Pianist - April May.2017 [PDF]

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No 95

ROCK LEGEND

RICK

WAKEMAN returns to his classical roots

Your guide to 2017 SUMMER COURSES & FESTIVALS

11 LEARN PIECES TO

ALL LEVELS AND ALL STYLES

IN-DEPTH LESSON

Grieg Melodie

Lyric Piece Op 47 No 3

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BEGINNER

How to perfect your chord playing

INTERMEDIATE Get to know your trills and turns

ADVANCED Improve your wrist position

LEARN TO PLAY

‘The Very Thought Of You’ All you need to know

PIANO

RESTORATION

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

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Pianist 95

CONTENTS

April-May 2017

The next issue of Pianist goes on sale 26 May 2017

67

READER OFFER

9 10

12

82 4

Editor’s Note

6

Readers’ Letters Sight-reading tips

7 8

and the joy of improvisation

Reader Competition WIN the new

Rick Wakeman Piano Portraits recording

News Fanny Mendelssohn premiere; Imogen Cooper’s first Liszt on record; new Bösendorfer models; what La La Land is doing for piano dealers; robots coming to a piano near you

12 Rick Wakeman The rock pianist and not-so-Grumpy Old Man in interview, discussing his serious keyboard habit and his new return to classical piano

16 How to Play Masterclass 1

Mark Tanner on striking to the bottom of the note

18 How to Play Masterclass 2

Graham Fitch on the drop-roll motion, in the first of two articles on the wrist

20 How to Play 1 Melanie Spanswick on Streabbog’s Distant Bells (Scores page 30)

22 How to Play 2 Janet Newman on Grieg’s Melodie from his Lyric Pieces (Scores page 49)

24 How to Play 3 Lucy Parham on

Schubert’s Impromptu in A flat D935 No 2 (Scores page 60)

27 The Scores A pull-out section of 40 pages of sheet music for all levels

45 Beginner Keyboard Class

Hans-Günter Heumann’s Lesson No 22: Finger fitness exercises

67

SUMMER COURSES & FESTIVALS 2017 Your 12-page guide to the best of summer courses and festivals in the UK and across the world, with a special focus on piano courses, artists and events Courses Five pages of courses for all

tastes and levels, including a special insight into the sell-out Chetham’s Summer School for Pianists from co-founder Kathryn Page

Festivals Detailed listings of more than

30 festivals in the UK plus the cream of summer events for pianophiles in the rest of the world. The founder directors of the Oxford Piano Festival and the Husum Rarities of Piano Music festival explain what makes their piano celebrations unique

80 Understanding Theory Helping

you grasp the building blocks of music. This issue, the first of a two-part series on ornaments, dealing with trills

82 Piano Restoring Restore, repair,

recondition: what do they really mean? And what do you get for your money? A special Pianist investigation talks to piano-tuners, technicians, craftsmen and customers

86 CD Reviews The special intimacy of

Cedric Pescia’s Schumann; ongoing Brahms cycles from Barry Douglas and Jonathan Plowright; unmissable rarities by Ginastera and Hélène de Montgeroult

88 Sheet Music Review New editions of Für Elise and Brahms’s Handel Variations; a popular anthology by Melanie Spanswick, and new pieces for students by Mark Tanner

89 Subscribe today for just £4.50 an

issue by Direct Debit and receive a copy of the La La Land sheet music (easy piano version) worth £12.99!

90 Classifieds

Images, clockwise from top left: © Sarah Mason Photography; © Sussie Ahlburg; Handel Pianos and Hamilton Pianos Notice: Every effort has been made to secure permission for copyrighted material in this magazine, however, should copyrighted material inadvertently have been used, copyright acknowledgement will be made in a later issue of the magazine.

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DON’T MISS OUR FREE ONLINE VIDEO LESSONS

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A WELCOME FROM THE EDITIOR

Editor’s note

D

o you like the new picture? Yes, it’s me with rock legend Rick Wakeman in January. I had no idea what to expect before we met; as I mention at the start of my interview feature on page 12, he isn’t my usual sort of interviewee. But I had the most exhilarating time, and this picture will make a fun memento. There’s no reason why classical pianists should always get top billing in Pianist. The piano’s reach and appeal is far broader than that. Look at the film La La Land. The male lead is Sebastian, a struggling jazz pianist played by Ryan Gosling (we hear it took Gosling some three months to learn the piano – full credit to him). The film has become an Oscar-winning success. Read our news story on page 9 and you’ll discover how Pianist very nearly had a role of its own in the movie. And find out how to buy the sheet music at a special discount. Back to Rick. Even if he chose to go where his enthusiasm led him and leave the classical world, he knew that mastering the basics – all the piano grades and a stint at the Royal College of Music – would stand him in good stead. The same is true for the rest of us. There’s lots of basic help at hand inside these pages. In his masterclass on page 16, Mark Tanner demonstrates how getting to the ‘bottom’ of the note produces assured playing no matter how soft the dynamic. His advice will come in handy when you try Grieg’s gorgeous Melodie inside the Scores section. Notice how the dynamics are often piano and pianissimo – and with lots of chord playing, that’s not easy! Janet Newman will help you further with technical and expressive insights into the Grieg in her in-depth lesson on page 22. There is more soft playing to master in the Nat King Cole tender classic The Very Thought Of You (page 34). I should know, because it’s me playing the track! I thought I’d give it a try, and it wasn’t easy; I take off my hat to Chenyin Li for the hours of work required each month to learn and record the repertoire on the CD. Graham Fitch offers further learning tips on page 18, where he talks about the importance of the wrist’s ‘drop-roll’ motion in the first of a two-part masterclass on the wrist. (Watch his piano lesson at pianistmagazine.com.) Without confident use of the wrist, we’re well and truly stuck. For further soft-playing and wrist-movement inspiration, turn to our 12-page 2017 Summer Courses and Festivals Guide which appears directly after Scores. Some of you will be drawn to a particular course in the hope of improving your playing skills; others will prefer to take a back seat as festival audience members and watch the stars in action. Above all, dear reader, when it comes to learning the piano take note of these wise words from Rick Wakeman: ‘No matter what age, have fun. Enjoy it, and be the best you can be’. ERICA WORTH, EDITOR

Make sure that you keep in touch with me – what I’ve been up to, which pianists I’ve spoken to, exclusive extra articles and interviews – by registering for our FREE e-newsletter. All you need to do is go to www.pianistmagazine.com

COMPETITION

ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM

WIN THE NEW PIANO PORTRAITS CD FROM

RICK WAKEMAN!

Answer the question below correctly, and you could be one of three lucky winners to receive Rick Wakeman’s Piano Portraits CD. Read how Wakeman came to make it in his interview on page 12. Rick Wakeman was keyboardist for which of the following rock bands? A: Pink Floyd B: Rolling Stones C: Yes ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM 4• Pianist 95

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Pianist

www.pianistmagazine.com PUBLISHER Warners Group Publications plc Director: Stephen Warner Publisher: Janet Davison EDITORIAL 6 Warrington Crescent, London,W9 1EL, UK Tel: +44 (0)20 7266 0760 Fax: +44 (0)20 7286 0748 Editor: Erica Worth [email protected] Deputy editor: Peter Quantrill [email protected] Marketing: Lauren Beharrell [email protected] Senior Designer: Nathan Ward ADVERTISING Gareth Macfarlane, Advertising manager [email protected] Tel: +44 (0)845 226 0477 Fax: +44 (0)845 226 0377

READER SERVICES UK & WORLD SUBSCRIPTIONS (EXCEPT USA & CANADA) Pianist Subscriptions Department Warners Group Publications plc West Street Bourne, PE10 9PH, UK Tel: +44 (0)1778 392483 Fax: +44 (0)1778 421706 Email: [email protected] USA & CANADA SUBSCRIPTIONS You can subscribe online, via email, fax or by telephone: Website: www.expressmag.com Email: [email protected] Toll-free number: +1 (877) 363 1310 Tel: +1 (514) 333 3334 Fax: +1 (514) 355 3332 ExpressMag 8275 Avenue Marco Polo Montréal, QC H1E 7K1, Canada DIGITAL SUBSCRIPTIONS http://pianistm.ag/digissues Email: [email protected] Tel: +44 (0)113 200 2916 DISTRIBUTION To find a shop near you that stocks Pianist, contact our distributor: Email: [email protected] BACK ISSUES Tel: +44 (0)1778 392483 Email: [email protected] FOR ALL OTHER ENQUIRIES Contact Janet Davison, Publisher Warners Group Publications Fifth Floor, 31-32 Park Row, Leeds, LS1 5JD, UK Tel: +44 (0)113 200 2929 Fax: +44 (0)113 200 2928 Registered Address :Warners Group Publications,West Street, Bourne, Lincs, PE10 9PH. © Warners Group Publications plc. All rights reserved. Reproduction in whole or in part without written permission strictly prohibited. Every care is taken in compiling the magazine and no responsibility can be taken for any action arising from information given on the papers. All information, prices and telephone numbers are correct at the time of going to press. No responsibility can be taken for unsolicited manuscripts, photographs or transparencies. Printed by Warners Group Publications plc. Pianist ISSN 4200395 is published bi-monthly (six times a year in February, April, June, August, October, December) by Warners Group Publications c/o Distribution Grid at 900 Castle Rd Secaucus, NJ 07094, USA. Periodicals Postage paid at Secaucus, NJ. POSTMASTER: send address changes to Pianist, c/o Express Mag, P.O. BOX 2769, Plattsburgh, N.Y., U.S.A. 12901- 0239. ISSN 1475 - 1348

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Readers’ Letters Get in touch

WRITE TO:The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK OR EMAIL: [email protected] STAR LETTER wins a surprise CD. Letters may be edited.

I feel compelled to offer support to your correspondent J Harris in issue 92 [‘The challenge of sight-reading’]. As one who routinely goes walkabout round the circle of fifths every other day, from memory, I empathise fully with her frustration. A few pointers from someone who has been trying for more years than I dare to admit: Do not attempt to sight-read ditties you are familiar with. Sight-reading books are all very well, but you subconsciously learn them and stop reading. You require a huge pile of music scores that are never played publicly and have not been recorded: make six attempts then turn the page or throw it on the floor. Do not attempt to learn them. Follow the beginners’ pieces published in Pianist and make sure you can see and hear every note. An ex-colleague of mine, who was a jobbing double bass player with the RSNO, advised me I was probably trying to read what I was playing instead of playing what I was reading. Touché! Trying to read what you have committed to memory is even more difficult, as I have found out. We can take comfort from a previous article about Lucille Chung [issue 85], who never learned to read fast enough – there’s hope for us yet. I learned to touch type when I was 17 and can type faster than I can write, which proves the point one has to learn when still a youngster. I am getting better every day, tiny bit by tiny bit, but it has been a long, hard road. Carry on and don’t give up. Alistair J Marshall, Gourock, Scotland   Thank you for your helpful feedback. The subject of sight-reading is always a hot topic, and one that we address frequently within the magazine. A CD prize is on its way to you!

Easy on the pedal

I am a self-taught pianist, about Grade 6 standard, and I practise about one hour per day. From what I can gather pedal is best avoided where possible for a player of my standard but where it should be used, what is the best approach? I am currently learning Satie’s Second Nocturne. There are passages where pedalling seems the only way of creating legato, such as the right-hand octaves from bar 9. Is it a case of pedalling after each octave – this would seem very frequent – or is it a combination of better fingering and less pedal? Jonathan Thorpe, Kent, UK

Un sospiro challenges

I refer to the letter from Joseph Laredo in issue 94. I want to be continually challenged. I am happiest when working on music totally above my ability – working note by note, bar by bar. I tell my teacher to challenge me, and she does. For me the end result is secondary to the journey. I started work on Chopin’s Ballade No 1 about 12 months ago, and after three months I put it in my pending file. I have just resurrected it and I am finding it less hard going, but with still a long way to go. This is the way I like to work, it keeps my mind active and focused. What appears impossible today becomes easier as time passes and my skills improve. Pianist expands my knowledge of composers and their music, and I love attempting the most difficult pieces. I hope you continue to provide us with a challenge. David Kay, Doncaster

We received several letters along the same lines and are only sorry that lack of space prevents us from publishing them. But – don’t worry! – we’ll continue to publish a range of scores to suit every level of ability and, indeed, ambition.

The almost lost art of improvising

Derek Connolly writes in issue 93 about his interest in incorporating improvisation into his playing. During the past year I, too, became interested in improvisation but I didn’t really know how to begin, and although I respect jazz, I am more interested in the classical style. Happily, I found an excellent book that seemed written just for me! Improvisation at the Piano: A Systematic Approach for the Classically-Trained Pianist (from Alfred Publishing) gets you started with improvising at a very basic level from the beginning and then systematically gives you ‘tools’ to add to your improvisational ‘toolbox’. It may seem odd that improvisation would benefit from systematic study, but I’ve found that spending a mere 15 minutes per practice session reviewing each chapter (the chapters themselves are brief ) has, over several months, really expanded my creativity and provided a lot of joy.  Jason Kleps, Okahoma, USA

Desperately seeking No 76

Reader Stephen R Gilmore from Florida, USA, has been reading Pianist since IMPRO VE the start, but recently lost your playing  now! issue 76 in a house fire. EXPERT ADVICE This issue is no longer available in print, and Mr Gilmore asks if anyone 13LEARN PIECES TO 13LEARN has a spare copy they don’t BOOGIEWOOGIE mind parting with. Please email editor@ pianistmagazine.com and we’ll let Stephen know. No 76

Helping you become a better player

Ambition and encouragement

Joseph Laredo raises an important issue of motivation or discouragement when looking at advanced pieces. When I look at Un sospiro as a whole, I am quite sure that I will never be able to play it. But could I learn to master the difficult details separately, and would this enable me to play the entire piece, someday, if I wanted to play it? There are obvious limits to what I can do, and sometimes almost no limits to my ambitions.

✓ Essential warm-up exercises ✓ Perfecting your pedalling ✓ Why good posture matters

LISTEN • LEARN • PLAY All BEGINNER PIECES PIECES TO WITH BAR-BY-BAR

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Graham Fitch responds: Some composers choose to leave the pedal up to the player (Debussy marks nothing and Rachmaninov very little). Others might write it in only when they want a particular effect. In Chopin’s E minor Prélude there are only two pedal markings, both telling us to sustain a bass note by foot. We may absolutely use pedal elsewhere in the piece, of course, or we are going to get a horribly choppy left hand and we won’t connect the chords at the end.  We pedal for two main reasons – to connect sounds that the hands alone cannot connect, and to add resonance and colour to our playing. In bar 9 of your Satie Nocturne, I would suggest pedalling the main beats (thus four changes). However, it is important to remember that the pedal does not have to go all the way down, and you can add dabs of pedal to liquefy your sound where necessary. It is an excellent idea to practise on occasion deliberately without pedal as a way of purifying the ear from the luxury pedal brings to our sound, and

also in order to hear what the fingers are really up to. In issues 83, 84 and 85 I wrote more about pedalling (and my video demonstrations are available at www.pianistmagazine.com). 

If I fail to balance my skills against my dreams, I may be disappointed or maybe even frustrated. On the other hand, if I don’t grow, this might result in disappointment and frustration as well. Un sospiro is certainly a challenge, but also a goal. Publishing this piece in your magazine is not disrespectful to readers: to my mind, quite the contrary. In your answer to Mr Laredo, you use the expression ‘to overreach one’s ambitions’. I may be doing that, but occasionally I succeed in playing pieces I never thought I would have been able to. This is very satisfying. But for me in this process, dialogue, as well as appropriate feedback and encouragement from a good teacher, cannot be valued enough. Marianne Haugaard Antonsen, Solbjerg, Denmark

FEBRUARY-MARCH 2014

STAR LETTER Sight-reading: don’t give up!

www.pianistmagazine.com

10/01/2014 10:15

6• Pianist 95

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News

All the latest news from the world of the piano BÖSENDORFER’S NEW GENERATION Two state-of-the-art models unveiled by fabled Austrian maker

SECOND COMING for Fanny Mendelssohn’s Easter Sonata A substantial piano sonata by Fanny Mendelssohn has received its first public performance and UK premiere, almost 190 years after it was written. Pianist readers will be more familiar than most with the overlooked figure of Fanny. She gave only one public recital and was discouraged both by her father and especially her brother Felix from making money or a reputation from her compositions. Nonetheless, she wrote music throughout her life: mostly songs and miniatures such as the Melodie Op 4 No 2 from his Kinderstück, which was published in the Scores section of Pianist 94. The 22-minute, four-movement ‘Easter’ Sonata is of another order of magnitude and significance. In the diary of his tour to Scotland in 1829, Felix recounts playing the newly composed sonata on board a steamer moored in Liverpool docks. As recently as 2003, Felix’s biographer R Larry Todd could still refer to it as lost, but in fact the manuscript turned up in Paris in 1970. The owner of the manuscript was reported to have said, ‘It can’t be by a woman. It’s a masterpiece.’ However, the musicologist Angela Mace Christian proved the authenticity of the sonata, which was performed at the Royal Academy of Music in London on 8 March by Sofya Gulyak, winner of the 2005 Leeds International Piano Competition. The sonata’s name discloses a dramatic narrative which comes to a dramatic head in the finale with an evocation of the curtain of the Temple being torn in two, followed by a calm and joyful, chorale-like coda. Gulyak’s performance (broadcast live on BBC Radio 3) was as ambitious and volatile as Fanny’s creative inspiration: ‘The Sonata says a lot about her as a composer,’ remarks Gulyak. ‘We can feel the influence of Beethoven and Schubert, but her voice is very much her own.’

Top-end piano manufacture took a leap forward on 7 March with the launch in London of the 280VC (‘Vienna Concert’) Grand from Bösendorfer, alongside its smaller sister, the 214VC. Having played Chopin and Liszt on the new instrument, Polish pianist Aleksandra Mikulska reacted with enthusiasm. ‘It has a big sound,’ she said, ‘and it gives the artist the opportunity to play this big sound with less power than you might need with other concert grands. And it gives you many, many colours! There’s the brilliant soprano register and the voluminous bass. It gives you a lot of colours without big work!’ Various upgrades to every aspect of the Bösendorfer model have been made in order to improve the stability of the instrument, whatever the context. ‘Our aim is to make the life of a concert pianist as easy as possible’, explained the company’s chief technician, Ferdinand Bräu. ‘To stay true to the individual unique design and the unmistakable “Vienese” sound, but meeting all the needs and expectations of the 21st century. Accessibility must be very easy these days – venues don’t have much time to sort things. There’s a demand for a certain spectrum of dynamic range at these big venues.’ The 214VC has been designed to carry over the principles and technology of the 280VC to suit smaller contexts such as teaching classes and more intimate venues. Sir András Schiff has already given the 280VC a ringing endorsement as a ‘singing’ instrument, comfortable to play and ‘great for the Viennese classics’: he will use it in forthcoming recitals.

DELIGHTED CLAVINOVA WINNER

Reader Jayne Dawson is the lucky winner of the ‘Win a Clavinova’ competition published in issue 93. Editor Erica Worth pulled her name from the hat – a large one – containing 1,868 entries. Yamaha UK installed the new black walnut CLP-535 at Jayne’s home in Lincolnshire (picture taken just after it arrived). ‘To say I am delighted is an understatement,’ said Jayne, who had let her playing habit slip some years ago. ‘To own a piano again will be fantastic; I shall probably have to have some refresher lessons, and my husband is certainly going to learn. It will be a family affair.’ Turn to page 4 for this issue’s competition. It might not be a full-blown piano, but it is something that many will covet: cover artist Rick Wakeman’s new Piano Portraits CD!

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10% OFF IT’S ALL ABOUT PIANO! Beethoven, Cage and keyboard comedy at London festival 31 March-2 April The action-packed weekend hosted by the Institut Français in Kensington returns for a fifth season. Melvyn Tan (pictured, centre) gets the festival off to a flying start on 31 March with sonatas by Beethoven and Liszt. He is joined the next morning by students from the Paris Conservatoire and the Royal Conservatoire of Scotland for a masterclass. The CD reviews section in this issue of Pianist gives some exciting clues as to what to expect. There are recitals with Cédric Pescia (John Cage and more Beethoven) and Barry Douglas (Brahms and Schubert, pictured left) as well as return visits from Ivan Ilić (reviving the piano music of Anton Reicha) and the cabaret duo of the Piano Brothers. It’s All About Piano! is about much more than the classics. There are cinema concerts with live accompaniment including the Oscar-nominated The Red Turtle and short comedies with Buster Keaton; late-night jazz, children’s concerts and family events; and Ulrich Gerhartz, Master Piano Tuner at Steinway (above, right), is on hand to talk about the art of ‘preparing’ pianos – with nails and rubbers rather than tuning forks – before Pescia plays Cage. Look out for the ‘Your Time to Shine’ event on Sunday: editor Erica Worth hosts this special concert in which you’ll hear performances from five amateur pianists (chosen by a jury of experts), with the audience encouraged to give feedback after each performance! For more details visit itsallaboutpiano.co.uk.

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

TECHNOLOGY CORNER A piano-playing robot and new duet software

THE LA LA LAND EFFECT Oscar-winning movie boosts piano awareness The feel-good romantic musical may not have been Best Movie (though it scooped up numerous other awards) in the eyes of the Academy Award judges, but it captured the imagination of thousands of filmgoers. The impact has been positive for both commercial and cultural reasons. Piano dealers report an uptick in off-the-street consumers who want to try out the instrument, inspired by the struggling jazz pianist Sebastian (played by Ryan Gosling). ‘I’ve already noticed customers coming in to The Piano Shop and playing little snippets from the film that they’re working out by ear,’ says Kent piano-dealer (and regular contributor to Pianist) Nigel Scaife. For the role of Sebastian, Gosling learnt to play the instrument in just three months and did not use a keyboard double. Wide awareness of this may have enhanced the La La Land effect, and Faber Music reports that its volume of songs from the movie is already a best-seller. We can now reveal that Pianist had its own small part to play in Damien Chazelle’s film. The production company contacted the magazine a couple of years ago with a request to use a copy of the magazine as a prop in one of the scenes. Consent forms were signed and magazines duly provided. As far as we can tell, the scene concerned seems to have hit the cutting-room floor, but it’s good to know that ours is the piano magazine of choice for Hollywood moguls!

READER OFFER

Surprising news from California, where a player-piano system has been launched. Arpeggio, the ‘Piano SuperDroid’, is designed to roll up to any piano and align itself with the right keys and foot pedals. The machine is capable of playing with over 1,000 levels of individual keynote expressions and 256 pedal positions. Perhaps, however, Pianist readers need not be too alarmed that Arpeggio will take work or fun away from them. The robot as yet appears incapable of wearing cocktail dress, flirting with customers or sending in an invoice. Readers without a current duet partner may find a temporary replacement in Google’s latest Artificial Intelligence (AI) software project. AI Duet is an app for your PC or mobile. Connected via a desktop or MIDI-compatible keyboard, the app ‘listens’ to your playing and responds accordingly. AI Duet was developed by programmer Yotam Mann and collaborators at Google, using the company’s TensorFlow software library. The programme has been trained with examples of classical music so it can produce harmonious chord sequences in the context of your playing; though whether it will take Secondo in Schubert’s F minor Fantasy must remain, for now, an open question. See pianosoftware.com/arpeggio-the-piano-superdroid/ for more details.

Want to play the songs from the movie? Subscribe to Pianist today and receive a FREE copy of Faber Music’s La La Land (for easy piano). Turn to page 89 for further information. Already a subscriber and still wish to get hold of the book? Go to fabermusicstore.com and use the code PIANIST003 for the 10% discount. Offer valid until 28 April 2017.

LANG LANG RETURNS TO UNIVERSAL

The multi-million-selling Chinese pianist will reunite with Deutsche Grammophon – the label which launched his recording career in 2003 when he was just 20 – for a series of new recordings which will include Bach’s Goldberg Variations. Lang Lang’s first release under the new agreement will be The Piano Book, an album of popular piano music which is featured in his own pioneering Piano Method. On signing the deal, Lang Lang (pictured with Sir Lucian Grange, chairman of Universal) said: ‘This is exactly the spirit we need to promote classical music in the 21st century. My dream has always been to share music with as many people as possible, and I can’t wait to start working with the Universal teams around the world.’

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News

All the latest news from the world of the piano

LOVE, DEATH, DARKNESS IMOGEN COOPER

A new album of Liszt and Wagner goes to the edge of human experience. Imogen Cooper talks Peter Quantrill through a project that has been years in the making You’ve taken a long time to come to Liszt on record. And you’ve been very selective about the moods you’ve chosen to explore. I wasn’t trying to do him justice. I was following a train of thought which started because I wanted to give the ‘Liebestod’ from Tristan another crack. Then I looked out Zoltan Kocsis’s transcription of the Prelude, which he gave me in the late 70s. It’s enough of a problem trying to sound like an orchestra, but then are you really going to do what Wagner did, and play them together, leaving out three and a half hours of opera in between? On the piano, that’s too much of a challenge. So I turned to Liszt, and to La lugubre gondola which he wrote when he had a premonition of Wagner’s death. It seemed to be a good link between the two parts of Tristan. Love, death, darkness, all sorts of things. That led me to the vaguely atonal late pieces such as the Bagatelle sans tonalité. And I thought I needed something more light-hearted, so the Valse oubliée went in. It was like building a lorry out of Lego® bricks. Bits kept getting stuck on. And of course the Années de pélèrinage are a dream to play, they’re so beautifully written, and from a different period. What was fun was deciding the order for the recording. My thinking could have made no sense at all! But it feels right to me, there’s a tale being told.

Brendel talked more than half a century ago about Liszt the misunderstood. Is that still the case? People have a set idea – they think it’s a certain way, too many notes. Alfred was one of the first to bring visionary imagination and dignity to the music, and fire, and everything that Liszt the man was himself. A lot of others had used him as a pianistic vehicle. This has happened to Chopin too. To free yourself, and find something fresh and personal, is very difficult. You’ve avoided the B minor Sonata so far. I would work on it if I ever took a sabbatical because I don’t want to die stupid. It’s such an enormous piece, I would love to go deep into it. Even when it doesn’t sit so easily under the fingers, the music just shows what a fabulous pianist Liszt was. The same is true of the Valse oubliée. It’s just a gas to play, the speed and the wackiness of it. I hardly slept for 10 nights when learning it. Liszt and his son-in-law Wagner had the kind of one-sided relationship where one person gives and the other takes. Liszt was such a giver. And the body of work is absolutely colossal. Even in the context of one disc, that was an attraction. He was very generous except when raised to righteous indignation. I’m sure he was a very generous teacher. There are pages and pages of people who came to work with him. And now with the Imogen Cooper Music Trust, you’re passing on something of your own experience. My idea in setting up the Trust was to give unlimited time within six days to one or two young pianists, once or twice a year, and do really concentrated work, and for it to be somewhere of extraordinary beauty and silence. And Pat Ryan and Bryan Youl made the idea come true by lending their

house in southern France. The young ones in the colleges have to get used to noise all around them. Then they come to Eygalières and find that the passage of music from brain to fingers is so much quicker because there’s nothing to get in the way, just birdsong. You didn’t do the competition circuit. Is the Trust a way of offering an alternative to the circuit? The world when I was growing up was very different. It was Alfred who was putting the brakes on my doing competitions. There were fewer of us around, and there were far more music societies and clubs where we could learn and ply our trade. Young musicians all do competitions now because it’s a way of being heard – by managers, press, record companies. That is a pressure for them now that I feel I had a choice about. The Trust is just something I want to give them. I’m not looking for stars. I want people who respond, who are sponges. What’s next? I’m quite plunged into Beethoven. Between now and June 2018 I have three recitals which have big Beethoven variations, all the Bagatelles, some Haydn and contemporary works by Thomas Adès and Julian Anderson. And there will be more things for Chandos. The more recording I’ve done, the more I’ve realised you can afford to take more risks in the studio, because you can go back and do it again if it doesn’t come off. What is difficult is if you have a patch or a period where something closes in, and you can’t play a note, because you’ve heard a take you haven’t liked, or done something four or five times, and then your head gets into a terrible mess. If you’re free of that you can take fantastic risks. I’ve taken more risks as I’ve got older. But it doesn’t work if the producer is too active, saying, ‘why don’t you try this?’, or ‘that crescendo doesn’t work’. I know what I want, and I keep trying until I get it. Imogen Cooper’s Liszt & Wagner release is out now on Chandos (CHAN 10938). You can hear her recording of La lugubre gondola on this issue’s covermount CD.

© Sussie Ahlburg

A tale in words or music? Story-telling is what fascinates me about instrumental music. We don’t have the words but as Mendelssohn said, it doesn’t matter, because the music is more powerful on its own. I am fascinated by the unspoken link between pieces. Alfred Brendel remarked on the long silver cord that is pulled with tension all the way through a piece, and that should extend through a recital or disc. I’m not saying the listener should necessarily be aware of it.

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16/03/2017 16:39

INTERVIEW

FIRST

Love

J

anuary 2017, and I’m sitting in a rooftop café overlooking Broadcasting House in central London, waiting to interview the rock keyboard legend that is Rick Wakeman. ‘Just another five minutes,’ I’m promised by a text from his publicity assistant. ‘Rick keeps stopping to chat to people’. I can only imagine. As I set my recording device on the table and put my sheaf of questions next to it, I feel a pang of apprehension. Wakeman is not my typical interviewee, and prog rock is not my everyday listening. However, I do know a thing or two about piano. And that’s what I’m here to find out about – Rick the pianist, who has revived his classical credentials with a new album and tour, Piano Portraits. Wakeman strides in, larger than life, offering a firm handshake and apologies for lateness. Not to worry, I reply, and introduce myself in the expectation that he doesn’t know much about my magazine. ‘Oh, I do!’ he roars back. ‘In fact, my piano technician Andrew Giller was so excited that I’m meeting the editor of Pianist. He knows the mag. He’s a genius, a complete nutcase.’

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

From that moment, I know it’s going to be plain sailing. ‘You can talk to Andrew about anything to do with pianos,’ continues Wakeman, fired up. ‘I got to know him because I inherited my father’s Bechstein upright, which I used to play. When I moved to Norfolk in 2005 I thought I’d get it restored. Andrew said he’d come and have a look. He arrived, and I asked if it was still raining. To which he answered, “Where’s the piano?” And now he looks after all my pianos.’

Above: Rick Wakeman recording Piano Portraits at The Old Granary Studio, a converted barn in Norfolk

Things like the music stand were missing. But the basics were there – the soundboard, the frame. Andrew said he could make it into a real Blüthnersounding piano. It took him a year. Now he’s restoring a 1925, 7’ 6” Bechstein, which I absolutely adore. So at the moment I have the upright Bechstein, the grand Bechstein, the Blüthner grand, and a Petrof in the studio. I got it when they started getting things right – it’s about 20 years old. I’ve had a Yamaha B too.’ And Steinway? ‘I did have one of those’ – said almost under the breath. ‘That went in the first divorce. It lives near Trinity College now, with a very

‘I cannot walk past a piano without playing it. It is my greatest love, and I think it always will be’ How many pianos might that be? ‘Well, I like rescuing things,’ replies Wakeman. ‘Apart from my father’s Bechstein, there was a lovely 6’ Blüthner from the old Boston Gliderdrome [a 60s music venue in Lincolnshire]. It was an early 60s model that started life in Lincoln Cathedral. It was in appalling condition, almost skip-ready.

good pianist. I understand it’s still referred to as “Rick Wakeman’s piano”. I would love a Thomas Goff double harpsichord – I knew Tom well – but we don’t have the room.’ No wonder: Wakeman also has around 150 keyboards. ‘I’m a real hoarder,’ he explains. ‘This collecting thing started in the late 60s. Remember, I’m old!

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Depending on what we’re recording and where we’re touring, we just go and sort out the ones we want.’ Wakeman happily observes a move among instrument-buyers from digital to acoustic instruments. ‘Andrew Giller has told me that people come in looking for a piano saying: “We’ve got a digital. Now we’re looking for a real one”’.

Exotic, erotic years During the 70s Wakeman gradually drew away from dependence on existing formations such as Yes and pieced together the ideas, the music and the personnel for his own projects. In 1973 The Six Wives of Henry VIII was released, with its coruscating, Baroque-pastiched opening keyboards cadenza (Wakeman the performer at his most technically brilliant) and clinching variations on The day Thou gavest (Wakeman the composer at his most ingenious). The following year he embarked on the most ambitious project of his career, Journey to the Centre of the Earth. This was a 45-minute fantasy based on Jules Verne’s novel and featuring the London Symphony Orchestra and choirs. The live recording at the Royal Festival Hall was famously fraught with technical issues, but the album was a worldwide hit, and he toured it across the globe. By 1975 Wakeman was obvious choice to compose the soundtrack to Lisztomania (billed as ‘The exotic, erotic, electrifying rock fantasy’), in which Ken Russell explores the parallels between mid-19th and late-20th-century notions of musical fame with characteristic imagination. Wakeman himself appears on film as the god Thor. The same year he released a concept-album sequel to Journey – The Myths and Legends of King Arthur and The Knights of the Round Table, with opulent orchestral strings against wild harpsichord and keyboard solos. Brahms, Liszt, the LSO: it should be clear that an irreverent love of the classical tradition remained central to Wakeman’s work. I ask how his classical training helped his career. ‘My father played classical and stride piano,’ he continues. ‘He said that if you want to make music your profession, you won’t always be able to play what you want to play.

▲

Early memories We travel back to the start of Wakeman’s life at the piano. ‘I was born in 1949. In the early 50s, children’s TV was Bill and Ben and that was your lot, so we had to do something else. My parents were both musical. When I was young, they held musical evenings in our tiny house, on a Sunday evening. My Mum sang and Dad was a fine piano player. I used to climb out of bed, aged four, come down the stairs and listen. I was in raptures. There were three girls who lived next door and they were having piano lessons. The walls were paper thin, and I could hear them. I so wanted to play like my dad, to be like my dad. ‘I was lucky. One of the finest piano teachers in southern England lived less than a mile away. But my dad earned exactly this: one pound eighteen and six a week. And seven and six went on piano lessons for me. So they went without. I went to Mrs Symes, and did all my grades with her.’ He won a scholarship to the Royal College of Music [RCM] where piano was his first study, with Eileen Cooper. However, Wakeman never made it to the end of the course. ‘I was on the performer course,’ he recalls, ‘but I was doing a load of sessions. The College frowned upon this at the time – especially if you were working on an album that turned out to be a hit! The sessions were starting to conflict with studies at the college. My second study was clarinet, and I went into my lesson one day, and my clarinet teacher Basil Tschaikov asked, “What’s on your mind?” I said, “Mr Tschaikov, I have a real dilemma.” “Do you want my advice?” he replied. “Leave here, go down to your locker, empty it out, walk up the steps over the road to the Albert Hall. Don’t look back, walk round to the front of the hall, then look up and say to yourself ‘That’s where I want to be’. And don’t come back.”’ He didn’t. Those sessions led to a stint with folk-rock group The Strawbs, then a frantic period of moonlighting for David Bowie, Elton John, Lou Reed and many others. In 1971 he joined Yes, and contributed to the seminal prog-rock album Fragile – notably the keyboard break between the first and second songs, Cans and Brahms, where he plays his own virtuosic condensation of the Scherzo from Brahms’s Fourth Symphony on several of those 150 keyboards.

Wakeman laughs as he remembers the RCM days. ‘I saw Basil Tschaikov years later, when I found myself on This Is Your Life with Michael Aspel. At the reception afterwards, I reminded him: “Mr Tschaikov, you, a professor at the college, encouraged me to leave. Why?” To which he replied: “The whole object of doing this course is to reach the stage where one becomes the professional one wants to become. And if the door opens for you to do that, you go through it, you don’t miss the opportunity”. My only regret, I told him, was not getting my degree because I hadn’t finished.’ Redemption arrived in 2012 – 43 years after he had walked out of the RCM – when he became a Fellow of the college. Today he works closely with the students there and is also Professor at London College of Music in West London. ‘It’s wonderful,’ he remarks, ‘the diversity and opportunities that students now have, which they couldn’t in the 60s’.

RICK WAKEMAN Up close If you could play only one piece, what would it be? A piano arrangement of Prokofiev’s Peter and the Wolf. I love it. Prokofiev is my hero. When I was about eight, my father took me to a concert of Peter and the Wolf. I thought ‘Here’s a man telling a story’. One composer? Mozart. On a desert island, if I had all the Mozart sonatas with me, I’d be very happy. One pianist you’d choose to hear? Vladimir Ashkenazy. He’s one of the few who has successfully made that great transition from performer to conductor. Any technical hurdles? No, but I’d love my left hand to be stronger. I have to work hard at it, especially when I bring out the classical pieces. If you weren’t a musician, what would you be? A politician. I think that if you’re a musician, you like to make a difference to people’s lives. I was asked to stand as an Member of the European Parliament. I was involved with a wonderful MEP and we stopped the cat and dog fur trade that’s based in China. A lot of the fur would end up in the UK, in big shops, with names such as ‘wild cat’ or ‘mountain cat’, but actually it was little Tiddles from around the corner. I also gathered support for a lot of Iraqi musicians after the coup, when they all got drummed out the country, but tragically most of them ended up in Syria. I’ve spoken in the European parliament about that. I learnt you could make a difference. What would you say to someone starting to play the piano? No matter what age, have fun. Enjoy it, and aim to be the best you can be. Even if you try two or three teachers, find one who almost becomes your friend. The first questions they should ask are, ‘What do you want to do? What would you like to be able to play? Do you want to do Christmas carols? Sonatas?’ Obviously, if the student says ‘I want to be a concert pianist’ and they’re already 36, then the teacher might suggest that they return to the world of reality!

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INTERVIEW

ROCKING OUT The legend and his keyboards: Wakeman on stage at his various shows, including Myths at the O2 Arena in London

The more experience you get playing different types of music, the better. From the age of 12 I played trad jazz, modern jazz, dance, rock and blues. I did clubs, churches, even strip clubs – I played a lot of wrong notes there! – weddings, funerals, absolutely everything.’ Was that with or without the score? And what about transposing? ‘I’d play with and without music. As for transposing, you’d get a piece of music slung in front of you at a working men’s club and they’d say, “We’ll do this in B flat now”, and it was written in F sharp. It was a great apprenticeship! My father always said to me: “Your classical training will give you the tools to do your job.” He likened it to being a writer. A writer can have the world’s greatest imagination, he said, but he’ll only be able to put onto paper the words that he knows. He encouraged me to go through all my grades: they would stand me in good stead.’ Wakeman has returned to those roots for his 100th studio album, Piano Portraits. Debussy, Fauré and Tchaikovsky sit beside Amazing Grace and Eleanor Rigby, Stairway to Heaven and Life on Mars, in which the pianist pays tribute to the memory of his late colleague Bowie. The album is, self-evidently, a labour of love. Respecting the melody ‘Acoustic piano is still my favourite instrument,’ confesses Wakeman. ‘I cannot walk past a piano without playing it. It is my greatest love, and I think it always will be. I’ve done a few piano albums before’ – such as the Classical Connection albums made in reunions with members of Yes – ‘but not one with so much thought behind it. ‘The idea for Piano Portraits came about when David Bowie died. I released Life On Mars for Macmillan Cancer Support in March 2016, and several labels got in touch: “We want an album just like this”. How weird is that? Or so I thought. Anyway, Universal encouraged me to do it. I’m glad I waited until now to make a classical album like this, because I wouldn’t have known about The Old Granary [Giller’s concert venue where Piano Portraits was recorded], or Andrew’s concert grand Steinway. It’s a gorgeous Hamburg model. ‘After all these years, I thought a lot more about the pieces. At college you’d take a work by one composer and write it in the style of another, and I loved that. I’ve always loved playing around with variations on other people’s music’ – as the exuberant fantasies of Henry VIII show. ‘It’s nothing new: composers have been nicking music for donkeys’ years. Everyone nicked from Bach. And he did some nicking too. ‘The key is a good melody. If you’ve got a good melody, and you’re honest with it and treat it with respect, you can do almost anything. Some pieces on the recording were instantly easy to work on. I played Clair de lune when I was a kid.

The Berceuse was more tricky because I knew the original. I had to get that out my head, except for the melodies, and pick the areas I wanted to come out.’ It strikes me how many Pianist readers would enjoy learning his arrangements. ‘Funnily enough, my publisher asked if I would release them. I’d prefer to do three different versions of a certain piece – for beginner, intermediate and advanced. Then it’s up to the student to choose. I’ve been told music teachers are desperate for this kind of thing. They could even be graded. We’re looking at this for next year. I’m too busy right now.’ Yes, every second counts in the life of Rick Wakeman. His tour diary is more squeezed than ever thanks to his increasing appearances on radio (Just a Minute, The News Quiz) and TV (Have I Got News For You, Grumpy Old Men) as an affable, eloquent, likably self-parodying Grumpy Old Man. ‘I love TV and the media,’ Wakeman tells me. ‘It started in the late 80s. I did a lot of chat shows. But I’d play on them, and then nobody wanted to chat afterwards. Everything changed with the Danny Baker After All show one Saturday night in the mid 80s. I’d just got back from Russia. I’d been arrested out there for stealing a KGB uniform, which sounds hilarious now but wasn’t funny at the time – I was in real trouble. So I packed the KGB uniform and went to White City for the show.’ In a flash of inspiration, Wakeman put on the uniform and walked onto the set doing a Russian goose-step. ‘I told the whole story, on prime time. And when I walked off, instead of playing a bit of Yes, they did the Russian national anthem. The following Monday, the phones didn’t stop ringing. And from all the programmes I’d been trying to get on for years. That’s all thanks to Danny.’ Time is up. The PR assistant appears, and Wakeman vanishes, as if in a puff of prog-rock smoke. I’m left with a snapshot (see page 4) and memories of an exhilarating half-hour in the company of a rock legend. ■

Piano Portraits is available on CD and 2LP sets from Universal Records. Wakeman appears at the Cheltenham Jazz Festival on 29 April at the Town Hall, Cheltenham. He tours the UK from the end of May to early July with Piano Portraits in Concert. See www.rwcc.com. Turn to page 4 for a chance to win a copy of Piano Portraits.

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Chetham’s International Summer School & Festival for Pianists 2017 Artistic Director: Murray McLachlan

Many words

Also featuring the 5th Manchester International Concerto Competition for Young Pianists Part One: 17–23 August 2017 Part Two: 23–29 August 2017

are used to describe

The Friendliest Piano Summer School in the World!

pianos

Faculty to include: Dmitri Alexeev, Joseph Banowetz, Peter Frankl, Leslie Howard, Leon McCawley, Philip Fowke, Carlo Grante, Nikki Iles, Noriko Ogawa, Artur Pizarro, Matti Raekallio, Jason Rebello, Sandro Russo, Nelita True, Ashley Wass

With daily concerts, lectures, improvisation, jazz, composition, intensive one-to-one coaching, duets, organ and harpsichord

For further information, call +44 (0)1625 266899 or email [email protected]

www.pianosummerschool.com

RESIDENTIAL CONFERENCE 31 August – 2 September 2017 De Vere Jubilee Conference Centre, Nottingham Conference Theme: Inspiring Professionals - Piano Teaching and Performing This year’s EPTA UK Conference promises to be particularly exciting. We are delighted to be able to draw on the leading and innovative Piano Teachers’ Course team, PTC alumni and the wider EPTA community to put together a varied, relevant and practical programme for piano teachers in their teaching and performing.

Keynote Speaker:

William Westney, Professor of Piano, Texas, USA: “The Perfect Wrong Note” Concert by Peter Donohoe, EPTA UK Patron For more details, please contact the Administrator on 08456 581054 or 07510 379286 / email [email protected]

www.epta-uk.org and click on conferences De Vere Conference Centre, Nottingham

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play

HOW TO

Let’s get to the bottom of it SOUNDING THE NOTE

Striking the keys with due weight and attention will produce the tone you’re looking for, says Mark Tanner, and give you control of your sound whatever the keyboard

F

rom our first lessons at the piano, we learn the importance of striking to the bottom of the piano key in order to get the full sound out of the note. Importantly, this should not be confused with ‘key-bedding’, a term apparently coined by veteran pedagogue Tobias Matthay a century ago, whereby the player continues to ‘dig’ pointlessly through the bottom of the key after it has produced its note. Key bedding is a knotty subject, and one passionately argued from different perspectives. Perhaps the discussion can be summed up as the difference between a sense of momentary follow-through (desirable) and pushing against the key after the event (undesirable). That sense comes more from feel than by sight, since the part of the piano key visible to us never literally reaches the bottom. Light versus heavy action When we begin to experiment with loud and quiet notes, and all the gradations in between, we get an early taste of what piano playing is all about. We quickly grasp that the weight of the keyboard is critical to our success in refining the subtle business of touch control. Then we come across other players who boldly advocate a far heavier or lighter touch. I’ve always felt that a very light action is hardest of all to finesse, though it can place us at a certain advantage when moving at speed. Similar discussions happen between golfers when comparing putters – some like a brick on a stick, others prefer a feather on a ferrule. I remember watching in awe how the Labèque sisters chose their instruments for a forthcoming televised performance – they practically ran from Steinway to Steinway in a choc-a-bloc showroom, reeling off impossibly slick chromatic scales, until finally they settled on the perfect instrument to match their individual techniques. When it comes to piano-key weight, it’s by no means always the larger-framed player who will err towards a brutish action. At the age of ten I was taken for a consultation lesson with the Mozart specialist Allan Schiller (with whom I went on to give two-piano recitals many years later). I chanced my luck

Mark Tanner is a pianist, composer and writer. His work takes him to five continents, giving recitals, masterclasses and presentations. For ABRSM, Mark is an examiner, trainer, reader and international presenter: he co-authored Teaching Notes, ABRSM’s book to accompany the 2017-18 piano syllabus, and The Mindful Pianist (Faber Music) tackles many practical issues pertinent to pianists of all ages, abilities and persuasions. During 2017 Mark will be performing off the coasts of South America and Tahiti on MS Queen Victoria, presenting for ABRSM in China and examining in Turkey and Sri Lanka. His popular Piano Summer School at Jackdaws, Somerset takes place in late July.

with something brisk, but remember recoiling when some notes failed to sound – I felt myself tighten up, and it all went to pot thereafter. At the time I put my dissatisfaction down to the piano’s treacle-like action, or so it seemed compared to my regular teacher’s ‘easy’ instrument. Years later, I realised that the issue was my incapacity to adapt on the fly. It also pointed up an inherent deficiency

Be decisive, but don’t dig in!

5

TOP TIPS

in how I was imagining my fingers to be striking the keys. Although a good teacher can help to alleviate this, it is ultimately the player who must arrive at a workable psychological and physical solution.

GOING ON STRIKE

1

A sense of follow-through is imperative, no matter how loud or quiet the note needs to sound, whereas ‘key-bedding’ slows us down, causes overlapping and an ugly sound.

2 3 4

Aim for a continuous, accelerated motion through to the release; this will ensure all notes speak firmly.

5

Trills, repeated notes and fioritura seem particularly prone to tightening-up and ‘key-bedding’. Try not to tickle at the surface, but play decisively and progressively.

Counter frail tone syndrome in cantabile playing by practising the ‘roll-over and follow-through’ – avoid freezing up. Don’t blame the piano! Whether you’re playing an 18th-century fortepiano, a perfectly regulated Steinway or a digital piano, consistency is your responsibility, so adapt and respond.

We should remember, and remind ourselves often, that the piano’s action can only deliver a satisfying strike when properly controlled. Pianos come with their fair share of idiosyncrasies and foibles, though these are nothing compared with our own! One truth we cannot escape is that if we don’t encourage each key to reach its bed, all manner of pianistic mayhem may result. Poor attack results in ‘holes’ in the musical line, unevenness in running passages and non-speaking notes in chords. Tickle, prod and nudge The term ‘tickling the ivories’ has many regrettable connotations. An unconvincing cantabile – that feeble, wispy sound – is usually a symptom of pawing indecisively at the surface. Though we may be aware of the need to attack confidently, many of our problems as pianists stem from the unguarded tickle, prod or nudge. We might fluke an occasional perfect note by jabbing at it uncertainly, but if consistency is what we’re after, we’ll need to hone a dependable, repeatable finger action. This relies upon the sensation of acceleration, for the act of reaching the key bottom cannot happen by gravity alone – just as in tennis, delicate touch-play at the net is never about flicking or swiping at the ball as if swatting a fly; there will always be a backstroke and follow-through, no matter how small. High finger-action practice Practising with a high finger action is a good way of overcoming the tendency to play with a half-hearted attack. Ironically, even the most silvery effect, such as we would want for Debussy’s Doctor Gradus ad Parnassum or for Schubert’s Impromptu D899 No 4

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MASTERCLASS

Older instruments Before we reprimand ourselves for not being able to control the action as we might like when we are faced with a new, heavier instrument, we might reflect for a moment on the far lighter action Schubert or Mozart would have taken for granted on their fortepianos. One can only speculate how Bach might have coped with playing his Chromatic Fantasy and Fugue on a Bösendorfer Imperial! Many gossamer-like effects, not to mention the leggiero touch ubiquitous in Mendelsohn, have arguably become harder for us today. If you ever get the chance to play Scarlatti on a harpsichord, Bach on a clavichord or Handel on an organ, jump at it – you will never feel quite the same about getting to the bottom of the keys again. Digital pianos Similarly, those of us who regularly invest time practising on a digital piano need to be aware of the simulated experience we are getting. The latest breed of instruments boast ‘proper’ piano escapement actions, which gives us the reassuring feeling of working against a mechanical action, whereas the traditional model may possess weighted or semi-weighted keys, leaving a somewhat spongy sensation with no discernible escape-point. Moreover, with headphones on and the volume turned

up high, we can delude ourselves that we are doing a good job of playing decisively. This often leads to flat fingers and a shallow attack when encountering a real piano. Roll-over and follow-through An excellent way to avoid ‘keybedding’ when playing lyrically, is what I call ‘roll-over and followthrough’. Using a high finger-lift, and with the hand nicely curved at rest, strike down clearly and, in one continuous action, ‘roll-over’: in other words, pivot the entire forearm on the tip of the relevant finger towards the piano strings by a good couple of inches. Psychologically, we make it impossible to produce a fragile tone by using such a technique, plus we get a reassuring sense of having moved fully ‘through’ the key.

MOMENTS OF GRANDEUR Mark Tanner explores three scores in this issue for their potential to train decisive key-striking

PAG 20

q = 80

Andante

is much stronger and more sonorous sound (which is tricky to execute by itself ). A the RH in every bar. The LH jump should needed in the LH, which has to pass over You will notice there are two types of be mastered so that it doesn’t sound effortful. works best for your hand. suggested fingerings at the start: seee which Spanswick is marked on the score. Pedal tips: Suggested pedalling by Melanie lesson on this piece on page 20. Read Melanie Spanswick’s step-by-step

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Distant Bells Op 63 No 6

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Streabbog Distant Bells [page 30]: This innocuous looking piece contains a great deal of musical interest. Though billed as a ‘Very Easy and Melodious Study’, the player is confronted by hand-crossing from the first bar. These accented minims can indeed become suggestive of a shapely melody, but they will need a decisive, projected attack, albeit at a fairly subdued overall dynamic. Allow the motion of your left arm to do most of the work for you – it can be a nicely rhythmic, full arch-shaped movement, in each case culminating in a single downward progressive strike to the bottom of the keys. The repeated crotchet Gs in the RH at bar 16 also provide a really good mini-exercise in followthrough control too, beginning at a level of, say, mf, and quickly dropping down to pp within a single bar: remember to allow the key to rise in order to give a fighting chance of success, and hence avoid ‘non-speaking’ notes.

Jean-Louis STREABBOG (1835-1886)

S ’T MIS NIEK’S DON MELA SWIC SPAN E PIEC THIS E ON

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is the and Melodious Studies, ‘Distant Bells’ Much the best-known of 12 Very Easy his Gobbaerts (who reversed his surname for work of Belgian pedagogue Jean-Louis in the cycle include the opening ‘Pleasant nom de plume). Other attrractive movements jaunty ‘Chasing Butterflies’, No 11. Morning’, No 3 ‘On the Green’ and the different to the Burgmüller one that Playing tips: Even if an exercise, it’s very RH about a calm, even and extremely quiet features on the previous page. This is all

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Don’t freeze up! Another way to address counterproductive digging into the keys is to tell ourselves not to { decelerate, or freeze up, just before reaching the bottom. We can ensure this is avoided if we make each { downward strike a single uninterrupted movement from lift to { strike and follow-through. In theory, on a good instrument even the { quietest ppp note will speak if you depress a key continuously to its bottom; this should help you to tackle the very last note in the Liszt Sonata. I would advise you to rehearse this effect when offered a few seconds warm-up on an exam piano. Similarly, assess the level of volume both you and your instrument can cope with, while still retaining the sense of a controlled {{ { motion through the keys.

ON

INTERMEDIATE

Melodie Op 47 No 3

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

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Continued on page 49

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TRACK 11

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Franz SCHUBERT (1797-1828)

S ’T MIS AM’S DON Y PARH LUC E PIEC THIS ON PAGE

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Schubert Impromptu in A flat [page 60]: Written in what is quickly seen as a ‘minuet and trio’ form, this splendid work can still enjoy opportunities to sound spontaneous – ‘impromptu’ indeed. My advice would be to tackle the trio first, partly to allay any initial suspicion you may have that the piece becomes beyond reach, but also because its exquisite minuet melody is essentially what the piece is all about; you can then really relax and enjoy getting to grips with it. Though the music teems with subtle articulation details, a cantabile touch will serve you admirably throughout. The bold interjections (bar 16, and its equivalent at the reprise) calls for a very relaxed upper body and wrists, mostly keeping close to the keys after each follow-through and, at all costs, resisting a debilitating ‘dig’ through the key bed. ADVANCED

Impromptu in A flat D935 No 2

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1827, with less than a year to live, Schubert Shortly after completing Winterreise in Unlike all the sets of dances and embarked on a second set of four Impromptus. for commercial gain from the composed eccossaises, these were self-evidently not no publisher came for them. Only when lucrative amateur market; and indeed later did they see the light of day. Schumann took up the cause a decade lesson on page 24, you will notice that Playing tips: When you read Lucy Parham’s

chordal structure alone, then adding the her top learning tip is to try playing the singing in your mind. This works particularly melody either by singing, or by silently use later on as well. well at the start, and can be adapted for Advanced knowledge of how to use the Pedal tips: Pedalling has not been added. as the best guide. pedal is required. Always use your ears on this piece on page 24. Read Lucy Parham’s step-by-step lesson 5 2 5 1 2 5 1 2 1 5 2 1

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P60 SCORES Schubert-FINAL.indd

Don’t be defeated when notes are repeated The repeated note (just like the trill) is where we seem particularly prone to counterproductive ‘digging’ in. The relatively steady repeated chords in the opening to Beethoven’s ‘Waldstein’ Sonata are an excellent preparation for the RH repeated-note variation (4-3-2-1 fingering on the black notes) in the B major second section of Liszt’s

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The thrill of the trill Trills are also an excellent way of calibrating your up-down action in line with a particular instrument’s {{ capabilities. A trill is just a series of repeated notes played in alternation with an adjacent repeated note. Thought of in this way, we can practice each repeated note in isolation, ensuring every depression is happening decisively enough to produce a sturdy sound, even at an enterprisingly quiet dynamic.

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Grieg Melodie [page 44]: I have always had a special fondness for this Lyric Piece. The music often keeps its innocence intact, despite obvious moments of grandeur, such as are to be found in bar 9, not to mention the wonderful stretto section, which enjoys its peak of intensity at bar 33, marked ffz. The secret of success in this piece is retaining its gentle but determined ‘bounce’ going throughout, and I strongly suggest practising the LH in conjunction with the RH thumb in isolation from the tune at first. Pedal is your best friend here, and to be honest an occasional inaudible note in this accompaniment is not going to be a game-changer. Really ‘feel’ the keys as they rise to their home positions each time, and aim if possible for a caressing action downwards, which will coax out the music’s desired warm glow. Edvard GRIEG (1843-1907)

S ’S ’T MIS MAN DON T NEW JANE E PIEC THIS ON PAGE

TRACK 9

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

∏∏∏∏∏∏∏

in Ab major, is best cultivated by attacking every note sturdily and slowly at first. Initially, we simply want to feel confident that each note is going to sound; from here, we can gradually reduce the height our fingers rise until they are actually touching the keys at rest, while still enjoying comparable control. Eventually, the imagined follow-through becomes undetectably minuscule; some imagine a pull-in of the key, a smooth flick, or other subtle motion involving the palm, wrist or forearm. Of vital importance is the feeling of relaxation a fraction of a second following each key-strike. In reality, the after-movement of a loudly played note (or thunderously loud chord, even) will be pretty much the same as it is for a deftly produced quiet note. In both cases, we need to feel that we are left almost hovering on the key, though the context will determine whether we truly remain in contact with it. Strange though it may seem, we can relax our upper body directly after playing a majestic chord, while still enjoying the feeling of a physical connection with the keyboard. You might also try imagining you are playing staccato, but refrain from releasing the note afterwards. This can help with achieving a light but crisp attack.

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La Campanella – in both scenarios we need to a) imagine the sensation before practising it, and b) aim to give each and every note its own miniature follow-through. Getting to the bottom of the keys is how we ensure clarity and control, whereas ‘key-bedding’, as Matthay suggests, achieves nothing and often proves counterproductive. ■

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HOW TO

The Drop-Roll

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

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his article is the first in a two-part series on the wrist. In this issue I investigate how to incorporate the drop-roll movement into your playing to shape phrases by using the arm to control sound and textures. Using the whole arm and moving through a free wrist we find we are able to avoid tension and solve a variety of pianistic problems as we apply the principles of the drop-roll in several different situations [see Mark Tanner’s article on page 16, where he also addresses the drop-roll]. When discussing technique, it would be convenient if we could isolate the various muscles, levers, bones and joints that make up the mechanics of playing and investigate them one by one. However, piano playing doesn’t work like that! Sure, we might concentrate on what the fingers are doing in a given situation, or switch off certain muscles while engaging others, or stabilise one joint or lever while activating another to sense what’s going on in our body, and so on. But this is not always helpful, because when we play we tend to create a fusion of activity in which all the components of our playing mechanism work together. We do this subconsciously, based both on how we have practised and on the sounds we hear in our imagination as we adapt to the performance space and the particular piano we are playing. Do you recall the well-known spiritual song by James Johnson, Dem Bones? It reminds us how interconnected the various bones in our body are (‘Neck bone connected to the shoulder bone; shoulder bone connected to the back bone; back bone connected to the hip bone’, and so on). As our fingers contact the keyboard they link to the wrist, which connects to the forearm, upper arm and shoulder. It doesn’t stop there – we must include the ‘sit’ bone (ischium) as it supports the upper body on the stool, right down to our feet as they ground us and contribute to balancing and coordinating our whole body. In an article on the wrist it is therefore neither possible nor desirable to exclude the fingers or the upper arm. Even in a piece such as Chopin’s ‘Butterfly’ Etude Op 25 No 9, which seems to call for pure wrist action, there will be energy in the fingers and plenty of involvement from the upper arm:

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Pianist, teacher, writer and adjudicator Graham Fitch gives masterclasses and workshops on piano playing internationally, and is in high demand as a private teacher in London. Graham is a regular tutor at the Summer School for Pianists in Walsall and also a tutor for the Piano Teachers’ Course EPTA (UK). He writes a popular piano blog, www.practisingthepiano. com and has recently launched an online piano academy.

the hand, forming a straight, unbroken line. However, there is a fair bit of leeway here. A slightly raised and braced wrist provides a strong arch in the hand. This is useful for many aspects of playing, not least big, thrusting chords and virtuoso octaves such as we find in the first movement of Brahms’s D minor Concerto (from bar 226). There is a mistaken belief that the wrist must always be loose and supple; in fact, to bring off these famous octaves we need to keep the wrist firm so that the power of the whole arm can be transferred to the hand in an unbroken channel:

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It is accepted by most mainstream teachers that we adjust the height of the piano stool so that the forearm is roughly parallel with the floor when we play. The default position of the wrist is level with the forearm and the back of

@ 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 [email protected].

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Raise the wrist a little more and this time loosen it so that it feels like a well-lubricated hinge, and we can shake light staccato chords or octaves out of our sleeve (such as the Chopin example at the start). A very slightly lowered wrist combined with curved fingers enables clear and precise articulation from the fingers, but we need to be very careful about dropping the wrist below the safe level. Some of the best pianistic traditions permit a dipping of the wrist when this is part of a continuous and connected movement of the arm (such as the drop-roll, which we’re going to look at in a moment). Problems arise when we set the wrist below the safe level and keep it there. The steep angle formed between the forearm and the back of the hand causes the fingers to overwork like tight little pistons, thereby pulling on the muscles and tendons in the forearm. This is both inefficient and injurious, and definitely to be avoided. Let’s look at how the wrist works, and how it doesn’t. The wrist is both a series of three joints connecting the forearm to the hand, and a flexible structure consisting of eight carpal bones arranged in two rows. We can move the wrist in two ways – up and down, and laterally (from side to side). If you hold onto one of your wrists with the other hand, you will discover the wrist itself cannot rotate. The often-misused term ‘wrist rotation’ is therefore a misnomer;

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TAP HERE TO WATCH GRAHAM’S ONLINE LESSON while the wrist appears to be rotating, the motion actually comes from the forearm. (For further reading on anatomy as it applies to piano playing I recommend Thomas Mark’s excellent book, What Every Pianist Needs to Know About the Body.) The whole-arm roll This movement is behind much of what we do at the piano. Sometimes its presence is so subtle as to be almost imperceptible, but once we have experienced the power of the whole-arm roll to control tone while keeping us free we won’t ever want to do without it. To experience the whole-arm roll, play a chord (any chord will do) and allow your upper arm to move freely forwards and backwards as you hold onto the keys (see what this looks like in my video demonstration). It’s as simple as that! You’ll notice that the forward and backward movements of the upper arm (don’t overdo these) are moving your wrist up and down, and you’ll experience a pleasurable wave of energy from your shoulder through the arm to the tips of your fingers. This movement is the basis for the drop-roll. The drop-roll The drop-roll is a classic movement used in piano playing and one that beginners can learn almost from the first lesson. It describes a down-up movement involving the whole arm and a very free wrist. The fingers assume a subservient role in terms of articulation but they are, of course, fully involved as they transfer the energy from the arm to the keyboard. For a two-note slur, drop the arm into the first note and grip the key with a firm finger. Make sure the finger that is going to play the second note is in touch with the key surface, then begin the upward roll. This note will sound during the ascending movement of the wrist and arm. If we thrust against the keyboard quickly in the upward roll, we’ll create an accent on the second note; if we release by lightly floating off the keyboard, we’ll make a diminuendo indispensable for tapering off an appoggiatura (to avoid the second note not sounding, make sure to keep the fingertip somewhat taut). We can apply the same motion to three- or four-note slurs: down into the first note, then up as smoothly as possible during the remaining notes under the slur, spreading the movement out evenly. According to Baroque and Classical performance practices the first note should be stronger (even if it occurs on a weak beat) and the last note slightly shorter than its printed duration, and somewhat softer. Here are two examples from Mozart’s Fantasy in D minor K397: Adagio

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There are many situations where we can adapt the drop-roll, making use of the way it can liberate our wrists, but using a much smaller range of motion. Rather than lifting the arm into the air at the end of the roll, we keep the fingers very much in contact with the keys. I have chosen the opening of Mendelssohn’s Song without Words in B minor, from the opus 30 set. As I repeat the opening F#s, I sense a vibration in my wrist as it moves up and down, forward and backward using a tiny arc from the drop-roll motion. I choreograph these same down-up movements to the rest of the phrase while retaining my hand close to the keyboard; the movements are very small but more than enough to keep me mobile.

The drop-roll is a classic movement that beginners can learn from the first lesson

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Returning to the short phrases we find in Classical-period piano music, there are often times when releasing into the air after the roll causes an unmusical break in sound and makes a choppy effect, or where there is simply not time to make the release. Although we should closely observe the articulation marks indicated by Haydn, Mozart and Beethoven, I often recommend applying the close-to-the-keys version of the drop-roll to sculpt the notes under the short phrases into groups. There is a parallel here with the string player’s bow, in which our arm fulfils the function of the bow as the fingers articulate. Let’s explore how this works in the slurs from the opening of Mozart’s Sonata in B flat K570 (I have often noticed that these particular slurs cause confusion): Allegro

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In my video demonstration, you’ll observe that I drop into the first note of each short phrase and roll upwards out of the key toward the second note. The roll needs to be gradual and smooth, and once we refine the motion it becomes very small indeed. Personally, I do not like too much of a gap in sound but we need to respond somehow to the short phrasing that Mozart writes. By all means make a gentle separation if you can do this without breaking up the line; otherwise play using a strong-weak inflection. A long legato line is unstylish, however. In my next article I will explore how we use the drop-roll in strong, sustained chord progressions, and then move on to demonstrate how lateral movements of the wrist (and wrist circles) assist the fingers in achieving virtuosity in patterns of notes that at first glance appear very finger-based. I will also share a few tips on the role of the wrist in passing the thumb, which will certainly help to free up your scales and arpeggios. ■

WATCH GRAHAM ONLINE

Don’t miss Graham’s video lessons, which you’ll find on the Pianist website, www.pianistmagazine.com. Graham demonstrates everything he discusses on these pages – and more. His current lessons are filmed at Steinway Hall, London, on a Model D concert grand. There’s nothing like watching an expert. 19• Pianist 95

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’T MISS IE DON S MELAN WICK’ SPANS PIECE ON THIS

TRACK 3

HOW TO

Jean-Louis STREABBOG (1835-1886)

LESSON

q = 80

Andante

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FULL SCORES ON PAGE 30

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BEGINNER/ INTERMEDIATE

Distant Bells Op 63 No 6

PAGE 20

Much the best-known of 12 Very Easy and Melodious Studies, ‘Distant Bells’ is the work of Belgian pedagogue Jean-Louis Gobbaerts (who reversed his surname for his nom de plume). Other attrractive movements in the cycle include the opening ‘Pleasant Morning’, No 3 ‘On the Green’ and the jaunty ‘Chasing Butterflies’, No 11. Playing tips: Even if an exercise, it’s very different to the Burgmüller one that features on the previous page. This is all about a calm, even and extremely quiet RH

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(which is tricky to execute by itself ). A much stronger and more sonorous sound is needed in the LH, which has to pass over the RH in every bar. The LH jump should be mastered so that it doesn’t sound effortful. You will notice there are two types of suggested fingerings at the start: seee which works best for your hand. Pedal tips: Suggested pedalling by Melanie Spanswick is marked on the score. Read Melanie Spanswick’s step-by-step lesson on this piece on page 20.

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It’s time to tackle hand crossing with this Romantic miniature. Melanie Spanswick advises a slow and steady approach Ability rating Beginner/Intermediate Info Key: C major Tempo: Andante Style: Romantic

3 Crossing of hands 3 Soft accompaniment 3 Even tone

What an odd name, you may be thinking to yourself. That’s because it was made up. Streabbog is the pseudonym used by the Belgian pianist Jean-Louis Gobbaerts when he published his own compositions such as the first set of Twelve Easy and Melodious Pieces Op 63. The best known of the set is No 6, ‘Distant Bells’. It is sympathetically written to enable early-intermediate players to get to grips with hand crossing and the technique of evenly played accompaniment as well as effective use of the sustaining pedal. The score may appear simple, but it offers plenty of technical challenges and interpretative possibilities. Choose a stately tempo, around 80 beats per minute. ‘Distant Bells’ has a straightforward ABA structure with essentially diatonic harmony. The LH crosses over the RH throughout the piece. Begin your practice by focusing on the movements necessary to execute the hand-crossing smoothly and with a controlled tone. Starting with the LH, work on the first line. Place your 5th finger on the C (first note, bar 1), and locate the minim C on beat 3 (two octaves higher), with the 2nd finger. You could also use a 3rd finger for the ‘crossed’ notes, but the index finger gives a more precise, deeper touch, and it should feel comfortable to play.

© Fabrice Rizzato

Melanie Spanswick is a pianist, author and music educator. She recently selected the repertoire for The Faber Music Piano Anthology. Book 1 of Play It Again (Schott Music) – the first in a two-volume course for those returning to piano playing after a break – is released in April. Her piano guidebook, So You Want To Play The Piano?, is reprinted in a second edition by Alfred Music. Melanie gives workshops in Germany and for EPTA, is a tutor at Jackdaws Music Education Trust and adjudicates for the British and International Federation of Festivals. She is curator of the Classical Conversations series on YouTube, where she interviews pianists on camera. www.melaniespanswick.com.

Will improve your

Look more closely at each LH ‘jump’. A considerable movement is required during every bar (two octaves, in the case of bar 1), so become accustomed to the feeling of the leap by landing firmly using the suggested fingers, using a relaxed motion of the arm movement to go back and forth between bass and treble registers. To improve your confidence and accuracy, practise using much larger intervals than those written; for example, the lower note could be played an octave lower in each case. When you revert to the written notes, the movement should feel easier and less daunting. Try practising the leaps more quickly than marked. Now add a

steady pulse, and ensure the 2nd finger lands firmly on the third beat of the bar. It’s important to work at the jump back down from treble to bass, from the third beat of the bar to the first beat of the next.

top notes sound together. Couple this with a light thumb (or 2nd finger depending on your fingering choice), as this should be

The ‘Distant Bells’ of the title can be heard in the third-beat minims. These high notes should be played marcato (‘well marked’). They require a deeper touch (like an accent but without a sharp attack), combined with articulation similar to that of staccato. Land on each marcato minim with a rich timbre, rolling off with an upward wrist motion as the finger leaves the key. They should be clearly identified, yet soft and distant-sounding.

One sustaining pedal change per bar works for the majority of the piece, accumulating resonance and intensity, but be sure to change swiftly on the first beat of the bar to avoid smudging!

The RH accompaniment should stay soft, light and even throughout. Begin by blocking the quavers in every bar as a chord (such as the C major triad of C, E and G in the first bar). Work through the piece assimilating the harmonic progressions in this way (it’s useful for quickly finding your way around the note patterns). There are two suggested fingerings for the quaver patterns. The first fingering will be more suitable for those whose 4th and 5th fingers are yet to develop full strength. The second option requires more balance and control but, if worked at regularly, is comfortable and convenient. Play heavily and deeply into the key bed, using the full strength of your fingers. Your practice of this RH figuration should be deliberately paced, so that you place each note with rhythmic precision. Work your way through the part playing like this, more powerfully than is marked in the score, but keeping wrists and arms relaxed. Then lighten your touch: play softly and with legato, but make sure the G and E (bar 1), and all subsequent patterns, are balanced so that these two

Learning Tip

the softest part of the texture. In effect, weight your hand towards the right, moving the wrist outwards, supporting the weaker 4th and 5th fingers. Then try playing with hands together. Take it slowly until you can cope with the continual movement of the LH while maintaining an even rhythm and tone in the RH. To get used to the hand-crossing movement, play with a full sound and perfectly even rhythm (count in semiquavers for accuracy, as each quaver needs to be exactly in time). Once you have learnt the muscle memory and sound of each hand-crossing movement, you will feel confident and relaxed. At that stage lighten your touch to produce soft and ethereal tonal colours. Don’t forget that the LH is the star of the show. The RH quavers should stay in the background, with the low LH crotchet (mostly on the first beat of the bar), slightly more prominent, making way for the minim on the third beat. The middle section (bars 9-16) moves into G major, and needs a gradual crescendo as it progresses towards the chromatic RH figuration at bar 15. Each RH G at bar 16 should be softer than the last. You may like to add the una corda (left pedal) during the closing bars. ■

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TRACK 9

Edvard GRIEG (1843-1907)

’T MISS DONNEWMAN’S JANET PIECE ON THIS

LESSON

HOW TO

INTERMEDIATE

Melodie Op 47 No 3

PAGE 22

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

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

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Continued on page 49 44• Pianist 95

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This Lyric Piece needs time and space to express its restrained and melancholy character, says Janet Newman: don’t rush your playing or your practice Ability rating Intermediate Info Key: A minor Tempo: Allegretto Style: Romantic

Will improve your

3 LH chord voicing 3 Piano and pianissimo playing 3 Thumb control

Throughout his career Grieg wrote Lyric Pieces. There are ten books in all, containing 66 separate character pieces. Grieg invested much time and care in crafting apparently straightforward melodies, and revealed his deepest, most intimate feelings in many of the Lyric Pieces. They embody the warmth, sensitivity and innate character of his compositional style in miniature. Although many of them are technically approachable by student pianists, they have a musical depth which makes them extremely rewarding to study and belies their superficial simplicity on the page.

Then move on to the accompaniment. Practise the LH and the RH middle part (which is mostly played by the thumb) at the same time. This will be helpful for you to judge the balance needed between the two hands. It can be easy for the thumb part to be over-produced. If you do this, it may make the LH chords heavier too, as the body tries instinctively to match the force used in both hands.

This Melodie is characterised by a mood of reserve and regret. The 6/8 time signature, which eventually needs to be felt as two dotted crotchets per bar rather than six quavers, implies a lilting sense of flow within the musical direction. Choose a tempo that will give the phrases momentum: dotted crotchet equals 80 feels about right.

Keep your fingertips weighted on the keys. If you lift off the surface of the key too much, you will produce a heavy tone which will drown out the top line. Imagine that the keys are doing the work of bringing your hands and fingers upward; maintain contact with the keys as much as possible. If you are having trouble locating the chords under your fingers, break them down by practising the bottom of each chord plus the middle note, followed by the top plus middle. By doing this, and using consistent fingering throughout, you should secure the patterns within your hands and your memory. Practice-work like this is well worth doing even though the method may be time-consuming and awkward at first.

The title Melodie tells us most of what we need to know. Just by looking at the score, you will see that there is a prominent top line accompanied by a repeated chordal texture throughout. From past ‘How to Play’ articles, you may recall that this kind of music demands practice of each separate part in order to get a clear delineation and clarity of voicing. First take out the melody line and take time to work on shaping and strengthening it. Always use the fingers that you’ve decided upon (in this case, there aren’t that many options!) so that with consistent use, these weaker fingers become more reliable and independent. Even while working on the RH melody, don’t forget your ‘silent’ thumb! Have it ‘ghosting’ (or resting) on the key that it should be playing. The hand shape will then be representative of the position it takes once all the parts are introduced. Don’t pull the thumb away from the keys in order to make it easier for the

weaker 3-4-5 fingers to play their part. This can distort your hand and actually prevent the fingers from becoming stronger over time. At bars 9, 41 and 81 the LH spread chord might prove difficult to manage without accenting it or worse still, losing the bass note. Take time over these chords and relax into them: there is no need to play them strictly in time. For guidance, listen on the covermount CD to the way that house pianist Chenyin Li plays these tricky spread chords.

Janet Newman is Head of Keyboard at the Royal Grammar School in Guildford. In addition to her teaching, she is in demand as a freelance pianist and is an examiner for the ABRSM.

The tone you are aiming for is warm but cushioned in texture. It should always support rather than overwhelm the more projected RH vocal line. When the LH chords change, take note of the fingering shifts and use them. They will enable you to connect the notes smoothly so that there are no gaps in the melody from one bar to the next. By maintaining contact with the keys, you can also judge the grading of phrases with much greater control and shape. This is an essential principle of good pianism: fingering reflects phrasing. Another way to bring a variety of tone

colours to your playing is to mentally orchestrate the piece. For example, think about how it would sound on a string quartet – in fact, it would fit nicely – or if the solo line was played by a flute with piano accompaniment. Just by imagining the possibilities of other instrumental colours, we can play with greater imagination and sustain the melody with a smoother legato. Grieg is quite clear about his dynamic markings. He shows us where he wants the phrases to go, and as they naturally mirror the musical intensity within the line, the dynamic markings make complete sense. At bar 21, the ‘stretto’ marking (indicating that we should move on in tempo) reflects the growing, passionate quality in the music. Make sure you keep up a sense of drive until the climax at bar 33. From here,

Learning Tip

In a piece written in ternary form such as this, think about the dynamic colours and changes which will characterise the different sections. Otherwise the overall performance may sound similar throughout.

there is a gradual decline in both tone and tempo until the return of the theme at bar 41, whereupon the music becomes submerged within the pensive mood established at the start. There is a wide variety of dynamic colours to explore in this work and it offers a wonderful opportunity to practise tonal evenness and gradation, which should nonetheless reflect the simple and sincere character of the work. The pedalling moves in parallel with the harmonic changes. It shouldn’t prove difficult to manage as long as you listen for clarity within the changes. Take time over lifting and depressing the pedal: think of squeezing rather than pushing it, and keep your heel firmly on the floor throughout so that you use it as a pivot. Sometimes in my examining and adjudicating work, I come across young pianists pumping the pedal from a great height and my heart sinks as the performance, however well intended, is sabotaged by their foot! ■

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HOW TO

SCHUBERT

Impromptu in A flat D935 No 2

Singing the divine melody of this impromptu will help you to keep in mind the full drama of this masterpiece from the last year of Schubert’s life, suggests Lucy Parham Ability rating Info Key: A¨ Tempo: Allegretto Style: Late Classical

Advanced

Will improve your

3 Chord voicing 3 Articulation 3S  ense of line

Schubert’s eight impromptus were all composed in 1827. The first set (D899) was published while Schubert was still alive, including perhaps his best-known piano work, No 3 in Gb. The four impromptus in the second set (D935) are less often heard, and tend to be performed individually. These were first published more than a decade after the composer’s death, once Robert Schumann had redicovered much of his late music, and are sometimes known as Op 142. No 2 in A flat major is in a minuet and trio form. It is possibly the most accessible of the set, technically speaking (the first and third of the set are full-scale fantasias, no less demanding than much of Beethoven and Chopin). But if you enjoy playing this piece, I highly recommend that you become acquainted with all the impromptus, including D899. They are gems of the piano repertoire and in composing them Schubert foreshadowed the genre of Romantic character-pieces which would within a few decades be so richly supplemented by composers such as Chopin, Mendelssohn, Liszt and Schumann.

© Sven Arnstein

Begin your practice with the chordal structure alone. Add the melody by singing it, either out loud or in your mind. This works particularly well in the first two lines of the piece and you will be able to adapt it for use later on in the work too.

Lucy Parham will perform Nocturne with actors Harriet Walter and Henry Goodman at Kings Place, London, on 2 April. In April she tours Portugal with her Rachmaninov show, Elégie, with Henry Goodman. On 23 April they perform Elégie at the Stratford Festival. Parham’s CD, Rêverie – the life and loves of Claude Debussy, was recently released on the Deux-Elles label with narrator Alex Jennings. www.lucyparham.com

The opening is reminiscent of a string quartet. Each part has its individual voice, yet all of them should sound in perfect balance. The dynamic is pianissimo. Observing it in your playing is important, as a strong contrast is needed later in the piece. Keep your fingertips close to the keys, almost brushing them. There’s a lot to digest regarding articulation: in the first bar, articulate the RH slurred dotted crotchet/quaver as being distinct from the first crotchet beat. Then in bar 3, conversely, all three crotchet notes should be linked with legato. In bar 5, the addition of the octave in the RH means the thumb line is also important. Bring out the hairpin crescendo in bar 7 by leaning into the second chord a little more. You need a different, more ethereal tone-quality when the melody reappears an octave higher. The C major chord in bar 14 is also important. Repeat the first 16 bars making sure both times that the turn in bar 15 is melodically phrased and not grabbed. Think of how you would sing this: any faster is too fast! Bar 17 needs a new energy. It is marked forte, but bear in mind this is a warm, ‘string’ forte which should be appropriate for Schubert and not too percussive. The slurs of the opening bar have returned, now with a portamento quality to them; you will notice the staccato markings under the slurs. Distinguish them from the more separated notes in bar 19. Reserve a proper fortissimo for bar 21; use shoulder weight rather than just wrists or forearms as this will help you to achieve a fuller sound. Head for the

Firstly, look at the tempo marking. It is important to distinguish between Allegretto and Allegro. Bear in mind that this is a minuet, with a lilting metre that should be elevated rather than earthbound. The sense of line is crucial at all times; Schubert’s dance rhythms are never heavy or pedantic. I suggest that you continually think of playing over the bar line; by doing this you should avoid landing heavily on the first beat of each bar. This is a different matter from observing the written accents; more of them later.

ffz chord in bar 25; it should come as a real shock before the heavenly subito piano. The effect is repeated in bar 27, where the turn, once again, should be melodic. There are two crucial bars linking development back to reprise. The RH Eb notes in bar 29 should be portamento with slightly more emphasis on the first of the two. Make sure the following bar (30) is perfectly graded in order to ease gently back into the main theme after the pause. At bar 35 ensure that the LH Gb is coloured in a way that

Learning Tip

Try playing the chordal structure alone. Add the melody either by singing it out loud, or in your mind. This works particularly well in the first two lines of the piece and you will be able to adapt it for use later on in the work too.

shows its difference from the first time. In fact, the whole section from here until the double bar needs to be embedded with a totally different feeling and colour. Try highlighting both 5th fingers for a clearer harmonic outline. Bar 47 brings the start of the trio. It is important that the tempos should be aligned. The trio is not faster than the preceding minuet. Notice the accents in both hands. These are meant to be leaned into and not forced or jabbed at. The RH accents use the 5th finger and I suggest a small downward ‘pull’ of the elbow to aid the finger, rather than relying on the fingertip alone. The swing and rhythmic propulsion comes from this accent. Note the repeated Ab in the LH; this will be played with your thumb and I suggest you use the side of the thumb and sink in to this note, so that it rings out like a bell. Spend some time becoming acquainted with the LH in this passage. It would do no harm to memorise the part before even thinking of adding the RH. When you do bring the RH into play, be sure to give the upbeat into bar 47 its full weight and value. Note the piano marking here, too: all the accents and hairpin crescendos should have a sense of proportion within this dynamic.

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TRACK 11

Franz SCHUBERT (1797-1828)

’T MISS M’S DON PARHA LUCY PIECE ON THIS

LESSON

FULL SCORE ON PAGE 60

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3

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ADVANCED

Impromptu in A flat D935 No 2

PAGE 24

Shortly after completing Winterreise in 1827, with less than a year to live, Schubert embarked on a second set of four Impromptus. Unlike all the sets of dances and eccossaises, these were self-evidently not composed for commercial gain from the lucrative amateur market; and indeed no publisher came for them. Only when Schumann took up the cause a decade later did they see the light of day. Playing tips: When you read Lucy Parham’s lesson on page 24, you will notice that

F FFF FF FF FF F FF F F F

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her top learning tip is to try playing the chordal structure alone, then adding the melody either by singing, or by silently singing in your mind. This works particularly well at the start, and can be adapted for use later on as well. Pedal tips: Pedalling has not been added. Advanced knowledge of how to use the pedal is required. Always use your ears as the best guide. Read Lucy Parham’s step-by-step lesson on this piece on page 24.

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60• Pianist 95

P60 SCORES Schubert-FINAL.indd 60

14/03/2017 10:18

This is a minuet with a lilting metre that should be elevated rather than earthbound You need to leave room at bar 55 for a decrescendo to reach pp at bar 57. The lower notes of the RH in bars 55 and 56 and, subsequently, the top notes of the RH in bar 57 should be highlighted as they are the moving part here, harmonically speaking. The touch in the RH should be legato but not too heavy. At bar 59 the colour, key and dynamic changes. We are now in the minor key and a darker quality is required to evoke Schubert’s sudden and striking change of mood. But the RH pedal-note of Ab remains constant and is therefore the unifying feature here. Through its insistent presence, Schubert builds a tension which can only be released by the eventual return of the main section. The climax of the impromptu approaches. As the RH climbs higher up the keyboard in ascending triplets (bars 66-69), play into the keys with increasing strength and finger articulation. Notice the LH at bar 69. What were Ab pedal notes have now moved up a semitone. From bars 69 to 73 there are a lot of accents

(marked fz) in the RH to be highlighted but not forced. This section should move forward with new energy until the piano dynamic in bar 75. The LH trill in bar 76 should feel as if it is almost underground, rumbling beneath the RH triplet figuration. Ensure you can hear the final notes of the trill in the LH of bar 76; the turn needs to have clarity and not be swallowed up. In bars 76-90 the impromptu gradually unwinds towards its conclusion. As we noted in the previous instance of this figuration, the RH triplets at bar 89 need care over the final note of each triplet. Gently lean into these notes (C, D, Eb) with your 5th finger. The last four bars form a miniature coda. There is a small crescendo in bar 146 followed by a subito piano. Play the penultimate note with a weighted staccato, before giving the final Ab major chord a warm sound and focusing on your top finger. The pause should ensure you do not end too quickly. Release the pedal slowly for the perfect finish. ■

FIFTEENTH VAN CLIBURN INTERNATIONAL PIANO COMPETITION MAY 25–JUNE 10, 2017 FORT WORTH, TEXAS USA

Two centuries of Impromptus

D

one without being planned, says one dictionary. ‘Extempore, unrehearsed,’ according to another. You are unlikely to give pleasure to yourself or others if you play impromptus that way, and neither Schubert nor Chopin dashed them off in a morning. So why are they so called? The earliest traceable impromptus were written in 1817 by the Czech composer Jan Voríšek, apparently at the suggestion of his publisher, and these do convey a delightful feeling of freshly minted thought which can also be heard in the first of Schubert’s D899 set, even if the others are highly organised. So are Chopin’s, but in such a way that each new impromptu takes seed from the last one, as though they hardly needed composing at all; an elegant illusion which could not survive long as Romanticism laid ever greater stress on music as intense personal expression. Imagine Brahms writing an impromptu, or Rachmaninov. The form survived in the hands of Scriabin and a few others, but what it passed down to us was the more fundamental impulse of improvisation, written down and refined without losing the initial inspiration of taking a melody for a walk. Think of Dave Brubeck’s Take Five as an impromptu, or Count Basie’s Satin Doll. Better yet, sit down at the piano with a tune and compose your own impromtptu. Peter Quantrill

P24 HTP Lucy-FINALish.indd 25

LEONARD SLATKIN, JURY CHAIRMAN MEMBERS OF THE JURY: ARNALDO COHEN (BRAZIL), CHRISTOPHER ELTON (UNITED KINGDOM), MARC-ANDRÉ HAMELIN (CANADA), JOSEPH KALICHSTEIN (ISRAEL / UNITED STATES), MARI KODAMA (JAPAN), ANNE-MARIE McDERMOTT (UNITED STATES), ERIK TAWASTSTJERNA (FINLAND), ALEXANDER TORADZE (GEORGIA / UNITED STATES) ARTISTIC COLLABORATORS: LEONARD SLATKIN (CONDUCTOR – FINAL ROUND), NICHOLAS McGEGAN (CONDUCTOR – SEMIFINAL ROUND), BRENTANO STRING QUARTET, FORT WORTH SYMPHONY ORCHESTRA

30 COMPETITORS. 16 COUNTRIES REPRESENTED.

WATCH THE ENTIRE COMPETITION AT

CLIBURN.ORG

15/03/2017 10:22

26• Pianist 90

p26_pianist95.indd 26

15/03/2017 10:23

Pianist 95

Scores

April-May 2017

MISS DON’T N’S JANET NEWMA

ON LESS THIS PIECE

TRACK 8

MOZART

Trio in G

(1756-179

K1e & f

ON

1)

PAGE 26

Fanny ME NDELS

TRACK 12

SOHN (18 05-184

Melodie Op

SAINT-SA

7)

ËNS arr. SILOTI (18 63-194 The Swan

5)

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BURGMÜLLER Grace, No 8 from 25 Easy and Progressive Studies Op 100

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STREABBOG Distant Bells Op 63 No 6

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FISCHER Praeludium harpeggiato

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RAY NOBLE The Very Thought Of You

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ALBENIZ Autumn from The Seasons Op 201 No 3

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KEYBOARD CLASS Finger Fitness Exercises

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TRACK 3

The five-yea Pupil of Tchaiko r-old Mozart The Editor vsky, cousin September among the of of Rachm 1761 before had made his first ‘Silver Chenyin Li, Pianist suggested Fanny BEGIN NER/ aninov, Alexand public appeara the tutelage teacher, arrange Age’ of Russian writing this ADVAN CED who asked Mendelssohn’s er INTER of his father minuet the nce interesting to INTER perform MEDIATEmusicians at the turn Siloti was prominent Concerto on r and Leopold. same Decemb as a performer in Playing tips: to learn. This record this pieceMEDIA TE music to our house as she felt of the last partner separate occasion er; he extensive writing ‘down/up’ er, doubtle Melodie Playing tips: pianist, it century, as at the court The character is graceful Bach and other motion with ss under When Don’t s as both soloisted Rachmaninov in for the instrum lies at the less challengwas the most poignan a in Mozart’ composers when there’s and stately: the slurs bit Ada t and texturelet any initial apprehe s time. The plenty of technic and reflect ing end of ent, which gio glyq = 72and conductor! the Second Piano she was transfixed andour editor first heard a perform (in as are surprisin it’s a a barvirtuosi as her brother 2 and cthrough his fastidio nsion the compos of the piece: His transcri there are three rest, and take care to Playing section of Pianist. immed al and expressi notes look simple minuet, so imagine delicate ’s more famous includes a stormy ance of this us perfecti tips: When out); lift a top-line RH put you off. First get ptions of play notes dancers enough even crotche Allegro molto er’s and regular ve details to Siloti arrange onism: nothing compared with his the relevant Allegro brillant Here, at long iately determined to listening to in both hands to grips include melody, crotchets in Ada gio ts in acovermo contemporaries just as a swan would take into accountto learn, but there every will include ment unt CD, last, is this piece hand bar. Tricky the bass. Once a middle-part semiqua with the three-pa it all soundssimulta are by the bars 7-8 in the RH, become a played beautifue. q = 72 left to chance. swim across it is. The melody should it within the Scores neously when . Pay attentio momen rt Pedal tips: where you so simple. trill. You may ts to work ver accompAda gio you underst a lake. n to the lly by Chenyi See feel like it’s should get lesson, which lot clearer, as you will Look at the Alle on outgret animent q = 72 and also need to easy enough used this, gliding by, of Read Lucy pedal markings on the find out when context addresses each to the triplet the to score, and it might createn on the work on to find). Don’t q = 126 Parham’s step-by score. Pedal tips: you read Janet learning process timing, followed part of the See rush through the semiquaver runs Alle panic! = 126 Newman’s -step lesson qq = in the gret Read Janet the legato pedalling texture separately. 126 them in panic! helpful 4 on this piece 1 Trio (they 3 to 5 markings on Newman’s 5 are 4 2 on 3 page 24. 5 step-by-step pp the score. 1 2 lesson on 4 q = 5126 5 1 3 4 1 3 this piece 5 4 1 2 on page 26. 3 1 1 2 1 2 pp

Typesetting by Spartan Press Music Publishers Ltd

Quick guide to UK/North American note value terminology

w = semibreve/whole note h = minim/half note q = crotchet/quarter note e = quaver/eighth note x = semiquaver/16th note y = demisemiquaver/32nd note 16/03/2017 10:00

Laurent de SAINT-LUC (b.1669)

TRACK 1

BEGINNER

Bourrée

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14/03/2017 10:04

Johann Friedrich BURGMÜLLER (1806-1874)

TRACK 2

BEGINNER

Grace Op 100 No 8

. Playing tips: An exercise to help you master b f.the problem lies f f the ‘turn’ ornament: f f f f Moderato f f f # f f 3 atf the piano, f Burgmüller works for early learners f nf f came from a Rhenish musical J. with‰the thumb,f whichf needs f ntof move f quickly under the hand. b Jf. ‰ &inb 4Paris, family but settled where he became a fashionable writer of songs. Take a look at the technical tips within f f f f f J f thefscore. f #f f J Moderato q = 63 f 3 f f f f f f f f n f n f b ‰ The RH takes on the hard work in the first 8 bars. Articulate the fingers well,‰ Moderato q = 63 & 4 p molto legato e leggiero f f f f f.keeping them close to the keys and ensuringf the demisemiquavers baref.. light f and f f # f . . . even. f b f 3Moderato J f f f f F f F f f f f f f f J q = 63 f f f f F f f n f n f ‰ b ‰ f f f ffJ ff Ff f f nf f #f fJ. f 4 F & ? f nfe leggiero f f The key is F major. ‰ . . bfff. f‰f. & bb 43 pFfFFmoltoflegato f f f F f f f f F f f f # f f f f Jf ‰f flegato ? fJ. ‰f. f nfe leggiero f fF f f nf f & bb 43 ppFfFmolto . ff. molto legato e leggiero f f F f F f F f f . . . ff. ? 43 FF ff ff FF f f b Once you’ve placed the thumb, get the third p molto legato e leggiero ? 43 F f. f. FF finger ready to strike the next quaver. ff. ff. b FF f f f f f F f > f f f f 3 ? b 43 F f f f f f. f f f f f f fF f. f f f n f f f b f f #f ff .ff #f J. ‰ f nf f #f f f ‰ f f f f f f f Jf. ‰ >f f f f f 3& b f f f In the LH, keep the fingers close to the keys. n f b f J. f f f f The LH staccato quaver chords should be lighter than the minim chords. f f f # f n f f Make sure all the notes#offthe chord sound. f f f f f J J # f f ‰ > f f . ‰ f f f f f f f f f f f. ‰ >f f f n f f b f 3& b f f f f f f f fJ.. . f f f n f f f b f f #f f J.. . f f f #f f ffJ.. f. fF f f 3 n f f f f # f F #f ffJ. ‰ff & b FFf nf f #f f f f #f fffJf. f‰‰f FFf f f f f f f f f f fffJf. ‰‰fff #>FFFf f f f 3? b . f. F n f f b f f #f f fJf.. ‰ff. & b FFf nf f f f f f #f fff. ff. FF f f f F f f J J # f ff ‰ff ? f. ‰f. #FF ‰. F third, and then the fourth, & bb FF The . Jf. f. fff. fff. #FF ? b FFFF finger has to be ready to strike. ffffff. ffffff. FFFF ff. ff. ff ff #FFF“” ?b F ff. ff. . ff. F . f. F . F f f F f fff ff FF fff nfff f#FF“” F ffff f f f Phrase 6? f n f f f f f f n f f f the scale f above, f making nf f #f f f. f #f fit smooth b nfeven. nf” f f f f . f f and It’s afpleasure to play! J # f f ™ 6& b f f f f f nf f f #f f Jf. ‰ f nf f #f f f f f #f f f n f f n f f n““f” f f f f f f f n f f J. ‰ ™ f. ‰ ™™ ‰ 6& b f f f f n f f n f f dim. f f n f pp f f f J ” f f f n f f f f f f f “ 6 fF f f f f nf f f ##ff f ff... f‰. ff nnff f #f f f f f ##ff f ff n f f n f f nnfFf f ff f ff f f f n f f fJ. ‰ ™™ b fJ f‰ ff ‰ f #f f ff ‰ ff n ‰f f f dim. & F Jfj ‰ ™™ F f f f f n f pp 6? b f f f f f n f &b F . f f f J n f f f f f f f . #f ff ff‰ Jff nf f #f f Jf #f Jff ndim. FfF fBring f fdown the F J. ‰ ™™ ppf ? ‰ ‰ ‰ f f f & bb F Jf. f. fJ pp j Fine dim. sound gradually. fJf fJf f. ™ FF ff. ff. ff ‰ ? b FFF f f ‰ ‰ j ‰Fine F ™™ pp dim. f f f f f F ?b ‰ ‰ ‰ j ‰ f J J J ™ f f f . . . F f f f f f F f J J J F f f f f f 9? F . jf.‰Fine ™™ the ‰ rests. f . f. f. LHf^chords . . ™™ tofJbe ‰light andf.even.ffJ.Makef‰. suref.to ‘sound’ b ff ™™ . . . Fine f f f f f f f #f . J ‰ ff nff ff nff ™ ff. ff. ff nff fffJ ff fff ff fff ff f f nf f 9& b f ™ .Fine ^ . . . . . . f ™ . . . . f f f f f ™ f f f f f f f f f f f f f f # f ff nff ff nff ™™ ff ff ff ff ff ff ff f nf f J. ‰ ff. ff. ff ncresc. 9& b f f ™™ ^ . . . . . . mf f ™ . . . . 9 f. f. ff. nff. ff. ff. ff. ff. ff. f f f nf f f f f #f f fJf. ‰ ff ™™™ ff. nff. ff. nff^ ™ b ™ ff ff ff ff ff ff ffFfF f f nf f f f f #f f ffJ ‰. ff ntheff topff nf ™™ f f # f f ff ff ff ncresc. & b mfff ™™ f f nf fBring out 9 notes ff. ff^ ™ & F offf. theff.chord. F ff. ff. ff. ff. ff. ff. ff. ff. ff. f f ff. f ? b fff ™™ f f f f # f f F ™ f f f f f cresc. nf nf f f f f f nfff fff fff fff fff fff fFf nf mf f fJ f‰. & ? b mff ™ f nf f F f f f f ™ f # f F f f f cresc. .f f. f. f. f. f fF ff . f f f f #f f F cresc. ff f. f. f. f. f. f. f fFFF f f #f f F ? b mfff f ff nnff ff FF f f f f f f The? LH takes on the turn. But it’s easier because the thumb is not involved. f. f. f. f. f. f FF ff f. f f f #f f F b f f f nf f F rit. f 13? .f f. f.f ff. f . f f.f .f f. . j poco .f nf. f. f^ ™ b ff ™™ - rit.f- f. fff f fff f fff f fpoco ff n ff ff nff ™™ f f f n f 13& b f ™ f f f f f f f J. . nf. f. f^ ™ ff. ff. f. f. f. f. f. f. f. f. j poco f ™ f ™ f ™ f f f f f rit. n f f n f f f b n f f f f 13& f ™ ff. ff. f. cresc. f. f. f. ff^ ™™ f. f. f. f. f. f. dim. f. j poco rit. mf 13 ff ™™™ ff. nnff. ff. nf^ ™™ f ff. nff.. f.. ff.. f.. ff.. f.. f. j f-. . f-. . Jf.. . . f f b f f f f f f dim. & ff ™™ f f nf f F ff nnff ff nff ™™ f # f f F ff ff ff ncresc. f ff- nff rit. bfff- ff ffJf. 13? b mf ff. f. ff. ff^ ™ f f f ff. ff. ff. ffff.. fff.. ffff.. fff.. ffff.. fff.. fJff... j poco & b ff ™ f -. nff. bff-. ff. fJff. cresc.f dim. n f f f f f f # f f ™ f ™ f f n f n f f f f n b n f mf ™ ™ f f f f f f F F f f f cresc. f f f f f & mff fJf. . . . . J. ? . f.out thedim. f.. f..In thef.. lastf..bar,fbring Keep thebdemisemiquavers and even. f f nflight f f f #f f . . ff.LH part. f f f. nff. D.bffC. ff. fFine ff. al f fdescending f f linefin thef lowerdim. . cresc. f f #f f F ? b mff f f nf f FF f f f f f ff J n f b f f Return to the f beginning. f f f f f f F Pianist . . . . . . ?b f . J D. C. al Fine f f f f f f f . . . f. ff. f f f #f f f f f f f f f f fJ f nffD.bffC. al F ? b f f nf f F Fine q = 63

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D. C. al Fine 14/03/2017 2 3 2 4

P29 SCORES Burgmuller-FINAL.indd 29 2

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10:06

S MIS N’TANIE DOM EL ICK’S SW SPAN IECE HIS P ON TPAGE

Jean-Louis STREABBOG (1835-1886)

ON LESS

TRACK 3

Distant Bells Op 63 No 6

20

Much the best-known of 12 Very Easy and Melodious Studies, ‘Distant Bells’ is the work of Belgian pedagogue Jean-Louis Gobbaerts (who reversed his surname for his nom de plume). Other attrractive movements in the cycle include the opening ‘Pleasant Morning’, No 3 ‘On the Green’ and the jaunty ‘Chasing Butterflies’, No 11. Playing tips: Even if an exercise, it’s very different to the Burgmüller one that features on the previous page. This is all about a calm, even and extremely quiet RH

q = 80

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(which is tricky to execute by itself ). A much stronger and more sonorous sound is needed in the LH, which has to pass over the RH in every bar. The LH jump should be mastered so that it doesn’t sound effortful. You will notice there are two types of suggested fingerings at the start: seee which works best for your hand. Pedal tips: Suggested pedalling by Melanie Spanswick is marked on the score. Read Melanie Spanswick’s step-by-step lesson on this piece on page 20.

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30• Pianist 95

P30 SCORES Streabbog-FINAL.indd 30

14/03/2017 10:07

Jean-Louis STREABBOG (1835-1886)

TRACK 3

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31• Pianist 95

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14/03/2017 10:07

Johann Caspar Ferdinand FISCHER (1656-1746)

TRACK 4

INTERMEDIATE

Praeludium harpeggiato

This C major Prelude is a French-style counterpart to the opening of the Well-Tempered Clavier from a Saxon musician who introduced the musical manners of Lully to his native German culture. Bach was familiar with Fischer’s harpsichord suites, published together in 1738 under the name of Musikalisches Parnassus, in which each suite is named after an ancient Muse; in this case Clio, the Muse of History. Playing tips: The subtle harmonies change from bar to bar, and one needs to hear a long sense of line. We suggest practising the LH first, on its own, aiming to produce

a rich but quiet sound (making sure both notes sound!), with a slight emphasis on the bottom note. The LH is the anchoring bass-line. Above it, the RH should play calm and even semiquavers, as if they are following what the bass line has to say. Start out by practising slowly, building up over time. Pay attention to the rhythm and pulse, making sure that you keep in time. Pedal tips: Follow the markings on the score. There needs to be a sonorous bass pedal throughout.

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32• Pianist 95

P32 SCORES Fischer-FINAL.indd 32

14/03/2017 10:07

TRACK 4

9

Johann Caspar Ferdinand FISCHER (1656-1746)

INTERMEDIATE

Praeludium harpeggiato

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33• Pianist 95

P32 SCORES Fischer-FINAL.indd 33

14/03/2017 10:07

Ray NOBLE (1903-1978)

What became a hit number for musicians from Billy Holiday to Michael Bublé began life in 1934 as a song by Ray Noble, the Brighton-born bandleader who emigrated to the US the same year. Originally sung by Al Bowlly, it was immortalized by Casablanca (1942) in an instrumental-only version which is played in Rick’s club, just before Ilse’s first entry. Playing tips: The note-learning may look easy but the LH takes some mastering because of its wide jumps, even with the tempo being relatively slow. Practise the

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34• Pianist 95

P34 SCORES Very Thought-FINAL.indd 34

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1 2

f f f f

F

ff

-

ff

1

do, you,

b & b bb f™

F

you you,

A¨6

{ 9

™™ f

3

∑

? bb b b f

7

LH on its own. When you jump to the next note (or group of notes), the hand should be poised ready over the keys, just for a split second, before you strike. It’s easy to miss a LH note too (they should all sound quiet under the RH melody). On page 16, Mark Tanner discusses striking the keys to ensure they sound, even at the quietest of dynamics. The tender melody is played by the RH. Sing it to yourself first to get a sense of the line and the depth of tone needed to prolong the long tied minim notes. Pedal tips: Change the pedal twice in a bar, on every bass note.

A¨

j f f f 1

1. The ve - ry mf (2.)

? bb b 44 b

4

INTERMEDIATE

The Very Thought Of You

5

F‹

f

5 2 1

FF F

ff f

day - dream flow - er;

F

F

5

5

I'm your

F 2

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

TRACK 5

14/03/2017 10:09

bb & bbbbb f™ Œ & bbbb f™ f™ 12& b Œ Œ b b f™ & b b hap hap ? b b hap FŒ ? bbbb F ? bbbb hap F bb ? bb F bb

{{ {

5

1

j fj fj f j fpy py

ff ff ff - f f 2 1 2 1 2 1

-

Ray NOBLE (1903-1978)

py

2 1

py

-

1 1

1

j fj fj f j faa 5

f™ f™ Œ f™ Œ Œas f™ Œas as Fas F F F

ff ff ff ff

Gæ The Very ThoughtG7 Of You Gæ G7

5 5

5

a a

F™ FŒ ™ Gæ FŒ ™ Œ™ Fking, Œking, king, F Fking, F F Gæ

n fff n ff nf n ff

f™ C‹ Œf ™™ Œf Œfool™ ffool Œfool Ffool F F F

n fff n ff n ff and fff nand

G7

ΠΠΠΠF F F F

G7

C‹ C‹ 5 C‹ 5 5

5

and and

ff ff -f f -f f

j fj fj f ish j ish f ish

-

ish

3 3 3

3

b b B¨7 & bbbbb B¨7 f & bbbb fŒ 15& b B¨7 fŒ b Œ b & b b may f may Œ ? bb b may ? bbbb ? bbbb bmay F b bF ? bb b b F b bF 15 15 15

B¨7

{{ {

4

n FFF ™ n FF ™™ n FF ™ seem, seem, n FFF ™ ™ seem,

bb & bbbbb f™ Œ & bbbb f™ f™ 18& b Œ Œ bbb eyes f™ b & eyes Œ ? bb b eyes ? bbbb F ? bbbb eyes b FF ? bb b b F 18 18 18

{{ { {{ {

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

5

4

bF bF bF bF

j fj fj f j finin in in

3 3 3

to

F FŒ FŒ B¨‹7 Œ Fme me Œ me

f™ f™ Œ f™ Œ Œstars f™ Œstars stars Fstars F F F

ff ff ff f ff f

B¨‹7 B¨‹7 B¨‹7

f f f of fof

F F F you, F you,

of

you,

of

you,

1 4 1 4 1 4 1 4

P34 SCORES Very Thought-FINAL.indd 35

ff ff ff ff

f bfff bff bf f bff

Fme F F F

to

j fj fj f j faa --

n FFF n FF n bove, FF FF n bove, FŒ bove, ŒF n bove, n ŒF n FŒ nF

a -

f f f f

A¨

f f f f

f f f ev f ev ev Œ Œ ev Œ Œ

2

3

5

3

5

U" " U f U f ff"µ f f " ff U ff it's ffj "it's U f ffj "it's U nU ‰ nffj "it's ‰ nU f ‰ j" nff ‰ f 2

5 1 2 1 5 2 1

my

5

Ófffff ff Ófff f Óff that's f Óffff that's j ‰ fj that's ‰ fj that's f ‰ j f ‰

2

A¨ A¨ A¨

my

2

2

E¨7 5 E¨7 2 5 1 E¨7 2

ff ff E¨7 ff f my ff my f

3

µ µ 2 µ

5 1 2 1 D‡…‹ 5 2 1

a -

5

3

f f f 'ry 'ry f 2

2

- 'ry - 'ry -

E¨7 E¨7 E¨7

Œ ŒF ŒF E¨7 ŒF thing. thing. F thing. F thing. F F F

fff fff fff fff

5 5 5

5

D‡…‹ 5 D‡…‹ 2 5 1 D‡…‹ 2

3

b & bbbbbb fF ™ & bbb B¨‹7 fFFF ™ 21& b b fFF ™ bbbthought ™ b & thought fF ™ ? bb bthought nFFF ™ ? bbbb nF ? bbbbthought n b F ? bb b nFF b 21 21 21

4

seem,

2. F‹ 2. F‹ 5 2. F‹ 5 2.5 F‹

f f f to f to 4

B¨‹7 B¨‹7 B¨‹7

F F F Flove. Flove. Flove. Πw Πw love. Πw Πw

E¨7/B¨ E¨7/B¨ E¨7/B¨

4

f f f just f just just ΠΠjust ΠΠ4 4

4

f f f the the f the the

3 3 3

3

35• Pianist 95

1 5 1 5 1 5

f f f of fof of of

f f f f f f f f f

f f f f 2 2

2

4

ff f f ff f f f f 4 4

1 4 1 1

1

f™ fŒ ™ A¨‹/B fŒ ™ tho' Œ f™ tho' tho' Œ ntho' F nF nF nF

fff f fff f fff µ f f2. The fff2. The f ff2. The Jf ‰‰ Jf2. The J ‰ f ‰ J 1

1

f f f you, f you,

4

ff ff ff ff

ff ff ff ff you, #F n#F you, n#F nF #F nF 2 5 2 5 2 5

4

4

it it

3

f f f mere f mere mere ΠΠmere ΠΠ3

3

3

A‡…‹ A‡…‹ A‡…‹ A‡…‹

j fj fj f itj fit 4

f f f the the f the the

f f fi fii -i -

™™ ™™ ™™ ™™ ™™ ™™ ™™ ™™

f f f f f f ver - y f - fy ver ver - y ver - y

2 5

1 5

2

f f f f

fF fF fF thought fF thought F thought F F thought F F F E¨7/B¨

INTERMEDIATE

A¨‹/B A¨‹/B A¨‹/B

µ 1 µ 1 µ

f f f f

U w w U w w U w w w U w w w U w U w U w Ó w Ó U w Ó w Ó

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

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

TRACK 5 1. F‹7 1. 12 5 F‹7 1. 12 5 F‹7 12 5 1. F‹7

F F u F u u F u 14/03/2017 10:10

Arcangelo CORELLI (1653-1713)

TRACK 6

‘I never met with any man that suffered his passions to hurry him away with so much whilst he was playing on the violin as the famous Arcangelo Corelli, whose eyes will sometimes turn as red as fire.’ This contemporary report leaves no doubt of the high emotions to be stirred by music which was originally published in 1700 as a violin sonata; this transcription places the violin melody in the RH. Playing tips: Largo means slow and broad; we suggest counting out the pulse for a couple of bars before setting out. Play deep into the keys for a rich sound and sense of stately grandeur (notice how often one has to play forte). A sudden change of

Largo Largo

##Largo 33 ff Largo 4 & & # 4 ff # 33 fff & f mf & 44 mf ? ŒŒ ? ## 4433 mf mf ? ? ## 4433 ŒŒ 2 2 1 1

{{

2 2 1 1

## f ™ F™ 6 & 6 & Ff ## fff ™ & & FFfff ™ F ? ? ## FF F ? ? ## FF F 6 6

{{

## 12 12& &# # & & ? ? ## ? ? ## 12 12

{{

## 18 & 18& ## & & ? ? ## ? ? ## 18 18

{{

INTERMEDIATE

Preludio from Sonata in E minor Op 5 No 8

1 1 1 1

FF ™™™ FF ™ FF ™™ FF ™™ F™ ŒŒ ŒŒ ŒŒ ŒŒ

ff ff f ff

ffjj FF j ffj FF 1 1 1 1

ff ff f ff ffFFF FF ffFF FF ff ff f ff

FF FF FF FF ŒŒ ŒŒ

4 4

ŒŒ ŒŒ ff ff ff ffF ™ FF ™™ F™ FF™ FF ™™™ FFF™™™ F™

ff ff f ##fff f ##fff f ŒŒ ŒŒ

nnff nn ff nf nn ff

ff ff f ff FF f™ FFf™ FF f™ FFf™ 4 4

ff ff ff ff

FF FF F FF

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

cresc. cresc.

j ffj j ffj

4 4

ŒŒ ŒŒ

ff ff f ff

FF Fff FF Ffff f ff f ff

ff ff ff ff f

ff f ff f

ff ff f ff

FF FF F FF

5 5

ff ff ff ff ff ff f ff 5 5

ff ff ff ff ff ff f ff

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

FF FF FF FF FF FF F FF

##fff f ##fff f 4 4

4 4

ff ff fff ff ff ff f ff 4 4

##ff ##ff ff ff f ff

ff ff ff ff

ff ff ff ff

ŒŒ ŒŒ ŒŒ ŒŒ ##ff ## ff #f ## ff

5 5

ff ff ff ff FF FF F FF 5 5

ff ff

5 5

ff ff ff ff 5 5

##FF ™™ ## >FF ™™ #>F ™ ## >FF ™™ >

2 2 1 1

##ff ™™ f™ ##ff ™™ f™ FF FF FF FF 2 2 1 1

jj f f ##f JfJjj ##fffJ fJ ff

ff ff f ff ff ff f ff

>>f™ FF>>f™ fff™ FFf™ ff ##FF ™™ ##FF ™™™ #F ™™ ##FF ™

4 4 4 4

ff ff f ff

>>f f >>ff ff ff

ff ff f ff ff ff ff ff

ff ff

##FF ™™™ FF ™ ##FF ™™™ FF ™™ ff ff f ff

ff ff

>>f f >>ff f ff

ŒŒ ŒŒ

ffF ™™ FF ffF ™™ fF fF FffF FF F FF

ff ff f ff ff ff

dynamic on the second beat at bar 17 should bring new drama. There are technical issues such as the descending quaver octaves in bars 27 and 30: try not to freeze the wrist in such places. Notice how the hands share the conversation (e.g. bar 23) just as the violin and keyboard do in the original. Pay attention to the phrase markings, slurs, accents and dynamics. Remember to voice the RH chords, emphasizing the top note. Pedal tips: There are no pedal markings, as the Baroque style demands a detached quality, especially in the LH octaves. When aiming for legato phrasing in the RH, use finger legato before adding the odd dab of pedal.

ff ff

ff ff

FF ™™ FF ™™ FF ™™ FF ™™™ F ŒŒ ŒŒ ff ff ff ff ff ff ff ff 5 5 3 3 1 1 5 5 3 3 1 1

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

ff ff f ff

nnff nn ff nf nn ff

ff ff f ff 4 4 3 3

ff ff

FFff FFff FF FF FF FF

ff f ff f

5 5 4 4 1 1 5 5 4 4 1 1

>> ##>FFff >FF ##FFff FF ff >>fff >>ff

5 5 5 5

ŒŒ ŒŒ

##FF ™™ ## FF ™™™ #F ™ ## FF ™™ ff ff ff ff ff ff f ff

ff ff

4 4 3 3

nnff FF nf FF nf

##ff ##ff ff ff f ff

ff ff

ff ff

>>f >>ff f >f >>ff >ff f fff cresc. ff cresc. cresc. cresc.

FF FF FF pF pF p pf f ff f ff FF FF FF FF FF FF F FF

ff ff f ff ™™ ™ ™™ ™ ™™ ™ ™™ ™

36• Pianist 95

r r P36 SCORES Corelli-FINAL.indd 36

14/03/2017 10:12

Arcangelo CORELLI (1653-1713) ff Op 5ff No #8f ff Preludio from Sonata inffE minor FF ff fFF ff ##ff ff ##fff f ffF f ff FF fff f ##fff F f F f #ff f cresc. f f f F f cresc. ff cresc. ff f #f cresc. ff F ff cresc. FF ŒŒ f ff ##ff ff ff f #f f Œ FF f # f f f Œ f f F #f

TRACK 6

## & # & &# & ? ## ? ?# ?#

{{

## & # & &# & ? ## ? ?# ?#

27 27 27 27 27

{{

## & # & &# & ? ## ? ?# ?#

31 31 31 31 31

{{

## & # & &# & ? ## ? ?# ?#

35 35 35 35 35

{{

39 39 39 39 39

## & # & &# & ? ## ? ?# ?#

{{

™™ ™™™ ™™ ™™ ™™™ ™™

23 23 23 23 23

ff ff f mf f mf mf mf ŒŒ mf Œ Œ

nnff nnFffF nfFf nF ff ™™ ff ™™ f™ f™

ff ff ff f ##FF ## FF #F #F ff FfF fF F FF FFF FF

ff ff f f FF F FF F

ff f f

ff ff f f ŒŒ Œ Œ ff ff ff ff ff f ff f

nn ff nf nnff nf

ff ff fff f

ff f f

3 3 3 3

ff FfF Ff F 3

ff f f

ffff ™™™ fFfFFf ™ ff Fff ##ffff #f ##ff #f

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

ff ff f f ff >>fff >f > >> >ff >f ff ff ff fff f f

ff f f ff f ff f

##ff #f #f

ff f ff f ## ff # ff ##ff #f ff f f

f ff f f ff ff f f

5

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

## ff ™™ # ff ™™ # ff ™™ FF FF F F

4 4 4 4

1 1 1 1

nnff nf nf

1

4

4 4 4 4

ff f ff f

>> >ff >ff ff f ff f ff f

ffff ffff fff cresc. f cresc. cresc. cresc. ff f ff f

cresc.

ff fJf JffJ ff Jfff f

ff f f

nnffff nfff nf

ff f f

4

ff ff f f

ff ff f f ff >fff >>f >

ff f f

ff f f 5 5 5 5

ff ff f f ff ff ff ff

F FFFFfff FFf FF

ff ff f f

FF FF F F

ff ff f fPianist

ff f f

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

FF f FF ff Ff F ff ff f f

ff ff ff f

ff ff ff f FF F FF F

ff f ff f

37•

P36 SCORES Corelli-FINAL.indd 37

INTERMEDIATE

FF FF FF F nn Fff nf nnff nf

3 1 3 3 3 1 1 1 3 1

##ff #f #f

ff ff f f

ff ff f f

ff ff f f

ff f f

ff ff ff f ff f ff f

##ff #f #f

5 5 5 5

5

ff ff ff ff ff f ff f 5

ff f f

FF f FF ff Ff F FF FF F F

4

ff ff f f >> >ff >f ff pf p p pf pf ff f

f ##fff #f #f

nnff FF nf F nf F

5 5 5 5

4 4 4 4

ff f ff f

##ff #fff #ff f FF FF F F

fF™™ ffF™ fFF™ f ff f ff f

ff f f

FF FFF FF sf F sf sf sf ff sf ff f f

ff f f

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

ff f f

ff ff f f

ff f f

## FF ## FF #F #F ##ff #f #f

F FF F F FF FFF F

™™ ™™™ ™™ ™™ ™™™ ™™

95

14/03/2017 10:12

Isaac ALBENIZ (1860-1909)

TRACK 7

INTERMEDIATE

Autumn from The Seasons Op 201 No 3

As a fluent improviser, Albéniz composed with ease and swiftness, and it’s equally easy to hear in this four-movement suite (composed in 1900 and published in Paris) how he transferred the guitar idiom of his native Spain into piano music with a French inflection. This melancholy piece of Debussyan Impressionism seems to evoke the leaves falling from the trees and the wind that carries them away; the cycle concludes with a windy winter’s day full of staccatissimo teeth-chattering. Playing tips: This delightful gem starts out pianissimo, requiring a light but firm q =rhythm. 84 touch. Bear in mind theAndantino wonderfully lilting 12/8 No matter how quiet, all Andantino q = 84 leggiero Andantino q = 84

the notes need to sound (Mark Tanner’s masterclass on page 16 may help). Even if there seem to be lots of notes (especially in the RH), they fit comfortably under the hand. Unusually, the melody appears in the LH. Work on this first to create a firm sense of line. A development begins in bar 9, before the opening music returns in bar 17 with a wonderful change in harmonic colour around bars 19-20, followed by a coda which dies away (perdendosi). Pedal tips: Even if ample pedal is required, make clean changes. Every note needs to sound like a shimmering pearl.

12 ‰ ff ff f f ‰ ff f ff f ‰ f f f f ‰ f 8 ‰ f f f f ‰ f f f f ‰ f f f f ‰ f #f ff f & 12 12 ‰ & f f ‰ f f ‰ f f f f ‰ f ##ff f ff & 88 ppp ^ cresc. ppp j Œ ™™ f^^ ™™ cresc. ppp # f ™ n f f cresc. jj ŒŒ ™ ™ ff ™ ## ff ™™ nn ff w f ? 12 f ™™ 8 w ? w 12 ? 12 88 marcato il canto e legato marcato il canto e legato ø ø ø ° marcato il canto e legato ø ø øø ° 2 ø ø ° ff 2 f f 2 ‰ & ‰ ff ff ff ff ‰‰ ff ff ff ff ‰‰ ff ff ff ff ‰‰ ff #f ff f ‰‰ ff ff ff ff ‰‰ ff ff ff ff ‰‰ ff ff ff ff ‰‰ ff ff ff ff & f f ‰ f f ‰ f f f f ‰ f ##ff f ff ‰ f f f f ‰ f f f f ‰ f f f f ‰ f f f f & ‰ corda. ^ una una corda. j j f^^ ™™una corda.# f ™ Œ ™™ n f f # f ™ f F jj j f Œ ™ # f ™ n f f # f ™ f w j f F ™ ™ ™ ™ ? Œw ™ f #f ™ nf Œ ™™ Œf™™ # f & ŒF™™™ f ff ™™ ? w ŒŒ ™ ŒŒ ™ ŒŒ ™ ™ ™ ? ø sim. & cresc. & cresc. øø sim. cresc. sim. sempre e leggiero ff 4 sempre 4 f f f f ‰ee leggiero f f f f ‰ ff f ff f ‰ ff f ff f ‰ ff ff ff f ‰ ff f ff f ‰ ##ff #f ff f ‰ nnff f ff f sempre leggiero 4 ‰ & ‰ ff f ff f ‰ ff f ff f ‰ f f f f ‰ f f f f ‰ f ff ‰ f ff f ff ‰ #f ##ff f ff ‰ nf ff f f & f f f f f f ‰ ‰ ‰ ‰ f f ‰ pp f ‰ ‰ & ‰ cresc. ^ ^^ ™ cresc. j ™ pp Œ j pp cresc. b f f ™ ™ ™ f ™ f™ b f jj ™ j & j f™ #f ™ n f f Œ ™™ b f fj f ™ ™ ™ f™ b f w Œ f & # f n f f ™ bf f f™ f™ bf & ffjj f ™ #cresc. f™ nf ™ f w ™™ w  cresc. f cresc. ff 6 f 6 ff ff f ‰ ff f ff f ‰ ##ff #f ff f ‰ nnff f ff f ‰ f f f f ‰ f f f f ‰ f f f f ‰ f f f f f 6 ‰ & ‰ f ff ‰ f ff f ff ‰ #f ##ff f ff ‰ nf f f f ‰ ff f ff f ‰ ff f ff f ‰ ff f ff f ‰ ff f ff f & ‰ una corda. ‰ ‰ f f ‰ f f‰ f f‰ f f‰ f f & ‰ ^ una corda. j ™ j Œ bf^^ ™™una corda.nf ™ jj b f n f ™ j & Œw™™ f F # f bbff ™ j f ™™ nnff ™™ bbff n f ™ Œ & f F # f ™ & w f ff ™™ F™ #f nf w ™™ sempre e legato ™ sempre e legato 8 sempre f f f f e legato f f f f #f f f f f f #f f f f ff f ff f ff f ff f ff f ff f 8 8 & ‰‰ ff ff ff ff ‰‰ ff ff ff ff ‰‰ #f ff f ff ‰‰ ff f ff f ‰‰ ##ff ff ff ff ‰‰ f ff f ff ‰‰ f ff f ff ‰‰ f ff f ff & ‰ ‰ ‰ #f f f f ‰ f f ‰ ‰ marcato & ‰ cresc. ‰ ^ marcato cresc. marcato j f ™ ™ f^^ ™™ f f f nf f f Œ f cresc. ™ ™ f™ f j  ™ & j ##ff ™™ f ff f f nf f f Œ f f ™ ™ j w ff ™ ff ™ ™ ™™ f Œ f f ™ & fj #f ™ f f nf f f w ™™ & fj w f Pianist 3 leggiero 5 2 leggiero 3 5

{{

5

3

2 2

1

3

1 1

3 3

1

1 1

3

1

3

1

3 3

1 1

3 3

1 1

1

2

1

1 1

2 2

1 1

5 5 5

{{

2

1

2

2 2

1 1

2 2

4

{{

4 4

1

2

1 2

1 1

2 2

1 2 1 2

5 5 5

3

1

3 3

1 1

2

4

1 1

3 3

{{

3

2 2

4 4

3 3

1

1 1

3 1 3 3 1 1

1

3

1

1 1

3 3

1 1

3 3 3

4

{{

1

3

4 4

1 1 1

P38 SCORES Albeniz-FINAL.indd 38

2 2 2

3

1

5

3 3

1 1

5 5

2

2 2

3

1

3 3

1 1

3

3 3

1

1 1

1

2

1

1 1

2 2

1 1

2

2 2

2 2 2

38•

95

14/03/2017 10:12

Isaac ALBENIZ (1860-1909)

TRACK 7

10 10 10 10

& & & &

{{

& & & &

12 12 12 12

& & & &

{{

& & & &

14 14 14 14

ffff ffff ‰ fff f fff f ‰ fff f fff f ‰ ‰‰ f f ‰‰ f f ‰‰ ‰ ‰ ‰ j F™ f j f ff ™ ffjj FF ™™™ w w f w w ™™™

ffff ff f ff f ‰ f f f f ‰‰ ‰

f f f f ‰ fff ff fff ff ‰ fff ff fff ff ‰ ‰‰ f f ‰‰ f f ‰‰ ‰ ‰ ‰ j F™ f j f fw ffw ™ fjj FFF ™™™ w w ™™™ f

ffff ff f ff f ‰ f f f f ‰‰ ‰

& & & &

‰ ‰‰ ‰

& & & &

fF ™™ fFf ™™ fFF ™™

{{

16 16 16 16

& & & &

{{

‰ ‰‰ ‰

f bf f f ‰ ff bf ff f ‰ f bbff f ff ‰‰ 5 5 5 5

2 2 2 2

& & & & ? ? ?

{{

5 5 5 5

4 4 4 4

F™ F™ F™ F™

ritard. 2 1 ritard. ritard. ritard. 2 1

ffff‰ ff ff ff ff ‰‰ ffff‰ 2 2

1 1

n F™

1 1 1 1

f #f f f ‰ ff #f ff f ‰‰ f ##ff f ff ‰

ffff ff f ff f f ff f ff 3 3 3 3

1 1 1 1

f ™™ ff ™™

sempre sempre sempre sempre

ffff ff f ff f f ff f ff

f #f f f ff #f ff f f ##ff fj ff fjj ffj f

2 2 2

f ff

f bf f f ‰ ff bf ff f ‰ f bbff f ff ‰‰

ffff ff f ff f ‰ f f f f ‰‰ ‰

ffff ff f ff f ffff

f ff f

f ff f

‰ nf f f f ‰ ‰‰ nnff ff ff ff ‰‰ ‰ nf f f f ‰ 1 1 1 1

f ff f

f ff f

ffff‰ ff f ff f ‰ f ff f ff ‰‰

nF ™™ nnFF ™™ nFFF ™ F ™™ 2 2 2 2

a a a a

ffff ff f ff f ‰ f f f f ‰‰ ‰

4 4 4

leggiero leggiero leggiero leggiero

ffff‰ ff f ff f ‰ f ff f ff ‰‰

‰ ‰‰ ‰

#F ™ ##FF ™™ #F ™

? nn F™ n F™ F™ ? F™ ? ? F™ F™

f ‰ ff fff ff f ‰ fff ff fff ff ‰ ff f ff f ‰ ‰‰ f ff f ‰‰^ f ff f ff ‰‰ ff f ff f ‰‰ ‰ f f‰ ‰ f ‰^ ™ Œ ™™ f^^ ™ #f ™ nf Œw ff ™™ ŒŒw™™ ™ # f ™ nn ff f # f ™ ™ w w ™™

1 1 1 1

#ff ™™ ##ff ™ #ff ™™

f ™™ ff ™™ f 1 1 1 1

‰ ‰‰ ‰

3 3 3 3

3 5 3 3 5 5 3 5

f f ff ff ff ff ff ff

ffff‰ ff ff ff ff ‰‰ f f‰

3 3 3 3

ffff‰ ff f ff f ‰ f ff f ff ‰‰

#fw ™™ ##fw #fw fw ™™™

f™ ff ™™ f™

f™ f™ f™ f™

ffff‰ ff ff ff ff ‰‰ ffff‰

4 4 4 4

2 2 2 2

1 1 1 1

molto molto molto molto

f f ff ff ff ff ff ff

f™ ff ™™ f™

ffff‰ ff ff ff ff ‰‰ f f‰

1 1 1 1

una corda una una corda corda una corda

& #F ™ & & & ###FFF ™™™

18 18 18 18

INTERMEDIATE

Autumn from The Seasons Op 201 No 3 4 2

f ff f

ffff ff f ff f f ff f ff

f ™™ ff ™™ fff ™ f ™™ ff ff f f f f ff ff f f ff

ffff‰ ffff‰ ff ff ff ff ‰‰ ff ff ff ff ‰‰ f f fsempre ffff‰ f ‰ pp sempre sempre pp pp sempre pp

f™ ff ™™ f™

f ™™ ff ™™ f

tempo tempo tempo tempo

f ‰ fff fff ff f ‰ fff ff fff ff ‰ ff f ff f ‰ ‰‰ f ff ff ‰‰ f ff f ff ‰‰ ff ff ff ff ‰‰ ‰ f ‰^ una corda ‰ f f ‰ una corda corda f^^^ ™™una Œ ™™ nf una corda# f ™ f Œw ff ™™ ŒŒ ™™ ™ ## ff ™™ nn ff ™ w w ™™ legato legato legato legato

‰ ##ff f ff f ‰ ff f ff f ‰ ‰‰ ##ff f ff f ‰‰ ff f ff f ‰‰ ‰ f f‰ f f‰ cresc. cresc. ™ cresc. f ™™ cresc. ff ™™ & ™ F f™ & & FF ™™ & F

ffff‰ ff f ff f ‰‰ ffff‰ f ff

f #f f f ff #f ff f f ##ff f ff fjjj ffj f

ffff ff f ff f ffff j #fjj ##ff

39• Pianist 95

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14/03/2017 10:12

TRACK 7

20 20 20 20

& ‰ ##ff bf ff f ‰ & ‰ #f bf f f ‰ bf f ‰ & ‰‰ #cresc. f bf f f ‰ cresc. & & j f ™cresc. #f & fj f ™cresc. #f & fj f ™ #f & fj f ™ #f

{{

22 22 22 22

& & & & & & & &

{{

24 24 24 24

& & & & & & & &

{{

26 26 26 26

& & & & & & & &

{{

28 28 28 28

& & & & ? ? ? ?

{{

f

‰ ‰ ‰ ‰ f f f f

Isaac ALBENIZ (1860-1909) leggiero Autumn fromrit. The Seasons Op f f201 No 3 f rit. leggiero f f f nf f f ‰ f f f f ‰rit.f f f f ‰leggiero f f f f ‰ nf f f f ‰ f nf f f ‰ f f ‰rit.f f f f ‰leggiero f f ff f ‰ nf f f f ‰ f f f nf f f ‰ f f f f ‰ f f f f ‰ f f f ‰ nf f f f ‰ f f ‰^ nf f f f ‰ f nf fj fj ‰ f f ‰ f f f ‰ fj ffj bf ™™ f™ f^ ™ f f™ fj j bf f™ ^ f ™ f f™ ^f ™ fj ffj bf ™™ f™ f f™ f bf f™ f ™ f f™

ffff‰ ffff‰ ffff‰ ffff‰ ffff‰ ffff‰ f f f f ‰^ f f f f ‰ j ^ fj F™ ^ fj F™ ^ fj F™ f F™

rit. rit. rit. rit.

ffff‰ ffff ffff‰ ffff f f pp ff‰ ffff f f pp ff‰ ffff ? pp ? pp f ™ ? f™ ? f™ f™

rit. rit. rit. rit.

‰ ‰ ‰ ‰ f f f f

ffff‰ ffff‰ ffff‰ ffff ffff‰ ffff‰ ffff‰ ffff ‰ ffff‰ ffff f f f f ‰ f f f f perdendosi f f f f ‰ f f f f perdendosi ‰ ffff‰ ffff j perdendosi #fj F™ f™ perdendosi F™ #fj f™ F™ #fj F™ f™ #f f™

INTERMEDIATE

ffff‰ ffff‰ ffff‰ ffff‰ f f #f f f #f f f #f f f #f

ffff ffff ffff ffff f f f f f f f f

tempo f f tempo ff‰ ffff‰ ffff‰ ffff ‰ f f tempo ff‰ ffff‰ ffff‰ ffff ‰ f f tempo ffff‰ ffff ‰ f f ff f ‰ f f f f con ‰ dolore ‰^ ‰ dolore ffff‰ ffff f ‰ f f f f con ^f ™ & f™ con f- dolore f- f- # f f- f^f ™ con dolore & f™ f f- f- # f- f- f^f ™ & f™ f- f- f # f- f ff™ & f™ f- f- f- # f- f- f- - ff ‰ f f ff f ‰ ff f ff f ‰ ff f ff f ‰ ff f ff f ‰ ff f f f ‰ f f f f ‰ f f f f ‰ f f f f fff‰ ffff‰ ffff‰ ffff ‰ dim. poco f‰ f f‰ f f‰ f f ‰ poco dim. f™ f™ f™ poco ™ dim. f ™ f ™ f f™ poco f ™ dim. f ™ ™ f f™ f™ f™ ™ f f™ f™ meno meno meno meno

tempo

quasi quasi quasi quasi

adagio

f f adagiof f f f f f f f ‰ f f f f ‰ f f f f ‰ nf #f f f ‰ f f ‰ f f ‰ bf f f f ‰ f f #f ‰ f f adagio f f f ‰ f f ‰ f f f f ‰ nf #f f f ‰ f f f f ‰ f f f f ‰ bf f f f ‰ f f #f ‰ f f adagio f f f f ‰ f f f f ‰ nf f f f f f f f ppp f ‰ f f ‰ f f ‰ bf f f f ‰ f f #f ‰ ‰ dim. ™ f f f f f f f# f‰ ™ f f n f‰ nf #fn f f ‰^ f f f f ‰ f f f f ‰ bf f f f f‰ ™ f f #f f f‰^ ™ f ppp ‰ f f fn f #fn Jf f dim. ™ f # f ™ f ? f™ ^ ™ ppp j f dim. ™ f ^ ™ #f ™ nf ? f™ f^^ ™ bf ™ n Jf pppf ™ f™ j f dim. f # f ™ n f f ^ n fJ f^ ™ bf ™ ? f™ f™ j f™  fj J ? f™ f™ bf ™ f™  f f™ bf ™ f™ U F™ f U f F™ U ™™ ff f f f fU w w f f f F™ f U ? ™™ w™ f f f f f f f f fU w ‰ f f f ‰ f f ‰ f f ‰ f #f f f ‰ ff w F™ f ? f f U w™ ™™ ‰ f f f f ‰ f f f f ‰ f f f f ‰ f #f f f ‰ f f f f f f f f f U w w U f ? ™™ w™ f f f f f f w pp ‰ f f f ‰ f f ‰ perdendosi f f f ‰ f #f fj f ‰ f f f f f f f w U ? F™ w™ f f f f ‰ ™perdendosi pp Œ‰™ fU f f‰ ™ f fn f‰ f #f ff f ‰ f f f ff # f f F™ f f j U f pp Œ™ ™ f™ w fff f f f fU # f ™perdendosin f f ‰ ? f f F™ j ‰w™ f f & f f f f F™ ? pp U w Œ™ ™ f™ w™ # f ™perdendosin f f f f j f f ™ ™ u f U Œ™ f f & w f #f ™ nf f u w™ ‰w™ f f f f f f f f f ? U w™ ° & ff ‰w™ f ? w™ u &f ° w™ w w™ u ° w™ Pianist °

P38 SCORES Albeniz-FINAL.indd 40

rit. rit. rit. rit.

molto molto molto molto

4

2

1 1 1 1

40•

2 2 2 2

4 5

1

2

4 5

1

2

4 5 4 5

1

2

1

2

4 4 4 4

5 5 5 5

1 1 1

2 2

4 4 4

2

1

2

1

4

1

4

2

1

4

2

1

2

1

4

1

4

2

1

4

2

1

2

1

4

1

4

2

1

4

2

1

2

1

4

1

4

2

1

4

2

1

95

14/03/2017 10:13

Nikolai RIMSKY-KORSAKOV (1844-1908)

TRACK 8

Rimsky-Korsakov had few ambitions in the direction of piano or chamber music and concentrated his energies on lyric and dramatic forms: songs, opera, music that tells a story such as his orchestral masterpiece, Scheherezade. Nevertheless, he found it useful to produce a few salon pieces, and among them is his Op 15 set of three, dating from the mid-1870s. Rather thinly veiled is the presence of Chopin in the wistful harmonies of the central Romance. Playing tips: There are three voices to this Romance: one in the LH and two in the RH. So you can see which hand poses more problems: the RH, which carries both

Andantino espressivo

b 2 & b bb 4 ‰f

{

ff

p

? bb b 42 ‰ b F °

4

b & b bb f‰

{

? bb b ‰ b F ø

8

INTERMEDIATE

Romance Op 15 No 2

b & b bb nff

j ff f f™

f™ bf f fJ ffj

ff ff

b & b bb f f™

5

f ‰

‰ f ø

{

f

‰ F

‰ F

1 4

3

j f f ™ nf f j f f

F ‰

ff nf ™ fJ f fj f f

‰ F

2

f

2

j ff

f

j f

1

‰ F ø

nfJ fj

f

ff

f #nff ™ f > f fj f nf 3

ff ‰ F

4

sim.

5

1

4

4 1

ff J ffj F

f f ™ nf f J f fj f f

™ n f ff bf > ff ffj

4

2 1

ff

1

‰ F

f f

2

12

? bb b ‰ b F

ff 1

3

f nnff ™ f > j n f f ? bb b ‰ n f f b F

{

‰ f

j f

f

the melody and an accompaniment. Sometimes the melody is heard in the alto part (as it does at the start) and sometimes in the treble (bars 4 and 5). When it appears in the alto, you need good control (and sound) of the thumb as it holds the melody line. In the treble part, the weaker fingers (4 and 5) need to be steely strong (but never harsh). We suggest practising hands separately. Even the LH needs to be spot on, with the bass note sounding like a deep bell and the other notes, including twonote chords, perfectly judged. Pedal tips: Legato pedalling required. As a general rule, one pedal change per bar.

ff

bn ff ™ >

f j f nf

‰ F

4 1

f bff ™ f > f ffj f

ff ‰ F

1 2

ff

bn ff ™ >

f j f nf

4

F F ‰ F

2 1

ff

ffj

‰ f

j ff ff f f™

‰ F

f

5 3

j f

41• Pianist 95

P41 SCORES Rimsky-FINAL.indd 41

14/03/2017 10:13

Nikolai RIMSKY-KORSAKOV (1844-1908)

TRACK 8

bbbbbb b b & bbbbbbbbb & & & b bb &

16 16 16 16 16

{{

? b ? ? ? bbbbbbbbbbbbb ? bbbb bb

‰‰‰ ‰f f‰ff f ‰‰‰ ‰ff f‰f f

ff fff ff fff f f

bbbbbb b b & bbbb & & & bbbbbbbb &

19 19 19 19 19

fff fff f

{{

? b ? ? ? bbbbbbbbbbbbbb ? bbbb b bbb bb b b & bbbbbbbbbb & & & b bb &

{{ {{

bbbbbb b b & bbbbbb b & & b & bbbb & ? b ? ? ? bbbbbbbbbbbbbb ? bbbb b

28 28 28 28 28

{{

3

3 3 3 3

bbbfff bf bf

nnn fff ™™™ nf ™ nf ™

fff f‰‰‰ f‰ ‰ ‰‰‰ F‰FF ‰F F

fff fff f fff ff ff

f™ f™ f™ f™ f™

ŒŒŒ Œff fŒf f

bbbfff bnnnff ™™™ bnf ™ nf ™

3

‰‰‰ F‰FF F‰ F

fff fff f

fff f f nnnfffjjjj nffj nff

fff f f 2 2 2 2 2

fffjjjj fffj f

4 4 1 4 1 4 1 1 4 1

FFfF fFff Ff ‰‰‰ f‰ff f‰ f

fff f f 3 3 3 3

fffff fJfJJf fJf J ‰‰‰ ‰ f‰ff f f 3

4 4 2 4 2 4 2 2 4 2

fffff fJfJfJ fJf J ‰‰‰ ‰ F‰FF F F

fff f f

f ‰‰‰fff ‰f ‰ ‰‰‰ ‰F ‰FF F F

5 5 5 5 5

jjj f f nnnfffjj nf nf

j fffjjj ffj ff j fffjjj fj f

ff fff ff

fff f f

fff f f

bbb ffJf b JfJJj b ffJjjj ffj fff f

bbbfff bJfJfJ bJff Jfjjj fffj ffj f fff f f

‰‰‰ ‰F F‰FF F ‰‰‰ ‰F F‰FF F

fff f f

fff ™™™ ff ™™ f f

nnn fff nf n fff ff ff f

fffff fJfJfJ fJf J ‰‰‰ ‰FF F‰F F

? b ? ? ? bbbbbbbbbbbbbb ? bbbb b bbb bb b b & bbbbbbbbbb & & & b bb & ? b ? ? ? bbbbbbbbbbbbbb ? bbbb b

3 3 3 3

‰‰‰ ‰ f‰ff f f

22 22 22 22 22

25 25 25 25 25

bbbfff bf bf fff fff f

j ffjjj nnnfffj nf nf j fffjjj fj f

f™ f™ f™ f™ f™ fff f f

bbbfff ™™ bf ™™ bf ™ ‰‰‰ ‰ f‰ff f f 3 3 3 3 3

nnnfff nf nf fff ff ff 1 1 1 1 1

1 1 1 1

2 2 2 2

nnnfff ™™™ bbff nf ™™ bbJfJfJ nf bJf Jfjjj fj fff ffffj f f f 2

1 1 1 1

3 3 3 3

fff f‰‰‰ f‰ ‰ ‰‰‰ ‰F F‰FF F

1

3 3 3 3

nnnfff nf nf fff ff ff

nnnfff ™™™ nf ™™ nf

bbbffJf bJfJJ bfJ fffjjjj ffj ff

fff f f

fff ff ff fff f f

nnnfff ™™™ nf ™ nf ™

ffJf JfJJ fJjj ffjj fffj f f

fff f f

3

fff f f j j fffjj ffj ff

fff FfFF fF F ‰‰‰ ‰ F‰FF F F

2 2 2 2

1 1 3 1 3 1 3 3 1 3

fff ff f f ‰‰‰ f‰ff ‰f f

fff f f

bbbfff bf bf fff ff ff

fff f f

3 3 3 3

FFF FF F F ‰‰‰ ‰F FF‰F F F ‰‰‰FFF ‰F ‰ ‰‰‰ ‰ F‰FF F F

fff ™™™ f™ f™

fffjjjj ffj ff

fff f f

fff ŒŒŒf Œf Œ ‰‰‰ ‰ nnn F‰FF nF nF 4 4 4 4 4

fff f f

bbbfff bJJfJ bJf Jj fffjjj fffj f

5 5 5 5

f™ f™ ff™ ff™ fff™ f

fff f fjj fj nnnffffjj nf nf

5

1 1 1 1

fff f f

3

2

fff ff ff

nnnfff ™™™ nf ™ nf ™

fff f f fff fff f

3

1

42• Pianist 95

P41 SCORES Rimsky-FINAL.indd 42

INTERMEDIATE

Romance Op 15 No 2

2 2 2 2

fff f f

1 2

ff fff ff

fffjjjj ffj ff

fff f f fff f f

nnnffJf nJfJJ nfJ fffjjjj fj f 5 5 1 5 1 5 1 1 5 1

2 2 2 2

f™ fff f™ ff™ ff™ f f >>>ff™ f> j f fff > fffjjj ff fffj ff f 2

14/03/2017 10:13

Nikolai RIMSKY-KORSAKOV (1844-1908)

TRACK 8

bbbbbbbb & bbbbbb & b b & & ? ? bbbbbbbb ? ? bbbbbb bb

nnfff nnffJfJff JJ ‰‰ ‰F‰ FF F

bbbbbbbb & bbb & & & bb bbb

j ffjjj ff fff

bbbbbbbb & bbbbb & b b & & b

ff ff‰‰ ‰‰ ‰‰ F‰‰F FF

32 32 32 32 32

{{

35 35 35 35 35

{{

? ? bbbbbbbb ? ? bbbbbbb b

38 38 38 38 38

{{

? ? bbbbbbbb ? ? bbbbbbb b

2 2 2 2 2

ff ff ff ff ff

bbbbbbbb & bbbbbb & b b & &

rit. rit. rit. rit. rit.

{{

‰‰ F‰‰F FF

? bbbb ? b ? ? bbbbbbbbbb b ff ff ff ‰F‰ ‰F‰F F

P41 SCORES Rimsky-FINAL.indd 43

##ff ™™ ##ff ™™

ff ™ ff ™™™

ff ff nn ff nn ff ff 1 1 1 1 1

ff ff

bbnnnf™ ff™ n f™ bb >ff™ ff >>>

1 1 1 1 1

ff ff

f ‰‰fff ‰‰ ‰‰ F‰F‰ FF

5 2 5 5 2 5 2 5 2 2

2 1 2 2 1 2 1 2 1 1

ff™ bbnnf™ n bbn>ff™ ff™ f > ff >> fff f

ff ff

fJf JffJ Jfjj ffjj ff j ffjjj ff ff j ffjj ffj

f™ bf f™ f™ f™ bbbffJfJf fJJ ffjjj ffj

ff fff f ff ff

ff ff ff

{{

1 1 1 1 1

‰‰ F‰F‰ FF

bbbbbbbb & bbb & & & bb bbb

? ? bbbbbbbb ? ? bbbbbbb b

ff ff ff fff ff

5 1 5 5 1 5 1 5 1 1

42 42 42 42 42

45 45 45 45 45

INTERMEDIATE

Romance Op 15 No 2

jj f nnffjj nnfff

ff ff

ffjjj ffj ff

ff fff ™ ff ™™™ ‰‰ F‰‰F FF

ff ff ff fff f

j ffjj nffj nnnfff ‰‰ F‰‰F FF

ff ff ff fff f

‰‰ f‰‰f ff ‰‰ ‰f‰ ff f

ff ff ff ff ff

nnff ™™ bf nnff ™™ bbbJffJf JJj nnfffjjj nnfff 4 1 4 4 1 4 1 4 1 1

fff fJf JfJ Jfjj ffjj fFff FF F

ff ff

nnff nnff fff ff f 1 1 1 1 1

5 2 5 5 2 5 2 5 2 2

bbffff ™™™ bb>ff ™ >> >

## ff ™ ## ff ™™™

ff ™™ ff ™™ ff ff

2 2 2 2 2

bbff bbff fffjjj ffj f

ff ™™ ff ™™

ff ff ff ‰F‰ ‰F‰F F

3 2 3 3 2 3 2 3 2 2

fff ffJfJff JJ ‰‰ ‰F‰ FF F

ff ff

jj f nnffjj nnff ffjjj ffj

F ‰‰FFF ‰‰ ‰‰ ‰F‰ FF F

ff ff

ff ff ff ff ff

j bbffjjj bbff ffjjj fffj f

‰‰ ‰F‰ FF F ‰‰ ‰F‰ FF F

ff ff

ff ff ff ff ff 3 3 3 3 3

‰‰ F‰F‰ FF 2 1 2 2 1 2 1 2 1 1

bbnnffff ™™ bbnn>ff ™™ ff >>> fff f

jj f nnffjj nnfff

ff ff

1 1 1 1 1

j fffjjj ff f j ffjj ffj

FF FFF FF ‰‰ F‰‰F FF

ff ff™ nnnnnf™ ff f™ nnn>ff™ ff >> fjj > fjj ff fff

ff ff ff ff ff

‰‰ F‰F‰ FF

f fff ff

ff ff

ffJ fJfJ Jfj ffjjj ff ff

fff ff f

ff fff f

ff ff

bbfJf bbfJfJ Jfjj ffjj ff f

ff ff ff ff ff

nnfJf nnJffJ Jj ffjj ffj

ff ff ff ff

##ff ™™ ##ff ™™

ff ff ff ff ff

5 2 5 5 2 5 2 5 2 2

bbf™ ff™ bb>ff™ ff™ >>f >

fffjjj ffj f

fffjjj ffj f

ff ff

U U FF U U FFF pp F F pp pp U pp FFF ppU U F j U fjj F F ffjj ff

43• Pianist 95

14/03/2017 10:13

TRACK 9

S MIS N’TWMAN’S DOT E N JANE IECE HIS P ON T AGE

Edvard GRIEG (1843-1907)

ON LESS

INTERMEDIATE

Melodie Op 47 No 3

P 2 2

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

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

> > > j 6 f™ f™ f™ f f f f j ™ ™ ™ f & 8 f f f f f f f f ff f ff f ff f ff f ff f ™ f™ J J J J J J J J f fJ f fJ Allegretto

5

5

5

? 68 f fj f fj f fj f f f f f f f f 1 5

°

2 5

> fJ ff ™ fJ j j ff ff ff

# f™ f

2

ff

1 4

1 5

ø

4

? ff

ff

{

ø

ff J

{

4

3

ff ff J

ff J

f f ø

1 4

> ff ™ f ff ™ f J J 5 1

fJ pp j f ff bff 2 5

1 2 4

ø

ff ff ff J

5

f f f f J

1 4

ff ™ f ff f ff J J

ff ff fJ bf

j f

ff ff fJ f

4

3

5 1

3 2

1 4

1 5

f ™ fj f f f f ™ f fJ f fJ # f j f f fj f ff f f bf f f f J ø ø

4

ff ff fJ f

5

1 5

> ff ™ f ff ™ f J J

dim.

ø

ff ff ff ff J f J

5 2

4 2

5

4

f ™ fj f f f f fJ f fJ

2 1 5

più mosso

16

& #F ™ f fJ f ? f fj f f f f

5

5

> ™ f f™ f fJ f fJ

ø

j f f bf f f™ f fJ f fJ

4

f

ø

> & ff ™ f f™ J f fJ ff ff J

j j j ff f f f f f f f f

5

# Ff ™ fJ f fJ j j ff ff ff ff

5 2

4 2

5

3

4

3 1

3 2

& f ™ fj f f fJ f f ffJ j ? f fj f f f f f f

3

4

ø 5 1

11

5

j j j j ff ff ff ff ff ff ff ff

p la melodia ben tenuta

6

{

4

3

∏∏∏∏∏∏∏

{

4

5

2 5

3

4

5

ff J

> fJ ff ™ fJ j j ff ff ff 3 1

> ™ ™ bff fJ ff fJ 5 2

bff ™ fJ ff ™ f J ff ff ff ff ff ff ff ff ff fJ b f fJ f fJ n f fJ f fJ ø ø ø 5

5

4

1 2 5

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A with Z E R T Y Chords 49.B Skips Block E Gzerty INNERS K EYB OA R D Chords CLASS 49. Skips with Block q = 100-120 H A NS - G ÜNTER HEUMA NN XXXX (XXXXX)

Changing Positions

   49.  Skips  Hans-Günter    Heumann with Block Chords     basic stages of learning the piano through 5 3 most 5  q =pages, 100-120 On these four Pianist covers the a series of lessons by Hans-Günter  Heumann. 3 1 Lesson 22 features exercises to help 1beginner pianists perfect quick changes of hand positions in chord playing. Work on the exercises  use these exercises to warm up.    can slowly at first, up to advanced pianists f  the tempo  Block  5over time. Intermediate   building   Heumann 49. Skips with Chords Hans-Günter    5 q = 100-120    3 Skips   3   block chords   with 1 1      f   Aim to position the hand for a fraction of a second over the1 next chord before  playing it.      1 3   Heumann    3  Hans-Günter 5   5 5     q =5100-120  3   3 simile        1 1      f1  1    3          35  5      simile            f1 7 1    3  3 5        5       simile                  7  1  1    3      5  simile        35     7                                  7                                          13                            13                    13                         13                             17 2                17 2             2 17                    2 17                            5 3 1

62

PLAGE

Hans-Günter Heumann

5

LESSON 22: FINGER 31FITNESS EXERCISES

Changing Positions

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HANS-GÜNTER HEUMANN KEYBOARD CLASS

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

PLAGE

A   

q =Bella 100-120 du faux texte terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus 1 3 1 Millia civium 3 5 1 tuto ignosci potuit, conservare quam5 excidere malui. 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 sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis mfsescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot. militiae dedi. Naves cepi

  

Hans-Günter Heumann







  

 

  

9



 5



3

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     

13

   



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  

5

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

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   

 

 3

  

 

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simile

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  

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  

   5

1

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1 3 5

  

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

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1 3 5

1 3 5

5



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  

  





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HANS-GÜNTER HEUMANN KEYBOARD CLASS

  

17

  

5 3 1

5 3 1

  5

 3

 1

    

   

1



3







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   





PLAGE







 1











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   

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

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  

   

   

  

 

   



5

29



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  

25

 



 

 

zerty  

XXXX (XXXXX)

5

21

 

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A Z E R T Y

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Changing Changing Positions Positions Changing Positions

50. 50. Skips Skips with with Broken Broken Chords Chords 50.broken Skips Skips with chords Awith Z E Broken R T Y Chords

63 63 63

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HANS-GÜNTER HEUMANN KEYBOARD CLASS

Hans-Günter Hans-Günter Heumann Heumann

PLAGE

= Hans-Günter Heumann qmoving = 100-120 100-120 A fair bit ofq around the keyboard is required. Again,XXXX make sure that the hand is ready over each new group 1 of notes before you strike. 5(XXXXX)

q = 100-120 1 1 5 2 1 1 5 2  1 zerty   Heumann       Hans-Günter      in orbe terrarum 5 gessi, victorque omnibus veniam petentibus civibus 1 peperci. Externas gentes, quibus texte q =Bella100-120 du faux terra et mari civilia externaque toto saepe  2  1 tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut  Naves cepi mf sua stipendis remisi in municipia  emeritis millia aliquanto plura quam trecenta,  aut pecuniampro praemiismilitiae dedi.   mf  et iis omnibus agros adsignavi mf sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarumsaepe gessi, victorque omnibus veniam petentibus  civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum meo fuerunt circiter quingenta.    sub sacramento       pro praemiis Ex quibus deduxi in colonias aut remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam      mf  eas, si quae minores quam triremesfuerunt.Bella terra et mari civilia externaque tot.  militiae dedi. Naves cepisescentas praeter 5 1 5  3 5 1 5 5  1   5 33     5 1 5 3  5 5 5                              5                                               simile        simile simile      2

A

11 11 11

  11

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simile

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           

17 17 17

       

17

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     

      



 

     

© © 2013 2013 Schott Schott Music Music Limited, Limited, London London © 2013 Schott Music Limited, London

  

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 

   

 

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           

  

      

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          

   

L.H. L.H. 2 L.H. 2

  L.H.

    his series for beginners in the next issue. Hans-Günter Heumann continues 



  

To find out more about Heumann, visit www.schott-music.com

     

       

  

   

 

2



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2

  



  

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Edvard GRIEG (1843-1907) INTERMEDIATE 21 Melodie Op 47 No 3 > stretto > stretto 21 21 >f ™ ™ ™ f bfjj bff f ff ™ f >ff ™ f stretto b f f b f ff ™ f bff ™ f & f f f f f f b b 21  j > stretto bf ™ Jf >ff ™ Jf ff ™ Jf bbffj bff f Jff bff ™ Jf >ff ™ Jf ff ™ Jf bbff ™ Jf 21& f b b bbf ™ J ™ ™ ™ ff ™ Jf bfj bff f Jff b f f f J J J & bbfff ™™ Jf >fff ™™ Jf ff ™ fJf bf bff f fJf b bbbfbfff ™ fffJ ffff ™ fffJ bbfbbfff ™ fffJ bfbfff ™ fffJf J J f f b & f f f f ? bbf fJ f fJ bbf fJ f bbff ffJ f b f f f f n f f J J J J b b b f f f f b f f f f f f f f f f f f f f f f ? bbf Jf f Jf bbf Jf f Jf bbbff fJf ff fJf bbfnf fJf bfff fJff f f f f f f f fJf bb f Jf f Jf b nf Jf b f Jf ? bbf Jf f Jf bbf Jf f f f f f f f f fJf bb ffø fJf ff fJf bfnfø fJf bffø fJf ? b fø Jf f Jf b f Jf f J J J J ø J ø J ø J ø J ø ø ø ø 25 > > ø ø ø ø j 25 >f ™ ™ ™ > 25 b f f bf bf bf f #f™ f™ ff f ff #ff f ff f f f f f f b jj f f f f f  ™ ™ ™ 25& bbf > f Jf ff Jf f J bbffj bf bf fJ #f™ Jf >>f™ Jf ff f Jff #ff f fJf f f b f f f 25& bbf >  bf ™ ™ ™ f f f b f Jf f™ Jf ff f Jff #ff ff Jf & bbbff ™ JffJ ff ™ JffJ b bff ™ JffJ bfj bfff bbff JfffJ # ##ff™ ff™ f ff fJf # ff f fJf #ff fJf ff nnfffff fJff f™ & ? bbbbfff ffJf fff ffJf bbbbbfff ffJf fff f f f f f fJf J J J J # # fJf nnffff ffJf fff ffJf fff ffJf fff fJf ? bbbff Jff ff Jff bbbff Jff ff # # ff f n f f f f f f fJf Jff #n f Jf f Jf # f Jff ff ? bbbff Jff ff Jff bbbff Jff ff n f f f f f fJf Jf n fø Jf f Jf f ? bfø Jf f Jf bf Jf f Jf f J J J J J J ø J ø J ø ø 29 > > ø ø j  29 >f™ 29 bf ™ f >ff ™ f bff ™ f bfj bff bf ff #f™ ff f ff #ff f ff f f f f  j ™ ™ ™ 29& bbf > f Jf ff Jf bff Jf bbffj bff bf fJf #f™ Jf >>f™ Jf ff f Jff #ff f fJf f f 29& bbf >  bf ™ ™ ™ f f f b f Jf f™ Jf ff f Jff #ff ff Jf ff ™ f Jff ff ™ Jff b bff ™ Jff bfj bff bf Jfff ##fff™ & bbbpiù f f più ff fJf f™ ff fJf # ff f fJf #ff fJf ff ff fJf ff fJf bbbbff fJf ff bf fJf #nnfffff™ & ? bbbbpiù f f f f f f f fJf J J J J J J J più f f # # f f f f f f f fJf ff ff f Jff ff Jff bbbff Jff ff Jff #nnffffff fJf ff fJf # ff ? bbbpiù Jf fJf nnff fJf ff fJf ff f f fJf J ? bbbfffø fJff fff fJff bbbbfff fJff fff ff ff # # f ø n f f f f f fJf Jf n fø Jf f Jf f ? bfø Jf f Jf bf Jf f Jf f J J J J J J J ø ø J > ø >ø 33 j > ™ > f f f fj f f f f f >f ™ > 33 33 bff ff f f f bf ff ff ffj ff f f f™ >f™ f™ f ff # f f f f f f f f 33& > J J J J > > ™ bff ff f f f bf f f fj ff f f™ Jf f™ Jf f™ Jf #ff f Jff 33& > f f f f > ™ J J f J J b b f f f f f f f f J J f e meno mosso pocof a poco f f™ & bffzf dim.Jf molto ff™ fJ f™ ff™ fJ f™ ff™ JfJ #ff ff JfffJ J J J b f f f f f f poco poco & ffz ffz f dim. f molto fJf nff ffJ ff ffJ ff ffJ #fff ffJ dim. moltofee meno menofmosso mosso f poco a af poco f ? ffzff dim.Jff moltoffe menoJffmosso ffpoco a Jffpoco ff f nff ff ff ff ff ff ff ff Jff f Jf f Jf f Jf f ? ffzff dim.Jff moltoffe menoJffmosso ffpoco a Jffpoco ff Jf ff Jff ff Jff ff Jff nnf Jf f Jf f Jf f ? ff Jff Jf ? fø fJ f fJ f fJ f fJ fø Jf f Jf f Jf f Jf J J J ø J ø J J J J ø ø poco rit. > 37 ø ø j > poco 37 poco rit. rit. f f f fj f 37 ff ff f >>f™ > f & poco f fJ fJ ff™ f ff™ rit. 37 f ff ff fj f Ff™ f f f f™ f f f f fJ J J f > poco rit. > 37& f J f f f f f f f ™ ™ f™ f ff f >ff f Ff™ Jf f Jf f Jj f Jf J f & fff Jfff ff ff™ J J ff f f ffJ ff f ffJ ff™ f ff™ f ™ Jf f Jf F f f f J J & ff ff ff ff ff ff #ff™ fJ ff™ fJ #fFf™ fJ f fJ ? fff ffJf J J Jf f f f f f f fJfJ ff fJfJ b#ff fJfJ ff fJfJ ? f Jf J J Jf ##ff f f f f f fJ f fJ b#f fJ f fJ ? ff Jff J J J f f f f f f f f f f f f f f f f b f fJ f fJ #ø #ø ? fø Jf J J J J J f f f f f f fø fJ f fJ b fø fJ f fJ ø J J J J Pianist ø ø ø ø ø ø TRACK 9 stretto

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4 2 4 4 2 2 4 2 4 2

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1 1 1 1 1

1 2 1 4 1 2 2 4 1 4 2 1 4 2 4 4 2 4 4 2 2 4 2 4 2

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5 2 5 5 2 2 5 2 5 2

1 2 1 5 1 2 2 5 1 5 2 1 5 2 5

5

5 5

5 5

5

5

5

5

1 2 1 4 1 2 2 4 1 4 2 1 4 2 4

2

3

2 2

3 3

2

3

2

3

4

2

3

4 4

2 2

3 3

2

3

2

3

1

4 1 4 4 1 1 4 1 4 1

5

4 1 4 4 1 1 4 1 4 1

5

5 5 5 5

4 1 4 4 1 1 4 1 4 1

1 1 1 1

1 2 1 5 1 2 2 5 1 5 2 1 5 2 5

4 2 4 2 2

1 1 1

2

1

2

1

5 2 5 5 2 2 5 2 5 2

4 4 4 4

1

4

5 5 5 5

4 1 4 4 1 1 4 1 4 1

5 5 5

4 2 4 4 2 2 4 2 4 2

5 5

1 1

2 1 2 2 1 1 2 1 2 1

1 1

1 4 1 1 4 4 1 4 1 4 3 2 3 3 2 2 3 2 3 2

3

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5

3 3 3 3

5 5 5 5 5

P44 SCORES Grieg-FINAL.indd 49

49•

1 4 1 1 4 4 1 954 1 4

4

1 5 1 1 5 5 1 5 1 5

4 4 4 4

4

5

4 4

5 5

4

5

4

5

4 4 4 4 4

14/03/2017 10:14

Edvard GRIEG (1843-1907)

TRACK 9

41

f™ f™ ff™ fJ I ff™ Tempo p f f™ fJj ff™ p f fJ f fj f f p f ff ffj ff ff ff ff fø sim. ø sim. 45 > sim. ø 45 & f™ >ff ™ f f 45 & f ™ J >f ™ & ff ™ fJj ff ™ ? ff ffJ ff ? ff ffj ff ? ff ffj ff f f f > 49 ™ f f™ > 49 & ff ™ f >ff ™ J 49 & f™ f f™ & f f Jf f ? f ff fJf ff ? f fff Jff ff ? ff Jff ff f J 53 > 53 & ff ™ f >f™ f 53 J > f ™ & f f f™ f ff ™ Jf f™ & ? f Jf ff ? ff Jff ff ? ff fJf ff J & 41 & & ? ? ?

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Tempo I

41

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

1 5

5 2

4 2

{{ {

fJ fJ ffJj ffj ffj f 4 4 4

5

2 2

4 2

1 5 1 5 1 5

5 2 5 2

5 1

4

5 1

4

4 4

P44 SCORES Grieg-FINAL.indd 50

3

5

3

2 5 2 5

j f j f j f

fJ fJ fJj ffj ffj ff

f™ ff ™ f™ ff f ff ff

5 1

fJ fJj fJ fj fj ff f

fJ fJ fJ ff J ff Jf J 1 4 1 4 1 4

f™ f f™ ff™ f bf bff bff 2 5 2 5

3 2

ff f ff # ff ™ ff f Jff # ff ™ ff f Jffj # ff ™ Jf f ff fj f ff ffj f ff ff ff f 5 1

3 2

5 1

3 2

1 4 1 4

1 4 5

fj fj

f f f fJ ff f ffJ fJ fj ff dim. f ffJ ffJ ff dim. ffJ f f dim. f Jff ff Jff Jff ff Jff J J fJ fJ fJj fj ffj ff

3

5

j f j f j f

3

5 1

3 2

5 1

3 2

5 1

3 2

ff f ff # ff ™ ff f Jff # ff ™ ff f Jffj # ff ™ f fJj f ff ffj f ff ff ff f 1 4 1 4

2 5

fJ fJ ffJ fJf ff fJf fJ

ff ™ ff ™ ff ™ bfff bfff bff

fJ fJ ffJj fj ffj ff

3

ff ™ ff ™ ff ™ ff ff ff

5

4

4

fJ fJj fJ fj fj ff f

fJ fJ ffJ fJf ff fJf fJ

j f j f j f

ff f ff ff f Jff ff f Jff ff fJJf ff ff ff fJf f fJ Pianist 50•

5 2

fJ fJ ffJ f Jff Jff J fJ fJj fJ fj ffj ff

™ bff fJ ™ bff ™ fJ bff ffJ f b ff fJf bffff ffffJ b f fJ 5 2 5 2

5 5

95

5

> >f ™ >f ff ™ ff ™ ff ff ff > >ff ™ >ff ™ ff ™ ff ff ff

ff ™ ff ™ ff ™ f f ff f

fJ fJj fJ fj fj ff f

fJ # F™ f fJ # F™ f ffJj # F™ ff fj f ffj ff ff ff

j f j f j f

ff f ff ff f Jff ff f Jffj Jfj f f fj ff ff f f 4 4

4

4

> >ff ™ >ff ™ ff ™ f ff ff

fJ fJ ffJj fj ffj ff

f f ff f ff ff

fJ fJ ffJj fj ffj ff 4 4 4

f™ f f™ ff™ ff f ff ff

4

1 4

4

1 più mosso

4

ff ™ ff ™ ff ™ f f ff f

5

5 2

più mosso 5

ff ™ ff ™ ff ™ ff ff ff 2 5

fJ fJ ffJ f Jff Jff J

5

4 2

4

3

f f f ff f ffJ ff f ffJj f fJ f fj f fj ff ff f f

> >ff ™ >f ™ ff ™ f f f ff f

INTERMEDIATE

4

5

2

fJ fJj fJ fj fj ff f

5

5 2

> 57 ™ mosso>f ™ & ffpiù fJ f 57 ™ & ppff f >ff ™ & ff ™ Jf ff ™ ? pp bfff ffJJf fff ? pp ff ff ff b ? bfff ffJf fff J 57

fJ fJj fJ fj fj ff f

f™ ff ™ f™ f f f ff f

j f j f j f

1 5

5 2

4 2

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1 5

4 2

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

{{{ {{{

Melodie Op 47 No 3

Tempo I

fJ fJ ffJ f Jff Jff J

fJ # Ff ™ fJj # Ff ™ fJ # Ff ™ fj f ffj ff ff ff

> >ff ™ f >ff ™ Jf ™ J ffff fffJ fff fJff fff ffJf J

fJ fJ ffJ f Jff Jff J

j f j f j f

ff bf ff ff bf Jff ff bf Jff ff fJf ff Jff ff Jff J 4 4 4

fJ fJj fJ fj ffj ff

f f f f ff ff

fJ fJj fJ fj ffj ff

™ ™ bff fJ ff f ™ ™ J bff ™ fJ ff ™ f fbnfff fffJ ffff fJffJ fnff fJff fff fJff fnff ffJf fff fJff J J 5

4

5

4

5

4

5 5 5

14/03/2017 10:14

Edvard GRIEG (1843-1907)

TRACK 9

61 61

stretto 4 stretto 2

ff ™™ f & bbstretto 61& f f JfJ & bbfff ™ ff ? bbf Jf ? b ff fJf ? bbfff Jfff J

{{

2 4 2 4 2

1 2 1 4 2 4 1 2 4

65 65

™ & bbbbffff ™ 65& bf ™ & bbb ff ? bbbff ? bf b f ? bbff 4

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4

69 69

4 2 4 2

2 2

5 5 5

bf ™ & bbbfff ™ 69& bpiù ff ™ ff b b più & bf ? bbbff f f ? bpiù bb ff ? bf

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73 73

& 73& & ? ? ?

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77 77

& & & ? ? ?

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5 2 5 2 5 2

3

f f f ff ff f ff f f 3 3

5 5 5

> >f ™ f™ >ff ff ™ ff ff ff f > >f ™ f™ >ff ff ™ ff ff ff f

f Jf J ffJ ff Jf Jff f J

4 2

> > bff b>f ff bffz > ffz >fff f ffz >fff f

> >f ™ f >ff ™ ff ™ ff ff ff f

f Jf J ffJ ff Jf Jff f J

4 2

Melodie Op 47 No 3

fJ fJ ffJ ff Jf Jff f J

ff ™™ ff ™ bfff bbff bf bf b ff

f Jf J ffJ ff Jf Jff f J

™ bfff ™ bf ™ bbbfff bbbff bf bb ff bf

fJ bbfff f ffJf bbbfff ™™ fJ fJ f f fJ b f fJ j ffJ bf bfff f fffJ b bbfbff ™ ffJ ff ff ff b bbff ff Jf f Jf b f Jf Jff ff Jff b bff fJf f f f b f f J J J j bfj bf

5 5

1

52

1

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f bbfff bbff fff ##fff ™™ Jf f Jf J bfj bf Jf #fff ™ ffJ ff bf ffJ # nfff ff ff ff #nnff Jf f Jf n ff Jff ff Jff # nff f f f nf J J j bf j  bf

bfff ™™ bf ™ bbbfff bbbff bf bb ff bf

f Jf J ffJ ff Jf Jff f J

1

1

1

1

1

1

j f bbffj bbfff Jf f J bfj ffJ bfff ff ff Jf f Jff ff f f J 1 1 1

bf bf bf

ff #ff ™ fJf #ff ™ Jf #fff ™ ffJ # nffff ff #nnff Jf nfff Jff # nff f nf J 1 1 1

> j ff ff >ff ™™ f bff ff ff ffj ff f f >f Jf bf Jf f f Jf Jf Jf molto f fe ™menoJmossofpoco ff J fj dim. a pocof f Jf b f f f f f f ffJ moltoffe menoffJmossoffpoco affJpocoff ffJ dim. ff ff ff ff ff ff ff dim. molto e meno mosso poco a poco ff Jff ff Jff ff Jff Jff Jf Jf f Jf f Jf f f f f f f f f J J J J 5

4

5

4

5

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P44 SCORES Grieg-FINAL.indd 51

fJ fJ ffJ ff Jff Jf f J

f f f f ff ff ff f f

ff ff ff

j fj fJ fJj f ffJ ff Jff Jf f J

f f f ff ff f ff f f

f f f

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ff ™ ff ™ f™ nff nf f nf f 4 2

1 5 1 5 1 5

3 2 3 2

fJ ff™ fJ ff™ ffJ #fff™ ff #f Jff f Jf #f f f J Pianist 3 2

1 4 1 4

51•

95 1 4

fJ fJ ffJ ff Jf Jff f J fJ fJ ffJ ff Jf Jff f J fJ fJ ffJ f Jf Jf f J

INTERMEDIATE

> >f ™ ff ™ fJ bfff ™™ fJ bbbff ™™ f >f f bf fJ b f Jf J ff ™ f b bff ™ f bff ™ Jf ff fJf bbnff fJf bbff ffJ ff fJf bnff fJf bff fJf fff fJff bbnfff fJff bfff fJff J J J 4

5

4

4

5

4

4

5

4

> >f ™ f >ff ™ ff ™ ff ff ff f > >f ™ f >ff ™ ff ™ ff ff ff f

> >f ™ f >ff ™ ff ™ f f f f f

fJ fJ ffJ ff Jf Jff f J

ff f ff #ff ff ff ff f fJf #ff Jf J f Jff # fff f fffJ #fff fJf ff ff # ff fJf f Jf f Jff ff Jff # ff f f f f J J

fJ fJ ffJ ff Jf Jff f J

ff f ff #ff ff f Jff #ff J #f f ff f f # ff fJf ff # ff fJf ff f Jff ff # ff f f f J

fJ fJ ffJ f Jf Jf f J

> >poco ff™™ rit. f >ff JfJ fff™ f Jf f Jf f Jf f f fJ

2

4

3

2

4

3

2

4

3

2

3

2

3

2

3

4 1 4 1

5

fJ fJ ffJ f Jf Jf f J

f fJ fJ f ffJ ff Jf Jff f J

f f f

ff fJf Jf ffJ f Jf Jf f J

5

2

ff ™ ff ™ ff ™ f f f f f

f f f 5

4 1

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

2 1 1 1

4 1 4 1 4 1

4 4 4

poco rit. poco rit.

fJ fJ fJ fJ fJ f fJ

Ff™™ Ff #Fff™ b#f bf #f bf 5 5 5

fJ fJ fJ fJ fJ f fJ

f f f f f f f

fJ fJ fJ fJ fJ f fJ 4 4 4

14/03/2017 10:16

& &p & & ?p ? pp ? ?

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81 81 81

85

& & & & ? ? ? ?

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90

& & & & ? ? ? ?

90 90 90

95

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

ff ™ ff ™™ ff ™ f ff f ff 5 5 5 5

f™ ff ™ fff ™™ ff ff ff ff

{{ {

1 5 1 5 1 5 5 1

> >ff ™ >> ™ ff ™ ff ™ f ff f ff 5 1 5 1 5 1

fJ fJ fJfj Jfj fj fj ff fJ fJ fJf fJf Jff Jff JJ

fj fj fjj f

3 2 3 2 3 2

1 5 1 5 1 5 1 5

1 1 1 1

P44 SCORES Grieg-FINAL.indd 52

f ff ff ff ff ff ff > >ff ™ >> ™ ff ™ fff ™ ff f ff ff

fJ fJj ffJ fJj fj fj ff f™ f™ f™ f™ ff ff ff ff f

fJ fJ fJfj Jfj fj fj ff 4

j f j fj  fj f

fJ fJ fJfj fJfj ffjj ff f

2 5

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f f f ffJf ff fJ dim. fJf dim. f J dim. f ff dim. J fJf JJ

f™ f f™ ff™ ff™ ff f ff ff

5 3 5 3 5 3

fJ fJ fJfj fJf j ffj j ff bf bf bbff ø ø øø

ff ff ff ff f ff ff f

3

5

3

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3 3

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f f ff

5 1

3 2

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3 2 3 2 3 2

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4

4 4

1 4 1 4 1 4

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# ff ™ # fff ™™ ## fff ™ ff ff ff 1 5 1 5 1 5 1 5

f™ f f™ f™ ff ™ ff ff ff

5

3

4

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fJ fJ fJfj fJfj ffjj ff fJ fJ fJf fJf Jff Jff JJ

j f j fj  fj f

> > >>ff ™ ff ™ fff ™™ ff f ff ff

fJ fJ fJfj fJfj ffjj ff

f bf f f bf f bf ff bf ff ff ff

fJ b ff ™ fJ b fff ™™ fJfj b f ™ fJf b ff j ffj ff j ff ffø ø ø n fj f ™ ø n fjj #ff ™ fJ nn ffj #f ™ f ##ff ™ Jff JJ j ff ffj ffø ffjj ffø ff øø 2 5

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95

fJ fJ fJf Jf Jf ff J fJ J

4 2 4 2 4 2

1 5 1 5 1 5 1 5

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ff ™ ff ™ ff ™™ f ff ff f

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5 3 5 3 5 3

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> ff ™ f n ff ™ f >>ff ™ f ff ™ Jf n ff ™ Jf >ff ™ Jf fff ™™ Jfj n ffdim. ™™ Jfsempre j ffff ™™ JffJj f fJJ n ffdim.JfJsempre ff ffj fdim.fsempre j ff fJfj jj fdim.fsempre ff ff f fjj f fjj ø f f ff ff ff ff ø øø rit. j n f ™ b f f F™ ™ rit. # F frit. fF ™™ bf n fjj #FF ™™ J #fFF ™™ bf n fj rit. #FF ™™ f #fFF ™™ bf n f pp Jf # F ™ ##F ™™ ™ JfJ pp j F™ pp ™ ffj FF ™ pp ø ffjj FFø ™™ FFø ™™ ø ff Fø ™ Fø ™ øø øøPianist Føø ™ 52•

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f fJ f fJ fJf fJf Jff fJf JJ

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5 3

3 2

& f™ #f & f™ #f & & # fff ™™ ? # ff ? ff ? f ? ° ff ° ° 100 ° #fFF ™™™ ? 100 100 ? ##ffFFF ™™™™ 100 ? ? #fFF ™™™ ? ? F™ ? ? FFø ™™ Fø ™ øø 95 95 95

1 5

> >f™ >>ff™ f™ ff™ ff f f f f f

Edvard GRIEG (1843-1907) > j Melodie Op 47 No 3 f™ f f f f f™ f™ ff™ fJ fjj ff f ffJ f ™ fJ >>f ™ fJ f f f™ ff™ fJjffj ff ff ffJj f ™™ fJj >f ™™ fJj ff ffJ ff ffJ ff ffJ ff ffJ f fJj f fJj f fJj f fJj f fj f fj f fj f fj f fj f fj f fj f fj ff ff ff ff ff ff ff ff

5 2 5 2 5 2

INTERMEDIATE

f™ f™ f™ f™ ff f f f f f

fJ fJ fJfj fJfj ffjj ff 4 4 4 4

fJ fJj ffJ fJj fj fj ff

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

TRACK 9 Tempo I 81

fJ fJ fJf Jf Jf ff J fJ J 1 4 1 4 1 4 1 4

j f j fj fj f

f™ ff ™ fff ™™ ff f ff ff ff ff fff ff 2 1 5 2 1 2 5 1 2 5 1 5

f™ f f™ ff™ ff™ f bff bfff bbff 2 5 2 5 2 5 2 5

™ ? #f ff ™ ™ f ? b f ™ # f fJ f fJ ? #f ™™ f # fff ™™ fJ bb fff ™™ fJ ? ##f ## ff ™ fJfj b fff ™ fJfj ff Jffjj ff Jffj f j fø fj fø fj ffø ff ff ff ff f ffø ø ø øø øø øø F™ F™ #FF ™™ #FF ™™ #morendo FF ™™ #FF ™™ ##F ™™ ##F ™™ 3 3 3 3

2 5

1 5

2 5

2 5 2 5 2 5

1 5 1 5 1 5

2 5 2 5 2 5

morendo morendo morendo

FF ™™ FF ™™ FF ™™

FF ™™ FF ™™ FF ™™

f f f f ff f f f f f

f f ff

4 4

> >f ™ >>ff ™ fff ™™ ff ff ff ff

fJ fJ fJf fJf Jff Jff JJ 1 5 1 5 1 5 1 5

j f j fj  fj f

fJ fJ fJfj fJf j ffj ffj f

f J f Jf JfJ j ffj ffjj ff f ff ff f ff ff ff

f fJ f fJj ffJ fJj fj fj ff 4 4

fJ fJ fJf fJf Jff Jff JJ 5 1

ff ff ff ff f ff ff f

f f ff

ff Jf ffJ fJfj fJf j ffj ffj f 5 1 5 1 5 1

1 4

> >ff ™ >>f ™ ff ™™ f ff ff ff ‰ ‰ ‰‰ ‰ ‰ ‰‰

1 4 1 4 1 4

f J f Jf JfJ j ffj ffjj ff Œ™ Œ ™™ ŒŒ ™ Œ™ Œ ™™ ŒŒ ™

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Wolfgang Amadeus MOZART (1756-1791)

TRACK 10

INTERMEDIATE

Sonata in G K283, first movement

The first five of Mozart’s piano sonatas were probably written quite close together, before the composer left Salzburg for Munich in December 1774. He later referred to them as his ‘difficult’ sonatas; reflecting, perhaps how their relatively modest technical challenges conceal their depths of expression. Playing tips: This sonata movement brims with joy. It should sparkle, and of course sound effortless. It’s in sonata form: exposition (bars 1-53), development (54-72), recapitulation and coda (73 to the end). It is crammed full of important technical

issues for a pianist to work on such as scales, arpeggios, Alberti bass, trills, sudden changes in dynamics – the list goes on and on. We suggest slow and careful practice, making sure that no errors (wrong notes) slip in along the way. They can be hard to eradicate later on. When practising slowly, always aim to play how you would at the correct speed, with all the right articulation and dynamics. Pedal tips: Little dabs of pedal here and there, to round off phrases and join certain notes and chords that can’t be made legato by the fingers alone.

Allegro

#3 f ™ f f & 4 5

{

p

? # 43 Œ

5

&

{

# f f f #

2

f

f™ f f 5

Œ

1

f

Œ

3

f

f™ f 4

Œ

f

2

1

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

f f f f f f f f f f f

5

5

3

1

f™ f f f f 4

3

fp

fp

Œ

& FF

9

Œ

3

f ™ f f. 5

f

Œ

F F

?

ff

4

&

f.

f.

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

ff

ff

ff

1

3

1

ff

Œ

f™ f f. f. f. # ffff f f Œ f f ™ ™ f f & f f f f f f f f f f f f f 4

{

?# Œ

1

2

2

3

f

fF

ff

p

f Œ

fp

FF

Œ

fp

F F

Œ

1 2

ffffff ffff f # ffffff f ffffff f &

14

{

? # ff

ff ff f f

f

Œ

ff

Œ

fF

f

ff

‰ ‰

1

2

1 3

1

3

ffffff p

f f

f f

f f

1 5

53• Pianist 95

P53 SCORES Mozart-FINAL.indd 53

14/03/2017 10:17

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Wolfgang Amadeus MOZART (1756-1791)

TRACK 10

## 17& 17& # &# & ? ? ## ?# ?# 17 17

{{

## & &# &# & ? ? ## ?# ?#

Sonata in G K283, first movement

‰‰ ‰ ‰ ‰‰ ‰ ‰

ff f f ff ff ff f

ff f f ff ff ff f

ff f f

ff f f

ff f f ff ff ff f

ff f f

ff f f ff ff ff f

20 20

{{

20 20

ff f f ff ff ff f

ff f f

{{

## 27& 27& # &# &# # & &# &# & 27 27

{{

## 30& 30& # &# &# # & &# &# & 30 30

{{

ff f f

ff f f ff ff ff f

ff ## 23& ‰ ‰ f 23& # & # pp‰‰ f &# #p f & & # pff f &# f f & f f 23 23

5 5

ff f f ff f f ff f f

3 3

1

3

1

2

‰‰ ‰ ‰

ff f f

1 1

2

ff f f ff ff ff f

ff f f

4 4

ff f f

ff f f

ff f f

ff f f

ff f f

ff f f

ff f f

ff f f

ff f f

ff.. f.. f

2 2 2 2

P53 SCORES Mozart-FINAL.indd 54

4 4

3

ff f f

ff f f

ff f f

3 3 3 3

1 1 1

ff f f

ff f f

ff f f

3

ff f f

ff ff ff JJ JJ f f f Jf Jf f J J ff f ## ff f ff f f f #f f f #f f

ff f f

ff f f ff ff ff f

ff f f

3

1

ff f f

ff f f 3 3

1 1

‰‰ ‰ ‰ ‰‰ ‰ ‰

ff f f ff ff ff f ff f f ff ff ff f

ff f f

ff f f

5 5

2 2

INTERMEDIATE

4 4 4 4

ff f f ff ff ff f 1 1

4 4

5 5

4

5

4

5

ff f f 2 2

ŒŒ ffŒ Œ f ? ?fff f f f f f f ff ## ff ff ? f f ff # f ff f ff ? f f #f f

ff f f

ff f f

ff f f

ff nnff f nnff f ff ff ff f

ff nnff f nf f nf ff ff ff f

ff f f ff ff ff f

ff f f ff ff ff f

ff f f

ff f f ff ff ff f

ff f f

ff f f

ff f f ff ff ff f

ff ™™ f™ f™

ff f f

ff ™™ f™ f™

ff f f

ff ™™ f™ f™

ff ™™ f™ f™

ff #f f #f f #f #f

ff f f

ff f f

ff f f

ff f f

ff f ## ff f ff f f f #f f f #f f

ff f f

ff f f

ff f f

##ff J #Jf #Jf J ff f f

5

5

2 2 2 2

5 5 5

ff f f

ff f f

ff f f 3 3 3 3

ff ff f ff f ff ffff f f

ff.. ##ff.. f.. #f. . p pf #f p Πp ΠΠΠ2 2

ff f f

5

ff f f

‰‰ ‰ ‰ ff f f

ff f f

ff f f ff ff ff f

ff f f

ff f ## ff f ff f f f #f f f #f f

3

ff f f ff ff ff f

5 5

ff f f

3

ff f f

ff f f

ff f f

ff f f

2

ff f f

ff f f

ff f f

3 3

2

ff f f

ff f f

ff f f ff ff ff f

1 1

2

1

2

1

ff.. f.. f

1 1

5 5 3 3

fff ff f fff ##fff #ff #f 5 3 5 3

54• Pianist 95

ff ##ff f #f f #f ff f ff f f f 4 4 2 2

fff ff ff ff f f 4 2 4 2

ff f f ff ff ff f

ff f f

1

1

1 1

ff f f 1 1

ff ff f ff f ff fff f f f ‰‰ ‰ p p‰ p f pf f f

ff.. ##ff.. f.. #f. f #f. ŒŒ Œ Œ

ff.. f.. f

ff f f

ff f f

ff f f

ff f f ff ff ff f

fff ff ff ff f f

ff f f ff ff ff f 1 1

ff f f

‰‰ ‰ p p‰ p f pf f f

ff f f

ff ##ff f #f f #f ff ff ff f

ŸŸ Ÿff # f ff ŒŒ Ÿ #f Œ f #f f Œ f #f f ff ŒŒ ff Œ ff Œ f 2 4 2 4

ff f f ff ff ff f

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

ff f f

ff f f ff ff ff f

ff f f

ff ##ff f #f f #f ## ff ##ff ##ff #f

1 1

ff f f

ff f f

2 4 2 4

1 2 1 2 1 2 1 2

ff f f

ŒŒ Œ Œ

& & & &

ff f f ff f f

ff f f

ff ff f ff f f f f ffffff ffffff f

ff f f

ff f f

ff f f

ff f f

ff.. ##ff.. f.. #f. f #f. ŒŒ Œ Œ

ff f f

ff.. f.. f

ff f f

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

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

ff f f

14/03/2017 10:17

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Wolfgang Amadeus MOZART (1756-1791)

TRACK 10

nf ## nn fff # nf & & & ## n fff & & ## # & & & ## fff & f & f

34 34 34 34 34

{{

## # & & & ## & & ? # ? ? ## ?# ?#

37 37 37 37 37

{{

4 4 2 4 2 2 4 2 4 2

ff f f ff ff ff ff ff 1 1 1 1 1

3 3 1 3 1 1 3 1 3 1

ff n#ff ff nn##ffff ff n#ff ff n#ff nnff nf nf nf ff f f f

## # & & & ## & & ## # & & & ## & &

ff... f. f. f

43 43 43 43 43

{{ {{

ff f f f

ff f f f

ff f f f 1 1 1 1 1

ff f f f

ff f f f 1 1 1 1 1

‰‰ ‰ ‰ ‰

ff ff ff ff ff f f f

P53 SCORES Mozart-FINAL.indd 55

‰‰ ‰ ‰ ‰ ff f f f

nnff nff nff nf

ff nf f nnff ##ff f nf ##ff f nf #f

ff f f f

ff f f f

ff f f f

5 5 5

5 5

ff f f f 2 2 2

2 2

ff fff f f f f f ff ### fff ? ? ? f #f ?f #f ?f

ff f f f

ff ff f f f

ff f f f 3 3 3

3 3

ff f f f

2 2 2 2 2

ff ff f f f ff f f f

4 4 4 4 4

nnff ff nnff f nf f f ff fffff f fff f

##ff #ff #f #f f

1 1 1

ff ##ff f #f f #f f #f ŒŒ Œ Œ Œ

ff f f f

2 2

1 1

ff ##ff f #f f #f f #f

nf ff ff nnff f f nf f f nf fff ff f ? f f ? ? ff ? ff ? ff 2 2 2

1 1 1

2 2

1 1

ff... f. f. f

‰‰ ‰ ‰ p‰ p p

2 2

ff ff ff ff

ff f f f ff ff ff ff f ff f f f ff f f f

≈ ff≈≈≈ ###fff ### fff f≈ # f f ##ff # f ff ff f ff f ff f

ff f f ff ff ff

ff f f f

ff f f f

ff ##ff f #f f #f f #f ‰‰ ‰ ‰ ‰

ff f f f ‰‰ ‰ ‰ ‰

ff f f f

≈≈ ff≈≈ f≈ f f ## ff #f #f #f

ff f f f

ff f f f

ff f f f

##ff... #f. #f. #f ŒŒ Œ Œ Œ

p p

ff f f ff ff fff fff ff ffffff f fff f

ŸŸ~~~~~~~~~ ~~~~~~~~~ f f Ÿff~~~~~~~~~ ff ff fŸ~~~~~~~~~ Ÿf~~~~~~~~~ f f f ff ff fff fff fff ff f f f ff f f

2 2 2

2 2 2

ff ff ff ff

ff fFFf Fff Fff F

ff ##ff ff fff f #f f f #f f ff f #f f# ff ## fff ‰‰ ? ? ? ‰ ? ## fff ‰? f ‰

ff f f f

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

47 47 47 47 47

ff f f f & & & & &

ff nf #f f nnff ##ff f nf #f f nf #f

{{

ff b#ff ff bb##ffff ff b#ff f b#ff nn ff nf nf nf

Sonata in G K283, first movement

4 4 1 4 1 1 4 1 4 1

3 3 2 3 2 2 3 2 3 2

ff ## ff f #f f #f f #f ff f f f

## # & & & ## & & ## # & & & ## & &

40 40 40 40 40

4 4 1 4 1 1 4 1 4 1

3 3 2 3 2 2 3 2 3 2

ff f f f

ff ff ff ff ff f ff ff ff ff

ff f f f

ff f f f

ff... f. f. f

ff ff ff ff

ff f f f ff ff ff ff f

f ff f f

ff f f ff ff ff ff ff ff ff f

ŸŸ~~~~~~~~~ ~~~~~~~~~ f f ff ff ŸŸfff~~~~~~~~~ ff f f f Ÿ~~~~~~~~~ ff ~~~~~~~~~ f f ff ff f ff f ff ### fff fff fff fff ff f #f f f f f # f ff f f f f

ff nnn fff f f nn ff f

≈≈ ff≈≈ f≈ f f ff f f f

ff f f f

ff nnnfff f f nnff f

ff f f f

ff ##ff f #f f #f f #f ŒŒ Œ Œ Œ

ff f f f

## ff # ff # ff # ff

nn ff n ff n ff n ff

ff f f f

ff f f f

nnff nf nf nf

ff f f f

ff fff ff ff f

ff f f f

& & & & &

ff fFfF Fff Fff F

##ff #f #f #f ff f f f ff ff ff ff f

ff f f f

ff f f ff ff ff ff ff

ff f f f

‰‰f ‰ff ‰ f‰ pf p pf pf f pf f

≈≈ ##≈≈ff #≈f #f #f ff f f f

ff f f f

ff f f f

5 5 5 5 5

1 1 1

1 1 1

1 1

1 1

ff f f f

ff f f f ff ff ff ff f

ff f f f

ff n#ff ff nn##ffff ff n#ff ff n#ff

ff f ff fjjj f f f ff ffj f ff f f fj fffff f ## ff ff #f f #f f #f f

ff #f f ##ff f #f f #f

INTERMEDIATE

ff f f f

ff b#ff ff bb##ffff ff b#ff f b#ff ## ff #f #f #f

ff ff ff ff ff

ff f f f

2 2 2 2 2

≈≈ ff≈≈ nnnfff ###fff nnnfff f≈ #f nf f nnff #f nf f ff f f f

ff f f f

nnff nff nf nff

nn ff nf nf nf

ff f f f

ff ff ff ff ff

ff ##ff f #f f #f f #f

ff ff ff ff ffjjj ##ffj #fj #f #f ff f f f

ff f f f

ff f ff fjjj f ff f ff ffj f f f f fj fffff f ff ff f f f f f f 5 5 5 5 5

1 1 1 1 1

≈≈ ≈ ff≈ f≈ f f ff f f f

ff f f f

ff nnnfff f f nnff f

55• Pianist 95

14/03/2017 10:17

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Wolfgang Amadeus MOZART (1756-1791)

TRACK 10

# & ## & & ?# ? ? ##

50 50 50 50

{{

# & ## & & ?# ? ? ##

{{

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

Œ ŒŒ

{{ {{

p p p p

nf nnff f f ff

f... ff

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

Œ ŒŒ

f ff

f ff

f ff

f.. ff.

f.. ff.

P53 SCORES Mozart-FINAL.indd 56

& & & &

Kr fKr ffKrKr f

? ? ? ?

66 66 66 66

{{

3 3 3 3

‰ ‰‰

Œ ŒŒ

Œ ŒŒ

nf f f f nnff ff f f ##ff f f #f

ff ff f

ff ff f

Œ ŒŒ

2 2 2 2

Œ ŒŒ

ff ff f

ff ff f

f nf ff nnff

ff ff f

Œ ŒŒ

f ff

‰ ‰‰ p p. p pf ff..

f f #f f.. ff ff #f ff. #f 3 f.. 333 f.. ff. ff.

f.. ff. f.. ff.

ff.. ff. f f.. ff.

‰ ‰‰ p p. p pf ff..

f.. ff. f.. ff.

f.. ff. f.. ff.

f.. ff. ff f.. ff.

ff ff ff 3 .f 33 ff.. 3

f ff

Kr fKr ffrKKr f

4 4 4 4

f ff Œ ŒŒ ff ff f

# ff ## ff ff ‰ ff ff ‰ ‰ ff f #f f f f f f f f f ff ## ff ff f ff ff ff f ff ff ff ff ff ff

nff ff #ff nnff ff ##ff ff f ff f f #f f f f f f f f f ff ## ff ff f ff ff ff f ff ff ff ff ff ff f ff

f ff

f ff

#f

Œ ŒŒ

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

54 2Kr #f22Kr 54 K 54 54 ##ffrKr 2

58 58 58 58

62 62 62 62

f ff

f ff

Sonata in G K283, first movement

f ff

Œ ŒŒ

#f f #f ‰ ## ff ff ##Jff ‰ JJ ‰ ff ff Œ ff ff ŒŒ f f

ff.. ff. f f.. ff.

ff.. ff. f f.. ff.

ff.. ff. f f.. ff.

. nfff.. nnff f.. ff.

f.. ff. ff f.. ff.

ff.. ff. f f.. ff.

ff... ff f f.. ff.

ff.. ff. f f.. ff.

5 3 5 5 3 5 3 3

f ff

ff.. ff. f f.. ff.

ff... ff f f.. ff.

f ff

f ff

ff ff ff ff ff ff

Œ ŒŒ

Œ ŒŒ

f ff

ff ff f

ff ff f

Œ ŒŒ

Kr

Kr fKr ffKrKr f

f ffrKrKrK f ff ffr ff Œ ŒŒ ff ff ff ff f f

2 1 2 2 1 2 1 1

ff ff f f f ff . f. ff.

n ff nn ff ff

f.. ff.

INTERMEDIATE

‰ ‰‰ p p. p pf ff..

‰ ‰‰ ‰ ‰‰

Œ ŒŒ

f f f f.. ff ff f ff. f 3 f.. 333 f.. ff. ff.

f. ff. . f.. ff.

f. ff. . f.. ff.

f ff 1 1 1 1

f. ff. . f.. ff.

f.. ff. f.. ff.

f. ff. . f.. ff.

ff fff f

f ff ff ff ff f f f ff ff f

ff ff ff Œ ŒŒ

™™ ™™ ™

Œ ŒŒ

™™ ™™ ™

f ff

f ff

f f f ff ff f f

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

f ff 1 1 1 1

f ff 3 3 3 3

f ff f ff

ff.. ff. f f.. ff.

‰ ‰‰ ‰ ‰‰

5 5 5 5

f ff

f ff

f ff

# ff ## ff f

ff ff f

ff.. ff. f f.. ff.

f ff

ff.. ff. f f.. ff.

ff.. ff. f f.. ff.

ff... ff f f.. ff.

ff.. ff. f f.. ff.

f. ff. . f.. ff.

f. ff. . f.. ff.

f. ff. . f.. ff.

f. ff. . f.. ff.

5 3 5 5 3 5 3 3

56• Pianist 95

14/03/2017 10:17

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Wolfgang Amadeus MOZART (1756-1791)

TRACK 10

# & ## & & ?# ?# ?#

70 70 70

{{

# & ## & & ?# ?# ?#

74 74 74

{{

78 78 78

# & ## & & ?# ?# ?#

{{

82 82 82

# & ## & & # & ## & &

{{

# & ## & & ?# ?# ?#

86 86 86

{{

fff ff ‰ ff ff ff ff ff ‰ ‰ p

f f f f f f

Œ Œ Œ

p p

f Πf Πf Πf f f ff f ff f ff f f f f f f f f f f f f f

#f #f #f

f f f

f f f f f f

f f f

f ff #f ff ff ff f f f f ##ff f f f ff f f f

f f f f f f

ΠΠΠf f f

f ff f f f

Sonata in G K283, first movement

f f f

f f f

f f f

∑ ∑ ∑

f f f f.. Jf. Jf J

f f f

ff ff ff

f f f f.. Jf. fJ J

f f f

Kr #fK r #fKr #f

f f f

f f f

f nf f f f f f f f ff #f ff f nnff f f f f f ff f f ##ff f f fffff f f f f f f f ff ff ff ff ff fff ff ff f ff ff f f f ff f f f

P53 SCORES Mozart-FINAL.indd 57

f f f f #f f f f f #f f f f f #f

Œ Œ Œ

f f f

INTERMEDIATE

ff ff ff

f f f f

ΠΠΠff ff ff

ΠΠΠff ff ff

#fff #ff #f

ff ff ff

f™ f f Œ f f ™™ f f Œ f f f f Œ f f ff ff ff ff ff f f f f f f f

f f f f f f

f™ f f Œ f #f f™ f f Œ f f™ f f #f Œ f #f p f f p f ff f ff f ff ff p Œ f f f f f f f Œ f Œ f™ f f ™ f ™™ f f nf ™ f f f f nf ™ f nf f

p p p

Œ Œ Œ

& & &

nf f ff nnff f ff f f f f f f

‰ ‰ f f f nf f f ‰ f f nf f f pf f f n f f f pf ‰? p f f ff ‰? ? ‰ fff fff ff f ff ff f

f f f f ff ff f

f f f f f f f f f ff f ff f ff f f f f f ff f f ff f f fffff f f f f f f f ff ff ff ff ff fff ff ff f ff ff f f f ff f f f Pianist 57•

f f f

95

#f #f #f f f f

‰ ‰ f f f f f ff ‰ ffffff fffff ‰ f f f ‰ f ff ff ‰ ff f ff f ff f f

ΠΠΠf f f

f f f

f f f

f™ f ™™ f

ΠΠΠf f f

f f f

f f 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 f f

f f f

f ff f f f f f f f f f f f f f f f

f f f f ff ff f

‰ ‰ f f f ff f nnff ‰ f f f f f nf fff f ‰ f f f ‰ ff ff ff ‰ f ff ff f f f f

f f f f f f f f f ff #f ff f ff f f f f f ff f f ##ff f f fffff f f f f f f #f ff ff ff ff ff ###fff ff ff f ff ff #f f f ff f f #f

f f f f ff ff f

Ÿ Ÿ Œ Ÿf # f f Œ f #f f Œ f #f f f Œ ff Œ ff Œ f 14/03/2017 10:17

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Wolfgang Amadeus MOZART (1756-1791)

TRACK 10

# ‰ &# # & & p‰‰ ? # pppf ff ? # ?#

90

{{

90 90

# 94& 94 ## & & # &# # & & 94

{{

f ff f ff

f ff

nf f J nnff ff JfJ f f f ff ff f

fff ff ff ff

‰ ‰‰

Sonata in G K283, first movement

f ff

f ff

f J ff JJ f ff f ff

f f ff ff f f ff f ff ff ff ff ff

ffffffffffff ff ff ff ff ff ff ff ff f ff f ff f f f f f f. ff ff ff f.. f

f ff

j fj ffj f f f f ff f ff

f ff

# &# # & & ?# ? ? ##

‰ ‰‰ f ff

# &# # & & ?# ? ? ##

f f f f f f ff f f # f f f f ff f f f f ff f # f f ff f f ff f ff f #f f f f f ff f ff Πff f ff ff ff Πff ff Πff

{{

100

{{

100 100

103

{{

103 103

ΠΠfΠf f f f f f ? f f f f f ff f f f f ? ff f ff f f f f f ? f f

f. pf f.. p p p

P53 SCORES Mozart-FINAL.indd 58

f. ff. . Œ ŒŒ

f. ff. .

ff fff f #ff ##fff

ff fff f ff

f ff

fff ff ff ff

f ff f ff

f™ ff ™™ f ff

f™ ff ™™ f ff

ff ff ff ff ff ff

f ff

f ff

f ff

f ff f ff

Œ ŒŒ

f f ff f ff & ff & &

fffff ff ff ff ff ff

ffff ff ff ff ff

f f f f f f f f f f f f fff fff fff f ffffffffff f f f f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f

# 97 & 97 ## & & # &# # & & 97

f ff

f™ f f™ ff ™™ ff ff ™™ f f f ff f ff f

f ff f ff

INTERMEDIATE

‰ ‰‰ f f f f ff ff f ff f f ff

nff nnfff

ff b#ff ff b#ff f b#ff f nf f ff nn ff ff

f. pf f.. p p p

bnff nff bbnnffff nnfff f nf f ff nnff ff ff ff f

f ff

f. ff. . Œ ŒŒ

f. ff. .

ff ff f ffff f ff ff

‰ ‰‰ f ff

f. pf f.. p p p

f. ff. . Œ ŒŒ

f. ff. .

f nf #f nf f f #f f f nf ff nf nf ##ff f # f f ff f nf f #f f f f f Œ fff ff ŒŒ fffff

f f f f f f ff ff ff ff ff ff ff F fff FF

58• Pianist 95

ff ff ff

f ff ff ff f

ff ff f

ff fff f ffff f ff ff

f f f ff f f ff

f f f f ‰ f f f ff . . . ff ff f ‰‰ pff f ff fff f . f . ff pp. .. . #fff p Œ ##fff fff ŒŒ

ff ff f f ff

14/03/2017 10:17

WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM

TRACK 10

# nff & ## nnff # nff & & & ?# f ? ## fff ? ?#

106 106 106 106 106

{{

# & ## # & & & # & ## # & & &

f ff f

# & ## # & & & ?# ? # ? ? ##

‰ f‰‰ f‰f f f ff f

109 109 109 109 109

{{

112 112 112 112 112

{{

ff ff ff ff

INTERMEDIATE Wolfgang Amadeus MOZART (1756-1791) Sonata in G K283, first movement ff ff f nf nf f f # f f ff b#ff f bnff nf f f f nf f f ff f f f f f f f f f # f # f f f f n f f fff b#ff f n f nff ff nn ff ##ff ff #f ff ff ff nn ff ff ff ff f ff fff ff #f ff ff ff f ff fff ff #f f ##ff f f f ff f bb##ffff fff bbbnnfffff nnff f ##ff f f f f f f n f f f nf f ff ‰ & #ff f f ‰ f f f nn ff f f f f f f f n f n f ff ff nnff ff f ff ‰‰ & #ff fff fff ‰‰ fff fff fff f ‰& ‰ ff ff ff & & ##f ff ffffff ffffff ffff ff ff ff Ÿ~~~~~~~~~~ f f f f ~~~~~~~~~~ f f f. Ÿ~~~~~~~~~ f f f f f f f f f f f. f f f f f ŸŸf~~~~~~~~~~ J f . f f ff f ff f .. f f f f f ŸŸf~~~~~~~~~ ff fff ff ff ff fff ff ff ff ff f ff.. ff ff ff fff ff ff Ÿfff ~~~~~~~~~ ff ff f ~~~~~~~~~ J f . f f f f f f f f f ff f f f f ff JJ f ff ff fff ff ff Ÿfff ff ff ff f f f f ?f f f f f f ff ff ff ‰ ‰ f f f Ff fff ff ? ff ff ff ff fff ff f f ‰ ‰ ? ? fFf f f f ‰‰ f ff f f ff ff f ‰‰ ? ff f f f f ff ff fFF f ff f ff f f

f ff f

f ff f f ff f

f ff f

f ff f f ff f

j fj ffjj f

j ffj ffjj ff f ff f

≈ # f f f≈ f f n f ≈ f f n f # f f ≈ ≈ # f # f ff ≈≈ ff f n f f≈≈ 115 # ≈ 115 & ## fff ## ff ## ff f ff≈ f ff nn ff ff≈ ff fff nnn fff 115 115 f ff #f & & & ff f f f f ? # fff ff ff f f f ? ## ? ?# 115

{{

# & ## # & & & ?# ? ## ? ?#

j f f f ff f ff f fjjj f ff f ff ff f f f f ff ff f f

≈f ≈ ≈ f # f n f ≈≈ f #f f≈≈ f f nf f≈≈ f f ff≈ ff ### fff fff ff≈ ff ##ff nnn fff f≈ fff ff nnff f f f #f ff f nf f f f ff ff ff f f f

118 118 118 118 118

{{

‰ ‰‰ ‰

f nfff ff nnfff f nff f f f f f f ff ff ff f ff ff ff f f f ff f f f f

P53 SCORES Mozart-FINAL.indd 59

f ff f

ff ff fff f f ff f

#ff ##ff #ff f ff f

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

f ff f

nfff nnfff nff f f f f f f ff ff ff f ff ff ff f f f ff f f f Pianist f ‰ ‰‰ ‰

ff ff ff

59•

95

f ff f

‰ ‰‰ ‰

ff ff ff

f ff f

nff nnfff nf f ff f

ff ff ff

ffffff fff f ff fff ff f f ff f f f f f f ff ff f ff ff fff ff ff fff f f f f ff ff f f ff f #ff ##fff #fff f f f ff f ff ff f f f f ff ff fff f

f ff f

ff ff ff ff f ff f

Œ ŒŒ Œ Œ ŒŒ Œ 14/03/2017 10:17

TRACK 11

ISS ’S ’T M HAM R DON A P LUCY IECE HIS P ON T AGE

ON LESS

Franz SCHUBERT (1797-1828)

P 4 2

Shortly after completing Winterreise in 1827, with less than a year to live, Schubert embarked on a second set of four Impromptus. Unlike all the sets of dances and eccossaises, these were self-evidently not composed for commercial gain from the lucrative amateur market; and indeed no publisher came for them. Only when Schumann took up the cause a decade later did they see the light of day. Playing tips: When you read Lucy Parham’s lesson on page 24, you will notice that

Allegretto Allegretto sempre legato 4 j Allegretto bbb 3 sempre legato 4 b f ff legato f™ & bb b 43Allegretto fsempre F4 fjj

3

j fj fj fj f

ff FfF ™ f F b f f™ ff FfF ™ & bb b 43 fsempre legato f F f f F pp b f f™ ff FfF ™ j & b b 43 f f F f f F pp b f ™ & ff ff f™ FF ? bbbb 443 pp ffffF FfFF ? bbbb 43 pp f F™ f F fF ™™ F ? bbbb 43 f F™ f F fF ™ F ? bbbb 43 f F™ fF™ F fF F b ™ j j f 9 f f ™ f f f j f™ 9 bbb ff FfF ™ fj fff FFf™ fjj f b 9 & b b f F ™ f ff FF fj Œf b f fFF j fff Ff™ F 9 & bbb f f Œf & bbbb fff FfFF ™ f fff Ff™ F Œ bb & ŒfF ? bb b f F fF F ™ ? bbbb F™ f F fF ™ F fF ? bbbb F™ f F fF F fF ™ ? bbbb F™ f F fF F fF ™ b F™ j 17 j f b 17f f ™ b j ™ f ‰ b & bbbb ™™ ‰ ffj 17ff ff ™™ ffjj fff & bbbb ™™ ‰ ffj 17>ff. ff. ™™ f f. & bbb ™™ fff >ff.. ff.. ™™ ffj >ff. ™ ‰ f b & .. ™™™ ff >>ff.. ? bbbb ™™™ ‰ fffff >ffff.. fffff™ . ™™ ffJ >ff.. ? bbbb ™™ ‰ ffJf >ff. fff™ ? bbbb ™™ ‰ Jf f. ff™ . ™™ ffJ ff. ? bbbb ™™ ‰ fJf ff ff™ ffJ ff fJ f b J 23 . bff.. FF ff bff bFF ™™ 23 b b f 23& bbbb f b∫∫fff.. bbfff. FF ff bbbfff bbbFFF ™™™ f b . 23& bbb f ff. b∫ff ff. FFF fff f F ™ b b FF ™™ & b b f. b ff. bff F f bff bffz f b ∫ f F™ & b ff. b f f FF ff bf bffz ffz ? bb b f ∫f F f ∫ f ∫ F™ ffz ? bbbb ff b f F f ? bbbb f. ∫∫ff. bbff FF ff ∫∫ff ∫∫FF ™™™ ? bbbb f. ∫ff. bf.. F f ∫ff ∫FF ™™ ∫ ∫ b . ∫ . b f. f. ∫ f b f F f ∫ f ∫ F ™ . .

{{ { {{ { {{ {

{{

1

3 3

4

3

1 1 1

4 4 4 4

3 3 3 3

ADVANCED

Impromptu in A flat D935 No 2

5 2 5 2 5 2 5 2

4

3

4

3

4

3

4

3

f Œf Œf Œf ŒfF fF fF fF

her top learning tip is to try playing the chordal structure alone, then adding the melody either by singing, or by silently singing in your mind. This works particularly well at the start, and can be adapted for use later on as well. Pedal tips: Pedalling has not been added. Advanced knowledge of how to use the pedal is required. Always use your ears as the best guide. Read Lucy Parham’s step-by-step lesson on this piece on page 24.

j j f FF f f ™ fj f f ™ fj f f f™ f f™ ™ ™ f f ff ff ™ ffj ff ff ™ ffj ff fff ff™ f FF f f f ™™ ffj f ff ™™ fj ff f f f FF ff f FF f ff ff ™™ ff ff ff ™ ff ff ff f™ ™ ™ ff ff ffF ™ ff ffF ™ ffF ™ ff ffF fff ff FF f Ff ™ F fF ™ F fF f f F F ™ f fF ™ F fF ™ F fF f f FF f fF ™ F fF ™ F fF f f FF f j T f f ™ fj f f ™ fjj f f T ff ™ f F f ff fFF ™ fj nff fFF ™ fj ff ff T ff ™ f F f f fFF ™ fj nf fFF ™ fj ff ff T ff ™ f F f ff FfF ™ f nff FfF ™ f ff ff f ™ f F ff ff ff F f ff FF nff FF f f F fF ™ F fF f ff FF f FfF ™™ F fF F f f ff F f f F ™ Ff f f F F ™ F Ff f f FF ™ f f F f F F™ F™ F f F >. . f j >f. f. ™ fjj f f ™ f F f f f ™ ffj ff f ff FF ff ff >ff. ff™ . ™ fffj fff. fff. ™™™™ ffj ff. ff. f ff. f FF ff f >f ff™ . ™ fffj >>fff. fff. ™™ ffj ff. f. f fff. f FF ff ffff ff. ff™ ffj ff. . ff. FF ff ffff ff ff™™ ffj >ff. ff. ™™ fj f. f. f f. f FF fff ffff ff ff ™™ ffj >ff. ff. ™™ ffj ff ff. ff FF ff fffff fff. fff. ™™ fffj fff. fff. ™™ fj f. f. f. F ff ff >ff. ff. ™™ ffj >ff. ff. ™™ f f.. f. f.. FF f ff >ff. ff. ™™ ff >ff. ff. ™™ f f. f. f. F >. . >. . U > > f f f.. F ™ f f f fr bfF ™ f f .. .. .. U.. f f f. F ™ f f f f fr nbfF ™ f f n fF. F. f.F fU. f fff f™ FF f f f. F ™ f f f f fr nbfF ™ f f n FfF ™™ F fFF fU f ff Ff™ FF f™ F ™ . . . . f FfF ™ F fu pp f ff ff ffz f f f r nbp F ™ F ™ F f U n f Ff™ f f pp ™ F FF ™™ f f f f n pFF ™™ f Ff. ™ F. fu f f ffz pp F . . f f f U F pp ff FFF n FFf. ™™ F. fu F p pp ™ ™ . . b f b F F F f f ffz U pp f bbff bbffz ™™ ™™ p . fU. ppf F™ F F fF. ™ F. fFu f F F F pp ff bf. bF ™™ ™ F™ F™ . . f F f f f fF™ F . . F F ™ u f bf. bF ™ ™ F fF ™ F u fF f f f F f bf. bF ™ F™ F ™ u F F ™ . f u

ff ff ff fff ff ff ff fff f f f f f f f f f ff ff FF ff f FF ff fff F ff ffff FF F f f F f f FF f f f f FF f F 5 5 5

F FF F FF FF F F FF F

4 4 4

5

f™ ff ™™™ f. ™™ ff. ™ ff.. ™™ ff.. ™™ ff ™™ ff. ™™ f™ bfF bnfF bnfF bnfFFp nF 4 4 4

4

p p p

F FF F F F

5 2 5 1 2 5 1 2 1 5 2 1

4

4 5

4 5 4

4 5

4 5 4

4 5

4 5 4

4 5

4 5 4

2 1 2 1 2 1 2 1

1 1 1 1

4 4 4 4

4

5

4

5

4

4

5

4

4

5

4

3 3

2

5

3

2

5

3

2

5

2

5

3 5 3 5 3 5 3 5

4 4 4 4

4

3 3 3 3

f f f f f f f f ™™ ™™ ™™ ™™ ™™ ™™ ™™ ™™ j ffj ffj ffj ffj fj ffj fj f f j fj fj fj f

60• Pianist 95

P60 SCORES Schubert-FINAL.indd 60

14/03/2017 10:18

TRACK 11

bb & bbbbb bbbbbb & b & & bbbbbb & ? bb bbb ? b ? ? bbbbbbbb ? bbbb bb

32 32 32 32 32

{{ {

b & bbbbbb bbbbbb & & & bbbbbbb & ? bb b ? bbbbbb ? b ? bbbbb ? bbbb b

39 39 39 39 39

{{ { {{ {

3 & & bbbbbbbbb 443 pp & ? bb bb 443 ppf bbb 33 pff ? b ? ? bbbbbbbbbbb 4443 ff ? bbbbb 43 f bb f 1 1 1 1

3

3 3 3 3 3

1

{{ {

1 1 1 1

f f ff f f ff f f ff ff ff ff ff ff ff f ff ff f f ff f f f ff f fdecresc. f ff f fdecresc. decresc. F decresc. decresc. FF f ff FF f F f F 1

3

5

1

2

5

2

5

1 1 1

3 3 3

5 5 5

1 1 1

2 2 2

5 5 5

2 2 2

5 5 5

1

3

5

1

2

5

2

5

P60 SCORES Schubert-FINAL.indd 61

4

4

4 4 4

4 4 4

4

4

ADVANCED

f ff f f f ff f f

F FFF FF FFF FF FF FF FF FF F ™™ ™™ ™™™ ™™ ™™ ™™ ™™™ ™™

bbbbbb 43 bbbbbbbbb 433 bbbbbbb 4433 b b b4 3 bbbbbb 43 bbbbbbbbb 4433 bbbbbbb 43 b b b4

> f bf >f f f nf f f f f >>f f f f f f nf f f f ff f f ff nf f ff ff f f bf f f ff ff f ff ff >ff ff ff f ff ff nnff ff ff ff ff ff ff ff nnff ff ff f ff ff bbff ff ff ff f ff f ff >f ff f ff f ff nf ff f >ff f f ff f nf f f f >f ff bf f ff f f f f > f f f nf > ff >fF f fF ™ >F f >F > Fff ™ >FF fFf ™ >>FF fFf ™ >>FF > FfF ™™ F FfF ™™ F FfF ™™ F fF ™ F fF ™ F Ff ™ F F™ F™ > f >f f f f f nf f f f f f f f n f f f ff f f b f f f f f f f ff >>ff ff f f f ff nf ff ff f ff ff f ff nn ff ff f ff bb ff f ff ff ff f >f f ff ff ff f nnff f f ff f f ff f n f ff f ff ff f b f ff ff f f f f f f f f f f nf f f f f f f f n f ff f ff f b f ff f f f f > > > >>F >>F fF ™ >>F f f Fff ™ >FF fFf ™ >>FF Fff ™ >>FF FfF ™™ F FfF ™™ >F fFF ™ F fF ™ F fF ™™ F Ff ™ F F™ F™ f f f f f ff f f f f f ff f f f f f ff f f f f f ff f f f f f ™™ ff ff f ff ff ff f ff ff f ff ff pp ff ff ff ff ff f ff ff ff f f f f ™™™ f f f f f ff f f ff f f ff f ff f f pp f f f f f ff f f f ff f ff f ™™™ f f ff Ff f f f FfF f f f ff Œf ff f ™™ f f f pp pp FF ff ™™ f FF ff pp fF ff Œ FF FF ŒŒ f ™™™ ff ff f fF f ™™ fF f F f F Œ ™ fF f f F f fF

> f >>>f f ff >ff ff 3 f ff 3ff f33 f 33ff f f3 >FF 33 ff fff ff3 >>FF f f f >F >

3 3 3 3

1

b & bbbbbbb bbbbbbb & & & bbbbbbbbb & ? bb bb ? bbbbbbb ? b ? bbbbbbb ? bbbbb bb

{{ {

f F fff Ff™ Ff™ ffff FFf™ FF ffff Ff™ F f Ff™ fF F ffF ™ FF FfF ™™ F fF ™ F ™

47 47 47 47 47

™™ ™™ ™™™ ™™ ™™ ™™ ™™™ ™™

f Œff ŒŒf Œf ŒfF fFf FfF fF

ff Œf f fŒf ff F™ ŒF™f ŒF™ f ŒF™ F™ >f f f f f f ff >>>ff ff f f f ff ff ff f >f f ff ff ff f f ff f >f f ff f ff f f f > fF™ >F ffF™ >>FF f F F™ F™ fF™ F

51 51 51 51 51

b & bbbbbbb bbbbbbb & & & bbbbbbbbb & ? bb bb ? bbbbbbb ? b ? bbbbbbb ? bbbbb bb

fjj ffjj fj f

ff fF ™ f Fff ™™ ff FFf ™ fff FFFf ™ ff FF f F Ff ™ F fFf ™ FF FF ™™ f F F™

Trio b Trio 3 43 & bbbbbbbTrio Trio 43 & bbbbbbbTrio

55 55 55 55 55

j fjj ffj fj f

f ™ fff FfFf ™ ffff FFFfFf ™™ ffff FFfF ™ ffF FF fFf ™ FF fFF ™™™ F fF ™ F

Franz SCHUBERT (1797-1828) Impromptu in A flat D935 No 2 f f ™ fjj f nf ™ fjj f bf f ff ff FF f fff fff ™™™ ffjj ff f ™™ ffjj ff f f ff fff FFF ff ff ff ™™ fffj fff nnfff ™™ fffj fff bbfff fff. ff ffff FFF f fff fff ™™™ fff fff nn fff ™™™ fffj fff bb fff fff.. ff ff FF ff ff ffF ™ ff f n ff ™ ffj ff b ff ff. f f ff F F Fff n fff ™™ f bffjj bff b fff fff.. ff ff ff FF ff bFff ™ FF FfF f ™ ff bbffj bbff ff ff. f f f FF f bbfFF ™™ F f f f bFf ™ F fF f ™ f bf bf f f. f f F bF ™ F f bf bf f f.. f f ™ f f n f ™ f f b f f. F fjj f f f F fff fff ™™ ff ff n f ™ ff ff b f f. F f f F f ffjj Œff f fff FF f™ f F fj Œf fff ffff FFFF fff ffff ffff ™™™ ffJff ffff nn fff ™™ ffJff ffff bb fff ffff.. FFF nf ™ bf . F f Œf f f F Œ f ff FF f fff fff ™™™ fJfJfJf ffff nnffff ™™™™ fJfJfJf ffff bbffff ffff. FFFF Œf f f F f f F J f f ™ Jj f.f F f f f f. F F f F Fff ff ™™ f bffjjj bff ff ff..ff FFF fFf ff f FF ff bFff ™ FF FfF f ff F f bbFFf ™™ F FfF f ™ ff bbffj bbff ff fff FFF fF f f F f bFf ™ F fF f ™ f bf bf f ff FF f F bF ™ F f bf bf f f F 1

1

1

3

1 1 1

1 1 1

1 1 1

3 3 3

1

1

1

3

2

1

4

3

1 1 1

4 4 4

3 3 3

1

4

3

4

2 2 2

4 4 4

2

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5

3

5 5 5

3 3 3

5

3

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4 4 4

5 5 5

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4

2

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4 4 4

2 2 2

3

4

2

61• Pianist 95

14/03/2017 10:18

Franz SCHUBERT (1797-1828)

TRACK 11

bbbbbbbbb & & b bb &b b b ? ? bbbbbbb ? bbbbb bbb

59 59 59 59

™™™ ™™ ™

{{

f ff f

bbff ff Œ Œf f bŒF™ F™ Œ F™

™™ ™™ ™™

>> ff bb>ff f bf

ff f

>>FF >F

4 4 4 4 4

2 2 2 2

{{

bbbbbbbbb & & b bb &b b b ? ? bbbbbbb ? bbbbbb bb

{{

“ 68 < > 68 “ 68 68& #f & #f & #f ? ? ? ff f

{{

71 71 71 71

& & & ? ? ?

{{

ff f 1 1 1 1 1

ff f

ff f

ff f > >F >F F

ff FFf ™™ F™

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

ff f

j ffj ffj f f

ff ff f f f f f

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

FF FF F F

(1 ((( 2 1 1 1 2 2 2 (1 2

ff ff ff

j ffj ffj ff

5

‰‰ ‰

ff f

ff f

ff f

3 3 2 3 3 2 2 2 3 2

2 2 1 2 2 1 1 1 2 1

‰‰ ‰

5) 5 4 5 ))) 5 4 4 4 5) 4

ff f

fz fz fz fz

ff f

ff f

1 1 1 1

nnff nnff nf nf

ff f

1

ff FF ™™ f F™

1 1 1 1

ff f ff ff f f ff f f ff >> >FF F 1

>>f f >f

ff f ff bbff f ff f f f bf f f f f

ff f

ff f

bf ff bf bf f

nnnnnnnnn n nnnnn

nnnnnnnn nn nn nnn ff f 5 5 5 5 5

ff f

ff f

FF F >>FF >F

ff ff ff f ff f # f f #f f f #f f f f ff f ff f f f fz fz fz jj ‰ fz ff ‰ FF ffj ‰ FF f F f F

ff f

>> >FF F

bbfFfF ™™ bfF ™

f “” ff ff f ff ff f bbff f “”” f f f f“ f f f f f ff bf ff ff f bbff f bf cresc. f cresc. cresc. >> cresc. ffF ™ >FF Ff ™ F F™

5 5 5 5

fz fz fz

ff f bbfFfF ™™ bfF ™

1

f ## ff f f f f f #f f f # f f f f f f f f f f f #f f f #f f fz 1) 1 2 1 ))) 1 2 2 2 1) 2

ff f

ff bbff f bf

1

>> >ff f >> >FF F

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Franz SCHUBERT (1797-1828)

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64• Pianist 95

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Franz SCHUBERT (1797-1828)

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65• Pianist 95

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14/03/2017 10:19

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

musicroom.com 66• Pianist 90

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SUMMER COURSES & WORKSHOPS 2017

SUMMER COURSES & WORKSHOPS 2017 Where in the world do you want to study this summer? Around the corner? Across an ocean? There’s a course of study and fun with your name on it somewhere in this guide UK Benslow Music Trust Various dates throughout 2017 www.benslowmusic.org

Residential and short courses throughout the year for all levels in the Hitchin, Hertforshire area. Piano courses include Piano Sight-Reading (3-5 April), Jazz Piano (28-30 April), Speed Dating Piano Duets (12-14 June) and Preparing for your Piano Diploma (29 Sept-1 Oct). Cadenza International Summer Music School 14-21 July

Peter Frankl, Craig Sheppard and many more. See article on page 68. City Lit Various dates throughout 2017

www.citylit.ac.uk

London’s City Lit features ongoing courses for all grades, ages and abilities in genres including classical, jazz, Latin and popular, with courses in topics including keyboard harmony. Summer, weekends, weekdays and evenings.   CSSM at Sherborne Summer School of Music 22-29 July

Benslow Music’s Piano Summer School with Graeme Humphrey

www.cssm.org.uk

Mon 31 July - Fri 4 August 2017

Located at the Purcell School, London. For professionals, students (from age 11) and amateurs. Solo and chamber. Faculty includes Fali Pavri, Julian Jacobson, Carole Presland, Victor Sangiorgio, Pascal Nemirovski and John Thwaites.

Age 18 and over. For both professionals and amateurs wishing to improve their playing in a supportive environment. Includes courses such as Masterclass for Accompanists (and Accompanists’ Repertoire), Alexander Technique and Play More Notes! All in the lovely setting of Sherborne, Dorset.

Cambridge Suzuki Young Musicians, Summer School 22-27 July

Dartington International Summer School & Festival 29 July-26 August

Introductory workshop on the Piano Suzuki Approach for teachers and students. This short course is led by Stephen Power, European Suzuki Association teacher-trainer, and can also act as the start of a longer-term teacher-training programme leading to qualified Suzuki teacher status. This year a CPD course for qualified Suzuki teachers is also offered.

The well-established summer school, based in Devon, offers one month of courses for all types of musicians and genres in a creative environment. Fantasia Music School This year sees masterclasses and Summer Courses for Young performances from artistic directorBenslow.indd 1 Musicians Joanna MacGregor, Alfred Brendel, 13-18 August Pascal Rogé and more. Plus the launch of a Piano Concerto www.fantasiamusicschool. Competition. co.uk The location changes this year to Encore Music Projects 4th the Prebendal School in Chichester. International Summer School For beginners to Grade 8 aged 6-18. 17-29 July Four one-week courses for all instrumentalists, focusing on www.encoremusicprojects.com Courses for students in the beautiful, ensemble playing. historic setting of Wells Cathedral Higham Hall School in Somerset. One-to-one March to September lessons, masterclasses and opportunities to perform. Piano www.highamhall.com tutors include Olena Shvetsova, Various courses taking place at Katya Apekisheva, John Byrne, Higham Hall, set in the Lake Vadim Gladkov and Richard May. District, Cumbria, on an array Residential and non-residential of subjects. Those for piano include options available. Piano Workshop (March), Jazz

www.cadenzasummerschool. org.uk

www.suzukipianocambridge. org.uk

Chetham’s International Summer School and Festival for Pianists 17-23 & 23-29 August

www.pianosummerschool.com

Location: Hitchin, Hertfordshire Tel: 01462 459446 www.benslowmusic.org

Arranging (April), Chamber Music for Strings and Piano (June), the 14/03/2017 Philosophy of Classical Music (July) and more. Course fee includes meals and accommodation.

10:41

Hindhead Music Centre July & August

www.hindheadmusiccentre. co.uk

Piano courses, especially for adult amateurs, taking place throughout the year. Set in a Victorian country house in Surrey with six acres of private gardens surrounded by hundreds of acres of National Trust land. Summer piano course for students of Grade 7 and above (24-27 July) with workshops, masterclasses and more. Piano faculty: James Lisney and Simon Nicholls.

▲

Popular courses for professionals, adult amateurs and young players of all abilities – all taking place at Chetham’s School of Music, Manchester. Murray McLachlan is artistic director. Faculty includes Philip Fowke, Ashley Wass, Noriko Ogawa, Leslie Howard, Leon McCawley, Jonathan Plowright,

www.dartington.org/summerschool

Graeme taught piano at the Royal Academy of Music for thirty six years. This course is for up to ten advanced pianists of at least conservatoire entry standard and will focus on technique, interpretation and repertoire. There will be opportunities for ad hoc sessions with students attending concurrent summer schools on campus and piano ensemble music during the course. Under 27s receive a 25% discount on all Benslow Music courses and bursaries are available.

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SUMMER COURSES & WORKSHOPS 2017 Holiday Music Courses 10-13 April & 7-10 August

www.holidaymusiccourses.com

All ages from 15 to 90. Residential courses for pianists (solo and ensemble) and other musicians, making music in any combination. The April course takes place at the Purcell School, Hertfordshire. The August course is based at the Yehudi Menuhin School in the Surrey village of Stoke d’Abernon, near Cobham. Workshops focus on ensemble playing, technique and interpretation. Piano tutors include Muriel Levin, John Sharp, Rachel Erdos. Meals, accommodation, tuition and use of the swimming pool are included.

International Musicians Seminar (IMS) Prussia Cove 2-23 April

www.i-m-s.org.uk

Chamber music classes and workshops for the advanced pianist, aged 16-30, in Prussia Cove, Cornwall. Faculty includes Ferenc Rados, Rita Wagner and Kirill Gerstein. Jackdaws Music Education Trust Various dates throughout 2017 www.jackdaws.org.uk

Courses catering for all levels and tastes. Courses include Rachmaninov and other Composers, The Complete Pianist and The Pianist Within.

Tutors include Elena Riu, Julian Jacobson, Mark Tanner, Philip Fowke and Margaret Fingerhut.   London Masterclasses at the Royal Northern College 16-23 July www.londonmasterclasses. com

London Masterclasses ‘on tour’ in Manchester. Piano masterclasses at the Royal Northern College of Music with pianist and teacher Norma Fisher. Music Makers  Various dates, July and August www.musicmakers.co.uk

Various locations: Fordingbridge,

Manchester camaraderie

Putting your feet up is not the point at Chetham’s International Festival and Summer School for Pianists. For two weeks from 17 August, the Manchester music school is transformed into a veritable Mecca for pianists, whether they are young students, advanced students or keen adult amateurs. With 100 practice rooms open from 6am to 11pm, three concerts a night and lessons and workshops bursting from every window, the sound of the piano is literally everywhere. The summer school was founded 17 years ago by Chet’s head of piano, Murray McLachlan, and his pianist wife, Kathryn Page. Its roster of faculty habitually looks like a Who’s Who of Pianists; and this year a massive new advantage has materialsed in the form of Chetham’s new Stoller Concert Hall, promising a state-of-the-art acoustic, a beautiful pale-wood interior and muchimproved seating capacity. ‘Even though it’s been such a long time, something changes every year,’ Page reflects. ‘This year the big difference is the new hall, which means we’ll be able to open up the concerts to a wider general public, and they’ll feel much more glamorous!’ On the summer school’s concert programme are recitals by Peter Donohoe, Ashley Wass and many more. Beethoven’s piano concertos (including the Choral Fantasia) will be performed by star artists among the faculty; also on the programme are the piano works of composer-in-residence John MacLeod. Moreover, the final stages of the biennial Manchester Concerto Competition for Young Pianists are taking place at the same time. The final has been expanded to two nights rather than one, accommodating six finalists, with the Manchester Camerata to accompany them. Nevertheless, most people go to the summer school to play, not only listen. A number of different courses are available and the students form three broad groups: schoolchildren, students and adult amateurs. The amateur course in particular has grown to become extraordinarily popular. Maybe that is because it is all about supportiveness. ‘The difference between the adult amateur course and the piano course for advanced students is that in the former, you get a two-hour workshop every day as well as your individual lesson,’ says Page. ‘There are no auditions and the range of levels is huge – everything

from people who have only been playing for a short while right through to diploma level. For the adult amateur course, we choose your teacher for you according to who we think will be most suitable from the repertoire you’re studying, how long you’ve been learning and what your teacher’s reference letter suggests are your strengths and weaknesses.’ The workshops unite the amateur participants: ‘We used to split the group in two,’ says Page, ‘but it seems everyone wanted to be together. The atmosphere is very supportive, with a wonderful camaraderie. It’s very relaxed and there’s a lot of discussion besides the chance to play.’ That spirit of fun and camaraderie is evident in the photo above of Philip Fowke leading a class. The social side is also a big draw for amateur pianists: ‘The summer school has effects that last way beyond the actual course,’ says Page. ‘People love making new friends. There have been instances when two people have discovered they live near each other and suddenly they’re meeting to play to each other every two weeks. And we’ve even had weddings as a result!’ The range of age and abilities enjoying the summer school together is also unusual: ‘The adult amateurs love the energy of the gifted youngsters,’ says Page, ‘and the children enjoy the often rather original personalities of some of the adults. They might be doctors or lawyers in normal life, but they all love playing the piano.’ And if you want to go, be warned: it sells out fast. Two hundred and twenty participants may sound large, but according to Page this year’s first week sold out in three days flat. www.pianosummerschool.com

www.pianocourseswith alexandertechnique.com

Based in London. Individual sessions at the piano and daily sessions in Alexander Technique. New ways of learning to memorise and develop physical freedom at the piano. Students of Grade 8 plus, all ages. For performers, students and teachers. (There is also a course in January.) Teacher: Nelly Ben-Or.   Oxenfoord International Summer School 22-30 July www.oxenfoordinternational. co.uk

If you want to master the art of accompanying, this is the course for you! Based in the outskirts of Edinburgh, Malcolm Martineau heads the team of tutors for the piano accompaniment classes. A rare opportunity for singers and accompanists to learn together at this all-Steinway summer school. Open to amateurs as well as professionals and students. Accommodation provided.

Oxford Philharmonic International Piano Festival and Summer Academy 2017 30 July-7 August www.oxfordphil.com

Fifteen, hotly contested places available on a residential course that offers tuition and masterclasses from artists of the calibre of Sir András Schiff and Menahem Pressler. See feature on page 72. Penelope Roskell’s Advanced London Piano Courses 24-25 June www.peneloperoskell.co.uk

This new intensive two-day London workshop is open to all pianists (professional performers and teachers, students and amateur pianists) who are interested in learning more about Penelope’s approach to piano playing and teaching, and in investigating and discussing new methods of technique. Masterclass sessions for pianists of post-Grade 8 standard. Piano Duet Courses Throughout 2017

www.piano-duet.co.uk

Short courses, weekend and one-day courses: repertoire performance, discussion, individual tuition and tutor recitals/concerts.

▲

© Photo courtesy of Chetham’s

A supportive and relaxed environment is the recipe for success at Chetham’s Summer School for Pianists, says Jessica Duchen

Salisbury and Wimbledon. Five-day courses for ages 5-18 (residential option for ages 8-18).   Nelly Ben-Or Piano Courses 19-24 July

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Alfred Brendel Patron Sir András Schiff President Marios Papadopoulos MBE Artistic Director

[email protected] 01865 980 980 oxfordphil.com

Oxford

Philharmonic

“The course that inspires professionals”...

Orchestra

Oxford Piano Festival 30 July - 7 August 2017 2017 Faculty Saleem Ashkar Alfred Brendel Yefim Bronfman Richard Goode Ian Jones John Lill Marios Papadopoulos Menahem Pressler Paul Roberts Sir András Schiff Colin Stone Dame Fanny Waterman Zhang Zuo

Piano Teaching for the 21st Century Enhance your professional teaching skills

October 2017 - June 2018 now booking Comprising three residential weekends, three single Sundays and independent study spread over the academic year, the course is for: • Those new to the profession • Piano teachers and student teachers who wish to enhance and develop their teaching skills • Advanced players wishing to add a teaching component to their professional portfolio Course Venue: The Purcell School of Music Aldenham Road Bushey Herts WD23 2TS For all enquiries please contact: Jennie Parke Matheson, PTC Administrator on: 07831 164430 or: [email protected]

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

The perfect way to rediscover the piano

Play it again: Piano gives you the confidence to revisit this fulfilling pastime and go beyond what you previously thought you could achieve. This two-book course, by highly experienced pianist, teacher and composer Melanie Spanswick, uses real pieces from the piano repertoire to teach specific techniques and tips, to get you playing fluently once again. Each piece is accompanied by two full pages of easy-to-understand practice tips, all designed to get your fingers speeding comfortably across the keys once again!

Book 1 ED 13935 • £ 12.99 available April Book 2 ED 13945 • £ 12.99 available June

The level of pieces in the first book progress from around UK grades 1 to 4 (elementary to intermediate).

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SUMMER COURSES & WORKSHOPS 2017 Various locations in the UK (as we went to press, 2017 details were unavailable). Course tutors are piano duettists Anne Applin and Geoffrey Pratley. Individuals willing to pair up at the beginning of the course are welcome as well as are pre-formed duos. Piano Week 23-30 July, 30 July-6 August, 13-20 August www.pianoweek.com

Weeks 1 and 2 are based at Moreton Hall, Shropshire. Week 3 at Rugby School. Recitals, masterclasses, talks and discussions by acclaimed pianists and tutors. All levels, beginner to advanced. One-to-one lessons and performance opportunities. Faculty includes Samantha Ward, Maciej Raginia, Vesselina Tchakarova, Niel du Preez, Yuki Negishi, Warren Mailley-Smith and more.

Sherborne Summer School of Music 30 July-6 August; 6-13 August

James Lisney, Christine Stevenson, Graham Fitch, Ann Martin-Davis. Lessons, masterclasses, student and faculty concerts.

 

Based in Sherborne School in Dorset. Age 18 plus; students and good amateurs. Courses include Solo Piano, Piano Accompaniment, Alexander Technique, Score Learning and General Musicianship. Faculty: Andrew Ball for piano, and Nigel Hitchson for piano accompaniment.

Ulverston International Music Festival April, November & December

www.pianolotmusic.com

www.sherbornemusic summerschool.co.uk

Summer School for Pianists 12-18 August www.pianosummerschool. co.uk

Based on the campus of the University of Wolverhampton, this summer school is for age 18 plus and Grade 5 plus. Mature students encouraged. Tutors: Karl Lutchmayer,

www.ulverstonmusicfestival. co.uk

Based in southern Cumbria, masterclassess take place with eminent musicians throughout the year: Piano Masterclass with Murray McLachlan and Kathryn Page (29-30 Apr), Piano Masterclass with Martin Roscoe and Anthony Hewitt (4-5 Nov) and Piano and Strings Masterclass with the Primrose Piano Quartet (2-3 Dec). XIX International Summer Music Course, Wales 15-27 July www.lmfl.org.uk

Intensive course for young musicians preparing for exams, auditions and competitions with some of the world’s leading tutors. Course takes place at Llandovery College in Carmarthenshire, Wales.

CANADA Calgary Piano Camp 24-28 July

www.calgaryartssummer.com

Summer School For Pianists Wolverhampton University, Walsall Campus 12th – 18th August 2017 TUTORS: James Lisney; Christine Stevenson; Karl Lutchmayer; Graham Fitch; Ann Martin-Davis An exciting week of masterclasses, tutor recitals, presentations and student concerts. The only United Kingdom piano summer school which is held at an All-Steinway institution. Ample practice facilities. Accommodation in single en-suite bedrooms on site. For further details contact: Dr Brian White Telephone: +44 (0)1622 756660 Email: [email protected] Website: www.pianosummerschool.co.uk https://www.facebook.com/ SummerSchoolForPianists/ https://twitter.com/pfsummerschool

There are two courses and ageranges: the Piano Camp (24-28 July) for children and the Adult Piano Camp (24-26 July). Based in Calgary, where the Rocky Mountain foothills meet the Great Plains, the camp helps students to explore the many facets of piano playing in a supportive, fun atmosphere that promotes a positive attitude towards practising and performing. There’s also a Jazz Keyboard Workshop (17-20 July). Canadian International Music Camp Throughout July & August

www. canadianinternationalmusic camp.com

Designed for children ages 7-16, based in Nova Scotia. All levels, no auditions are required. Places are awarded on a first-come, first-served basis. A fortnight is the recommended minimum stay, but one week is acceptable. To ensure students get adequate personal attention, the camp is limited to 20 students in any individual week. Instructors will work on music which is brought by the students, as well as assigning new pieces.

FRANCE

Lot Music 8-15 July & 15-22 July

Two one-week courses of intensive piano study in the beautiful setting of Prayssac, the centre of the Cahors wine district. Approximately nine pianists per course. First-week course tutor: Noriko Ogawa. Second-week tutor: Martin Cousin. Music at Albignac 2-10, 12-20 & 22-30 August

www.albignacmusic.com

Set in Tarn, Southwest France, this summer school, formerly known as Music at Ambialet, offers intense eight-day programmes of masterclasses, workshops, private tuition, concerts and lectures in a magnificent rural setting. Faculty: Martin Sturfalt, Paul Roberts (Director), Jeffrey Gilliam and Charles Owen. For intermediate and advanced levels aged 17 and above. Summer Piano Courses at La Balie 25 May-1 June, 3-10 June, 5-12 July, 24-31 August www.labalie.com

For intermediate to advanced pianists (Grade 8 and above). Situated in beautiful stone farm buildings with good accommodation at La Balie in south-west France. Four one-week piano courses led by pianist James Lisney. Class numbers limited to eight. Students encouraged to play in the evening concerts.

IRELAND Dublin International Piano Festival & Summer Academy 22-30 July www.pianofestival.ie

A nine-day intensive programme for advanced pianists of all ages. Eighteen participants will be chosen. Masterclasses given by Archie Chen, Lance Coburn, Orla McDonagh, Evelyne Brancart and others, plus seminars and recitals. A combination of learning and performing. Alexander Technique lessons also included.

GERMANY Schleswig-Holstein Music Festival & Masterclasses 1 July-27 August www.shmf.de

Masterclasses take place at the Musikhochschule Lübeck.

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Each course concludes with concerts given by the participants. For advanced students and young professionals. Pavel Gililov gives the piano masterclasses this year (30 July through to 4 August).  

ITALY

LMFL Summer Course 7-19 August www.lmfl.org.uk

Specialist course given by well-known faculty for advanced students (17+) or professionals, based in Florence. Music Holiday Italy April through to October

www.musicholidayitaly.com

Experience music learning within authentic Italian life in a tranquil Apennine setting. One-week piano courses throughout the year. Masterclasses by Gil Jetley and Martin Roscoe. No set standard or age limit for pianists taking part. New this year: Teacher symposiums.  

JERSEY

Jersey International Festival for Amateur Pianists 28 May-4 June

www.normandypianocourses. com

Residential course for serious amateur pianists, aged 18 plus. Introduction to Alfred Cortot method; courses aim to raise level of playing and increase freedom at the piano. Ample practice facilities are available, with one piano per person. Performance possibilities. Masterclasses by Eric Heidsieck.

USA ArtsAhimsa Music Festival at Belvoir Terrace 16-23 August www.artsahimsa.org

Set at a beautiful 19th-century estate in Lenox, Massachusetts, ArtsAhimsa promotes non-violence through arts. Chamber music classes for pianists and string players. For adults with a good playing level. Audition required. Performance opportunities. Faculty includes Paul Epstein, Donna Gill, Sina Kiai and So Hee Kwon. Aspen Music Festival and School 29 June-20 August

www.aspenmusicfestival.com

This famous Colorado festival offers masterclasses, workshops, private instruction and performance opportunities for advanced students and young musicians.

Golandsky Institute Summer Symposium 9-16 July

www.golandskyinstitute.org

Taking place at Princeton University in New Jersey, a week-long immersion in the Taubman Approach to piano playing. This includes private lessons, supervised practice times, techniques clinics, lectures, masterclasses and evening concerts as part of its own International Piano Festival. Presentations and lectures by Edna Golandsky and others. International Keyboard Institute and Festival 16-30 July www.ikif.org

This famous New York City Festival comprises masterclasses and performances by some of the world’s top pianists and teachers. Audition required for masterclass participation. Scholarships available. Faculty and performers this year include David Dubal, Joseph Patrych, Vladimir Feltsman, Alexander Kobrin, Jerome Rose, Steven Mayer, Emanuel Krasovsky and Nina Lelchuck. Venue: Hunter College. International Music Camp Piano Program 9-15 July

www.internationalmusiccamp. com

Near Dunseith, North Dakota. Age 10 to adult, with at least two years’ piano experience. Daily classes in technique, literature, musicianship, performance, keyboard harmony, theory and more. Juilliard pianoSonoma Workshop 5-8 June

The Juilliard Evening Division facilitates this workshop for adult musicians (participants) playing chamber music and performing with current Juilliard students or recent graduates. Participants take lessons from Juilliard faculty members, play in daily performance classes and perform in a final concert open to friends and family. All events take place at The Juilliard School in New York City. For intermediate and advanced levels, 18 years and over.

www.miamimusicfestival.com

Weekly private lessons and masterclasses with acclaimed faculty including Alessio Bax,

Dates running:Weekly through the summer -- July 16-July 23, July 23-July 30, July 30-August 6, August 6-August 13, August 13- August 20, August 20- August 27. Spend your summer in the most beautiful province in Canada - Nova Scotia by the Atlantic Ocean, laidback, beautiful nature surrounds you throughout the province. The camp is located on 8 acres of land in the Annapolis Valley. We are offering a piano program for all levels ages 7-16, no auditions required, and English as a Second language is also an option. Your children will have opportunity to meet children from other countries and make lifetime friends. We are very excited to hear from you and offer you the best hospitality Canada is so famous for. Come spend a week or month with us! Direct Flights from London to Halifax. Location: Nova Scotia, Canada Tel: 1-431-999-3983 www.canadianinternationalmusiccamp.com

Douglas Humpherys, Ching-Yun Moutouzkine and Anton Nel. Group outings to various South Florida locations including South Beach, Steinway Coral Gables and more. Piano Concerto Competition in which three winners perform in concert alongside the MMF Symphony Orchestra.

Canada.indd Hu,1 Alexandre

www.juilliard.edu

Miami Music Festival Piano Institute 6-24 June

Canadian International Music Camp

Kinhaven Adult Piano Workshop 6-11 June www.kinhaven.org

Situated in Kinhaven, Vermont, the Adult Piano Workshop is directed by Leander Bien. Study four-hand and solo repertoire workshop in a non-competitive, supportive environment. Alexander Technique is also offered. Rocky Ridge Music Center May and June www.rockyridge.org

Two adult piano seminars (27-31 May; 31 May-4 June) in

the inspiring setting of Estes Park 14/03/2017 in the Rocky Mountains, Colorado. Faculty includes Hsing-ay Hsu, Sergio Gallo, Larry Graham.

10:59

Summer Trios 4-11 June, 18-25 June, 25 June-2 July

www.summertrios.org

Pennsylvania-based courses for amateur musicians to play chamber music together. Piano faculty includes Lily Friedman, Denise Kahn and Efi Hackmay.

WEBSITES Hot Courses www.hotcourses.com Searchable databases of UK courses available throughout the year.   Music Workshop Guide www.acmp.net/workshops Searchable database of worldwide chamber music courses.

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MUSIC FESTIVALS 2017 From Bach up a mountain to Cage in a church: whatever your budget, taste or location, the comprehensive Pianist guide to this year’s festivals has something for you to discover to Brian Eno. Piotr Anderszewski plays Mozart, Janáček and Chopin.

UK Aldeburgh Festival 9-25 June

Bath Festival 19-28 May

The programme marks 70 years since Benjamin Britten and Peter Pears founded this Suffolk festival. Artistic Director Pierre-Laurent Aimard plays an ‘Invitation to the Dance’ concert and has invited Marino Formenti to give a wide-ranging recital from Liszt

Richard Goode and Jeremy Denk are the headline piano stars of a revived and renewed multi-arts festival which takes place in venues across the city, with lectures, shows and demonstrations from Simon Callow, Mary Berry and Sir Salman Rushdie.

www.snapemaltings.co.uk

www.bathfestivals.org.uk

Bath Mozartfest 10-18 November

www.bathmozartfest.org.uk

A popular festival with a classical core of chamber and piano music: details announced in the summer. BBC Proms 14 July-9 September

www.bbc.co.uk/proms

The world’s largest music festival, centred at the Royal Albert Hall. Full details announced in April.

Degrees of excellence

From 30 July to 7 August, the 2017 Oxford International Piano Festival attracts students, teachers and enthusiasts from around the world for an intensive series of concerts, masterclasses and lectures. Not, you understand, scales-and-sightreading, see-you-next-week teachers but rather more elevated instruction from, among others, Sir András Schiff, Richard Goode, Yefim Bronfman and the Festival’s director, pianist and conductor Marios Papadopoulos. ‘This is an educational programme,’ stresses Papadopoulos, ‘as part of the Oxford Philharmonic’s Academy programme; we get more than a hundred applications for 15 places, so we can select the very best. Last year both the winner and runner-up of the Leeds International Piano Competition came as students, and each year the Lang Lang Foundation sends a few of its students, selected by Lang Lang himself.’ What’s in store for those lucky students? ‘Being in Oxford,’ replies Papadopoulos, ‘we aim to pose questions. I say to students, if we have created problems for you to solve, then we’re doing our job. The ethos of the festival is to examine the pianist as musician, in their various guises: as a virtuoso, naturally, but also as a teacher, an academic, conductor, chamber musician and accompanist.’ The listening public, too, will gain special insights into schools of piano-playing from across the globe. ‘The message is loud and clear,’ says Papadopoulos: ‘There isn’t one way of playing the piano.’ On the stage of the Jacqueline du Pré Music Building at St Hilda’s College, two concert grands are placed side by side, so that the artist can sit and demonstrate to the student. ‘I encourage my colleagues to treat every masterclass as a public occasion,’ he continues, ‘and Menahem Pressler is especially good at that. He’s been coming for so many years and we love him. His approach both poses questions to the students and engages the public.’ Dame Fanny Waterman (pictured above right at the festival) also returns to take a class.

brightonfestival.org

Taking place in venues across Sussex’s coast, this multi-arts fixture of the UK festival calendar includes Paul Lewis playing Mozart and Weber at Glyndebourne’s opera house. Cheltenham Music Festival 1-16 July

www.cheltenhamfestivals.com

Young stars have a chance to shine at this well-supported festival. Jan Lisiecki plays Chopin and BBC Young Musician finalists in concert include Martin James Bartlett (piano), Sheku Kanneh-Mason (cello) and Jess Gillam (saxophone). Pianist regular Lucy Parham gives her Rachmaninov lecture-recital. East Neuk Festival 28 June-2 July

www.eastneukfestival.com

This year’s festival on Scotland’s stunning east coast travels to Classical-era Vienna, with Mozart, Salieri and Schubert from the likes of Elisabeth Leonskaja, Malcolm Martineau and the Belcea Quartet. Edinburgh International Festival 4-28 August www.eif.co.uk

With concerts in venues across the ancient university city, students and observers come away ‘having experienced Oxford in its entirety,’ according to Papadopoulos. The 2017 Festival shines a spotlight on Beethoven. Patron of the festival Alfred Brendel giving a lecture on the composer’s last sonatas and his late style, and Beethoven interpreters such as John Lill and Richard Goode will give evening concerts. Saleem Ashkar appears in the city’s Christ Church cathedral: an imposing venue for a festival newcomer? ‘I think you’ve hit the nail on the head there,’ says Papadopoulos. ‘But in fact Christ Church has a wonderful Bösendorfer, and I remember a stunning “Hammerklavier” given by Sir András Schiff.’ This year Schiff plays Book I of the Well-Tempered Clavier in what is sure to be a highlight of the week, and Yefim Bronfman closes proceedings with Brahms’s Second Concerto, with the indefatigable Papadopoulos directing the Oxford Philharmonic. As is fitting for a place of learning, though, the emphasis is on instruction, revelation and improvement. ‘When I leave the festival each year,’ concludes Papadopoulos, ‘I look forward to many hours of practising myself. We learn from each other.’ www.oxfordphil.com/oxford-philharmonic/piano-festival

With recitals from Mikhail Pletnev, Seong-Jin Cho, Andreas Haefliger and Mitsuko Uchida, the festival has a strong piano bias this year. Sergei Babayan and Paul Lewis also make concerto appearances. English Music Festival 26-29 May

www.englishmusicfestival.org.uk

First performances of Vaughan Williams and Stanford launch four days of focus on early 20th-century England in the aptly pastoral setting of Dorchester Abbey. Gregynog Festival 16 June-2 July

gregynogfestival.org

Pageantry is this year’s theme for this North Wales festival, with revivals of Harlech composers such as Bantock, Holbrooke and Cyril Scott. Artists include local favourite Llyr Williams, Mahan Esfahani, Amy Dickson and the Gould Piano Trio.

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© Photo courtesy of Oxford International Piano Festival

Schools of piano-playing from across the globe meet at this year’s Oxford International Piano Festival, discovers Peter Quantrill

Brighton Festival 6-28 May

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My ISM is

Philip Herbert Composer and Performer ISM member since 1994

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

Join our growing membership of professional musicians. Make us your ISM.

@ISM_music facebook.com/ISMusicians

ism.org

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Hebden Bridge Piano Festival 21-23 April

www. hebdenbridgepianofestival.com

A bold pairing of Scarlatti and John Cage from David Greilsammer opens this intensive piano weekend in Yorkshire. There are plenty of kids’ events, jazz concerts, lunchtime recitals and a closing duo concert from Kathryn Stott and Noriko Ogawa. King’s Lynn Festival 16-29 July

www.kingslynnfestival.org.uk

Festival vice-president Freddy Kempf gives a recital of Chopin, Schumann and Tchaikovsky, and the young Georgian pianist Luka Okros plays Schubert and Rachmaninov. Scottish folk, Argentinian tango and English brass contribute to a lively line-up.

Midsummer Music 23-25 June

www.midsummermusic.org.uk

The idyllic village of Latimer in Buckinghamshire is home to a long weekend of music-making that begins with a Bach Partita from the festival director, Paul Lewis. Special guests include Alfred Brendel, who talks about Mozart and the piano. Music at Paxton 14-23 July

www.musicatpaxton.co.uk

Steven Osborne opens this festival on the Scottish borders with Brahms and Rachmaninov. It continues with Rameau, Martinů and Bach from Mahan Esfahani, a Benjamin Frith recital and closes with Pieter Wispelwey playing all six of Bach’s Cello Suites in an afternoon.

Lake District Summer Music International Festival 29 July-11 August

Newbury Spring Festival 6-20 May

Haydn, Schubert, the Russian Revolution and the art of transcription are themes running through 40 events, including the Gould and Aurelian piano trios, and solo recitals from Carole Presland and Alexandra Vaduva.

Debussy’s Images and the ‘Appassionata’ Sonata are on the menu of Stephen Hough’s recital. Noriko Ogawa plays Tchaikovsky’s First Concerto and there’s an exciting lunchtime line-up of young artists, as well as the Bollywood Brass Band and Drummers of Ghana.

www.ldsm.org.uk

Lammermuir Festival 15-24 September

www.lammermuirfestival.co.uk

East Lothian churches and stately homes make elevated settings for recitals from Steven Osborne and Daniel Kharitonov. The Gould Piano Trio gives five morning Coffee Concerts of Haydn and friends. Lichfield Festival 7-15 July

www.lichfieldfestival.org

The city’s medieval cathedral hosts Andrew Tyson in the Paganini Rhapsody, Evelyn Glennie and a celebration of Richard Rodgers. Lincolnshire International Chamber Music Festival 29 July-6 August www.licmf.moonfruit.com

Artistic director Ashley Wass gives a recital with new co-director Matthew Trusler and plays Rachmaninov as part of the Trio Apaches. There’s a wide range of events in Lincoln and surrounding villages. London Piano Festival 5-8 October

www.londonpianofestival.com

Curated by Charles Owen and Katya Apekisheva, this long weekend at Kings Place fits a commission from Elena Langer within a Russian theme.

www.newburyspringfestival. org.uk

Norfolk and Norwich Festival 12-28 May www.nnfestival.org.uk

Two giants of counterculture come together in ‘American Style’, an evening with Philip Glass and Laurie Anderson. Other events include Beethoven with Thomas Adès and the Britten Sinfonia. Oxford International Piano Festival 30 July-6 August

Proms at St Jude’s Music & Literary Festival 24 June-2 July

www.promsatstjudes.org.uk

The silver-jubilee season of this North London festival hosts the pianist Daniel Liebhardt and the Choir of King’s College, Cambridge. Ribble Valley International Piano Week 19-22 July www.rvipw.org.uk

Artistic director Martin Roscoe brings illustrious colleagues to his Lancashire festival such as Leon McCawley and Lucy Parham with her Debussy evening. Roscoe himself closes the weekend with Schubert. Royal Academy of Music Piano Festival 26-28 June www.ram.ac.uk

www.oxfordphil.com

Under the aegis of the Oxford Philharmonic and its energetic pianistconductor Marios Papadopoulos, this is a week-long parade of pianists giving masterclasses and concerts. Faculty staff this year include Saleem Ashkar, Alfred Brendel, Yefim Bronfman, Richard Goode, Menahem Pressler and Dame Fanny Waterman. See article on page 72. Perth Festival of the Arts 15-27 May www.perthfestival.co.uk

A cheery audience applauds Noriko Ogawa at Hebden Bridge Piano Festival

Nigel Kennedy and Jools Holland are among the high-profile guests at this Scottish festival, which opens with a sonata recital from Nicola Benedetti and Alexei Grynyuk and concludes with Freddy Kempf playing Rachmaninov’s Third Concerto.

Twenty concerts and events over three days, all free, including the complete Beethoven piano sonatas and Alfred Brendel talking about the composer; plus premieres for two quarter-tone uprights: a keyboard feast. Ryedale Festival 14-30 July

www.ryedalefestival.com

Llyr Williams plays Schubert’s last sonatas over two days of this fortnight amid the spectacular landscape of North Yorkshire. Rachmaninov from both Pavel Kolesnikov in the opening concert, and the Etudes-Tableaux with Steven Osborne. St Magnus International Festival 15-25 June www.stmagnusfestival.com

Steven Osborne reappears in Orkney with Ravel’s Concerto in G; the gifted young Ashley Fripp encloses a

virtuosic Adès paraphrase within classics by Bach and Chopin. Swaledale Festival 27 May-10 June

www.swaledale-festival.org.uk

Scattered across the churches and chapels of the Yorkshire Dales, this festival features the best of British music-making, from Stephen Hough and Julian Perkins to the folk sounds of Red Priest and The Unthanks. Thaxted Festival 23 June-16 July

www.thaxtedfestival.org.uk

Four long weekends fill a superb 14th-century church, rising from the fields of Essex, with John Lill, Jennifer and Jeremy Pike and Tenebrae choir among others. The Two Moors Festival 13-21 October

www.thetwomoorsfestival. co.uk

Barry Douglas (playing Brahms and Mussorgsky) and Simon Trpčeski (the ‘Emperor’ Concerto) are the headline piano acts alongside mostly chamber music in churches across Dartmoor and Exmoor. Ulverston International Music Festival 7-17 June

www.ulverstonmusicfestival. co.uk

Festival founder Anthony Hewitt plays in no fewer than six of this South Lakes festival’s 17 concerts, as soloist in the Grieg Concerto and with Michael Collins and Jess Gillam among others. Dominic Degavino is the featured Young Artist Pianist, and an Amateur Piano Day rounds off the festivities with lots of local participation.

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© Sarah Mason Photography

MUSIC FESTIVALS 2015

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Vale of Glamorgan Festival 19-26 May

valeofglamorganfestival.org.uk

New music in the Welsh valleys, featuring four commissions and six world premieres such as two piano trios given by the Marsyas Trio. New York six-piano ‘super-group’, Grand Band, arrives with two concerts and works with local schools and students. Wimbledon International Music Festival 7-17 June

www.wimbledonmusicfestival. co.uk

Yevgeny Sudbin brings Russian glamour to south-west London; Argentine pianist Sergio Tiempo

also finds a home from home in Piazzolla and Ginastera. The Schubert Ensemble plays (what else?) the ‘Trout’ Quintet, and distinguished visiting quartets include the Diotima, Wihan and Sacconi ensembles.

Salzburg Festival 21 July-30 August

AUSTRIA

www.salzburgerfestspiele.at

Grafenegg 18 August-10 September www.grafenegg.com

Brahms’s D minor Concerto. He is followed in short order by Nikolai Lugansky, Daniil Trifonov, several international orchestras and a funky evening of Gershwin and Ellington with the local Tonkunstler Orchestra Niederösterreich.

Khatia Buniatishvili sprinkles stardust on the ‘summer night gala’ of 22 June before the festival proper opens with its founder-director, Rudolf Buchbinder, playing

Daniil Trifonov and Yefim Bronfman both make concerto appearances with the most luxurious of ‘house’ bands, the Vienna Philharmonic. Martha Argerich, Pierre-Laurent Aimard, Grigory Sokolov, Igor Levit and Maurizio Pollini are among the other stars coming out to play.

And now for something…

© Stiftung Nordfriesland

…completely different. The Husum Rarities of Piano Music festival tickles the palates of even the most jaded pianophile, says Peter Quantrill Alkan. Thalberg, Moszkowski. Stanchinsky. Are you feeling hungry? Simply listing a few of the composers to be featured in this year’s Husum Rarities of Piano Music festival should be enough to get lips licking and mouths watering among the loyal following which will descend on the North Sea harbour town for nine recitals in eight late-summer days (18-26 August), impatient for curiosities and revelations dished up by festival director Peter Froundjian. A vast library of piano literature is now available at the click of a mouse, to buy and listen to, but there’s nothing like the live experience, and this is where, according to Froundjian, promoters and halls have been too slow or too cautious to catch on. ‘I feel there’s a mission that I should show the public in this special festival the great diversity of piano repertoire,’ he says. ‘After the Second World War, programmes became more and more narrow, focusing on the classics and modern music. All those works which were more Romantic and virtuosic were excluded. And the architecture of a piano recital should be more diverse than it often is, with only Beethoven sonatas and the same things over and over again.’ Liszt hovers over the festival like a godfatherly spirit. ‘He had such wide scope in his ambitions,’ remarks Froundjian. ‘But we hear such a narrow range of Liszt works in concert – always the Sonata, maybe paraphrases.’ He treasures the memory of Zlata Chochieva playing the Hymne de la Nuit – a genuine Liszt rarity – in last year’s festival, and revivals of the F minor Sonata by York Bowen and the Piano Quintet of Ignaz Friedman. Such pianist-composers inevitably loom large in this year’s programme. In his 15th appearance at the festival, Marc-André Hamelin brings the sonatas of Feinberg, Moszkowski (new to his vast repertoire) and a piece by Alasdair Hinton, which has Froundjian intrigued: ‘a very interesting gaze back at the Vocalise of Rachmaninov through the eyes of Sorabji.’ Antonio Pompa-Baldi plays not only Medtner and Rubinstein but also his own arrangements of Edith Piaf and a sonata by Roberto Piana, Après une lecture de Liszt: even Froundjian hasn’t heard this before.

Schubertiade Schwarzenberg Hohenems 4-7 May; 13-16 July; 5-8 October (Hohenems); 17-25 June; 25 August-3 September (Schwarzenberg) www.schubertiade.at

The great Lieder singers and Schubert pianists of our age give recitals throughout the day at these long weekends and festival weeks: expect to see the likes of Lars Vogt, David Fray, Till Fellner, Sir András Schiff and Marc-André Hamelin.

CANADA Stratford Summer Music 17 July-27 August stratfordsummermusic.ca

Canadian and international artists descend on downtown Ontario for concerts and outdoor events across a range of genres, many of them family-focused, but including some high-profile piano recitals. Full details available online in late spring.

FRANCE En Blanc et Noir 6-11 July

www.enblancetnoir.com

There are more transcriptions in Daniel Berman’s recital: ‘He was known to Earl Wild,’ Froundjian explains, ‘who left him some manuscripts. Body and Soul is his arrangement of the jazz standard, and we’re giving the world premiere.’ Vincenzo Maltempo will play four hyper-virtuoso Russian sonatas by Stanchinsky, Glazunov, Dmitri Blagoy and Victor Kosenko, including some of the most technically challenging music in the festival. According to the director, ‘It’s a good counterpart to other programmes which are dominated by smaller pieces such as Nadejda Vlaeva’s recital. Even there is a Fantasy by Robert Volkmann which I suggested to her’ – between the tantalising prospect of a Rameau Suite from Godowsky and miniatures by Vladigerov, father and son. The festival closes with an evening-long, out-andout masterpiece: Jorge Luis Prats playing the complete Iberia of Albeníz, which is not encountered in concert in a month of Sundays. ‘It is a very knowledgeable audience,’ remarks Froundjian, ‘but not only that, they are simply lovers of good piano music. They distinguish themselves from other audiences because they are very attentive and concentrated’ – as they have to be in the intimate setting, pictured above with the GrauSchumacher duo. ‘More than one pianist has said to me that they have never experienced such a silent public.’ www.piano-festival-husum.de

A week in a medieval French village, deep in wine country, with the the 14th-century Place de la Halle packed out by pianists: what’s not to like? Ivan Ilić, James Kreiling and Simone Tavoni make return visits; there’s a tribute to Scott Joplin, a midnight concert of Cage and Satie, Beethoven’s Ninth arranged by Liszt and more. Orpheus & Bacchus Piano Festival 10-16 June, 20-24 September

www.orpheusandbacchus.com

In the midsummer edition of this residential event in the Dordogne, Benjamin Frith plays Schubert and the ‘Hammerklavier’ Sonata; he also leads the Hummel Ensemble in Classical-era concerts of rare Hummel and Weber concertos once the daytime tastings of Pomerol and St Emilion are done. Roque D’Antheron 21 July-19 August

www.festival-piano.com

The piano festival to end them all, in a village north of Aix-enProvence: as many as four concerts a day for a month, nearly all featuring either one of the world’s great pianists or an exciting new talent. Full programme available online in late spring.

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+DOIWRQH.H\VGDUNSHWURO .H\VVRIW\HOORZ

18. - 26. August 2017 Schloss vor Husum

Rarities of Piano Music

Fjord Classics

9 recitals · matinée · exhibition · film

Tues 27 June – Sun 2 July 2017

Lukas Geniušas Satu Paavola Antonio Pompa-Baldi Marc-André Hamelin Nadejda Vlaeva Vincenzo Maltempo Daniel Berman Muza Rubackyte Jorge-Luis Prats

Kathryn Stott & Lars Anders Tomter welcome you to the inaugural Fjord Classics! We are delighted to present a terrific mix of international musicians, such as piano sensations Vikingur Olafsson and Leif Ove Andsnes. Featuring a vibrant programme inspired by Munch’s The Dance of Life, Enescu’s Octet for Strings will also be performed for the first time here. Come and be whirled away in our dance of life! Location: 75 min. from Oslo, Norway in beautiful Sandefjord. Easily reached by train or car. 6 min from Sandefjord Airport “Torp”. Tel: +47 402 01 792 Email: [email protected] www.fjordclassics.com

Fjord.indd 1

GERMANY

Klavier Festival Ruhr 5 May-20 July

www.klavierfestival.de

‘The Americas’ is one thread running through this enormous celebration of piano music and pianists. There’s Robert Levin playing Earl Wild, Tamara Stefanovich in Ives and Denis Matsuev in Gershwin. Grigory Sokolov gives the closing recital, after appearances across Germany’s industrial heartland from Hélène Grimaud, Sir András Schiff, Gabriela Montero, Jean-Yves Thibaudet, Jan Lisiecki and many, many more. Unmissable. Mozart@Augsburg 1-15 September

www.mozartaugsburg.com

Rarities of Piano Music 16/03/2017 18-26 August

15:35

www.piano-festival-husum.de

Piano works by Glazounov Albéniz Granados Alkan Bortkiewicz Hindemith Ed.J. Collins Kosenko Vl. Drozdoff Martucci Moszkowski Feinberg

Reubke Stanchinsky Thalberg Vierne Volkmann a.o.

•

If you think you’ve heard it all, beat the crowds and book early for a week full of little-known pianistic gems, fine performances and introductory talks and quizzes with piano critics. See article opposite.

Ticket sale & festival information Museumsshop Schloss vor Husum, 25813 Husum/Germany Tel. +49 4841- 8973-130, Fax: + 49 4841- 8973-111 [email protected]

Schleswig-Holstein Music Festival 2 July-27 August www.shmf.de

Information & accommodation Tourist Information Husum Tel. +49 4841- 89 87-0 www.husum-tourismus.de

A festival that’s the pride of North Germany, opening in Lübeck with the NDR Elbphilharmonie Orchestra, who are flying high thanks to their new hall. Featured artist Hélène Grimaud plays Ravel’s Concerto in G, more French music in a solo concert, then a recital with cellist Jan Vogler. Igor Levit and Alexandre Tharaud make later appearances.

www.piano-festival-husum.com Kulturpartner

Spannungen 18-25 June

www.spannungen.de

Held in the huge generating hall of a former power station, this festival

▲

Launched with Mariss Jansons conducting the Requiem, this fortnight of mostly Mozart sees festival director Sebastian Knauer partnering a variety of artists including Stefan Vladar in the Concerto for Two Pianos.

Matinée: Lecture on S. Thalberg Film (18.08): „Pianocrazy“

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lights up a sleepy Rhineland region with supercharged chamber music from director/founder Lars Vogt and friends. Details online in spring.

IRELAND Dublin International Piano Festival & Summer Academy 22-30 July www.pianofestival.ie

As well as the nine days of open masterclasses given by Evelyne Brancart, Orla Macdonagh, Lance Coburn and others, there will be recitals by an impressive line-up of international pianists including Boris Berezovsky, Gabriele Baldocci and Frederic Chiu. New Ross Piano Festival 21-24 September

www.newrosspianofestival.com

Celebrating his 40th birthday in 2017, the festival’s artistic director Finghin Collins brings a Hungarian theme to County Wexford, including Zoltán Fejérvári and Klára Würtz in Liszt, Bartók, Kodály and Kurtág. West Cork Chamber Music Festival 30 June-8 July www.westcorkmusic.ie

On the glorious south-west coast of Ireland lies the town of Bantry. A fine house overlooking the bay is home to a busy week of high-class music-making. A late-night Diabelli Variations with Joonas Ahonen is followed by more Beethoven from Barry Douglas and friends; there’s a focus on piano trios and quintets.

ITALY Incontri in Terra di Siena 29 July-5 August www.itslafoce.org

With Alessio Bax as the new Festival Director there is a serious line-up of artists including fellow pianists Lucille Chung and Julius Drake alongside the likes of Joshua Bell and Sarah Connolly in core classics by Mozart, Mendelssohn and Brahms. Spoleto Festival 30 June-16 July

www.festivaldispoleto.com

The organisers are pulling big names to celebrate 60 years of opera and atmospheric solo recitals in the Umbrian hills. The US sister festival in Carolina (25 May-12 June) features daily lunchtime recitals including the pianist Gilles Vonsattel and the resident St Lawrence Quartet. Full details online in the spring.

Trasimeno Music Festival 28 June-4 July

www.trasimenomusicfestival. com

Barely two hours after playing Mozart’s D minor Concerto at the opening concert, founder Angela Hewitt gives a Bach recital. She returns the following day for late Beethoven and a four-piano spectacular with Janina Fialkowska, Jon Kimura Parker and Charles Richard-Hamelin in this sleepy Umbrian town overlooking Lake Trasimeno.

The Miami International Piano Festival Academy

MALTA Malta International Music Festival 21-30 April maltafest.eu

The piano takes centre stage this year in the sun-kissed city of Valletta. Sergei Babayan plays Bach and Liszt, there are masterclasses with Dmitri Bashkirov and a Chopin concerto with Jan Lisiecki before Grigory Sokolov gives a Mozart recital.

NORWAY Bergen International Festival 24 May-7 June www.fib.no

Recitals by Lang Lang, Richard Goode, Christian Ihle Hadland and Kathryn Stott form relatively conventional parts of a bracing multi-disciplinary cultural project which opens with Rufus Wainwright and Robert Wilson bringing Shakespeare’s sonnets to the stage. Fjord Classics 27 June-2 July

www.fjordclassics.com

A three-week Symposium designed for pianists interested in pursuing a concert career. This unique program will provide an exciting and unique opportunity for pianists to study with astonishing virtuosos with active careers as performers. Participants will be exposed to valid sources of information through private lessons, masterclasses, lecture demonstrations and opportunities to perform. TWO pianists will be selected to perform in the 2018 Season of the Miami International Piano Festival, and THREE with orchestra. Watch a film about the Academy here: https://youtu.be/ JumUrcm-o_w www.miamipianofestacademy.com Phone: 305 935 5115 or 305 794 7515 Location: NSU Southeastern University, Fort Lauderdale, Florida

Festival 10-16 July

Rosendal Festival 10-13 August

Set around an Arctic Circle archipelago of crystal waters and tiny islands, this week-long feast of chamber music attracts serious artists in striking combinations. Alongside Leif Ove Andsnes and Lise de la Salle, Olli Mustonen features both as pianist in Beethoven’s ‘Hammerklavier’ Sonata and composer in his Nonet.

Leif Ove Andsnes leads an exploration of lesser-known Mozart at a lovely manor house, complemented by 20th-century classics such as Messiaen’s Quartet for the End of Time.

Miami.inddLofoten 1

A new festival directed by Kathryn Stott and Lars Anders Tomter and based around the small coastal city of Sandefjord, south of Oslo. ‘The Dance of Life’ is the theme, after Munch’s painting, and diverse programming pairs Messiaen with Víkingur Ólafsson in the Goldberg Variations and mixes Rachmaninov with Friedrich Gulda and Enescu. International Music Festival Stavanger 16-21 August www.icmf.no

9-30 July

Stavanger native Christian Ihle Hadland returns as artistic co-director, playing Couperin, Mozart, Grainger and more within bold and mixed chamber programmes.

www.lofotenfestival.com

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www.rosendalfestival.com

SWITZERLAND

Risør Chamber Music Festival 28 June-2 July

Lucerne Festival 12 August-11 September (Summer); 19-27 November (Piano Festival)

Another week where fine views (over the North Sea from the south-west coast), imaginative programming and music-making on the wing are guaranteed; Paul Lewis has been a recent guest. Full details available online in early spring.

International stars play in the Jean Nouvel-designed concert hall on Lake Lucerne. Martha Argerich opens the Piano Festival with Schumann’s Concerto, followed by recitals from Gabriela Montero and Evgeny Kissin; Daniil Trifonov plays Mompou.

www.kammermusikkfest.no

www.lucernefestival.ch

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Montreux Jazz Festival 30 June-15 July

In halls and cafes on the shore of Lake Geneva, the world’s great jazz pianists rev up packed houses and riff with the most gifted stars of tomorrow.

fortnight in downtown New York. Piano-intensive concerts, recitals, lectures and masterclasses feature pedagogues such as Magdalena Baczewska and Jeffrey Swann, and Vladimir Feltsman makes a rare appearance in concert.

Menuhin Gstaad Festival 13 July-2 September

Marlboro Music Festival 16 July-14 August

Evgeny Kissin and Khatia Buniatishvili give concertos in this Alpine town with top-dollar accompanists. A Brahmsian thread prompts Leif Ove Andsnes, Nicholas Angelich and Alexander Madzar to join distinguished friends in the major chamber works.

Artistic director Mitsuko Uchida maintains the Marlboro mystique in which established stars and young musicians gather for intensive rehearsal before giving five weekends of concerts. Audiences only find out what’s on offer a week before each concert. Pianists this year include Uchida herself, Jonathan Biss, Luca Buratto, Paul Lewis and Shai Wosner.

www.montreuxjazz.com

www.gstaadmenuhinfestival.ch

Verbier Festival 21 July-6 August

www.verbierfestival.com

It is hard to walk around this Alpine village mid-festival without bumping into the likes of Evgeny Kissin, Daniil Trifonov, Denis Kozukhin – and many fine musicians not from Russia – on their way to and from concertos, recitals and masterclasses.

TURKEY Istanbul Music Festival 29 May-21 June www.iksv.org/en

‘Unusual’ is the theme, and native pianists such as Hüseyin Sermet and Fazıl Say are sure to deliver in non-traditional venues (gardens, churches and mansions) across this vibrant city of two continents.

USA Aspen Music Festival 29 June-20 August

www.aspenmusicfestival.com

Support from loyal musicians and the fresh air of the Colorado Mountains explain why this festival has endured. Pianists include Jonathan Biss, Nikolai Lugansky and Inon Barnatan. Bard Music Festival 11-20 August

fishercenter.bard.edu

‘Chopin and His World’ is the theme for two weekends of wide-ranging events including a visit from Polish National Opera in Moniuszko’s Halka alongside piano, song and orchestral concerts. International Keyboard Institute and Festival 16-30 July www.ikif.org

Renowned teacher and mentor Jerome Rose is the brains behind this

www.marlboromusic.org

22 – 30 JULY 2017

Miami International Piano Festival Year-round www.miamipianofest.com

The 20th-anniversary season ranges from the 14-year-old Wunderkind Leonid Nediak to Ilya Itin, winner of the 1996 Leeds competition. Between them come recitals from a host of young artists including Francesco Libetta and Julien Libeer.

ARTISTS: GABRIELE B ALDOCCI | EVELYNE B RANCART | B ORIS B EREZOVSKY ARCHIE CHEN | FREDERIC CHIU | ORLA MCDONAGH | FRANCESCO TRISTANO

Music@Menlo 14 July-5 August

• Lessons & Masterclasses

This San Francisco Bay Area festival focuses on interaction between young and established artists, led by cellist David Finckel and pianist Wu Han. Courses complement musicmaking in a true festival ambience.

• Student Performance Opportunities

• Seminars

www.musicatmenlo.org

• Small Class Size – 18 International Participants • Excursions • Scholarships Available

Music Academy of the West 12 June-5 August

APPLY ONLINE AT

www.musicacademy.org

The 70th anniversary of this combined school and festival is launched with a gala recital by Yuja Wang and Jean-Yves Thibaudet. Stephen Hough gives a recital, and Alan Gilbert bows out as Music Director of the New York Philharmonic in his final concert.

www.pianofestival.ie Find us on

Tanglewood Festival 28 June-30 August www.bso.org

With ‘Schubert’s Final Journey’, Emanuel Ax curates a six-concert series of sonatas and songs from the composer’s final year of life. He is one of many fine pianists appearing this year on the stage of Ozawa Hall and in the famous tent: among them Thomas Adès, Paul Lewis, Daniil Trifonov, Yefim Bronfman and Pierre-Laurent Aimard. Garrick Ohlsson is the featured Koussevitzky Artist of the season.

CONCERT SERIES DR ARCHIE CHEN, ARTISTIC DIRECTOR RHONA GOULDSON, EXECUTIVE DIRECTOR

APPLICATION DEADLINE – APRIL 28TH 2017 TEL: +353 15555000

IN ASSOCIATION WITH :

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E D U C AT I O N

UNDERSTANDING THEORY

PART 8: ORNAMENTS In the first of a two-part feature, educator Nigel Scaife takes you through the ornaments which shape and colour many cherished melodies

I

n musical contexts the word ornament is used to refer to a decoration or embellishment of a melody. Ornaments are often short notes that emphasis particular points or sections in a melody for expressive effect. This expressive role is at the heart of what ornamentation is all about. As pianists we need to make sure that we are playing the ornaments correctly to maximise their expressive impact within our personal interpretation of the music. Ornaments are not just pleasing ‘added extras’. They usually play an integral part in the melodic framework and content of the music. A piece with a lot of ornamentation can be forbidding, especially if the signs are not all fully understood. To get to the point where we are confident about interpreting the ornaments in any given piece we need to be able to answer a range of questions. On what note should the ornament start? Should it come before the beat, on it, or after it? How long should any dissonance last? The answers will depend on the style and period of the music, the tempo and the musical context overall. The three main national ‘schools’ in Baroque music, for example – French, German and Italian – each had their own conventions when it came to ornaments, and then there are differences of approach over the centuries to consider as well, so it can be a bit of a minefield! But don’t despair – this article and the next inside issue 96 will cover the basics including trills, grace notes, acciaccaturas, mordents, turns and appoggiaturas. Knowing how the most common ornaments operate will make all the difference and there is rarely ever a single correct way to interpret an ornament. However, the more informed we are about the general principles, the better chance there is that we can both honour the composer’s intentions and make sure we are being as expressive as possible.

Signs, symbols and spontaneity Ornaments were often improvised in performance in earlier times, especially during the Baroque and early Classical periods. Because of their rhythmic flexibility and complexity, composers tended to use shorthand symbols to show what they intended, such as M and T. As the 19th century went on, composers became increasingly concerned to notate their music with precision and so ornaments were more likely to be written out in full, although the shorthand symbols were still used, as they are in fact up to the present day. To try to describe in theoretical terms how the various ornament symbols should be realised in sound to some extent runs counter to the whole notion of ornamentation, which is so much about spontaneity, rhythmic flexibility, subtlety and a personal response to the expressive aspects of the music.

Nigel Scaife began his musical life as a chorister at Exeter Cathedral. He graduated from the Royal College of Music, where he studied the piano with Yonty Solomon, receiving a Master’s degree in Performance Studies. He was awarded a doctorate from Oxford University and has subsequently had wide experience as a teacher, performer, examiner and presenter. Nigel has contributed to many publications as a writer on music and music education.

In trying to show through standard notation how each symbol operates, there is the danger that their rhythmic nuances are lost. Rhythmic notation, with its mathematical ratios, is not completely up to the task of showing the irregularity of many ornaments, which is partly why composers used shorthand symbols in the first place! These symbols are in fact a good way to indicate what is meant because they don’t tie the notation down to exact ratios, but instead indicate a degree of irregularity and rhythmic flexibility. The problem arises when the symbol has to be explained to someone who is not ‘in the know’, at which point the symbol has to be pinned down to its basic features irrespective of the musical context. Trills The most common ornament is the trill. A trill is a rapid alternation of two notes a tone or semitone apart. This is shown by tr above a note or Ÿ~~~~~~~~~~. The exact way in which this is interpreted depends on the style and tempo of the music. These aspects will affect the number of repetitions and their speed. In music written before about 1825-30 – Renaissance, Elizabethan, Baroque and then Classical music up to the time of Beethoven – trills generally start on the note above the main note. This gives an even number of notes:

Ÿ~~~~~~~~ & f f

=

& f f f f f f f f f

In the Classical period trills often end with this pattern which helps to round things off smoothly:

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There is rarely a single correct way to interpret an ornament

Nevill Estate Yard, Eridge, Tunbridge Wells, TN3 9JR

Grace notes This is sometimes shown through the use of another type of ornament which is known as a grace note:

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The perfect piano for everyone! Those small-sized notes shown above, the grace notes, are usually played relatively quickly, but as with all grace notes their speed should reflect the overall character of the surrounding music. They are not taken into account as far as the rhythm of the full-size notes is concerned, so the time values ‘add up’ correctly in theoretical terms without them. Groups of two or more grace notes are usually shown as beamed semiquavers with a slur, and may come on the beat or before it. To determine how to play them you will need to consider the musical context and ask yourself why the composer used this way of notating their music. For example, did they want to indicate a rhythm that couldn’t be notated in any other way? Do the notational conventions of the era in which the piece was written suggest a probable rhythm? Do they enhance or emphasize a main note or are they more about adding melodic fluidity and a sense of direction?

b3 F &b 4

ff

f f

fff

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PIANOFORTE

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F™

TUNERS’ ASSOCIATION

Now back to the trill: after about 1825-30 trills usually start on the main note and often include the ‘end pattern’:

Ÿ~~~~~ & f f

or

Ÿ~~~~~~~~ & f f ff

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3

=

& ff ffffffff

If the upper note of a trill needs an accidental, this is shown above the tr sign or in brackets above the note:

n Ÿ~~~~~~ &b f

Ÿ~~~~~ b or & f nœ Do you: Need a piano tuner? Need advice about purchasing a piano? Want to join the Association? Want to become a piano tuner?

The issue of whether to start on the upper note or the note itself is often far from clear-cut! Chopin, for example, seemed to follow the Baroque practice of starting on the upper note and would indicate that the trill is to start on the note by adding a small grace note at the same pitch before the main note (as, for example, in the long trilled melody within the Nocturne Op 62 No 1). The acciaccatura is a very short note played before the main note and is colloquially called a ‘crushed note’. In fact acciaccare in Italian means ‘to crush’. It is usually played on the beat but might also be played just before it. It is usually written as a small-sized quaver with a slash through the stem and is often joined by a tiny slur to the main note: j f

Visit www.pianotuner.org.uk or contact the Secretary on 0845 602 8796

f The Association provides the music profession and general public with a first class professional service in which they trust.

In the second article on this topic I’ll be covering some more of the most important ornaments of the Baroque and Classical periods, including mordents, turns and the appoggiatura.■ 81• Pianist 95

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MAKERS

I

n 2015, Penny Temple-Watts had her Kemmler upright piano restored. Made in Osnabrück, the instrument had been acquired in the 1920s by her grandmother, who had it shipped to Australia when she emigrated in 1951. She passed it to her granddaughter in 1973. ‘The restorer put in new damper felts,’ recalls Temple-Watts, ‘shaved the hammers, replaced the stained non-ivory key tops with new ones, and adjusted the action, and other bits and bobs.’ The ancient Kemmler is a delight to play, she says. ‘The softs are soft and yet it can give me strength when I need it. I know how to bring out its best tone. The piano was my darling Ooma’s, so it is very special to me.’

Good as new Has your piano seen better days? Or even years? John Evans picks his way through the minefield of restoration, repair and rebuild with some of the industry’s leading voices

This heart-warming story is, according to restorers, typical of those they hear when asked to restore an instrument. In contrast, Sarah Steinhardt is an example of those who have had more extensive work carried out with the intention of restoring the piano’s precision qualities. ‘I’ve had a couple [of pianos] restored, most happily my 1967 Bösendorfer 200,’ says Steinhardt. ‘It was finicky and wouldn’t hold a tune well. I had already had hammers replaced but a few years later went ahead with a new pin block, bass bridge-cap, strings and so on. No action work was needed except a regulation. It cost about $10,000. They did some case work as well. mIt almost looks new. [It was] absolutely worth it and I feel that I have a brand-new Bösendorfer. What a thrill!’ According to experts this level of effort and investment is well worth contemplating in the case of a premium instrument where the cost of work is much less than the price of a replacement instrument. But not all restoration or reconditioning jobs end so happily.

The restoration process of a Blüthner grand model style VIII from c.1910 that was restored in 2013. Above: the case is prepared for fitting the new soundboard. Left: the socket rails are positioned before installing the new dampers

‘I bought a 1904 Steinway upright in 1968,’ says Laura Spencer Davis. ‘In 2004 I had my local piano store, which specialises in rebuilding and restoring Steinways, take it to their workshop. They had it refinished, restrung and completely rebuilt. I was only semi-satisfied with its sound after that. But it did increase in value by $10,000. ‘A few years later I traded it in and bought a 1924 Steinway M grand that they had already rebuilt. It was and still is a phenomenal piano. If I ever bought another piano I would only buy one that had already been restored, because the process can really change the sound.’ Don’t DIY And there’s the rub: you’ll never be sure about the end result of a piano restoration until it’s completed. Of course, the nature of that result rather depends on the scope of the work that has been carried out. One thing’s for sure, following the WikiHow guide to restoring a piano yourself is unlikely to result in a piano fit for your home.

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It claims that the process can be ‘fun and rewarding’ before going on to explain that you should disassemble it, and adding that ‘you might want to take notes to help you remember the disassembly process because the project may take you a long time to complete’. It then advises covering all the parts with a plastic sheet before applying varnish stripper to the case, preparing the bare wood, filling in any marks, and applying base and top coats. Now reassemble in reverse order, et voilà, you’ve restored your piano. This simple guide has unwittingly exposed the perils awaiting those who are unclear about their piano’s problems and the remedies (and expense) required to resolve them. Understanding these is where your piano tuner can help. Henry Trezise is a Hampshire-based piano tuner and technician with long experience of instruments of all ages. Like all reputable tuners he knows his customers’ pianos intimately: which pins slacken off first, which hammers are sounding compressed, which strings are buzzing, which keys are loose and where there are any tonal variations. He nurses an ailing instrument as best he can until either surgery is required or it’s replaced. ‘What are the problems? What’s the age of the piano? What is it worth? What are repairs likely to cost? These are questions that need answering early on if you’re considering having your piano reconditioned,’ says Trezise.

Clockwise, from top left: The first three strings in place; castors cleaned, oiled, buffed, and lacquered; the original ivory keys, lightly bleached, and buffed to finish; an original castor

Diagnosis Signs that all is not well include slipping pins. These could be chamfered or replaced with larger ones. However,

Touch up or bail out? 5 points to bear in mind before calling a piano restorer

1

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Are you doing this for sentimental reasons or because you really

want to improve your instrument? If the former, go ahead; if the latter, think hard about the cost versus the price of a new or better used instrument. Don’t assume the restoration process will add value: a little-known make of no intrinsic value will gain little more.

3

Choose your restorer carefully. There are rogues out there.

4

All that glistens is not gold. A shiny frame, a polished case and

5

 eed the advice of your piano tuner who knows your piano inside H and out. He’ll be able to tell you what needs doing and whether the work will improve the instrument significantly or could see you throwing good money after bad.

Check their qualifications, see their workshop, hear the results of their work, get recommendations.

new felts do not a restored piano make. A thoroughly overhauled and regulated action, secure pins, a solid wrest plank – these are the things you should be looking for.

Only when expensive rectification work is required, they claimed, is their true state revealed. Care plan Refurbished, reconditioned, restored – if customers knew what these terms meant, they could avoid costly mistakes later on. To avoid this confusion, Robert Morley and Co, a long-established, Londonbased piano dealer and restorer, is careful to explain its various levels of service. The company defines ‘restoration’ as returning the instrument to its original condition and specification, with minimal replacement of new parts to maintain authenticity. ‘Repair’ involves making good damage and deterioration caused by age and wear, using appropriate new components as required. ‘Rebuilding’ means taking the instrument apart (extensive dismantling) and remaking it to ‘look and sound like it did when new’. According to Morley and Co, reasons for major work include the instrument not staying in tune and at pitch. In this case, restringing with new tuning pins and possibly a new tuning plank would be considered. The soundboard assembly may have developed faults or joint failure. The tone and touch may be uneven, unresponsive or simply unfit for use. Hammers and key coverings may need replacing or the hammer, damper action, keyboard and pedal system overhauling. Such work is followed by reassembly, regulation, tuning and toning. Depending on what is required, the bill can range from around £2,000 to £5,000. ‘People’s reasons for having their piano restored are often sentimental ones or perhaps they like the softer tone of an older instrument,’ says Julia Morley. ‘They may simply prefer their piano

▲

a split in the wrest plank into which the pins are inserted is much more serious. ‘On the very worst pianos I can tighten the pin and actually see it unwind,’ observes Trezise. The wrest plank is an essential (and expensive) component but so also is the soundboard: a change in tone at a given point may indicate a split. However, of all the factors to consider when deciding whether to recondition or recycle, the extent to which a piano can be tuned correctly and will hold a true intonation is, says Tresize, the most important. ‘If it can’t be tuned correctly and hold that tune, the piano is useless. And it’s not just about it being in tune; you should be able to tune it to standard pitch because then all the beat rates will be correct and it will sing. Only when you’re sure it can hold its tune should you consider having the action regulated, for example, which is a very expensive job.’ Having established what work needs doing to your piano, at least you know what you’re dealing with. Unfortunately, says Tresize, the same cannot be said for those who buy a piano that has already been reconditioned. ‘Less scrupulous companies will only do obvious things like polishing the case, painting the frame and replacing the felts,’ he says. ‘I’ve seen this and I’ve had to explain to disappointed customers that the reconditioned piano they were sold has only been given a makeover.’ Without visiting the workshops who do this work and playing their instruments, it’s impossible to say whether such things go on. However, in researching this article, Pianist spoke to UK restorers who claimed there is a flourishing trade in used pianos that have been refurbished sufficiently well to appear to have been fully reconditioned. 83• Pianist 95

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MAKERS

to all others and wish to address faults that have developed over time. Whatever their reasons, we make sure they understand what their instrument’s faults are and how we plan to resolve them – and that unless it’s a premium brand, they’re unlikely to make any money on the instrument once the work is done.’ She says the company avoids ‘aggressive restoration’ involving the wholesale replacement of parts. ‘We do what we call “conservative” restoration. We’ll keep as many of the original materials as we can so that the piano plays and sounds as it was intended to. We do not make an old piano sound like a modern one. If you want a modern sound, buy a modern piano!’ Markson Pianos, of London, takes equal pains to explain when reconditioning may be required and at what level. The company suggests that if the piano is a quality make, restoration costs should be lower than buying a new or nearly new replacement. On the other hand, the company observes of mass-produced pianos, and some manufactured with older mechanisms and stringing around 1880-1920, that they may not be worth the trouble, although modern parts can be fitted if required. Simon Markson defines the company’s work in three main areas: structural restoration, action and key restoration, and casework restoration. ‘A violin goes on forever, but not a piano,’ he says. ‘We aim to give customers a complete picture of what is required and be sure they’re doing it for the right reasons, so they go in with their eyes open. The demand is there. We do around 50 restorations a year with prices starting from around £3,000 for re-pinning and re-stringing an upright. Overhauling an upright costs around £5,000 and a comprehensive overhaul of a grand, around £8,500.’

Alistair Laurence of John Broadwood & Sons agrees that instruments by ‘makers of renown’ are well worth restoring but lesser makes require caution. ‘Get your tuner to inspect it,’ he recommends, ‘but in my opinion, if it has a split wrest plank or cracked frame, it’s not worth repairing. More minor wooden parts can be renewed but I’d hesitate to replace the soundboard. In my view, restorers are too ready to replace them. ‘There are two approaches to this work: conservation, where the aim is to retain as many of the piano’s original features, including not polishing the case, and an increasingly common one where the piano is cleaned and buffed so it looks like new and is priced to appear a bargain, but regulation and voicing work is not good.’ Who to trust? Which brings us to the all-important question of how to find a restorer you can rely on. You could approach any of the companies listed below. However, word of mouth – a personal recommendation based on experience – is still valuable. Paul Leverett is co-director of his family firm, Piano Restorations UK, also based in London. ‘Word of mouth and recommendation are important,’ says Leverett, ‘but also check the company’s history, where its staff earned their qualifications, who they were apprenticed to and the extent of their knowledge. You’ve got to know someone’s pedigree and standards – whether they’re doing the job right or contracting it out for half the cost elsewhere. I reckon we do corrective work on two or three poorly reconditioned pianos each year.’ Leverett is referring not to old family uprights but expensive German brands. He and his father served apprenticeships with Blüthner Pianos (Paul was the last

Left to right: One of the new turned lyre columns next to the non-original square columns; the noisy

process of knocking out the old soundboard; drilling the pedal box from the lyre ready to fit the newly turned columns

to serve a full, eight-year Blüthner apprenticeship; Colin, his father, worked for the company for 50 years) and the majority of the company’s work is with high-end instruments, so on occasion they see rival firms’ shortcuts. ‘Everything we do is about quality of tone and in pursuit of that we do the lot, going right through all the pianos we work on,’ says Leverett. ‘Just one instrument can take up to 240 hours to rebuild; work that costs around £19,500 on average. Forty or so pianos pass through the workshop each year.’ One of the most vital links in the restoration chain is the piano tuner. ‘Tuners are at the forefront,’ remarks Leverett, ‘and if you find a good one, look after them. They’ll tell you precisely what’s wrong with your piano, tell you how much work it needs and help you find the right workshop to do it. A good one could save you an awful lot of grief.’ ■ Photos supplied by Handel Pianos and Hamilton Pianos.

Reputable Restorers A selective list of UK-based companies Giller Pianos oldgranarystudio.com Handel Pianos handelpianos.co.uk Iain Gordon Piano Services iain.gordon.co.uk John Broadwood & Sons Broadwood.co.uk Markson Pianos marksonpianos.com Morley Pianos morleypianos.com Piano Restorations pianorestorations.co.uk Piano Tuners’ Association pianotuner.org.uk Shackell Pianos Shackellpianos.co.uk Shackleford Pianos shacklefordpianos.com The Piano Shop thepianoshopkent.co.uk

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REVIEW

CD reviews

It’s a month for New Romantics, with fine new discs of Schubert, Schumann and Brahms. Reviews by Marius Dawn, Peter Quantrill and Erica Worth

Pianist star ratings: ★★★★★ Essential – go get it! ★★★★ Really great ★★★ A fine release ★★ Disappointing ★ Poor BARRY DOUGLAS

Schubert: Four Impromptus D899, Sonata in A D959 Chandos CHAN10933 ★★★ Cork School of Music allowed Barry Douglas to record in its auditorium. Nice, then, that the recording is clear and spacious and the Steinway well tuned. After a Brahms odyssey on disc, Douglas has turned to Schubert, and his fans should be happy with the second volume. His interpretations are straightforward: the Impromptus D899 are played with style and elegance. Nothing is too fast, and nothing too slow – it’s all a little mundane, though No 2 flows seamlessly with admirable technique and polish. The A major Sonata is held together well, but nothing special comes to the fore: I hear no especially deep understanding and no wonderment penetrating this dramatic work. Even the exquisitely-written Andantino could do with a bit more magic. To explore this music more deeply, to grasp Schubert’s angst mingled with Viennese charm, turn to the likes of Barenboim, Schiff, Uchida, Brendel and Kempff. MD

INGA FIOLIA

Glinka: Nine variation sets Grand Piano GP741 ★★★ The Grand Piano label specialises in obscure composers and repertoire. Here they have picked out Mikhail Glinka, a fatherfigure in the Russian classical tradition. In the first volume, the young and talented Georgian-German pianist Inga Fiolia presents nine sets of variations, some based on themes from operas (such as The Magic Flute) and some from Russian folk songs. It must have been a Herculean task, for all the works are technically demanding. Sadly, none of them are musically interesting and after listening to a few variations the mind tends to wander. The variations on Solovey (The Nightingale), a song by Alabiev, is occasionally encountered in concert, but there is surely a reason why few pianists have bothered learning all these notes. A pity, for Fiolia has a secure technique, a clear singing tone and plays with much good sense and understanding. Hopefully we will hear from her again in more substantial repertoire. MD

EDITOR’S CHOICE CÉDRIC PESCIA

Schumann: Kreisleriana Op 16; Toccata Op 7; Four Fugues Op 72, Four Marches Op 76, Sonatas for the Young Op 118 and more Claves 50-1508/09 (2CD) ★★★★★ A little over ten years ago, the Swiss record label Claves set out to record Robert Schumann’s complete works for piano music. Rather unusually, the label has used not one, but three pianists for the recordings thus far: Finghin Collins (Vols 1 and 3), Francesco Piemontesi (Vol 4), and Cédric Pescia (Vols 2, 5 and now Vol 6). I hope Pescia will be Claves’s top choice for the remaining releases, as he’s been the most impressive to date. Volume 6 features two classics of the repertoire: Kreisleriana Op 16 and the Toccata Op 7. In the turbulent opening movement of Kreisleriana, Pescia gives us an incredible feeling of energetic drive, melded with a sense of freedom and beauty of tone even in the hardest of quick, forte passagework. When Pescia turns his attention to sublime slower sections, such as the fourth movement, he never succumbs to dragging the tempo – his phrasing speaks with straightforward intimacy. Pescia’s way with the devilish Toccata is light and flowing, with power in reserve to maintain momentum to the end. The other works here, interesting for the insights they afford into his development, are rarely heard in the concert hall. Not all Schumann’s writing was top notch. However, with such sensitive interpretations poured into the four fugues, four marches and the technical studies on a theme of Beethoven, the composer’s genius still shines through. The three Sonatas for the Young Op 118, from Schumann’s late period, are played with a charm that may encourage others to give them a try: they’re technically within reach of most amateur pianists. Fine recorded sound and a perfect Steinway make this an unmissable Schumann release. EW

MICHAEL KORSTICK

Ginastera: Danzas Argentinas Op 2, Doce Preludios americanos Op 12, Piano Sonatas Nos 1 & 3 and more CPO 555 069-2 ★★★★★ In his native Germany, Michael Korstick is highly regarded, with an acclaimed cycle of Beethoven sonatas on Oehms to his credit. If UK promoters listened to this CD, he’d be in every concert hall! Ginastera’s music is evidently close to Korstick’s heart (he studied with the composer): passion radiates from every note. Ginastera’s dance-thythms are pointed with razor-sharp clarity and his often brutal chording makes a terrific impact. Ordered chronologically, the CD opens with the famous Danzas Argentinas (including the well-known No 2). Korstick brings great drama to the Preludes which find Ginastera at his most inventive. The First Sonata is a thrilling, Bartókian work which packs an hour’s worth of drama into 15 minutes, while jazz influences can be heard within the keyboard-lion roaring of the three Op 6 Pieces. Get this recording, pronto! MD

MARC-ANDRÉ HAMELIN

Medtner: Piano Concerto No 2; Rachmaninov: Piano Concerto No 3 London Philharmonic Orchestra/ Vladimir Jurowski Hyperion CDA68145 ★★★ Marc-André Hamelin shot to fame by recording some of the most difficult super-virtuoso piano works ever written, but he has recently given us sparkling Mozart and Haydn with a sense of humour; I was also impressed by his Brahms Second, and the tough, overlooked Concerto by Henselt. I wish I could be as excited about his first recording of Rachmaninov’s Third Concerto, but one senses an uneasy musical relationship with Vladimir Jurowski in crucial passages such as the first movement’s transition from the cadenza – the transcendentally difficult original one, naturally – which rather runs out of steam. The Medtner is also rather earthbound and passionless, with a slow movement that sounds like a chore. The finale of neither concerto rises to a sense of occasion. Possibly a match not made in heaven? MD

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You can buy all of the CDs reviewed here from the Pianist website.Visit pianistm.ag/cd-reviews ALEXANDER MELNIKOV

PINA NAPOLITANO

JONATHAN PLOWRIGHT

MAURIZIO POLLINI

EDNA STERN

LARS VOGT

Prokofiev: Piano Sonatas Nos 2, 6 and 8 Harmonia mundi HMC902202 ★★★★ There’s an abundance of great Prokofiev sonata recordings out there. Native pianists such as Gilels, Richter, Berman and Marshev spring to mind; and more recently Peter Donohoe, who was awarded 5 stars in issue 92 for his ‘War Sonatas’ CD. A little brutality at the keyboard goes a long way with Prokofiev; the sonatas have a poetic side too, but it can be hard to put that across when the rhythmic intensity is so overpowering (in the finale of the Seventh, for instance). So it’s nice to hear Melnikov present a gentle, even introverted account of the Second’s Andante (a highlight of Prokofiev's early piano music). In the broad, magisterial opening of No 8, he finds hidden inner voices and a deeper meaning than most of his rivals. Melnikov’s viscerally intense attack to the Sixth Sonata, most apparent in the Vivace finale, is a little bombastic for my taste. All in all, though, a fine release from an always interesting pianist. EW

Chopin: Late Works, Opp 59-64 Deutsche Grammophon 479 6127 ★★ Some pianists mellow with age, or become more philosophical: not so Maurizio Pollini (and before we go further, I’m a huge fan). In his new account of Chopin’s Barcarolle, he shaves a full minute from his earlier recording, but the result is harsh and headstrong. The Polonaise-Fantasie is over two minutes quicker and the two Op 62 Nocturnes make no improvement on earlier versions. Some mazurkas are new to Pollini’s Chopin discography, as are the three Valses Op 64. However, late Pollini is a far cry from the razor-sharp technical command of his younger, brilliant self. A while ago Pollini successfully embarked on recording Bach’s Well-Tempered Clavier and the Debussy Préludes; one wonders what he wished to add in repertoire we already have from him in superb performances. An artist develops and times change, but not always for the better. The meagre playing time of 54 minutes has left plenty of space for Pollini to re-record yet more Chopin. MD

‘Elegy’. Schoenberg: Piano Concerto; Bartók: Piano Concerto No 3 and more Liepaja Symphony Orchestra/Atvars Lakstigala Odradek ODRCD339 ★★★★ Having recorded the solo works on a well-received debut for the artist-owned Odradek label, Pina Napolitano returns to Schoenberg. She is a persuasive advocate for the more relaxed Piano Concerto, at home with its idiom of ‘12-tone Brahms’ and benefitting from the well-balanced support of a Latvian orchestra. After Expressionist orchestral-only interludes by Schoenberg and Ernst Krenek, she offers the unique and intelligent pairing of Bartók’s Third. Better recorded, more measured but also more characterful than Bronfman and the LSO (reviewed in Pianist 94), if without the finesse of Jean-Efflam Bavouzet, this is an account of vivid colours and human warmth which grasps Sir András Schiff’s idea of the piece as ‘a wise man’s farewell’. Napolitano makes difficult music if not easy then approachable, issuing a grateful invitation to listen. PQ

Hélène de Montgeroult: Sonata No 9; 12 Etudes; Fugue No 1; Theme and Variations Orchid Classics ORC100063 ★★★★ Perfumed and poised in equal measure, Edna Stern’s Bach Partitas on Orchid Classics divided listeners down puristRomantic lines of appreciation: I found a sprightly, smiling joy in her playing, as I do in this less generous (53 minutes) but historically valuable advancement of a missing link between Beethoven and Chopin. The life and career of Hélène de Montgeroult (1764-1836) was amazing in itself: a student of Clementi, Dussek and Reicha who was spared the guillotine by improvising variations on the Marseillaise in front of the men who led the Reign of Terror, she became the first female piano professor at the Paris Conservatoire. Her music is no less striking. Even the 112 Etudes of her Method are rhapsodic, never restrictively didactic. They would make a fine alternative if Czerny is getting you down. On a ringing Pleyel instrument of 1860, Stern presents 12 of them alongside the substantial Ninth Sonata and a Mozartian set of variations. PQ

Brahms: Paganini Variations Books 1 & 2, Ballades Op 10, Piano Pieces Op 119, Two Rhapsodies Op 79 BIS BIS-CD2137 ★★★★★ Jonathan Plowright is among the very finest of present-day British pianists. On record, he is known for his advocacy of comparatively unfamiliar composers, not least a range of Polish Romantics such as Ignaz Paderewski and Zygmunt Stojowski. The Paganini Variations are the obvious summit on the fourth volume of his Brahms cycle, full of impressive finger dexterity and richness of tone, even if he allows himself a few odd tempo fluctuations in the first few variations. The rest of the album, however, is more impressive still. The Four Ballades Op 10 hark back to Julius Katchen (a Brahmsian without compare), in their organic evolution, in Plowright’s hands, from the late Classicism of Beethoven. The late and elusive Op 119 pieces find Plowright at his best, with an outstanding singing tone and wonderfully long, sustained lines. MD

Schubert: Impromptus D899; Moments Musicaux D780; Six German Dances D820 Ondine ODE1285-2 ★★★★ How I would have loved to hear all eight impromptus on this release, and not only the four of D899 (Op 90). Lars Vogt plays them so convincingly, with both considerable elegance and the immediate drama which is such a prerequisite in late Schubert. The Six German Dances are all fine and well played, but without being sensational. In the Moments Musicaux, Vogt is admirably secure without bringing deep or original insights to the music. Turn back to the four impromptus and you find Vogt evoking a mini-drama in the first; a flowing, well-oiled carousel in the second; an evening of song and accompaniment in the third; and the last benefits from the technical tricks one can only play with the fleetest of fingers in those repeated right-hand descending arpeggios. Vogt is a master at drawing out the drama in Schubert, and these four impromptus offer eloquent proof of that mastery. MD

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REVIEW

Sheet music

Authoritative new editions of Beethoven and Brahms, a forgotten Soviet composer and inspirational new teaching material, reviewed by Michael McMillan

AVAILABLE FROM THE PIANIST DIGITAL STORE pianistm.ag/digitalshop

keys up to seven sharps (Book 1) and seven flats (Book 2). The six pieces with five to seven sharps/ flats are included enharmonically in the other book. In Book 1, Ancient Anthem appears in A# minor (seven sharps), but I suspect you’d prefer to play the same piece in Bb minor in Book 2 (five flats). The music is easy to grasp and makes few demands on the listener, but generally lacks the originality and inspiration of previous volumes from Melody Bober.

BRAHMS

Variations on a Theme by Handel Op 24 Bärenreiter ISMN: 979-0-006-53061-8 (BA9607)

BEETHOVEN

On hearing the Handel Variations, Wagner grudgingly acknowledged that Brahms was ‘no joker… One sees what may still be done in the old forms when someone comes along who knows how to use them’. Written in 1861 and originally intended as a present for Clara Schumann, they still present formidable technical and musical challenges. Bärenreiter’s clear and attractive edition has been prepared by the experienced Brahms editor Christian Köhn. There is some straightforward editorial fingering and the music occupies a couple more pages than in Henle’s edition.

Three Sonatas for Piano Op 2; Bagatelle in A minor WoO59 (Für Elise) Bärenreiter ISMN: 979-0-006-56193-3 (BA10859) Henle ISMN: 979-0-2018-1347-9 (HN1347) Beethoven’s three Op 2 sonatas were dedicated to Haydn, his former teacher, and were first published in 1796. Jonathan Del Mar’s edition for Bärenreiter contains no editorial fingering, and is enriched by the thorough scholarship which has distinguished all his work on the composer. Although it is expensive, the edition is an indispensable first point of reference. Henle’s new edition of Für Elise differs from their previous one published 40 years ago in a few small details. The editorial fingering is a little different, pedal indications that were assumed in the old edition are now fully realised, and one controversial left-hand note in bar 29 has been updated, after further study of sources, from E to F. The second RH note in bar 7, printed as E in some editions, appears here as a D.

THE FABER MUSIC PIANO ANTHOLOGY

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Spartan Press Music Publishers Ltd. Strathmashie House, Laggan Bridge, Scottish Highlands, PH20 1BU. Telephone: (01528) 544770 Fax: (01528) 544771 E-mail: [email protected] Web-site: www.SpartanPress.co.uk

E-mail: [email protected]

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ISMN 979-0-57998-135-0

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MARK TANNER

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GRADE 8 +

Strathmashie House, Laggan Bridge, Scottish Highlands, PH20 1BU. Telephone: (01528) 544770 Fax: (01528) 544771

The ‘Scapes’ Series :-

Grades 6-7

GRADES 6-7

SP1137 Seascapes “One can certainly imagine the scenes during this nautical journey. Particularly ‘What the Penguin saw’. ‘Waves and imaginative is waves and waves’ is a beautiful little piece, with its tempo suggestion of ‘gently tumbling’, the relentless ebb and flow of the tide kept moving with the quaver rhythm. ‘Treading water’ is another piece, very cleverly written...”

Dreamscapes

GRADES 4-5 SP1136

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“The second in this series is just as delightful a package as the first book. ‘Dreamweaver’ is a divine little compositional beauty. ‘Sands of time’ and ‘Something strange growing in the potting shed’ are particularly enjoyable to play. Both books are very clearly attractive covers. Dynamic and pedalling presented, with directions are plentiful,Spartan print is clear Press and Music spacious...” EPTA PIANO PROFESSIONAL, 2013 Publishers Ltd.

PIANO

MARK TANNER

Praise for Seascapes and Dreamscapes

SOUNDSCAPES FOR PIANO

Praise for Mark Tanner’s Eye-Tunes series for piano: Spartan Press , 11 vols. “By now, we must all be familiar with Mark Tanner’s brilliant and entertaining Eye-Tunes series for pianists at all stages of development. An experienced pianist, lecturer, adjudicator, Mark Tanner appears examiner and to have hit the bull’s-eye in knowing just how to spark young pianists’ enthusiasm and motivation. The ideas are all so witty and entertaining alone will amuse any bored pupil.” that the titles EPTA Piano Professional, Summer 2011

Soundscapes is Book 4 of 4 in a series of original piano pieces, the others being Seascapes, Dreamscapes and Nightscapes. The music itself draws from a diverse range of styles and is targeted to stimulate that most important region of the head – the ears. While the

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Spartan Press Music Publishers Ltd. Strathmashie House, Laggan Bridge, Scottish Highlands, PH20 1BU. Telephone: (01528) 544770

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This hardback book makes a fine first impression with its stylish cover design, page-finder ribbon and luxurious air that justifies its RRP of £22. Open it up, and you’ll discover that the 78 pieces are well-chosen for a volume of this nature. Ranging from the 16th century to our own time, they are presented in increasing order of difficulty for Grade 2-8 students. There are, however, two significant drawbacks. Serious proofreading errors misplace notes and rests in well-known pieces by Beethoven, Chopin and Grieg, among others. The binding is also a nuisance, requiring regular flexing with considerable force to prevent the pages from closing.

PIANO

SEASCAPES, CITYSCAPES, DREAMSCAPES, NIGHTSCAPES, SOUNDSCAPES

Mark Tanner Spartan Press ISMN: 979-0-57998135-0 (Sea); ISMN: -206-7 (City); -136-7 (Dream); -137-4 (Night); -138-1 (Sound)

ASPECTS OF CORNWALL: 11 VIVID PIECES

As you can guess from their titles, these two books (for Grades 3-6) feature pieces that cover all the major and minor

Mark Tanner (b.1963) is a British musician with more qualifications and musical experiences as a pianist, examiner, adjudicator, composer, teacher – and regular contributor to Pianist – than you

can shake a stick at. His five-volume ‘scapes series ranges in difficulty from Grades 1 to 8. The 85 pieces are notable for their pianistic writing and appealing contemporary sounds. The Trinity College syllabus presently includes some of the best pieces, such as Forty Winks (Dreamscapes) and Walrus Rag (Seascapes), but there are plenty more enticing discoveries to make, such as Something strange growing in the potting shed (Dreamscapes). The presentation is not up to the standard of other volumes reviewed here, though this shouldn’t deter repertoire hunters.

JEVDET HAJIYEV

Piano Collection EVC Music Publications ISBN: 978-0-9935146-9-2 The Soviet-era, Azerbaijani composer Jevdet Hajiyev (1917-2002) is now little known, but Shostakovich praised his ‘unique ability in writing music of symphonic depth and philosophical content’. His eight Musical Sketches range in length from two lines to three pages (Grades 2-6), and there are three more substantial works – a Scherzo, Ballade, and Sonata No 1 – which demand Grade 8 standard and above. Written in a pungent tonal idiom not far removed from Shostakovich or Bartók, these pieces offer interesting, if not especially memorable, diversions for those looking for music off the beaten track. A generous portion of the book can be sampled at elenacobb.com.

EASTERN EUROPEAN FOLK TUNES; RUSSIAN FOLK TUNES

Peter Rosser (Eastern Europe); Julian Rowlands (Russian) Schott ISMN: 979-0-2201-18395; 978-1-84761-471-1

Peter Rosser is a British accordionist and composer who has chosen 25 diverse pieces from countries such as Hungary, Romania, Macedonia and Bulgaria, and made effective arrangements for Grade 2-6 pianists. Julian Rowlands, who prepared Schott’s Klezmer and Argentinian collections, has produced similarly successful versions of 25 traditional Russian and Ukranian folk tunes such as Kalinka and Korobeiniki (now more popularly known as the Tetris theme). These recent additions to Schott’s World Music series are equipped with CDs of their content.

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Digital was never more natural With a beautiful Yamaha U1 acoustic piano at its heart, TransAcoustic will change your perception of what a piano can do. Incorporating specially developed transducers, TransAcoustic lets you play digital samples of other instruments, including our CFX concert grand, through the soundboard, with total control over their volume. Thanks to the piano’s natural resonance, samples come alive like never before and digital sounds can be blended with the acoustic sound too. Visit uk.yamaha.com to discover more.

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