff ‰ ff n n
## # . . . . . . . . . . . . . n nn
& j n
####
fF™ nF fF™™ n f f fF ™ nf f nnFF ™ f f nF
F™ nnnn
& j
fF™ nF fF™™ nf f fF ™ nf f nnFF ™ f f nF
F™
en animant un peu
53

& en ff ‰ ffun‰ peu

‰ animant ff ‰ f ‰ f ‰ f ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff

{{
53 f f f
& p‰ ff ‰ ff ‰ ff ‰ f ‰ f ‰ f ‰ ff ‰ ff ‰ ff ‰
f f f ff ‰ ff ‰ ff
& pf ™ j j
bF ™ f f # FF™™ b fF ™™ f f # fF f ff
& f™ j j
bF ™
2
4 f f # FF™™ f
bF ™ ™ f f # fF f ff
2
4
57

& ‰ bbff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ bbff ‰ ff ‰ ff ‰ ff ‰ bff ‰ bff

{{
57

& p‰ bbff ‰ ff ‰ ff ‰ ff ‰ ff ‰ ff ‰ bbff ‰ ff ‰ ff ‰ ff ‰ bff ‰ bff

j j
& bpfF ™™ f f FF™™ f
bF ™ ™ f f fF f f
f
j j
& bfF ™™ f f FF™™ bfF ™™ f f fF f f
f
2
4

58• Pianist 94
2
4

P56 SCORES Debussy-FINAL.indd 58 11/01/2017 10:31

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 11 Claude DEBUSSY (1862-1918) INTERMEDIATE/
ADVANCED
Serenade for the Doll, No 3 from Children’s Corner
. f.
a tempo
f. bf f. bf bf f j‰ j‰ j‰ j‰
61
∑
3 4 3

&
1

. f. . . f. f bf f. j ‰ ff. j ‰
f f bf f. j ‰ ff. j ‰
f
f. bf bf f. . bf.
a tempo
f
f. bf
61

{{
∑
3 4 3

&
1

pp
. . . f. bf. f. f bf ff. ff
. f bf ff. ff
.
pp
& f. bf. ∑ Œ j‰ j‰ Œ j‰ j‰ ∑ ?
∑ Œ f. j ‰ b ff. j ‰ Œ b ff. j ‰ b ff. j ‰ ∑ ?
& f. bf. f. b ff. b ff. b ff.

66 2 3 2

∑ ∑ ∑ bfFF bf bFF
5

&
1 1

ff ‰
66

{{
2 3 2

∑ ∑ ∑ b
5

& bfFF bf F F Jf ‰
1 1

∏∏ ∏∏ ∏∏ ∏∏
. . fJ.
ff. ‰ bbff. ‰ ff. ‰ ff. ‰ . . . . .
p pp

? Œ bbfpfJ. ‰ b f f f b
b f ‰ f ‰ f ‰ b ppf ‰ f ‰ f.f ‰
f f
? Œ bbffJ ‰ fJf. ‰ bbfJf. ‰ fJf. ‰ fJf. ‰ bbfJf. ‰ fJf. ‰ fJf. ‰ bbfJf. ‰ fJf. ‰ fJf. ‰
∏∏ ∏∏

∏∏ ∏∏

∏∏ ∏∏

∏∏ ∏∏
∏∏ ∏∏

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∏∏ ∏∏
∏∏ ∏∏
1
3
J J J J J J J J J J
1
3

70 .j >j
fFF bf .j ‰ >ffffj ‰ Œ
2

fFF bf FF ff ‰ bfff ™ bf bf
f
& f fFF bf ff
1

fff ™™ f
70

{{
∏∏∏∏∏∏∏∏∏∏ ∏∏ ∏∏
2

fFF bf FF .Jff ‰ bfff ™ bf bf fFF bf ‰ fJfff ‰ pp Œ

™ f
& f fFF bf ff
1
∏∏∏ ∏∏∏ ∏∏ ∏∏

fff ™™ f
J ™ J
. . . . . . ff. . . > f. ff. ff.
sf

? bbffJ. ‰ ffJ. ‰ ffJ. ‰ bbffJ. ‰ ffJ. ‰ Jf. ‰

bbff ff fsff bfpp
‰ Jf. ‰ >Jf ‰ bfJf. ‰ fJf. ‰ fJf. ‰
? bbffJ ‰ ffJ ‰ ffJ ‰ bbffJ ‰ ffJ f bbfJf. f f
‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ 1
2
1
2

74 .j >j .j .
f
fFF bf .j ‰ >fffj .
f f f f
74
& Œ fFF bf f f f ™ b f f fff ™™ f f ‰ fFF bf j ‰ bfffJ. ‰

{{
∏∏∏∏∏∏∏∏∏∏ ∏∏ ∏∏

f f™ f ‰ fJf bf f ‰ bff
& Œ fFF bf f fff™™ bf f fff ™™ f f fFF bf ff ‰ f
p F
F Jf.
‰
. . . . . J
ff. bff. ff. fsf>f . bb
sf
f
? bffJ. ‰ ffJ. ‰ ffJ. ‰ bffJ. ‰ ffJ. ‰ fJf. ‰
bff
Œ bfJf. ‰bb fJf.
bfJf. ‰ fJf. ‰ f>Jf ‰ ‰
p

? bffJ ‰ ffJ ‰ ffJ ‰ bffJ ‰ ffJ ‰ J ‰ J ‰ J ‰ J ‰ Œ J ‰ J 2 ‰

3
2
3

78
#>f nf # >sans
f
retarder
#>f
& ##>ff Œ Œ ff ™ bf f ff ™ bf nf ##>sans
ff ‰ retarder
Œ Œ ##>ff ‰ Œ Œ
∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏ ∏∏

∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏ ∏∏
∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏ ∏∏

###fff
#
###fffJ ‰
f
##ffJ ‰ Œ
78

{{
& sf j
Œ Œ f bf f ff ™ bf sfJj
Œ Œ Œ
f
p ™ Jj
#
nsfffj # f. . bb ff. n#sfffj #dim.
f. molto n# ffj # f. #f.
dim. molto

. bn ff .
? n# f.Jf ‰ ‰ #fJ. ‰ Œ bnfJf. ‰bb fJf. ‰ J
n# f.f ‰ # Jf. ‰ #fJ. ‰ n# f.Jf ‰
# Jf. # Jf. ‰ #Jf. ‰
p

? .J ‰
1 J ‰ #fJ ‰ Œ J ‰ J ‰ .J ‰ J ‰ #fJ ‰ .J ‰ J ‰ J ‰
2
1
2 59• Pianist 94

P56 SCORES Debussy-FINAL.indd 59 11/01/2017 10:31

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 11 Claude DEBUSSY (1862-1918) INTERMEDIATE/
ADVANCED
Serenade for the Doll, No 3 from Children’s Corner .j .j .j
#f # f
5 2 3

#>f ####
f
3 1 1

f f
82
##ff ‰ Œ Œ Œ Œ Ff ‰ f ‰ f ‰f ff. ‰ f.j ‰ f. ‰
&
∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏

#f # f j
5 2 3

#>fJ #### .JFf ‰ .Jf ‰ .Jff ‰ .Jff ‰ .Jff ‰ .Jfj ‰

{{
3 1 1
82

& ##ffj ‰ Œ Œ pŒ Œ
n# fJf # f. f. # f. .Jj .Jj .Jj .Jj .Jj .Jj
. . ####
pp

? J
j ‰ J ‰ # f pJ
.f ‰ J. ‰ #fJ ‰
.
n# ff # f. J. ‰ #f &
####
fff ‰ fff ‰ fff ‰ fff ‰ fff ‰ fff ‰
J ‰ J ‰ #f. ‰
pp

? j j j j j j
.J ‰ J ‰ #fJ ‰

∏∏∏ ∏∏∏
∏∏∏ ∏∏∏
∏∏∏ ∏∏∏

∏∏∏ ∏∏∏
∏∏∏ ∏∏∏
∏∏∏ ∏∏∏
J & fff ‰
3
fff ‰ fff ‰ fff ‰ fff ‰ fff ‰
3

- .j .j .j - .j .j .j
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86
ff
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J.F- ™ ‰
f ‰ f ‰ ‰ ‰ ‰ ‰ ‰ ‰
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86& j Ff- ™ #ffJ.j
.nJff
fJ ‰ fJ ‰
#### .Jf ‰ .Jf ‰ .#Jff
‰ J

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#### .Jj .Jj .Jj .Jj .Jj .Jj .Jj ‰
‰
.Jj ‰
‰
.Jj ‰
‰
.j .j .Jj
& # fff ‰ fff ‰ fff ‰ fff ‰ ff ‰ f ‰ ‰ ‰ ‰?
## # .j .j .j .j f. j n ff. j ## ff. fj fff
.j
fff
.j #n fff. j ff
f. j
f
n ff. j
& fff ‰ fff ‰ fff ‰ fff ‰ ff ‰ f ‰
#
‰
fff ‰ fff ‰ ‰ ‰ ‰?
n ff. #n fff.
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#### . . .
2

j j j j j j j j j ‰ ? ffJ ‰ ffJ ‰ ffJ ‰

90 1

90& ‰ ‰ ‰ ‰ ‰ ‰ fff ‰ fff ‰

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏
####
fff fff fff fff fff fff fff . . .

{{
2

j j j j j j .j .j . j ‰ ? ffJ ‰ ffJ ‰ ffJ ‰

1
∏∏∏ ∏∏∏ ∏∏∏ ∏∏∏

‰ ‰ ‰ ‰ ‰ ‰ pf ‰
∏∏∏ ∏∏∏ ∏∏∏ ∏∏∏

fff ‰
∏∏∏ ∏∏∏ ∏∏∏ ∏∏∏
∏∏∏ ∏∏∏ ∏∏∏ ∏∏∏

∏∏∏ ∏∏∏ ∏∏∏ ∏∏∏

∏∏∏ ∏∏∏ ∏∏∏ ∏∏∏

∏∏∏ ∏∏∏ ∏∏∏ ∏∏∏

∏∏∏ ∏∏∏ ∏∏∏ ∏∏∏

∏∏∏ ∏∏∏ ∏∏∏ ∏∏∏

& ff f fff fff fff fff fff f fff più p

? #### #fff ff ff #ff ff ff npfff. ‰ ff. ‰ ff. ‰ più p
‰ ‰ ‰ ‰ ‰ ‰ F- ™
#Jff Jf Jf #Jff Jf Jf nJff. ‰ Jf. Jf.
f
? #### ‰ f ‰ f ‰ ‰ f ‰ f ‰ f ‰ f ‰
F- ™
J J J J J J J J J
1

ff. fff. fff. fff. fff. fff. b nn fff

- fff. . .
# f nf f bf n f
94
? ## # J ‰ J ‰ J ‰ ‰ ‰ ‰ - ‰ Jf. ‰ Œ
∏∏∏∏∏ ∏∏∏∏∏
∏∏∏∏∏ ∏∏∏∏∏

f. fff. fff. fJff. fJff. fJff. b nn Jfff f. n f.

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

nf f bpp

{{
? #### fpfJ expressif ff
94
‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ Œ
? #### pF expressif f nf f f ∑
1 2 3

nf ™
2 1

f F f f pp

? #### FF ™ F™ F™
nf f f ∑
1 2 3

nf ™
2 1

f f F f f
F™ 5
F™ F™5

5 5

n##fff. fff. fff. fff. fff. fff. nbnfff- fff. . .

? #### nf f bf n f
98
‰ ‰ ‰ J. ‰ J. ‰ J. ‰ nbnJfff- ‰ Jfff. ‰ Œ
∏∏∏∏∏ ∏∏∏∏∏

∏∏∏∏∏ ∏∏∏∏∏

n##fJff. fJff. fJff. f. n f.

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

∏∏∏ ∏∏∏

&
nf f bpp

{{
? #### fff fff fff
98

pJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ Œ &
? #### 1

nf ™ nf f f ∑
f f FF f f pp
p
FF &
? #### ™ 1
™
nf ™
F™
nf f f ∑
FF f f FF f f &
™ ™ Pianist 60• 94
F™

P56 SCORES Debussy-FINAL.indd 60 11/01/2017 10:31

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 11 Claude DEBUSSY (1862-1918) INTERMEDIATE/
ADVANCED
Serenade for the Doll, No 3 from Children’s Corner
.
#### . . nf f b fJ n#>fff
102
f
nf f bf nf . ‰ n >ffJ ‰ ∑

∏∏∏∏∏∏∏∏∏∏∏∏
& # f n b f

{{
102
# # . nf. f f f J ‰ #fff
&# f nf f b f pp
J
‰ ∑
#### Œ
p sf
j
p

& # ∑ Œ ppnf nf f Œ Œ f ‰ Œ p f f
## # Πn f nf f
p sf
fj f f
& ∑ Œ nf nf f Œ Œ >fff ‰ Œ f f 2

n f nf f f f
5

>f 5
2

#### Π. f. f. -
107
j
& # jf
jf
f F- ™ Œ j
#f
f
.
j
f
F™
## # Πf . j f.

{{
 j
. jf -
107
f
Œ jf f j F™
& pj f
f .
f j F™ f
#mf f
f -
####
& # f fp f f f f f
f
f
f
f
f
f
fmf 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

#### j . . f. . j j f. . f.
111
j ‰ fJ
j
j ‰ fJ
j
& # Œ fj f. ‰ fj fJ ‰ j f
j
#f ‰ J. ‰f J ‰ j f ‰ f J
fjf ‰ j f
j
#f ‰ J. ‰f
f . . ‰ pf . j ‰ j f. f .

{{
## # . jf . jf
Œ pj fj ‰ fj fJ.
111
‰ j jf
‰#mf ‰ f J ‰
j f ‰ j ‰#mffj fJ ‰ f J ‰
& f . j f f J fJ jf
f .
fJ j f
f . f .
####
& # f fp f f f f
f
fmf
f
f
f
f
f
fp f
f f
f
f
fmf
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

####
115 5 2
1

& # ff ff ff ff ff ff
2

ff ff ff ff ff ff

{{
## #
115 5 2
1

& ff ff ff ff ff ff
2

ff ff ff ff ff ff
#### più p pp

& # ff ff ff ff ff ff ff ff ff ff ff ff
#
pp

&##
più p
ff ff ff ff ff ff ff ff ff ff ff ff

f. “f.”
#### j U
119
‰ Œ Œ ff ‰ Œ Œ f Jf. ‰ Œ Œ “Jf.” ‰ Œ Œ ∑
& # ff f. j f U

{{
119
# f f
J
&## ‰ Œ Œ ff ‰ Œ Œpiù pp J ‰ Œ Œ J ‰ Œ Œ ∑
ff ff. f f
#### J
∑ ? f ‰ Œ Œpiù ppf
f f
∑ ∑
U
∑
& # Jf. &
U
# f f
f
&## ∑ ? f ‰ Œ Œ ° ∑ ∑ ∑
J &
° 61• Pianist 94

P56 SCORES Debussy-FINAL.indd 61 11/01/2017 10:31

 TRACK 12
SAINT-SAËNS arr. SILOTI (1863-1945) ADVANCED
The Swan

Pupil of Tchaikovsky, cousin of Rachmaninov, Alexander Siloti was prominent
among the ‘Silver Age’ of Russian musicians at the turn of the last century, as a
teacher, arranger and performer; he partnered Rachmaninov in the Second Piano
Concerto on separate occasions as both soloist and conductor! His transcriptions of
Bach and other composers are surprisinglyq delicate
Adagio = 72 compared with his contemporaries
Playing tips: When our editor first heard a performance of this Siloti arrangement
she was transfixed and immediately determined to include it within the Scores
section of Pianist. Here, at long last, it is. The melody should feel like it’s gliding by,
just as a swan would swim across a lake.
Pedal tips: See pedal markings on the score.

#6
and reflect his fastidious perfectionism: nothing is left to chance. Read Lucy Parham’s step-by-step lesson on this piece on page 24.

&# 4 f f f f f f f f f f f f
Adagio q = 72

{{
Adagio q = 72
6 f f f f f f f
& # 46 f f f f f f f f f f f f f f f f f
& 4 pp 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
? # 46 pp f f
pp

f f f f f f f f f f
? # 46 f f f f f f f f f
? # 46 f
∏∏∏∏∏ ∏∏∏∏∏

f f 2
f f f f f f f f f
°ff 2 f f f
∏∏∏∏∏

f
° molto cantando ed espressivo
2

°
melodia sempre

#
2 4

f f - f f ≈f f f ≈ f f f f ≈f f f Œ≈ f f ?
p
melodia sempre molto cantando ed espressivo 2

2& f sempre f moltof fcantando f f ed fespressivo

2

# pf f f

{{
f f f Ff f ?
melodia
f f f f f
4

&# p≈ 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 ff ≈f f ff ≈≈ f f ff ≈ f f ff ≈f f ff Œ≈ f ff ff ?
F f f f f f Œ
2
2 4 2
2

&
2

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
≈
pp
≈ f ≈ f ≈
f ≈ f ≈ f f≈ ≈F F
≈
≈ ≈ ≈
?# f f f f ff f
pp
pp f f f f f f
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?# f
f f f f f f f f f f f f f f f f f
2
f f f f f f f
f f f f f f
3
f f 1 1

fø f 2 ø f fø f f ø f fø f fø f 3 f 1 1

fø 2
ø fø ø fø fø 3 1 1

ø f ø ø ø ømf- ø
f j ‰ Œ
4
?# F f f &≈ f f ≈ f f ≈ f f f f f f mfF- ™ f Œ
3

f
2 3

≈ f f ff f f ≈f ≈f ≈- f f ≈ f f f ≈ f f f ≈j f f‰ f ≈Œ f f f ≈Œ f f f

{{
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P62 SCORES Siloti-FINAL.indd 62 09/01/2017 10:28
 TRACK 12
SAINT-SAËNS arr. SILOTI (1863-1945) ADVANCED
The Swan
#
8 mf
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P62 SCORES Siloti-FINAL.indd 63 09/01/2017 10:28
 TRACK 12
SAINT-SAËNS arr. SILOTI (1863-1945) ADVANCED
p The Swan mf
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f ≈ f ≈ f F f ≈ f ŒŒ≈ f
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94
ø øø

P62 SCORES Siloti-FINAL.indd 64 09/01/2017 10:28

 TRACK 12
SAINT-SAËNS arr. SILOTI (1863-1945) ADVANCED
21
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≈ ppp ≈ ≈ ≈ ≈
f f f ff
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e calando
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pppp
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calando
f
f ŒŒ ŒŒ U
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ppp
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ff ? f f f f ff ff UŒ Œ
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4
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f & f
∏∏∏∏∏∏

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2 4 2 5 2 5 2 5 2 4
4 65• Pianist 94

P62 SCORES Siloti-FINAL.indd 65 09/01/2017 10:28

 T H E S O U ND OF CL ASSICAL

Barry Douglas
plays Schubert, Works for Solo Piano
In this second volume, Barry Douglas probes the
romantic aspirations of Schubert’s writing, whether
in the intimate melodies and contrasts of the
impromptus, or in the monumental Sonata in A,
the extraordinary range and technical challenges of
which call for the virtuosity of the interpreter while
plunging the listener into the illness, pain, and hope
of the composer’s final years.

Schubert: Volume 1

‘An excellent disc’

EDITOR’S CHOICE
CHAN 10933

CHAN 10807

Gramophone

BRAHMS: WORKS FOR SOLO PIANO

CHAN 10716 CHAN 10757 CHAN 10833 CHAN 10857 CHAN 10878 CHAN 10903

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5• Pianist 77

p66_pianist94.indd
Barry 5
Douglas | Schubert | Pianist.indd 1 12/01/2017 20:58
21/12/2016 10:55

VÍKINGUR ÓLAFSSON
A musical childhood in Reykjavik was the springboard for this pianist, who talks to
Erica Worth about his career, his debut disc on DG and tales of touring with Philip Glass
Tell me about growing up in
Iceland. Where did the piano
fit in to your childhood?
I was born in 1984, in the last generation
before the internet, so I think I had
a childhood of calm and peacefulness.
My parents are both musicians and
I grew up with my mother teaching
piano at home. So I tried my hands at
what I’d heard during the lessons she gave.
I always saw the piano as the grandest
‘toy’ of them all. It was either piano
or Lego!
In Iceland at that time there were two
or three kids of my generation who were
quite good – playing things like
Prokofiev, Liszt and Chopin – but it was
a protected environment, and kind of
individualistic. We weren’t exposed to a
lot of what was going on in the music
world. In some ways that’s good, in some
ways bad. Of course it might have been
stimulating to know what was happening
in New York, London, Moscow. There
was never any obligation when it came
to the piano, but most days I really did
want to practise – for three, four, five,
even six hours a day.
p67_Pianist at work-FINAL.indd 67
P I A N I S T AT W O R K
What happened next?
When I was 16, I met the wonderful
pianist and teacher Ann Schein when
she came to Iceland in 2000. I had just
made my concerto debut playing
Tchaikovsky’s First. She basically told
me that I needed to get out of Iceland!
She was absolutely right. She suggested
I go and study with Jerome Lowenthal
at the Juilliard School. Up to that point,
I had been to one or two masterclasses
outside Iceland, but that was all. So I
auditioned and luckily I got in.
Going there marked a decisive change
for me. Not only in terms of how much
I started to really work (I was known as
the kid who never left the practice room!),
but more importantly I went to all the
concerts I had been dreaming about,
which we did not have in Iceland.
Seeing Martha Argerich for the first time
was a huge moment for me, the way she
played the Ravel Concerto. I went to
concerts two, three or four nights of the
week. The rest of the time I practised
incessantly. I realised too that I wasn’t
alone in the world – there were lots of
pianists, some better than me, some worse.
67. Pianist 94
It was great to see this, though also a big
shock. Seeing all these kids playing the
Transcendental Etudes. And in every
other practice room someone playing the
Brahms Paganini Variations. I mean,
every other room!
You studied with two teachers
at Juilliard.
I studied with Jerome Lowenthal first.
He has a power of spontaneity from the
Alfred Cortot tradition, with whom he
studied. When he touches the piano he
makes a multitude of indescribable
colours. Then I studied for my Masters
with Robert McDonald, who comes
from the Austro-German tradition. Bob
studied with Rudolf Serkin. You cannot
imagine more contrasting figures than
Cortot and Serkin. Bob is quite analytical
and ‘classical’, it’s all about proportion
and the strength of the form in your
interpretation. I love them both very
much, as you can probably tell!
All photos @ Ari Magg
How did your career take off?
I graduated from Juilliard in 2008 when
I was 24 years old. I decided not to go
▲
12/01/2017 11:13
 down the competition route. I moved
with my now wife to Oxford (she was
studying there) and I had two or three
years studying for myself, to become my
own teacher. After Oxford I moved to
Iceland for a year, and then Berlin.
Gradually I played more and more, but it
was an organic progress, by word of
mouth. The agent Jasper Parrott heard
me in May 2011, playing the Grieg
Concerto with Vladimir Ashkenazy at
the opening of Reykjavik’s Harpa concert
hall. Three years later I joined the artist
management agency Harrison Parrott,
and maybe that’s where the seed was sown.
It all seems to have been
so effortless.
Not always. In 2012 I felt nothing was
happening. I guess during the times
I didn’t have many concerts I did other
things. I did a TV series. I booked a
meeting with the head of television
(one of the benefits of coming from a
small country) and they liked my idea.
Iceland was still a shambles after its
national bankruptcy. It was fertile
ground for something like this: to discuss
sonata form, counterpoint, the art of
Winterreise and so on, all on prime time
TV! I could never have done that had
I followed a more conventional path
with too many concerts.
How did you meet Philip Glass?
In 2014 he invited me to play the
complete etudes with him and a third
pianist, Maki Namekawa, as part of a
tour that included Reykjavik. (Maki made
a recording of the 20 complete etudes on
Glass’s label and she’s worked with him
for many years.) He came to Iceland the
morning before the concert. I had asked
his assistant if I should play the etudes
for him the day before, in case he wanted
changes. He said that wasn’t necessary
and that he’d love to hear me play them
at 4pm on the day of the concert (the
concert being at 7.30pm or 8pm).
I turned up punctually at 4pm and
I started playing, and we soon realised
that I had been sent the wrong version
of the etudes! These pieces were still quite
new and being prepared for publication.
What I had learned was considerably
different in terms of the musical structure.
So I was a bit shocked. I had learned
them by heart too, which is not easy.
He left me to it at 5pm, with two and
a half hours left to re-learn them.
I managed in the end, but I have to say
I’ve definitely looked more comfortable
on stage than on that night!
What is it like to play Glass’s
music for Glass?
Philip approaches the music not only
from the composer’s perspective, but also
from a performer’s. He will encourage
the performance, if it’s convincing, even
if he doesn’t agree with the details of it.
p67_Pianist at work-FINAL.indd 68
For instance, we haven’t always agreed
on the tempos, and he’s told me ‘don’t
change it’. I tend to play composers who
are no longer alive, so it’s refreshing to
work with Philip, who is one of the
pioneering voices of the last century.
He’s so open to experimentation, and
when you hear him play his etudes you
feel they are being improvised, as if he’s
in his workshop.
He’s also a man of relentless energy.
We were travelling on the same tour
early in the morning to Gothenburg in
Sweden – a 4am wakeup call, I recall.
We had to take two flights, go to the
hotel with barely any time to check in or
get some rest, and then straight to the
venue for the sound-check and rehearsal.
We had a light snack and then we went
on stage. After the concert, at 10pm,
he took the team to a cosy restaurant.
We were having a nice time even if we
were all exhausted. Just before midnight
he started to receive many text messages.
He apologised and explained to us that it
was his birthday tomorrow and people
were already sending him birthday wishes.
He ordered champagne at midnight
to toast his new year, but also asked for
a big cup of black coffee for himself.
There he was, turning 77, and I asked
him, ‘What are you doing?’ He replied,
‘You see, Víkingur, I always compose for
about five hours… and seeing I haven’t
had any time today, I have to do it now.’
He asked Maki to knock on his door
at 6am. Amazing. He turns 80 on 31
January, and if you think about it,
he’s turning 100 because of the time
he hasn’t slept!
Can an amateur pianist play
the etudes?
They are not like the Transcendental
Etudes of Liszt. They are approachable,
and they work well as educational music,
but I actually find them quite difficult.
If you play them as clockwork-like,
pristine structures and you look for the
most specific colours, timing and rhythm,
68• Pianist 94
then they become as difficult as any etude.
The beauty of these pieces is in the detail.
The etudes differ in terms of level: the
first book has some easier and slow etudes.
It also depends on the tempo you choose.
I don’t think everyone has to play the fast
ones quite as fast as I do! I encourage
readers to try them. There’s a lovely new
edition from Chester Music.
What’s your relationship with
minimalist music?
I never know what minimalism is. If you
want to define it as the music of a few late
20th-century American composers – such
as Terry Riley, Steve Reich and Philip
Glass – I like it very much. I would never
describe it as minimal music. If you
think of it as minimal, you miss out
on so many aspects! If you are looking
for Mahler in Glass or Reich, yes, it’s
minimal Mahler – but it’s maximal Glass
and maximal Reich! It’s a common
misunderstanding.
It’s perhaps too easy to put them into
a group – Reich, Glass, John Adams, for
example – but I find these three to be
extraordinarily different musicians and
minds. You can also say that Beethoven,
Mozart and Haydn were all Classicists,
but that doesn’t make them the same.
When you open the score of Glass’s
Etudes, you see these pure structures and
repetitions, but when working on them
I realised that there’s no such thing as a
repetition in this music. It’s more like
rebirth. As long as time keeps moving
forward, we are ever changing. When we
come back to the same material, we are
not the same; the material’s not the same;
it will never be the same! ■
Víkingur Ólafsson is Artistic Director
of Sweden’s Vinterfest in February
(www.vinterfest.se) and the Reykjavik
Midsummer Music festival, in early June
Glass: Piano Works (reykjavikmidsummermusic.com).
Víkingur Ólafsson (with Ólafsson makes his debut at the
the Siggi String Quartet) International Piano Series in London
DG 479 6918 in autumn 2017. vikingurolafsson.com
12/01/2017 11:13
 YOUR PIANO

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69• Pianist 94

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 E D U C AT I O N

UNDERSTANDING THEORY
PART 7: MODULATION
Music educator Nigel Scaife explains how changing keys gives form, colour and tension
to music – and why it’s crucial to understand the circle of fifths

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 C
Yonty Solomon, receiving a Master’s degree in
Performance Studies. He was awarded a doctorate
F G
from Oxford University and has subsequently had Am
wide experience as a teacher, performer, examiner Dm Em D
and presenter. Nigel has contributed to many
Bb
publications as a writer on music and music education.
Gm Bm

I F#m A
n this issue we’re going to look at some of the ways composers typically
move from one key to another – the process called modulation.
Most piano pieces start and end in the same ‘home’ key, but they
Eb Cm
usually modulate at some point, even if only for a short time.
The process of modulation should not be a mysterious one that only Fm C#m
composers grapple with, as understanding how the modulations work in
the pieces you are learning gives you a better understanding of the music’s Ab E
structure. This in turn helps you make the music more expressive in Bbm G#m
performance. The process of passing from one key to another adds interest, D#m
variety and contrast to music, as well as drama in many cases, so to convey
these aspects fully the performer needs to grasp the tonal journey of the piece. Db B
Modulation is a vital aspect of form in music. The process of changing F#
key articulates structures such as binary, ternary and the more sophisticated
sonata form, to name but a few. In order to fully establish a different key
to the home key there has to be a perfect cadence in the new key, usually
with a dominant seventh before the new tonic chord. In binary form the The most common modulation in major keys is undoubtedly to
first section starts in the tonic and moves to the dominant, with the second the dominant. In minor keys it is common to modulate to the relative
section starting in the dominant and working its way back to the tonic by the major or dominant minor. It is worth noting that the five closely related
end. This AB form appears in many simple piano pieces, particularly Baroque keys form the diatonic major and minor triads of the home key
dance movements. Studying the harmony of these pieces is a good way to (excluding the diminished triads):
start getting to grips with modulation. C Major
The most common type of modulation is from the home key to
w w w
w w
w
& w w
w w
w w
w w
w w w
what is known as one of the closely related keys. These are keys with
a difference of no more than one sharp or flat in their key signature. w
w w w
All keys have five closely related keys and these can be found by looking at C d e F G a
the circle of fifths diagram opposite. Taking any given key you will see that C minor
there are five keys surrounding it. So, for example, taking Bb major you can
b w w w
w w
w
see that it is surrounded by G minor (its relative minor), F major (dominant), &b b w
w w
w
w
w
w
w w
w w
w w w
D minor (relative of the dominant), Eb major (subdominant) and C minor w
(relative of the subdominant): c Eb f g Ab Bb

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 Any keys which are not closely related to each other are said to be ‘remote’
or ‘distantly related’ and modulation to these keys is relatively less common
as a consequence.
So how do we know when the music has modulated? As well as hearing
the movement to the new key, we can usually find visual signs in the notation.
For a new key to be fully established there must be a perfect cadence in the
new key. This means that there is likely to be an increased use of accidentals
(sharps and flats) within the music. These accidentals often give us a clue that
there is a change in tonality. If, for example, we take C major as our home
key, we can see that the dominant 7ths of the closely related keys all involve
the use of an accidental:
From C major
Modulation to: New key Dominant 7th
Dominant G D7 (D, F#, A, C)
Subdominant F C7 (C, E, G, Bb)
Relative minor a E7 (E, G#, B, D)
Relative minor of dominant e B7 (B, D#, F#, A)
Relative minor of subdominant d A7 (A, C#, E, G)
There are three standard means of getting from one key to another.
Firstly, there is what is called common chord modulation. This is where
the process is made smooth by the use of one of more chords that are
common to both the old key and the new key. Chords which are common
to both keys and which are used to modulate are called pivot chords.
These pivot chords straddle both keys and make the process seamless.
In the following example from Mozart’s Fantasie in D minor K397,
the chord in bar 4 acts as a pivot, as it is both the tonic in the home key of
this particular section, D major, and the subdominant of the key to which
the music is about to modulate, A major. The chord in bar 5 is an E7 in
first inversion. The introduction of the G# as an accidental in bar 5 alerts us
to the fact that the music is moving away from the tonic key. It only fully
Passing from one key to another adds
interest, variety and contrast, so the
performer needs to grasp the tonal
journey of the piece
The most common pivot chords in a major key are ii or vi; in minor keys
they are i or iv.
The second type of modulation is called abrupt modulation. As its
name suggests, this is where there is a direct change of key without the use
of an obvious pivot chord. In this type of modulation it is more likely that the
key to which the music moves is not a closely related one. Abrupt modulation
is far less common than the common-chord type of modulation.
The third type of modulation is through the use of chromatic chords.
These are chords which contains a note or notes which do not belong to
the prevailing key. Chromatic chords are used for their colour and for their
dynamic quality which can help to propel the music forward. They are
often written simply as interesting chords in their own right within a key,
but they can also be used to modulate.
One of the most colourful of the many chromatic chords is the
diminished 7th. This chord is made up of a series of minor thirds and
has an unstable quality which gives it a distinctive sound. Here are some
examples in Beethoven’s ‘Pathétique’ Sonata. Notice how the diminished
7th chords, shown by arrows, destablise the sense of key. They allow
Beethoven to move from G minor to the following remote key of E minor
at the start of the next Allegro section. The Eb spelling in the second bar of
the example changes enharmonically to D# in the following bar, where the
function of the diminished 7th changes and the key moves from the flat
side of the circle of fifths to the sharp side:
Eb

j fffj ‰
Grave
b
arrives in the new key with the perfect cadence at the end of the example:
& b bc ff ff ™™ ff #nfff ™™™ fff nfff f™ f f
#nff ‰ #nfff fff ™™™ fff ff ™™ ff ff

{
Allegretto
f f f™ f f f f f ff ff ™™
## 2 f f f ff f f fp
& 4f f f™
Œ f nf ™ f # f f f f ™ f f ™n f f ™

{
? bb c J ≈™ f
fp

b f f™ ≈ ™ fR
#2 fff fff ™™™ RÔ Ô
& # 4 FF FF FFF ff Œ
Diminished 7ths
D Major: I IV ii V7 I D#
U
Allegro
b nf nnn C f f
& b b #nfff fff ™™™ fff fff ™™#fff fff nff
™
(tonic pedal) A Major: IV

##nfff n ff # #fff f

{
# f f f f f f≈f f≈ n f n f # ff
&# f #ff ™ f f Œ fp
f f ™ f f ™ f f nf f
p

{
p etc.
U
decresc.
f
pp
? bb J
# j j f f ff b J J nf f j nnn C f f f f
& # #ff ff ff ff ff ‰
ff ‰ Œ
?
J
F nf f
J attacca subito
V7b I iib Ic V7 I
If one note in a diminished 7th chord is taken down a semitone, then a
So pivot chords can be named in both old and new keys. Any given dominant 7th chord is created. In this way a number of different keys can
pair of related keys shares at least one diatonic chord in common which be reached with relative ease: a useful tool in the improviser’s toolbox!
can provide the smooth transition. If we take the modulation from C major When a chromatic chord effectively acts like a dominant it is called a
to its dominant, G major, we see that they share four common chords, secondary dominant (or sometimes an ‘applied dominant’). The chord
any one of which may act as a pivot between the keys: that follows one of these will sound like a temporary tonic and therefore
it is said to be ‘tonicized’. In other words it is momentarily established as
C Major a tonic without that tonic being fully established as a new key.
w w w
w w
w w
w
w
This brings us to the issue of what constitutes a modulation. Although the
& w
w w
w
w w
w w
w w w
w
concept is relatively straightforward to grasp in principle, in reality it can be
less clear-cut. Sometimes there might be only a brief change of key, in which
I iii V vi case it is usually called a ‘transient’ or ‘passing’ modulation. This variety
G Major
within the world of modulation only reinforces the fact that music is such an
# w w endlessly fascinating art form to study, to analyse and to theorise about – and
& ww
w w
w w
w w
w
w
w
w
w
w
w
w
w
w
w
even better, to participate in. n

I ii IV vi In the next issue Nigel Scaife addresses the complex subject of ornaments,
explaining the correct way to execute them.
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 E D U C AT I O N

HANON
RECONSIDERED
The mention of exercises makes most
pianists groan but they’re essential for
building technique. John Evans talks to
leading pianists and discovers how they
keep exercising fresh

P
icture the scene. Charles-Louis Hanon,
pedagogue, composer and creator of
that great finger-workout manual,
The Virtuoso Pianist in Sixty Exercises,
is enjoying his daily stroll along the
seafront at Boulogne-sur-Mer in
northern France when he meets two American
ladies who, it turns out, are also piano teachers.
One is called Abby Whiteside and the other,
Dorothy Taubman. After a brief exchange of
pleasantries, the three adjourn to a café to
discuss their work. Big mistake.

© Lang Lang: © Harald Hoffmann/Sony; Graham Fitch: © Erica Worth; Chenyin Li: © Hao LV/Lumira Studio
The views of these two Americans couldn’t be
more different from the respected and respectable
Frenchman who sits before them. Since its
publication in 1872, Hanon’s 60 Exercises,
has become a mainstay of teachers and pianists
the world over. None other than the great
pianist and composer Sergei Rachmaninov,
who practises them every day, says they are
why Russia’s conservatoires produce so many
virtuosos. But as Hanon leans back in his chair
with quiet satisfaction, he senses his two new
friends are not so impressed.
Whiteside politely suggests Hanon’s exercises
are the problem and not the solution for anyone
aspiring to be a sensitive and successful pianist.
She rises from her chair and, ignoring the
nervous glances being directed at her from
others in the café, demonstrates her theories.
Turning an imaginary doorknob, she shows
how the forearm and wrist rotate as one.

p72_Education-FINALish.indd 72 10/01/2017 11:03


Whiteside cracks an imaginary whip
to demonstrate how the upper arm
controls the action of the forearm and
wrist. And then – sacré bleu! – she half
rises from her chair to adopt the position
of a sprinter at the start line, to show
how a pianist can balance themselves
against the floor and the piano stool,
enabling their whole body to be part
of the playing process.
At last, Whiteside sits down and
explains to Hanon that a pianist’s power
lies not in the fingers but in the whole
body. By coordinating the large muscles
of the legs, the back and the upper
arms, a pianist can play with more
freedom and greater control.
‘Nothing less than the entire body
can furnish the control for a real
rhythm, for the most delicate gradations
in the use of dynamics and for the most
powerful climaxes. Put this emotional
rhythm in your body and keep it going.’
Hanon, now determined to face down
this brash American, flexes his fingers in
readiness for his Exercise No 1, keen to
demonstrate how dexterous fingers
are the natural servants of the music.
Alas, before he can strike the first of
his imaginary notes, he is interrupted
by the other lady, emboldened by her
friend’s theatrics.
‘Your finger exercises are the cause of
untold misery,’ says Dorothy Taubman.
She explains how generations of pianists
have suffered injury through awkward
and repetitive exercises intended to
strengthen the fingers. Now, thanks to
her theories and practices – notably her
ideas on coordinate motion – she says
injured pianists have been able to restore
their technique.
Coordinate motion, she explains, is
the practice of harnessing all the parts
of the body to use as one. Crucially, no
single body part is required to perform
all tasks. Awkward movements may be
eliminated by using those parts of the
body best able to perform them.
Body parts are properly aligned in order
© Lang Lang: © Harald Hoffmann/Sony; Graham Fitch: © Erica Worth; Chenyin Li: © Hao LV/Lumira Studio
THREE OF A KIND
Charles-Louis Hanon
The Virtuoso Pianist (complete; G Schirmer) is published singly in three volumes or complete.
In the preface, Hanon confidently proclaims: ‘If all five fingers of the hand were absolutely equally
well trained, they would be ready to execute anything written for the instrument.’ hanon-online.com
Abby Whiteside
The influential teacher’s legacy is kept alive by the Abby Whiteside Foundation, which trains
a new generation of teachers and performers in her work. The Foundation presents a concert series
at Carnegie Hall, featuring world-renowned artists and promising young pianists in the early stages
of their careers. abbywhiteside.org
Dorothy Taubman
The so-called Taubman Approach trains musicians in the piano teacher’s theories on alignment
and coordinate motion at the Golandsky Institute, led by former Taubman protégé Edna Golandsky.
Proponents of the Approach claim it has helped pianists overcome their technical limitations, as well
as treat playing-related injuries. golandskyinstitute.org
to aid movement and support. Gravity Not so, Taubman. She was born
may be harnessed to reduce muscular a century ago this year, in 1917, and
effort; using the whole body amplifies died in 2013 aged 95. Even so, it’s not
the individual effectiveness of the body hard to imagine that in some celestial
parts, so minimising the amount of debating chamber, the three might still
action and energy required in playing. come to intellectual blows.
To Hanon the ideas espoused by Today, here on Earth, their legacy and
Whiteside and Taubman are anathema. that of others famous for their exercises
He may be aware that the pedagogue including Carl Czerny, Oscar Beringer,
Theodor Leschetizky believes that ‘finger Isidor Phillip, Carl Tausig, Josef Pischna
movements are right if they combine and no less a figure than Johannes
with the natural swing of the relaxed arm.’ Brahms, continues to be debated.
He has heard another great piano teacher, Indeed, the temperature of such debates
Leonid Nikolayev, pronounce that there has risen in recent years with the
can be ‘nothing by finger without arm; emergence of online groups promoting
nothing by arm without finger.’ But the and defending one school of thought
ideas he has heard this morning beyond over another. The followers of Whiteside
the pale. He bids them good day. and Taubman, especially, are evangelical
in their enthusiasm.
Brickbats and bouquets Hanon, on the other hand, seems to
Of course, this encounter never took attract a less enthusiastic following,
place. Had she bothered to make the probably because his approach now
sea crossing from the US to France seems so narrow. True, there’s a website
towards the end of the 19th century, dedicated to the man and his exercises
Abby Whiteside, who was born in 1881 where you can buy the three editions of
and who died just over 50 years ago in his most famous ‘manual’, but people
1956, might conceivably have visited seem free to throw brickbats and
Hanon, who died in 1900. bouquets at him with alacrity.
Graham Fitch is a renowned UK-

based piano teacher, familiar to readers

An exercise regimen was essential for
Lang Lang as for every Chinese student
How we do an exercise matters more
than what we do, says Graham Fitch
Hanon OK, Czerny better, Brahms
best, according to Chenyin Li
of Pianist, who is prepared to see both
good and bad in Hanon’s legacy.
However, regardless of whose exercises
are being discussed he’s clear about one
thing: how we do an exercise matters
more than what we do.
‘There are certain activities that pianists
do that simply kills a lot of time,’ he says.
‘If you’re not sure what you’re doing,
mindless exercises polish your halo but
nothing more.’ Unfortunately, Hanon’s
exercises lend themselves to this
approach. ‘For any technical gains to
be made, we need the full involvement
of the ear and the mind. We need a
specific aim when practising.’
Fitch’s solution is to adapt, or ‘jailbreak’,
Hanon’s exercises by altering them to
challenge the mind as well as the fingers.
▲

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 E D U C AT I O N
He transposes them, alters their
rhythms, plays one hand evenly and
the other in a dotted rhythm, and plays
them as a wrist exercise so the fingers
are not operating as single digits but as
extensions of the hand. His ideas are
limited only by his imagination.
Crucially, Fitch also involves the
forearm since, having briefly studied
with Taubman, he is convinced forearm
rotation is at the root of piano technique.
‘It is possible to reach a very high level of
skill using fingers,’ he says, ‘but virtuosity
cannot be achieved without a blended
activity involving the arm.’
Still, for all his scepticism, Fitch
clearly plays – or at least jailbreaks –
Hanon’s exercises. So also did a young
Lang Lang who, in his autobiography
Journey of a Thousand Miles briefly
mentions impressing his first piano
teacher by playing ‘an extremely difficult
exercise by Hanon’.
‘Professor Zhu told me that I played
with neither hesitancy nor fear,’ Lang
Lang proudly recalls. Later in the book
he remembers ‘tackling impossible-to-
play pieces by Czerny.’
Get out of jail
Chenyin Li, who records the covermount
CDs for Pianist, is not surprised that
Lang Lang practised Hanon exercises.
‘Hanon is like a bible for every Chinese
kid learning the piano,’ she says. ‘At a
rudimentary level he is OK. However,
Czerny’s studies give you a better finger-
based technique, with a lot of agility and
flexibility in the upper finger joints.
He’s perfect for Scarlatti and Haydn.’
Li is no serious fan of exercises,
though, certainly for more developed
students. ‘I prefer to encourage them to
memorise and develop their technique
based on the challenges in the repertoire
they encounter. It’s a lot more creative
and stretches the mind as it seeks to
find solutions.’
In this respect, Li says Brahms presents
lots of technical difficulties in terms of
bringing out inner lines, while with Liszt
her approach is to go so far, leave it
a while and return, when, she claims,
‘you’ll find everything falls into place
– give him time!’ Perhaps surprisingly,
she says Rachmaninov is ‘hand-friendly’
but Chopin’s music is awkward:
‘The melodic line is so exposed!’
Professor Vanessa Latarche, the head
of keyboard studies at the Royal College
of Music in London, is clear about the
perils of repetitive exercises – Hanon’s or
anyone else’s. ‘One should always
concentrate musically on anything one
plays, be it exercises or repertoire,’ she
says. ‘Robotic work doesn’t enhance
anything; it just makes the playing yet
more digital and ugly.’ So in a similar
way to Fitch and his ‘jailbreak’ approach
to Hanon, Latarche advocates playing
scales and exercises with legato and
p72_Education-FINALish.indd 74
Vanessa Latarche: ‘Robotic work Benjamin Grosvenor: ‘Keep it
doesn’t enhance anything’ interesting, break things into groups’
staccato touches, and at speeds which
students can build to for a particular
practice session.
‘There is also something to be said
for playing slowly and firmly. Speed is
not the only aim,’ remarks Latarche.
‘Depth of tone, evenness and finger
strength are also important.’
Benjamin Grosvenor, who was
recently named the inaugural winner
of the Ronnie and Lawrence Ackman
Classical Prize, awarded by the
New York Philharmonic, is another
pianist with memories of ‘jailbreaking’
Hanon, which is an approach he
wholeheartedly recommends.
‘When I was younger, I would
do exercises at the beginning of my
practice sessions: scales, arpeggios
and Hanon,’ he says. ‘I tried to keep
it interesting, breaking things into
groups and playing around with
different rhythms, and playing wrist
and finger staccato, as well as legato,
and adding dynamic shaping. I’d also
play Hanon in different keys and at
different tempi.
‘I would recommend this kind of
variety to anyone who is undertaking such
exercises,’ adds Grosvenor. ‘They can be
of the “automatic” variety of course, but
there are many studies which develop the
same kind of skills, while also having
LISTEN
musical substance – by Chopin and
Czerny, for example. I don’t doubt that
the work I did playing Hanon and others
when I was younger helped to build my
technique, increasing finger agility and
developing skills, and it may be that at a
certain point in the future I pick up
▲
some exercises again to work on any
particular aspect I find is lacking.’
So, a warm endorsement from
Grosvenor for Hanon and his ilk – and
also from Stephen Hough, at least for the
daily ritual of practising exercises.
‘Playing the piano is physical, and as a
dancer or a sprinter needs to stretch and
▲
limber up, so does an instrumentalist,’
he says. ‘As we get older, I think it’s
probably more important than ever,
and the ten minutes spent on this ends
up saving time.’
74• Pianist 94
Stephen Hough: ‘All that matters is a
good hand position and to be relaxed’
Hough reveals he played a lot of
exercises as a youngster, including those
by Beringer (such as the Daily Technical
Studies for Piano), Rafael Joseffy (School
of Advanced Piano Playing) and Pischna
(Technical and Progressive Studies) as well
as Hanon, whose exercises he played in
all keys. But then, perhaps when he felt
his finger technique was sufficiently well
developed, he stopped. Now he’s back to
practising the exercises of the Spanish
pianist and pedagogue Alberto Jonás.
‘I only do 10-15 minutes a day but
I find it tremendously helpful,’ remarks
Hough. ‘I play them backstage, too.
I’ve adapted some of the Jonás examples
Benjamin Grosvenor: © Sophie Wright/Decca; Stephen Hough: © Andrew Crowley
and make up my own. I have about half
a dozen. Rachmaninov apparently did
scales and exercises for an hour a day
and no one played better!’
On the question of approach and
mental attitude, Hough is quite clear:
‘Musicality doesn’t come into it. All that
matters is a good hand position and to
be totally relaxed with no muscular
strain. Know what you’re trying to
achieve and what you want to get out
of the session. Rattling through any
old exercise is a waste of time.’ On that
point, Hanon, Whiteside and Taubman
could probably agree. ■
Tap below to listen to a
selection of Czerny studies
THE SCHOOL OF SHORT
▲
VELOCITY OP 299 STUDIES OP
NOS 1 & 2 821 NO 11
PRACTICAL THE ART
STUDIES FOR OF FINGER
THE BEGINNER DEXTERITY
OP 599 NO 71 OP 740 NO 24
19/01/2017 12:07
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75• Pianist 94

p75_pianist94.indd 75 12/01/2017 13:40

 A D V E R TO R I A L

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UPRIGHT PIANO
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Bechstein 2.indd 76 12/01/2017 10:56

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Bechstein 2.indd 77 12/01/2017 10:56

 H I S TO R Y
Piano lessons with
Beet ho v en
What can it have been like, sitting at the bench
with one of the greatest but most irascible
composers by your side? Using the testimony
of his pupils, Nils Franke finds out
P
osthumous veneration rapidly bestowed on Beethoven the
status of a hero. In the eyes of his successors he became a
towering figure, once the quality and impact of his music
had been absorbed by composers, performers and then
listeners. Over time, Beethoven the man receded from view.
When we add to that the contemporaneous accounts of a
fiercely independent spirit, and the temperament to go with
it, then finding out how Beethoven really taught the piano begins to look
like a (potentially) tricky subject. But that’s not necessarily so.
Consider this. When Beethoven first made his mark in Vienna, he did so
primarily as a pianist: more specifically, as an improviser. His audiences,
students, even colleagues and sometimes rivals had to acknowledge that here
was someone quite remarkable at work. Beethoven’s notorious second encounter
with the piano virtuoso Daniel Steibelt (1765-1823) at a shared concert
certainly confirms that unique combination of temperament and ability.
Beethoven’s pupil Ferdinand Ries (1784-1838) tells the story:
‘Now [Beethoven] went to the piano to improvise. He did so in his usual
manner; not orderly and seemingly being pushed towards it. On his way
he picked up the cello part of Steibelt’s quintet, placed it (deliberately?)
upside-down on the piano and, using one finger, hammered out the first
few bars. Offended and annoyed [by previous events] he improvised in
such a way that Steibelt left the room before Beethoven had finished;
in fact, thereafter Steibelt made it a condition that Beethoven was not
to be invited if someone requested the pleasure of his company.’
78• Pianist 94
p78 beethoven-FINAL.indd 78
For a performer to take part in and perform at such social gatherings
required an invitation. There are many colourful accounts of events and
soirées where artists and local dignitaries would mingle according to a
particular social etiquette. Musicians gained access to a melting pot of a select
society: aristocratic and wealthy sponsors, pupils, supporters and distinguished
strangers passing through a community. Whether they were touring musicians
or local and familiar figures, they tended to have a tripartite musical profile as
performer-composer-teacher, which was much in demand at such events.
Beethoven was no exception.
As a composer and performer Beethoven needs no introduction, but what
do we actually know about his piano lessons? There are a number of sources,
but for the purpose of this article I have decided to focus predominantly on
the recollections of his students Carl Czerny and Ferdinand Ries.
The lessons
Aged 10, Carl Czerny (1791-1857) was taken by his father to play to Beethoven.
Czerny describes how he performed Mozart’s Piano Concerto in C major
(he is not specific about which one) and Beethoven’s recently published
‘Pathétique’ Sonata Op 13, and was then accepted as a student. Beethoven
instructed Czerny’s father to obtain CPE Bach’s Essay on the True Art of Playing
Keyboard Instruments and issued instructions that the boy should bring it to
his next lesson. Czerny takes up the story:
‘In my first lessons Beethoven dealt exclusively with scales in all keys and
showed me the then (to many players) almost unknown proper positioning of
the hands, the fingers and especially the thumbs; rules whose use I only fully
comprehended much later. Thereafter he went through the practice pieces of
this teaching book [CPE Bach’s] and drew particular attention to the use of
legato, which he himself applied in an unsurpassed manner, and which all
other pianists at the time still believed to be impossible to execute, as the
sharply cut-off playing style, dating from Mozart’s time, was still fashionable.’
Ferdinand Ries is also detailed in his description of what really mattered to
Beethoven in his teaching. Wrong notes attracted little criticism, but
Beethoven was most particular about musical expression. To my mind, there
are two possible reasons. Wrong notes are obvious mistakes, so there is little
point in spending time discussing what an advanced student such as Ries
would notice anyway. Musical expression, however, is a more subjective issue.
With Beethoven in the dual role of both composer and teacher, the composer
in him prioritised the creative and artistic over the mechanical. Ries recalled:
‘If I missed something in a passage, such as notes or leaps which he wanted
to hear emphasised, he rarely commented. But when the expression
13/01/2017 11:49
 TRACK 9
Ludwig van BEETH
OVEN (1770-1827)
Bagatelle Op

Beethoven’s way
In the bagatelle
119 No 6
form, Beethoven INTERMEDIA
at the same time composed TE
puzzling and confrontationa some of his most gently
they are not as l music: whimsical and
trifling as their
a 10-second Allegramente) genre would imply. if these pieces are light-hearted, improvisatory (listen
Indeed the Op to the recording
basis that such perplexed one
publisher, who 119 set (including In his article on page 78, for guidance on
pieces Nils Franke that tricky-looking
Playing tips: This were beneath the composer’s turned them down
on the
the manner that
Beethoven might offers useful tips on how to run).
lesser-known dignity. An expensive Pedal tips: When have addressed learn
passage until
it starts ‘proper’ Bagatelle starts out with a mistake. you listen to the himself to it with this work in
at bar 7. This long recitative-like a crisp and clear texture, CD, you will hear a pupil.
hardly any pedal.
introduction
needs to sound Read Nils Franke’s avoid using the pedal as To achieve
article, ‘Piano much as possible.
after the Scores
section. It includes lessons with Beethoven’,
which appears
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Vienna in 1819, Beethoven, who had for some time

49• Pianist
94
P49 SCORES
Beethoven-FINAL.i
ndd 49

09/01/2017
10:24

entertained the idea of writing a piano method himself,

allowed his Bagatelles Op 119 to be published as the second part of the
method. Here are some suggestions as to how Beethoven’s priorities in
his lessons can be put to good use as you learn this piece.
Shaping an improvised passage (bar 4). There is always the
temptation to think of notes in small print as having to be played quickly.
That’s not necessarily the case, nor do they need to have the same length.
Beethoven is embellishing a D major chord, using a semitone below each
chord inversion to add interest. Play with the music and find out which
notes you’d like to emphasise. This passage works if you get gradually • Public liability insurance - £10,000,000 cover
faster or slower, but you need to find a way to make the agogical • Over 30 regional centres
adjustment work. Remember Beethoven making Ries play a cadenza
• 24-hour legal helpline
17 times? Happy practising!
Balance between hands (into bars 7 and 11 respectively). The melodic • Piano Professional magazine
line appears first in the RH, then in the LH, which makes it such a useful • Annual piano & composers competitions
piece to learn. If you find it difficult to achieve a good dynamic contrast • The Piano Teachers’ Course EPTA UK
between both hands, replace dynamics in your practice with touch and work for new and experienced teachers
on this as a legato/staccato exercise. Once you’ve done this a few times,
go back to using dynamic contrast and it should sound much improved. • Bursaries
Dynamics and timing (bars 27-30). As per Ries’ comment reproduced • National & international events in 42 EPTA countries
on page 84, the combination of crescendo and ritardando was something
special in Beethoven’s playing. Here are three bars in which you can work
Enquiries to The Administrator
on this Beethovenian combination of dynamics and timing.
admin@epta-uk.org
Repetitive practice (bars 40-43). This is another passage that hints
at Beethoven’s skills as an improviser. It makes a dramatic interjection
within the piece, probably for no other reason but to make the player
08456 581054 or 07510 379286
epta-uk.org
sound good – and there’s nothing wrong with that. The RH has some
awkward and unpredictable patterns. Keep the wrist loose, maybe even
changing the angle of the hand in relation to the keyboard by raising
the elbow ever so slightly, to support whatever fingering you choose.
Only repetitive and slow practice will give you sufficient control to perform
this section evenly and quickly.

Manuscript image, page 82: Autograph of Beethoven’s ‘Moonlight’ Sonata,

last movement

(crescendo and other such markings) or the character of the piece left
something to be desired, he became cross because he claimed that the
former happened accidentally, whereas the latter showed lack of knowledge, Chetham’s International
feeling or attention. The former happened rather frequently to him Summer School & Festival
[Beethoven], even when playing in public.’
Beethoven was very particular and even insistent about expressive for Pianists 2017
musical detail. Ries continues:
Artistic Director: Murray McLachlan
‘Sometimes he required me to repeat something ten times, occasionally
even more often. In the F major variations… [Op 34] I had to repeat
almost the complete final Adagio variations some 17 times. He was not Also featuring the 5th Manchester International
yet completely satisfied with the expression of the small cadenza, though Concerto Competition for Young Pianists
I believed I was playing it as well as he did himself. On that day I had
almost a two-hour lesson.’ Part One: 17–23 August 2017
The
And yet Beethoven was not adverse to changing the notes themselves, Part Two: 23–29 August 2017
even when in print. Ries remembers two occasions ‘when Beethoven gave Friendliest
me notes to add to his compositions; in the Rondo of his “Pathétique” Faculty to include: Dmitri Alexeev, Piano Summer
Joseph Banowetz, Peter Frankl, Leslie School in the
Sonata (opus 13), and the theme of the Rondo in his First Concerto
Howard, Leon McCawley, Philip Fowke,
in C major, for which he set me several double notes to make it sound Carlo Grante, Nikki Iles, Noriko Ogawa, World!
more brilliant.’ Artur Pizarro, Matti Raekallio, Jason Rebello,
Sandro Russo, Nelita True, Ashley Wass
The Cramer connection
Strange though it sounds, when Beethoven began to teach, probably With daily concerts, lectures, improvisation, jazz, composition,
intensive one-to-one coaching, duets, organ and harpsichord
in the 1780s, the idea of a piano tutor book, as we know it today, was in
its infancy. Yes, there were some method books, but students learned skills
by playing material that was compositionally important too: scales, For further information, call +44 (0)1625 266899
arpeggios, and more scales and arpeggios. There were also chord sequences,
or email info@pianosummerschool.com
but these grew out of the practice of traditional keyboard harmony.
▲

www.pianosummerschool.com

p78 beethoven-FINAL.indd 79 13/01/2017 11:49

 H I S TO R Y
The teaching resources of the late 18th century that the details of his scores – dynamic markings,
were as much concerned with elementary articulation, phrasing and so on – are extremely
harmony as with entry-level pianism. A dozen important and demand close attention.
or so beginners’ pieces were quickly followed There is a rich irony to this, coming from
by real repertoire, but easier real repertoire, a composer whose musical manuscripts
as the content of CPE Bach’s essay reveals were more often than not a terrible mess.
(see Czerny’s comment earlier). Notes, bars, sections, even entire
As piano playing became an increasingly movements were sometimes subject to
widespread activity, so tailor-made drastic revisions, but not expression marks.
educational music was published more From the information passed on by his
widely, and to cater for students at various pupils, it seems that for Beethoven as
levels of technical ability and musicianship. a piano teacher, working on expressivity
The first set of studies by Johann Baptist was the most important component in
Cramer (1771-1858) was written for the his lessons. ■
equivalent of Grade 6 standard and above.
Published in 1804, it became a marker in the Sources Czerny: Erinnerungen aus
history of compositions which were written to meinem Leben (Baden-Baden: Verlag
test and improve specific aspects of technique, Valentin Koerner, 1968)
but were also good music in their own right Wegeler & Ries: Biographische Notizen
(as opposed to the other way round). ueber Ludwig van Beethoven (Berlin: Ries
Beethoven was impressed. According to Ries, & Erler)
Beethoven called Cramer ‘a remarkable pianist’ All translations by Nils Franke
and began to use the latter’s studies in his
own teaching. Luckily Beethoven’s friend Nils Franke is a German-born pianist,
Anton Schindler (1795-1864) scribbled based in Berkshire, UK. His recordings
down the composer’s comments, thereby have been released by Warner Classics and
documenting his approaches to technical Brilliant Classics. Among his editions are
issues such as finger dexterity, voicing, anthologies published by Schott and an
and evenness of playing, all of which Urtext Primo series (Wiener Urtext)
complement the recollections of Czerny of Classical and Romantic easy pieces for
and Ries, even if some of Schindler’s the piano (including Beethoven) with
other testimonies continue to be teaching tips. nils-franke.com
questioned by scholars.
By imperial command: Carl Czerny (top),
Lasting impact who gave the premiere of the Fifth Piano
There is no doubt that piano lessons with Concerto, and JB Cramer, who first
Beethoven entailed working with a full-blooded published it with the ‘Emperor’ nickname
creative being. Beethoven viewed the practice of
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Just a few things that won’t take long:

Page 32:
All the text is bold!
Delete the Boosey and Hawkes text there along the spine.

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Great 30•26• 4
5

SHEET
4/3/09 11:35:53
09:12
09/06/2015
4
29•Great Composers

32• Pianist 62
30 55• Great Composers
26
FINAL.indd 55• Pianist
pianist47 Scores1 Andantino_pianistGC-FINAL.indd 69
p30_scoresHAYDN p55_scoresMOZARTrondo_pianistGC-FINAL.indd
p29_scoresHUMMEL_pianistGC.indd 29 p55 Scores - 23/03/2015 10:32
Mozart-FINAL.indd
p32-48_Scores62-FINALISH.indd 32 55 55 7/9/11 09:21:18

or ornamentation.’ format. Inside the 90-page publication are eleven

09/06/2015
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OF THE CLASSICAL ERA MUSIC

FROM THE PUBLISHERS OF

Making music spontaneously seemed to have stayed with Beethoven IMPROVE

YOUR
scores to learn (by an array of Classical composers,
even after his dramatic hearing loss. Czerny documents that around 1816 CLASSICAL
PLAYING
and featuring three by Beethoven), three ‘how to play’
lessons, a feature on how to interpret the Classical
Lessons, tips, articles

he (Czerny) started to organise musical get-togethers for his circle of & advice on Beethoven,
Mozart, Haydn and more

students and selected guests. ‘Beethoven was almost always present,’ HOW TO PLAY
repertoire, a history article on Beethoven’s 32 sonatas,
he remarks, ‘and kindly obliged by improvising at the piano with the advice on how to tackle the sonatas, a look at the
Beethoven’s ‘Moonlight’

Perfect CPE Bach’s

Solfeggietto
richness of ideas which characterised his improvisations, possibly even IN-DEPTH LESSON ON keyboards of the Classical period, and much more.
11LEARN
MOZART RONDO IN A MINOR
PIECES TO

more so than his written-down music.’ GREAT PIANO

COMPOSERS


OF THE CLASSICAL ERA

HOW TO PLAY
Beethoven’s ‘Moonlight’

Perfect CPE Bach’s

Solfeggietto
1 HOUR
OF MUSIC
THIS CD!
ON
Every issue, Pianist brings you 40 pages
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80• Pianist 94

p78 beethoven-FINAL.indd 80 13/01/2017 11:49

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p92_pianist94.indd 75 12/01/2017 13:53

 MAKERS

TRAVEL Piano making is rooted in the

history of Saxony, and nowhere

TIME BACK IN
more so than the factory of
August Förster, where they still do
things the old-fashioned way.
Gez Kahan reports back

D
on’t mention the war,
they say, but it’s hard to
walk around Dresden’s
old town without war
intruding on one’s
thoughts. It’s hard even
to travel there without being reminded
of the aftermath, flying into what used
to be called West Berlin, on an overcast
October morning that could have come
straight out of a John Le Carré novel.
But the Cold War is over for now, the
coach encountered no checkpoints as
it crossed to the east and, as the mist
cleared, it became obvious that the sun
now shines in the former GDR just as it
always has in the Bundesrepublik. The
allotments and pine forests are the same
as in the rest of Germany, the factories
and houses the same as across northern
Europe, the skyscrapers and motorways
and trucks the same as throughout the
world. But for all the familiarity of the
surroundings, at passport control, on
the autobahn, in the Reisebus, this was a
journey back in time, away from global
homogeneity to an era of individuality
and craftsmanship.
The main event for our party – 20
piano enthusiasts plus the hosts,
Peregrine’s Pianos – was a tour of what is
possibly the most traditional piano
factory still standing. The prime
destination was Löbau, 60-odd miles
east of Dresden, the capital of Germany’s
was born there), a few notable buildings
(including Europe’s tallest cast-iron
tower), and one important industry – the
piano manufacturer August Förster.
Time for some history
On the way from Berlin, a stop-off in
Dresden helped to set Saxon piano
manufacture in a valuable context.
It’s easy to forget that Germany, as a
political entity, is a relatively modern
concept. For over a thousand years,
until formal unification in 1871, it
was a collection of independent states
and city states, united to some degree
by a common language and disunited
to a large extent by the ambitions of
their princes. The arts benefitted from
their determination to outdo their
neighbours in grandeur – architecture,
music and fine art flourished in the
Baroque period – but also suffered when
territorial and dynastic squabbling
spilled over into war.
Above: The staff of August
Förster, with the head of
the family-run company,
Annekatrin Förster, centre;
below: the Förster Villa
The finest buildings in Dresden – the
Zwinger Palace, the Castle, Protestant
Frauenkirche and Cathedral (Katholische
Hofkirche) – were commissioned or
expanded under the rule of Augustus the
Strong (Elector of Saxony, 1694-1733)
and his son, also Augustus (Elector,
1734-1763). Organs for both churches
were built by Gottfried Silbermann (Bach’s
favoured instrument-maker), though only
the Hofkirche’s instrument survived the
bombing of Dresden in 1945. The
Frauenkirche, left in ruins for nearly half
a century as a witness to the terrible
consequences of war, has now been restored
as a symbol of reconciliation, though the
organ was beyond repair.
It was Silbermann more than any other
who ensured that Cristofori’s invention,
the piano, gained a foothold in Saxony,
and who taught piano-building to his
apprentices. It was war (this one
being the Seven Years War of
1756-1763, during which
All images © August Förster

federal state of Saxony. It’s a sleepy town

about half an hour’s drive from the
borders of modern day Poland and the
Czech Republic, with one notorious son
(the Hitler Diaries forger, Konrad Kujau,
82• Pianist 94

p84_Makers-FINALish.indd 82 12/01/2017 11:28

 Saxony was overrun by Prussia) that
caused those apprentices to scatter,
taking their knowledge to London,
Vienna and elsewhere – though Saxony
remained (and remains) an important
piano manufacturing region. Almost a
century later, in 1859, August Förster
opened his piano workshop.
The factory could wait for the
following day: a reception and concert at
the Förster Villa awaited our group when
the coach pulled into Löbau. Part family
home, sometime arts centre, this 1920s
villa is situated at the bottom of the same
street as the factory. A warm welcome
from Annekatrin Förster, the fifth-
generation head of the company, was
the prelude to a fine chamber concert. Craftsmen at work: older world of instrument-making. From Each consignment of wood is tracked
This featured works from Bach to Preparing the frame on an the outside it’s just another anonymous in a hand-written logbook (log as in
Frank Bridge, taking in Prince Orlofsky’s upright (left); traditional building in a side street. What’s inside is record, not timber) itemising type and
aria from Die Fledermaus, wittily done techniques for carpentry what counts, and much of that (as in any delivery date, and the dates are marked
by the mezzo-soprano Sophie Kent, joints (right); preparing the piano factory) is wood. on the sawn ends. The woods are aged
and a moving performance of Bridge’s ribs on the soundboard There are over 20 types of wood used for at least one year, sometimes as
Oh That It Were So by soprano (overleaf) in August Förster pianos. Spruce for the much as five, according to our guide, the
Anna Lawrence; both singers are also soundboards is sourced from Italian forests Senior Intonation Director Frank Israel.
staff members of Peregrine’s Pianos, and at a height of at least 1,000 metres (over He was erring on the conservative side;
were accompanied by Dawn Elizabeth 3,000 feet) in order to reduce the uneven we saw timbers marked 2010 still in the
Howells, the firm’s proprietor. ring-spacing that comes with variable acclimatisation room.
climatic conditions. The spruce is felled It’s when you start walking through the
On the factory floor in winter when the sap is at its lowest. workshops that a sense of heritage hits
If you’ve never visited a piano factory, do There’s red beech and white beech, maple you fair and square. There are no robots,
so. It’s an education. The August Förster (especially for rims), there are African no computers (save in the administration
factory is a good one to start with, because hardwoods such as teak and mahogany, department) and no production lines.
it opens a window in time onto a much and there are exotic woods for the veneers. Just a few machines in old-fashioned

▲
PianistJan17.ai 1 04/01/2017 17:48:44

Peregrine’s Pianos
Quality instruments for the professional pianist.

Spacious rehearsal rooms for the working musician.

Sale and hire options for the musical family.

www.peregrines-pianos.com
C

CM

MY

CY

CMY

K
All images © August Förster

Peregrine’s Pianos, 137A Grays Inn Road, London WC1X 8TU Tel: 020 7242 9865

83• Pianist 94

p84_Makers-FINALish.indd 83 12/01/2017 11:28

 MAKERS
green and cream, and masses of clamps
and hand tools. The newest device was a
five-year-old wood-planing machine.
Next to it stood a 100-year-old,
electrically driven industrial saw.
You can’t cut many piano-shaped
components out of trees, so smaller pieces
of wood are glued, clamped and bent.
A ‘star machine’, dating from the 1920s,
clamps together smaller pieces of wood
that have been glued in order to make
various components. Processed wood is
then sent to a Schlafraum (‘sleep room’)
for further acclimatisation before it can
be used in the manufacturing process.
There’s more resting (for the wood) at
every stage of the manufacturing process,
which itself takes about a year from
starting on the casework to the final
tuning and voicing of the instrument.
The rim of an August Förster grand
piano begins life as a 20-ply sheet of
glued maple. A hand-adjusted press
bends the sheet into shape with a
multitude of clamps, held in position for
several days before release. The curvature
of the soundboard – crucial for the
instrument’s resonance – is likewise set
up by hand. And August Förster is
practically the only manufacturer still
shaping the cheeks of a grand piano in
the traditional way, by hand, using a
two-person saw.
Throughout the factory, we saw the
same kinds of manual manufacture,
from the multiple sandings, fillings,
smoothing and resandings of the frame
and casework, and the careful laying up
of matching veneers for non-black
instruments (bird’s eye maple and other
exotic grained woods being too precious
to use in slabs), to the insertion of tuning
pins and bridges. Even the brass lettering
(August Förster, Made in Germany) is
done in the old way, by applying it to the
wood before adding and then hand-
sanding a polyester finish.
There is inevitable modernisation
and replacement of aged machinery in
the factory, Annekatrin Förster said, but
that doesn’t mean a move to the kind of
Computer Numerical Control machines
which can be programmed to produce
multiple parts exactly the same.
‘We’re proud of our skills,’ she remarked,
‘and our future lies in tradition. August
Förster will remain solely German-made,
and we have Bundesverband Klavier (BVK)
p84_Makers-FINALish.indd 84
certification – a rigorous and expensive
process – to prove it. We’re solely
hand-made and we won’t be going
into partnership with anyone. That
defines our image, our concept and
our destiny.’
European Union directives are
a different matter. Work is underway
to bring the factory building up
to modern standards for emissions,
waste and safety, but not all of this
improvement is down to
regulation: Annekatrin Förster is
planning for ‘steady growth, but
not at the expense of quality’.
Growth, though, requires additions
to the workforce, and she admits that
training and recruitment can be
difficult because so many young
people want to use machines instead
of learning a craft. She concentrates on
local recruitment, ‘because those who’ve
grown up used to the slow pace of life in
Saxony are less likely to get itchy feet for
the bright lights.’ There was one sign of
modernity on the factory floor, in what
had seemed to be an unreconstructed,
masculine environment, with the
appearance of a young woman in
overalls. An apprentice, Frank Israel
explained, just as he himself had been 43
years ago, and evidently undeterred by
the heavy nature of some of the work.
The final stage of the factory tour
afforded an opportunity to try out the
company’s pianos, in a collection of
rooms offering privacy to those less
confident about playing in front of
others. With the tour over, our party
took a wander around the main square
of sleepy Löbau before getting on the
coach. The impression left by the factory
– the painstaking detail, the embodied
craftsmanship on show, the sense of a
heritage stretching far beyond the here
and now of piano manufacture – was
sufficiently strong that no one wanted
to head for a Schlafraum of their own,
despite a busy two days. Pianos,
pianists, making and playing were the
conversation topics of the day, and
almost before we knew it, the coach
was back in Berlin. ■
Tours of the August Förster factory
can be arranged through
www.peregrines-pianos.com.
www.august-foerster.de
SAXON STORY
The history of August Förster
1829 August Förster born
1859 Having trained as a cabinet maker
and studied piano-making, August Förster
opens a piano workshop in Löbau
1862 The business expands to a factory
which is the company’s home to this day
1897 August’s son, Cäsar, succeeds him as
manager, opening a second factory in Georgswalde
(now Jiříkov, in the Czech Republic – pictured below)
and winning a warrant from the royal court of the
Austro-Hungarian Empire
1915 Cäsar’s sons Gerhard and Manfred succeed
their father, continuing ownership of the business
even after the post-war establishment of the German
Democratic Republic (East Germany)
1945 Löbau reverts to
being the sole authentic
manufacturer of August
Förster instruments
following nationalisation of
the Georgswalde factory
by the Czechoslovakian
government. Although
pianos branded with the
‘August Förster’ label were
still produced in Czechoslovakia/
Czech Republic until the turn of the century,
these bear little relation to the output of the
Löbau operation
1952 Manfred Förster dies
1966 Gerhard Förster dies and Manfred’s son,
Wolfgang Förster, takes over but can only settle
the inheritance taxes by selling company shares
to the government
1972 Full nationalisation as VEB Flügel-und Pianobau
Löbau, though still managed by Wolfgang Förster
1976 Restoration of the family name to the business
as VEB Förster Pianos Löbau
1990 Reunification of Germany. Wolfgang Förster
reprivatises the business
2008 Wolfgang Förster dies. Annekatrin Förster,
after 15 years in August Förster’s sales department,
takes over as director, becoming the fifth-generation
family head of the business
2016 August Förster currently employs about 40
staff producing 80 grands and 120 uprights per year
12/01/2017 11:28
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75• Pianist 94
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p85_pianist94.indd 75 12/01/2017 13:43

 REVIEW

CD reviews Marius Dawn is excited by superlative recordings of Haydn, Mozart and Chopin,
and intrigued by the latest offerings from two modern giants of the piano

Pianist star ratings: ★★★★★ Essential – go get it! ★★★★ Really great ★★★ A fine release ★★ Average ★ Fair

DANIEL BARENBOIM EDITOR’S CHOICE

On my new piano: Solo works by Scarlatti,
Beethoven, Chopin, Liszt, Wagner arr. Liszt
Deutsche Grammophon 479 6724
★★
In the spring of 2015 the
Belgian maker Chris Maene
produced a piano especially for
Daniel Barenboim, based on
a Steinway & Sons model D.
The ‘Barenboim’ piano has
straight parallel strings instead
of the usual diagonal-crossing strings on today’s
grand. This change in design is meant to give the
instrument a clearer and more transparent sound.
In Liszt’s Funérailles the stormy left-hand octaves
are present and clear, and in the arrangement of
the Solemn March from Wagner’s Parsifal there is
a lot of thundering, in the best sense of the word.
It’s hard to hear any special qualities from the piano
when listening to rather lethargic accounts of three
Scarlatti sonatas. Beethoven’s 32 Variations again
don’t show Barenboim to advantage, but Chopin’s
First Ballade has a nice singing tone. Liszt’s Mephisto
Waltz should really be left to those with the fingers
for it, but at least the piano copes well with the
repeated notes. A disappointing release.
JEAN-EFFLAM BAVOUZET
Mozart: Piano Concertos in G K453 and B flat K456;
Divertimento in B flat K137
Manchester Camerata/Gábor Takács-Nagy
Chandos CHAN 10929
★★★★★
One might be tempted to say that Jean-Efflam Bavouzet is Chandos
Records’ ‘house pianist’. He has a long discography to his credit, and
the record company has used him for repertoire spanning Beethoven sonatas to Prokofiev concertos.
In fact, Bavouzet has even delved into lesser-known late-Romantic works for piano and orchestra
by Pierné, and with some style. Here, then, is a gifted artist with secure technique and sound
musicality ready for any challenge that comes his way.
Bazouzet’s sensitivity conveys an understanding that it can be a tougher musical challenge to pull
off one movement of a Mozart piano concerto than performing all five Prokofievs. With Mozart,
there’s nowhere to hide: every note is out in the open. Bavouzet casts magic over the orchestra’s
background accompaniment with his faultless, seamless execution of passagework and his exquisite
phrasing of melodies.
The soloist blends harmoniously with the Manchester Camerata, and conductor Gábor Takács-Nagy
clearly breathes the same musical lines as the pianist. At no point, though, does Bavouzet try to steal
the limelight or play ‘against’ the orchestra. A good example is the fine first movement of the B flat
Concerto K456 where the string section particularly phrases with such naturalness that you would
think they have all performed this concerto their whole life. Tempi are perfect in the slow movement
of K453 and the recorded sound throughout is natural and open. Bavouzet has composed his own
cadenzas and written the informative booklet notes; there’s little doubt he has put his heart and soul
into this project.

YEFIM BRONFMAN ALEXANDRA DARIESCU LUCAS DEBARGUE

Bartók: Piano Concerto No 3; orchestral works
by Bartók, Stravinsky and Prokofiev
London Symphony Orchestra/Valery Gergiev
LSO Live LSO5078 (2CD)
★★★★
With an intimate and
restrained interpretation,
Yefim Bronfman gives us one
of the most moving accounts
yet committed to disc of
Bartók’s final piano concerto.
The orchestra’s sound blends
perfectly with the piano, like a glove fitting tightly
around the hand, and the soloist shows no signs
of stress in this charismatic live performance.
The concerto was performed within one of
Valery Gergiev’s final concerts as the Principal
Conductor of the London Symphony Orchestra
during a tour of the US. As well as Bartók’s
Miraculous Mandarin Suite, Stravinsky’s Firebird
is executed with Gergiev’s usual intensity and a
Prokofiev encore is done with firm grandeur.
However, nothing beats Bronfman’s miraculous
Bartók playing. The concerto alone makes this set
essential listening. Good-quality recorded sound,
and minimal audience noise.
Tchaikovsky: Piano Concerto No 1;
The Nutcracker Suite Op 71a (arr. Pletnev)
Royal Philharmonic Orchestra/Darrell Ang
Signum Classics SIGCD441
★★★★
Anyone recording
Tchaikovsky’s First Piano
Concerto must have something
special to say when practically
all the great pianists in history
have placed their stamp on this
virtuoso warhorse. Alexandra
Dariescu plays it safe in an interpretation where
all the notes are played well and there are no
sudden surprises. Pletnev’s arrangement of
The Nutcracker Suite, however, shows that here is
a pianist with something special to say. The celesta
part of ‘The Dance of the Sugar Plum Fairy’
rings out with bell-like clarity and the ‘Trepak’ is
piano-playing at the highest virtuoso level. That
she also makes the piano sing in the concluding
Apotheosis is another example of her strong
musicianship. The recording places the piano
clearly in the centre of the sound picture, which
complements Dariescu’s rhythmic clarity, not
least in her whimsical account of the ‘Tarantella’.
Bach: Toccata in C minor BWV911;
Beethoven: Sonata in D Op 10 No 3;
Medtner Sonata in F minor Op 5
Sony Classical 88985341762
★★★★
No great surprises are sprung
by Bach’s C minor Toccata,
and an early Beethoven
Sonata is straightforwardly
done by the French pianist
Lucas Debargue. What
follows, however, is a five-
star performance of Medtner’s F minor Sonata,
in which he competes with the best players
of this neglected Russian titan of a composer.
The bombastic first movement and motoric
Allegro risoluto finale present monumentally
styled playing, and the brief Intermezzo is as
fine an account as those of Hamelin and Milne.
Debargue projects that peculiar, chiaroscuro world
of Russian sadness to perfection in the Largo.
Medtner may be challenging both to play and
to listen to, but with Debargue as your guide,
you are in the best possible hands. In Pianist 91
I gave this pianist a lukewarm review for his debut
recital disc. He has come a long way.

• •Pianist
8686 94
Pianist 83

p86_CD Review-FINAL.indd 86 10/01/2017 10:52

 You can buy all of the CDs reviewed here from the Pianist website.Visit pianistm.ag/cd-reviews
DANNY DRIVER
The Romantic Piano Concerto 70: Piano
concertos by Beach, Chaminade & Howell
BBC Scottish SO/Rebecca Miller
Hyperion CDA68130
★★★
Like it or not, the world of
composers is dominated by
men. So it’s refreshing to see
that the seventieth in
Hyperion’s long-running
series presents a trio of female
composers. Their previous
neglect, however, proves understandable in this
case. Dorothy Howell’s Concerto has a certain
post-Straussian vigour, but otherwise contains
little to hold the attention. The Concertstück of
Cécile Chaminade amounts to 15 minutes of
cat-and-mouse chasing. Amy Beach wrote a
large-scale, 35-minute concerto with some
substance and a few original ideas, not least in a
weighty first movement. Those keen listeners who
have collected the previous 69 volumes will not
hesitate to acquire the latest one, but its high
points centre on Danny Driver and the BBC
Scottish SO, who give scintillating performances,
perhaps better than the music deserves.
SOPHIE PACINI
Beethoven: Sonata in C Op 53 ‘Waldstein’;
Liszt: Hungarian Rhapsody No 6, Réminiscences
de Don Juan S418, Consolations etc.
Warner Classics 0190295977023
★★★★
When you’ve got it, flaunt it.
Sophie Pacini possesses a
dazzling technique which is
more than a match for the
challenges of Liszt’s Tannhäuser
transcription and Réminiscences
de Don Juan, and she wipes
the floor with his Sixth Hungarian Rhapsody. After
a well-received album on Onyx of Schumann and
Mozart concertos, her debut recital for Warner
Classics opens with the finger-tricky ‘Waldstein’
Sonata. The only reflective moments come with
Liszt’s Consolations and the dreamy Liebestraum
No 3, as if to prove she is human after all.
Pacini is a notable example of a young generation
of pianists for whom the word ‘fear’ is not in their
vocabulary. But forget about the stunning fingers
for a moment, and listen to an original, musical
approach to the works at hand, a good sense of
voicing and no crazy idiosyncrasies. Warner
Classics have made a real find in Sophie Pacini.
p86_CD Review-FINAL.indd 87
NELSON GOERNER
Chopin: Polonaise Op 44, Berceuse Op 57,
Barcarolle Op 60, 24 Préludes Op 28
Alpha Classics ALPHA 224
★★★★★
It may be tempting to label
pianists as Bach players
(Gould), Chopin specialists
(Rubinstein) or simply
keyboard wizards (Horowitz).
To push the analogy further,
it is no less tempting to
declare that Nelson Goerner never makes a bad
recording! Every one of his releases has been a
revelation on its own terms, and his rock-solid
musicianship never fails to impress. The mazurka-
like middle part of the mighty Polonaise Op 44 is
played with overwhelming determination. He rocks
the Berceuse like a boat in the moonlight and sails
through the Venetian Barcarolle before giving a
uniquely polished and elegant account of the
Préludes Op 28. There is no Argerich-style wildness
to be savoured here, but rather a controlled forward
drive. No Pollini-like intellectualism, but a logical
approach, especially to the slower préludes. All of
them are sustained and held together by Goerner’s
trademark singing piano tone, free of harshness.
ANDRÁS SCHIFF
Live from the V International Tchaikovsky Competition:
Solo works plus Tchaikovsky and Brahms
First Piano Concertos
Moscow Radio SO/Dmitri Kitaenko
Melodiya MEL CD 10 02386 (2CD)
★★★
Like a politician who would
prefer to erase the mistakes of
a misspent youth, Schiff may
wish that his performances at
the 1974 Tchaikovsky
Competition had been lost for
good. Here is a 21-year-old
firebrand showing little intellectual depth and
hammering his way through a Rachmaninov
Etude-tableau and a Liszt Etude de concert without
any of the soft, light-touch trademarks of the
mature Schiff. There’s an attempt at flashiness in
Tchaikovsky’s First Concerto, and some
uncharacteristic banging in the Shostakovich and
Prokofiev works which in part is due to harsh
recording quality. The poor sound, though, does
not detract from a fine account of the Brahms
Concerto, where a rounded singing tone – most
apparent in the slow movement – offers a glimpse
of things to come.
87• Pianist 94
LEON MCCAWLEY
Haydn: Sonatas and Variations
Somm SOMMCD 0162
★★★★★
Here is a Haydn CD to
cherish. Four of his finest
piano sonatas (No 53 in E
minor, No 60 in C, No 33
in C minor and No 62 in
E flat) are brought together
with the sparkling F minor
Variations for nearly 80 minutes of music. Still
in the catalogue is Leon McCawley’s benchmark
recording on Avie of Mozart sonatas, which
outclasses many prestigious names. Not that
McCawley is restricted to Viennese classics: his
Rachmaninov Preludes (also on Somm) compete
with the Russian heavyweights.
Here McCawley relishes the playful and
humorous sides to Haydn, not least in the finales of
the two minor-key sonatas, and teases out harmonic
surprises by broadening the slow movements of
the C major and the late E flat major sonatas.
A magisterial account of the F minor Variations
makes a splendid close to this recital. Well-recorded
piano sound shows up a poorly tuned instrument,
but this should not hinder full enjoyment.
MITSUKO UCHIDA
Mozart: Piano Concertos No 17 in G K453
& No 25 in C K503
The Cleveland Orchestra
Decca 483 0716
★★★★★
It’s tempting to compare
Mitsuko Uchida’s account of
K453 with Bavouzet’s opposite
[Editor’s Choice]. But they are
worlds apart. Where Uchida
directs the Cleveland Orchestra
from the piano, Bavouzet has
an eminent conductor to partner him. Uchida may
bring a more varied palette of colours and a more
careful and fragile approach to Mozart compared
to the forthright energy of Bavouzet, but each has
their own, distinctive qualities.
It’s in the majestic C major Concerto K503
where Uchida’s sovereign pianism is most evident.
The orchestra accompanies her like a shadow, with
exquisite phrasing from the strings. Some may
contend that this is Mozart playing in the
Romantic tradition of early Barenboim and even
Edwin Fischer, who also conducted from the piano.
Uchida, however, has enough personality to make
this Mozart her own.
10/01/2017 10:52
 REVIEW
Sheet music
New scores of Russian classics, a Liszt masterpiece, Bartók dances and contemporary
music for student pianists are surveyed by Michael McMillan
AVAILABLE FROM THE PIANIST DIGITAL
STORE pianistm.ag/digitalshop
PIANO DREAMS
Anne Terzibaschitsch
Trinity College
London Press
ISBN: 978-0-85736-488-3
(Book 1); -489-0 (Book 2)
Playing through these
pieces, it quickly becomes
apparent that the composer
is an experienced piano
teacher. Not only does all
the music lie well under the hand, but the
textures, chordal patterns, hand movements, and
rhythmic coordination reveal an insider’s
understanding of how a student at this level
operates. The 39 pieces in Book 1 are suitable for
beginners (Grades 0-1), and the second contains
27 pieces at Grade 1-2. In places the music can be
rather bland, but there are pieces with original
effects, such as The Old Gramophone (Book 2) in
which the performer is invited at three points in
the music to repeat ad lib for a bar in order to
imitate the needle of the gramophone player
getting stuck. Such details make these books well
worth investigating.
There are also two duet books (ISBNs:
978-0-85736-490-6 [Book 1]; 491-3 [Book 2])
which provide complementary material to help
develop a student’s sight-reading skills and their
awareness of ensemble.
CLASSICAL
FAVOURITES
FROM RUSSIA
Universal Edition
ISBN: 978-3-7024-7331-0
This book contains seven pieces
by Russian composers, arranged
for piano duet by Nicolai
Podgornov. The primo part (and occasionally the
secondo) is often written on a single stave and the
music is sympathetically arranged for students
around Grade 3-6. The parts are printed above
each other, making it easier to comprehend and
establish ensemble. The repertoire is a well-chosen
mix of popular Russian classics from the 19th and
20th centuries. Prokofiev’s Montagues and Capulets,
Khachaturian’s Sabre Dance and Rimsky-Korsakov’s
Flight of the Bumblebee will attract students drawn
to energetic music. Those who prefer mellower
tunes will appreciate Tchaikovsky’s Dance of the
Little Swans, and Shostakovich’s Waltz from
his Second Jazz Suite. Pianists without an
p88_Sheet Review-FINAL.indd 88
octave stretch will struggle to play most of the
bottom parts as written.
PIANO SKETCHES
Vitalij Neugasimov
Oxford University
Press
ISBN: 978-0-19-341327-6
(Book 1); -341328-3
(Book 2)
Vitalij Neugasimov (b.1978)
is a Lithuanian composer,
arranger and piano teacher.
His music in these two
volumes exhibits a wide range of moods and
styles, and features catchy melodies, rhythmic
interest and attractive harmonies that are sure
to motivate practice. Book 1 (suitable for pianists
around Grades 2-3) contains 18 pieces, one
of which is on the ABRSM’s 2015-16 Grade 2
syllabus. Book 2 (for Grades 4-5) contains
14 pieces. All 32 pieces are just one or two
pages long, but they are in a different league
to the humdrum fare often written at this level.
Highly recommended!
BARTÓK
Romanian Folk Dances
Chester Music
ISBN: 978-1-78558-271-4
Bartók’s seven volumes of
Romanian Folk Dances range
in difficulty from Grade 2-6
and are among his most popular
and approachable works. They were originally
published in 1918 by Universal Edition, and first
appeared in a revised edition made by his son,
Peter Bartók, in 1993. The Chester Music edition
is laid out clearly in quirky, angular fonts, with
a useful two-page introduction. The score layout
is identical to the Universal Edition, with the
same number of bars per line and lines per page.
The fingering, too, is almost exactly the same.
Chester’s cheaper price and editorial commentary
may sway your decision.
LISZT
Sonata in B minor
Henle
ISMN: 979-0-2018-0559-7
(HN 559)
Dismissed by Clara Schumann
as ‘nothing but a sheer racket’
yet lauded by Wagner as
‘beautiful beyond compare’, Liszt’s Sonata in
B minor is now a rite of passage for keyboard
lions. Henle’s first edition of the work appeared
88• Pianist 94
in 1973 and was prepared by Ernst Herttrich,
with fingering by Hans-Martin Theopold. This
new edition is also edited by Herrtrich, and
Liszt’s original fingering is now supplemented
by Marc-André Hamelin. There are many
editorial emendations to the staccato markings,
distinguishing between Liszt’s careful use of
dots and dashes, and the Sonata’s low final B
is now presented as an octave. A full editorial
commentary is printed after the score, and
Henle has made a few cosmetic enhancements:
the previous edition was saddle-stitched, but
this one is smyth-sewn, and the staves are now
slightly wider and taller, which makes the music
marginally easier for the eyes to digest.
SPECTRUM 5
ABRSM
ISBN: 978-1-84849-683-5
The Spectrum series was
devised by Thalia Myers in
collaboration with the ABRSM
in order to bring serious new
music to students, amateurs and
professional pianists. The fifth volume includes
15 pieces between Grade 6 to diploma level by 15
contemporary composers. With the exception of
Karen Tanaka’s wonderfully written Masquerade
(which is on the ABRSM’s new Grade 6 syllabus),
these are all pieces that require work from both
listener and student to appreciate their qualities.
The project is nevertheless an admirable one, and
those curious to know more can listen to samples
at https://www.abrsmdownloads.org/piano/
spectrum_5. The entire collection is available for
both digital download and streaming, recorded by
Myers herself, on Usk Records.
THE PIANO PLAYLIST
Arranged by Barrie Carson
Turner
Schott
ISBN: 978-1-84761-419-3
In this volume, Barrie Carson
Turner has made pianistically
conceived arrangements of 50
well-known classical themes, from symphonies,
concertos and stage works to simplified versions
of famous piano solos such as Debussy’s Clair de
Lune and Chopin’s Nocturne Op 9 No 2. The
book is advertised as suitable for Grades 1-4, but
Grades 3-6 seems to be a more appropriate level.
Students of all ages at this standard will
appreciate the quantity, variety and selection
of music presented. The book is also
recommended as a useful sight-reading volume
for students at higher grades.
10/01/2017 10:51
 Email: info@hurstwoodfarmpianos.co.uk
Web: www.hurstwoodfarmpianos.co.uk
Tel + 44 (0) 1732 885050
Fax + 44 (0) 1732 883030

PIANO STUDIOS Hurstwood Farm Piano Studios

The Hurst, Crouch
Borough Green
Sevenoaks ~ Kent TN15 8TA ~ UK

Specialists in and

Hurstwoood Farm Piano Studios is pleased to announce the opening of our new additional
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and upright pianos. Handcrafted in Bayreuth, Germany since 1852, these superb
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technology such as carbon fibre sound boards, Phoenix bridge agraffes and carbon fibre/
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experience these beautiful instruments.

75• Pianist 94

Hurstwood.indd 1 25/10/2013 16:38

p89_pianist94.indd 75 12/01/2017 13:45

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75• Pianist 94
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Pianist94.indd 1 10/01/2017 14:17:36

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