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HELPING YOU BECOME A BETTER PLAYER

No 113

DON’T LOOK NOW! SUMMER LEARNING

How to keep your eyes off the keys

2020 Courses & Festivals Guide

MASTERCLASS WORKING ON YOUR

PIANO EXAMS

WEAKER FINGERS

5

Finding one that’s right for you

BEGINNER SCORES INSIDE!

13 LEARN

PIECES TO

LUDOVICO EINAUDI

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The man behind the myth

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Pianist 113

CONTENTS

April-May 2020 The next issue of Pianist goes on sale 22 May 2020

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67 4

Editor’s Note

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Reader Competition One lucky reader to receive a Soundbrenner Core watch

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Readers’ Letters Plenty of responses to our issue 112 letters, plus readers argue in favour of digital-piano freedom News Ashkenazy retires, a farewell to two great pianists and announcing the winner of our 2020 Composing Competition

10 Open invitation EPTA introduces a brand-new series of nationwide festivals geared towards piano performance 12 Ludovico Einaudi Erica Worth speaks to the most-streamed classical artist about finding his voice, facing the critics and the importance of walking 16 How to Play Masterclass 1 Master the art of feeling your way around the piano and keeping your eyes on the score, with Mark Tanner

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12 18 How to Play Masterclass 2 Graham Fitch addresses the ‘weaker fingers’ myth 20 How to Play 1 Slow and steady wins the race when it comes to Duvernoy’s Study in F, says Melanie Spanswick (Scores p34) 22 How to Play 2 Playing Bach on the modern piano is a wonderfully freeing process, says Nils Franke (Scores p44) 24 How to Play 3 Lucy Parham helps us through Brahms’s challenging Intermezzo in F minor (Scores p61) 26 Piano Teacher Helpdesk Do our students really know how to sight-read? Kathryn Page opens up the discussion 27 The Scores A German dance from Beethoven, an Idylle from Satie, a bold Bach prelude and Chabrier’s catchy Ballabile 28 Beginner Keyboard Class Lesson 40: Interchange between the hands

67 SUMMER COURSES & FESTIVALS 2020 Our 12-page guide features top recommendations for piano courses and festivals through the year. Everything from intense piano courses in Provence to starry artist line-ups in Latvia. Lots of Beethoven on the menu. 71 Susbcribe today and receive a free book from Faber 80 Making the grade Three of the world’s most renowned exam boards share their vision and views 84 Playing By Ear This penultimate lesson of the series concentrates on six-note chords 88 Album Reviews Five-star Moszkowski from Hirose, sensational Skempton, plus Italian delights from Bax 89 Sheet Music Reviews Ravel’s Jeux d’eau from Bärenreiter, Elgar favourites, Dave Brubeck and more 90 Classifieds

Cover photo: © Ray Tarantino. Clockwise from top left: © Monkey Business/Adobestock; © Ray Tarantino; © Keith Saunders; © Chris Christodoulou; © Kate Mount 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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Late in February I attended a talk by the pre-eminent Beethoven scholar of our times, Jonathan Del Mar. He has spent years ferreting every possible source for the piano sonatas for his Bärenreiter edition, re-evaluating every note, dot and slur, and all with one purpose: to present a musical text which represents the composer’s wishes as closely as possible (always presuming that we can ever know what those wishes were, or that they didn’t change over time). An audience of Wigmore Hall pianophiles hung on to Del Mar’s every word but what stayed with me most was his passion for, and dedication to, the music. Flash back to last summer, and I found myself in the company of another professional whose dedication to music has inspired me, a little to my surprise: Ludovico Einaudi, pictured above with me in London. Einaudi spent years finding and refining his own compositional voice. They may have little else in common, but the platinum-album-selling author of Una mattina has no more patience with his critics than Beethoven did – ‘For me, music is personal, it’s my life, it’s not really a job’ – and this single-minded sense of purpose is what all composers need: the determination to plough your own furrow. Einaudi also talked to me about his apprentice years with his teacher Luciano Berio, the secret to writing a successful melody and his love of Beethoven’s string quartets. Appropriately enough in his anniversary year, Beethoven features twice in the Scores section this issue – and anyway, is there such a thing as too much Beethoven? I don’t think so, but if you’re looking for light relief, try Chabrier’s Ballabile, Satie’s Idylle and Maylath’s arrangement of Chopin’s Berceuse for starters, all delightful rarities waiting to be enjoyed. My happiest discovery has to be the Romance by Carl Filtsch, a Transylvanian-born student of Chopin. Play that on a street piano, and it might well draw the crowds as much as Una mattina or the ‘Moonlight’ Sonata.

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WIN A SOUNDBRENNER CORE WATCH WORTH £175 Answer the question correctly, and you could be the lucky winner to receive ‘the perfect watch for all musicians’. The watch features a built-in metronome, decibel meter and tuner – all in one. Deadline for entries is 22 May 2020. Who invented the first metronome? A. Johann Maelzel B. Thomas Edison C. Alexander Graham Bell Answer to page 4 competition in issue 111: C: No 5. Congratulations to winners Manuel Guzmán (Madrid, Spain), Harry Edwards (Cornwall) and Aileen Henry (Cumbria)

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Pianist

www.pianistmagazine.com PUBLISHER Warners Group Publications plc Director: Stephen Warner Publisher: Collette Lloyd EDITORIAL Warners Group Publications 31-32 Park Row, 5th Floor, Leeds LS1 5JD Editor: Erica Worth [email protected] Tel: +44 (0)20 7266 0760 Editorial Assistant & Online Editor: Ellie Palmer [email protected] Marketing: Lauren Freeman [email protected] Senior Designer: Nathan Ward

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LETTERS

Your chance to

HAVE YOUR SAY WRITE TO: The Editor, Pianist, Warners Group Publications, 31-32 Park Row, Leeds, LS1 5JD. EMAIL: [email protected] STAR LETTER wins a surprise CD. Letters may be edited.

Calling all publishers (again) I sympathise with David Glynn (Letters, issue 112). I have enough trouble these days trying to speed up my sight-reading without having to get the wretched music book to stay flat. I have a book, from a very reputable publisher, which is about 15mm thick and the edge is glued rather than spiral bound. To hold it onto the piano I have to use bulldog clips the size of bulldogs, so turning a page involves unclipping both sides, turning the page, and re-clipping. No good at allegro speed. Even at largo it’s a scramble. A funereal pace is about the best I can do. Don’t publishers road-test their products before they issue them? Now, if a book of music won’t lie flat, I won’t buy it. Gerald Lambert, Devon, UK Publishers, please listen In response to David Glynn’s letter in issue 112, I would like to make a plea to music publishers not to start adding unnecessary accidentals. I am a very late returner working towards my Grade 5 exam, so am no expert sight-reader, but I find a lot of annotations to a score can be very distracting and unhelpful. I have several pieces where the publication reinstates an accidental in a bar after a note in the previous bar was ‘naturalised’. I find it confusing and it can make me momentarily question what the key signature was supposed to be. It merely adds to the visual clutter. Similarly, I also find lots of fingering numbers very distracting – especially if they don’t accord with my own fingering – to the extent I often have to Tippex over them. As for the page-turn extension suggestion, I pencil the next page’s first notes after the last bar of the page, and then, when I’ve ‘got it’, I can rub it out. No more ugly clutter! Catherine Scott, Lancashire, UK Long live the digital I read with interest the letter ‘Digital Reservations’ in Pianist issue 112. I took up playing in 2017, at the tender age of 58. I bought a digital piano in preference

STAR LETTER Rare manuscript looking for a good home Reading Ralph Thompson’s ‘Star Letter’ in the latest edition of the magazine (issue 112) took me to my own small library of Beethoven works for piano. I, too, have some works, albeit transcribed for piano solo, that I haven’t touched for many years: the piano solo versions of the Quintet, Sextet and Octet (see image) which I bought from the locally famous music stall in Bradford Market in the late 1960s. This is I believe no longer in print, and somewhat of a rarity, and I could never really get to grips with the transcriptions. If any of your readers would like this copy then I would be more than pleased to send it to them at no charge. Condition is good and it doesn’t have any manuscript notes in the score – it’s just old but fully intact! Anthony Smith, Norfolk, UK Such generosity! Many thanks, Anthony. Should readers be interested, please contact the editor at [email protected]. In the meantime, a surprise CD is on its way to you. to an acoustic – mostly down to size. I live in a small flat and an acoustic piano just would not fit. I think delivery might have presented some difficulties, too! I thoroughly enjoy playing my digital piano. I have played several acoustic pianos – and I, for one, am not really skilled enough to notice much difference. The keys of my digital piano are made from wood and have a similar weight and feel to the real thing. If there were no digital pianos, then I’m sure many would be denied the pleasure of learning and playing a piano. We should all support any means by which musical instruments are available – whether acoustic or digital. Andy Beech, Bristol, UK Digital freedom I fully understand David Lancaster’s reservations regarding digital pianos and his consternation at the demise in the popularity of acoustic models (Letters, issue 112). The arguments for and against digitals are multi-faceted. I found that living in a terraced home severely limited the use and enjoyment of my acoustic. When I eventually switched to a digital, I found it so liberating. It renewed my enthusiasm, and playing using 6• Pianist 113

headphones/reduced volume significantly increased my playing time – and with it, my progress and pleasure. I opted for a mid-range Clavinova with wooden keys, which I think provides an acceptable touch for my standard (Grade 5-ish) of playing. By their very nature, acoustics must have the edge regarding sound, but a digital, in a smaller room where you are generally playing for your own enjoyment, I would say is not a big compromise to make. Anything that encourages people to play a musical instrument must be a good thing. The convenience of headphones, no tuning fees, consistent touch and generally smaller, less mechanicallycomplex instruments, makes the popularity of digitals understandable. It can only be a matter of time before digital technology will be matching the acoustic for sound. Lynden Carter, Exeter, UK Impressive Beethoven repertoire I am enjoying learning some of the scores inside the current issue (112). I felt sure it would be full of the usual Beethoven ‘suspects’, but most of the pieces are totally new to me. Bravo for that! Rebecca Simmonds, Rugby, UK

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NEWS

Tune in All the latest news from the world of the piano

Sultry Habanera takes the prize Announcing the winner of the 2020 Pianist Composing Competition Congratulations go to Giuseppe Capasso from Rome, Italy, who has won a Kawai piano. Capasso wowed the five judges with his stylishly hypnotic 46-bar tango, Blue Habanera. ‘Giuseppe Capasso composed a wonderfully evocative tango packed with stylistic authenticity and Argentinean swagger!’ says Alexis Ffrench, one of the judges. ‘He demonstrated a highly developed sense of harmonic awareness and sensitivity to the subtle nuances of timbral “shading” that add so much to this very intimate and passionate style of music.’ A regular reader of Pianist, Capasso says that he wrote his piece ‘to reflect my love for music and rhythms from Latin America. I tried to share my vision of this land.’

Capasso studied music from a young age, learning piano and guitar without any formal education. ‘Later on I decided to attend the Conservatorio di Musica (music high school) where I studied classical piano and choral music composition,’ he says. ‘Now I am a music teacher in a middle school in Rome where I am deeply committed to music education for the young. I continue to have a great interest in classical music, especially Bach, but I am also interested in jazz and world music.’ Capasso’s love for music runs deep: ‘For me, music is a life-long learning experience, so I keep on studying – that’s the reason why I enjoy reading Pianist magazine.’ Capasso’s beautifully hand-written score arrived on deadline day. ‘I thought I was too late!’, he says, ‘so you have made my life very happy. It’s a dream come true!’ Blue Habanera will be published in Pianist 114 alongside an interview with Capasso. Pianist received over 100 entries: our thanks go to all who entered and who ensured a high standard and a tough day of decisions! Our 2021 Composing Competition will be launched later in the year.

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TAP IMAGES TO WATCH • Peter Serkin play Takemitsu’s ‘Rain Tree Sketch’ • Hamish Milne play Medtner Piano Sonata in G minor

TAP TO WATCH Ashkenazy play Rachmaninov’s Corelli Variations

Photos: this page, clockwise from top left: © Keith Saunders; © Dmitri Simakov; © Regina Touhey Serkin

Vladimir Ashkenazy retires at 82 Pianist and conductor Vladimir Ashkenazy has officially retired after more than 65 years of superlative music-making on the concert platform. The news – which came as a surprise to many – was announced via his management company, Harrison Parrott, on 17 January: ‘Vladimir Ashkenazy, conductor, pianist, musician, artist and humanist has decided that the time has come for him to retire from public performances and to do so with immediate effect.’ Ashkenazy was born in 1937 in Gorky in the Soviet Union. He began playing the piano at the age of six and was accepted into the Central Music School at the age of eight. He graduated from the Moscow Conservatory, having studied with Lev Oborin. He came to the music world’s attention when, at the age of 18, he won Second Prize at the 1955 International Chopin Piano Competition. He went on to win first prize at the 1956 Queen Elisabeth Music Competition in Brussels and joint first prize at the 1962 International Tchaikovsky Piano Competition, sharing the award with British pianist John Ogdon. Shortly afterwards he was snapped up by the classical record label Decca – and became an exclusive recording artist in 1963. He remains, to this day, the longest serving artist on the label. In 2013 the partnership was honoured with the 50-CD box set release, Vladimir Ashkenazy 50 Years on Decca: Original Jacket Collection. Another notable box set was released in 2017: the 46CD Complete Piano Concerto Recordings. Ashkenazy’s solo output was as impressive: most notable are his recordings of Chopin, Rachmaninov and Scriabin. Grammy Awards include Beethoven Piano Concertos (1974), Tchaikovsky Piano Trio in A minor (1982) and Shostakovich 24 Preludes and Fugues (2000). In the last 20 years, Ashkenazy was more comfortable on the podium rather than the piano. He held a number of principal conductor posts, including with the Czech Philharmonic and Royal Philharmonic Orchestra, while continuing his longstanding relationship with the Philharmonia Orchestra, where he was appointed Conductor Laureate in 2000. Ashkenazy appeared on the cover of Pianist issue 10. In his interview, he says, ‘I became a pianist because my father was a pianist and it was the most natural thing to do. But when I heard a symphony orchestra for the first time, I was stunned.’

Obituaries Peter Serkin American pianist Peter Serkin, known for his commitment to contemporary music, died on 1 February at the age of 72. Serkin was born in New York City, and from the age of 11, studied at the Curtis Institute. His teachers included Polish pianist Mieczysław Horszowski, the American virtuoso Lee Luvisi and his own father – the great Beethoven interpreter, Rudolph Serkin. His career began in 1959, being invited to perform at Marlboro Music Festival and with such orchestras as Cleveland and Philadelphia. In 1966 he was awarded a Grammy for Most Promising New Classical Recording Artist. However, in 1968, shortly after marrying and becoming a father, he decided to cease playing, feeling burdened by his heritage and what was expected of him. He spent eight months in Mexico with his family, away from the piano, but a chance hearing of Bach on a neighbour’s radio made him realise that music was indeed his calling. And so he resumed concert life. During his career, he notably premiered works by Henze and Berio as well as performing the more standard fare of Bach and Beethoven. A recording of Messiaen’s Vingt Regards sur l’Enfant-Jésus at age 25 became iconic, with noted ‘deep understanding of the composer’s sound-world and its emotional extremes, coupled with considerable instrumental prowess’. Serkin held posts at Juilliard, Curtis Institute and Yale School of Music and was on the faculty of Bard College Conservatory of Music. He enjoyed summers teaching at Tanglewood Festival.

Hamish Milne British pianist Hamish Milne, known for his advocacy for the music of Medtner, died on 12 February at the age of 80. Born in Salisbury, Milne studied with Harold Craxton at the Royal Academy of Music and then in Italy with Guido Agosti (a Busoni pupil). At Siena’s Accademia Chigiana he heard classes by Casals, Cortot, Segovia and Celibidache – all of which made a huge impression. His discography comprises more than 25 albums: he was the first pianist to offer a comprehensive survey of the piano music of Medtner (aside from the composer himself) for CRD Records in the 1970s. He went on to record for Chandos, Danacord, Decca and Hyperion. Those recordings for Hyperion alone encompass the rarer repertoire including piano concertos by Joseph Holbrooke and Haydn Wood, solo piano music by Anatoly Alexandrov and a spellbinding disc of Bach transcriptions by Russian composers. Milne performed in recital, chamber and with orchestra – collaborating with such musicians as Boris Berezovsky, Martyn Brabbins, Konstantin Lifschitz, Lydia Mordkovich and Kurt Sanderling. Milne was a professor of piano at The Royal Academy of Music (Isata Kanneh-Mason was a pupil) and a Professor of the University of London. He was admired as much for his gentle demeanour as he was for his playing.

NEWS

Open invitation EPTA launches an inspirational new project encouraging performance at all levels and ages, explains its Chair, Murray McLachlan 2020 sees the launch of a nationwide series of new piano performance festivals for players of all levels and ages, organised by the European Piano Teachers’ Association (EPTA). The EPTA Festivals concept is unique in that it offers opportunities for players from pre-Grade One level up to the most advanced levels to perform together, on the same platform. Both non-competitive and competitive entries are accepted, and entrants can choose to play anything from three minutes or less to 30 minutes. The project is expanding, but so far, for 2020, festivals have been scheduled in West Midlands, Merseyside, Cardiff, Oxford, Manchester, Kent, Buckinghamshire, Surrey, Bristol, Cambridge, North Yorkshire, Essex and Belfast. The EPTA Festivals’ ‘anti competition’ ethos is emphasised by the way entries are adjudicated: each performance is given positive feedback, and ‘competitive’ entries are awarded a grading according to the criteria designed by EPTA. This is similar to the British Federation of Festivals grading system whereby exceptional performances are classified as ‘Outstanding’, very good performances as being worthy of ‘Distinction’, good performances as ‘Highly Commended’ and others as ‘Commended’. In EPTA Festivals there are no individual prizes and no rankings of performances, as in traditional competitions; everyone who plays receives a certificate and positive feedback as well as a brief verbal adjudication from a distinguished musician. However, there is an added incentive for competitive entries: all performers who receive an ‘Outstanding’ grade will be invited to perform at a

‘Live performance can, should, and indeed must, be for all’ prestigious future EPTA showcase recital, masterclass or workshop event. In the past these have included London recitals at St Martin’s in the Fields as well as concerts at the Royal Welsh College of Music and Drama, Chetham’s School of Music and the Royal Birmingham Conservatoire.

Pick and mix Because EPTA Festivals are organised solely by time duration of entries, rather than by level or style of composition played, it is possible for a huge range of music to be included, which means that in a ‘performance session’ – as we like to call it – a Grade 1 student who chooses to play a Burgmüller study might very well be placed right next to an advanced pianist with the ‘Emperor’ Concerto. In the first EPTA Manchester Festival, held at Chetham’s School of Music in January, adjudicator Anthony Williams was treated to an enormous range of music which included Mozart’s Menuet

in F played by a six-year-old pianist, some ABRSM Grade 2-6 works, advanced repertoire from adult amateur pianists (Chopin Nocturnes and Debussy Arabesques included), plus Beethoven and Bartók concertos performed by students from Chetham’s School and the Royal Northern College of Music. This made it an enjoyable experience for audience and participants alike. It was deeply inspiring for young beginners to share a festival with concert performers in their early 20s who enter international competitions, and for adult amateur players able to present what they wanted to play – in their own time and in their own way. In total, the Manchester festival presented over 158 performances; four adjudicators were working simultaneously in four jam-packed halls! The feeling of camaraderie was infectious – showing that live performance can, should, and indeed must, be for all. In particular, EPTA Festivals welcomes adult amateur players from pre-Grade 1 to advanced levels for participation. It doesn’t matter whether you use the music or play from memory, whether you play a transcription or an original piece, whether your piece is improvised, set for an exam or of a more popular nature. All pianists are welcome. We look forward to hearing from you! Pianist, teacher and writer Murray McLachlan is Chair of EPTA UK. For more information and to find an EPTA performance festival near you, go to www.epta-uk.org or contact Ann Burden: [email protected].

10. Pianist 113

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IN COLLABORATION With 21• Pianist 109

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PIANOWEEK.COM

INTERVIEW

TAP TO WATCH Watch Ludovico Einaudi play "Elegy for the Arctic"

TAP TO WATCH Watch Ludovico Einaudi play Fly from the Intouchables Soundtrack

Journey to

peace

Looking for inspiration, Ludovico Einaudi pulled on his boots, and the result is a seven-day cycle of music that continues to speak to our need for stillness in a busy world. Erica Worth meets the Italian composer and pianistGety

I

’m weaving in and out of the crowds at Tottenham Court Road when I hear the faraway sound of a familiar piece on one of the tube station’s public pianos. What is it? I can’t quite tell. A few paces nearer and – yes, of course! It’s Una mattina, a piece I first encountered within the soundtrack of Intouchables, the 2011 French film of an unlikely friendship. Our piano-playing commuter has drawn quite a crowd, but when he’s done, we have a quick chat. He’s self-taught, he says: having heard the piece by accident on YouTube one day, he knew he had to learn the piano in order to play it. I thank him for his time and tell him I am on my way to interview the composer of Una mattina. I’ve never seen someone’s jaw drop so fast. That’s the power of Ludovico Einaudi. But what is that power? What is so enthralling about this Italian-born pianist and composer that his concerts around the world sell out months ahead of time? Why does every album he releases rocket to the top of the charts? With over one million streams a day, he has become the most streamed classical artist of all time. Having emerged from the tube, I join Einaudi in a quiet corner of a London hotel. For someone nearing the end of seven concerts in seven days, he looks remarkably relaxed and fresh-faced. ‘I went for a walk in the park earlier,’ he says. ‘I was listening to a Beethoven quartet. I like walking. It keeps me in good shape, but it’s not just for that reason – it gives me a focus for when I perform. Walking gives me strength for seven concerts in a row.’

Photos: © Felix Broede

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13• Pianist 113

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Braving the elements Beethoven and Wordsworth famously took inspiration from walking. Now it’s Einaudi’s turn. ‘In January [2018] I went for long walks in the mountains, always following more or less the same trail. It snowed heavily, and my thoughts roamed free inside the storm, where all shapes, stripped bare by the cold, lost their contours and colours. Perhaps that feeling of extreme essence was the origin of this album.’ In 2019 Decca released Seven Days Walking, seven cycles of chamber music released over seven months from March to September. Day One outlines several themes which are developed through the cycle, like seven variations on a theme, or seven paths to reach the same destination, or the same path, retraced at seven different times. ‘In the end I decided to thread them all together in a sort of musical labyrinth,’ explains Einaudi, ‘a little like stepping inside the twists and turns of the creative process, to understand how a musical

INTERVIEW

Ludovico Einaudi Up close Do you have a favourite concert hall? I recently discovered Carnegie Hall, and the sound there is fantastic. I have a physical memory of it. You feel the sound is flowing and it’s very powerful. Do you encounter any technical hurdles? No. But it’s all about the touch, because I am searching for sound. It comes from the desire to get a sound that I hear inside. It’s not that I am using a technique, but it is the desire. Do you have a favourite piece in your output? Every piece of music is connected to a certain moment of my life, and every piece is an act of love. It’s difficult to say that you prefer one child to another. What would you be if you weren’t a pianist-composer? I really enjoy taking photographs. I probably could have enjoyed devoting more time to it. Is there one person that you’d love to play for? Maybe Chopin! I think it would be interesting to play and to discuss the idea of sound with him. I often feel that people play his music too fast and miss the colours of the chords. Do you meditate? No, I don’t. For me, meditation is when I do music. I dive very deep into the sound.

idea can develop in multiple directions, and changing once again at the moment in which it is heard.’ I tried to find a copy of the Seven Days Walking box set, but it’s sold out. Did Einaudi ever imagine such fame? ‘No, not to this level of international playing’, he tells me, as he looks back on his past. He was born in Turin into a distinguished family – his grandfather was President of Italy in the post-war years and his father founded the eponymous publishing house Giulio Einaudi Editore, which proceeded to dominate the Italian book-world for some decades, as well as writing several books on literature, history, philosophy, art and science. The boy Ludovico received his first piano lessons from his mother, Renata Aldrovandi, the daughter of a conductor and composer, Waldo Aldrovandi. He knew early on that music would become his life. ‘As a child I loved to play blues on the piano. There is a sequence of chords and you keep repeating them and you improvise. At the beginning you are not very good, but then it gets better. I remember doing this with friends: you play and you listen to each other, and

Pleasing himself Einaudi’s calm and simple style is a far cry from Berio’s language of avant-garde complexity. He finds it hard to put his finger on how he developed his own voice. ‘I didn’t know what to expect from people when I started to compose,’ he says. ‘What I can say is that when I eventually found my way, something I was connected with, it was right. It took me a while – I think I started this process when I was a teenager. I had difficulties with family issues and with relationships during some of my teenage years. Music had this ability to help me find myself, to be in touch with myself. ‘Once I began to study composition,’ continues Einaudi, ‘music became part of my life. In a certain way, formal studies slowed down what I was looking for. Studying was an intellectual process, but I guess I needed that background to understand my original ideas which I needed to follow. Sometimes in life there are moments when it’s like the adult world around you is telling you where to go, what to do and what not to do. But I think it’s important that at some point you take your decision and go for it.’

‘I quite like it that some of my melodies have a more connective function and others are more like mountains. It’s like different landscapes’ it’s an exchange. I started improvising and I enjoyed how at the start, you are not sure where it’s going. It’s a bit like when you are drawing as a child, you try to draw everything… but then the world becomes more narrow and you are taught to draw in a certain way. In music, you can choose an interval between two notes and you start looking at them, and then you start adding new notes. And you start to listen.’ Einaudi began his formal studies in Turin before entering the Giuseppe Verdi Conservatoire in Milan at the age of 18. Having graduated, he took an orchestration class taught by Luciano Berio and was awarded a scholarship to the Tanglewood Music Festival. In due course he became Berio’s assistant and accompanied the peripatetic composer around the world. 14• Pianist 113

As well as Una mattina, a favourite track of mine on the Intouchables soundtrack is Einaudi’s Fly. ‘Ah yes, Fly,’ he responds knowingly. ‘It’s a very simple idea. You start with a minor third, and from that minor third there are some notes that appear in the top and in the bottom. Going up you create a melody, and going down, the harmony.’ He thinks of his music in cyclical terms. ‘Seven Days is like a suite, a group of variations where some melodies are stronger than others. I quite like it that some of the melodies have a more connective function and others are more like mountains. It’s like different landscapes.’ As a composer, Einaudi’s first task is to please himself. ‘There is something I achieve which gives me the desire to play it, and play it more. Sometimes you

TAP TO WATCH Watch Ludovico Einaudi play Una Mattina

All photos: © Ray Tarantino

see the potential immediately, whereas at other times it takes a while and requires a transformation before you arrive at the point where it works. Every time I feel there is something stronger, it’s confirmed by the audience.’ Four chords Einaudi’s music doesn’t please everyone, however, and he often gets a rough critical ride. ‘I feel that the classical critics don’t get the meaning of what I do,’ he says. ‘For me, music is personal, it’s my life, it’s not really a job. So yes, sometimes it’s really insulting. But in a way it makes me understand that what I do is what I really want to do. I have a strong belief and have spent all my life doing this. A critic might say, “it’s four chords”. But there are painters who work with only four or five colours, for example, and I respect them. I may like it or I may not like it, but I respect it and I see that they have a vision.’ Those who do like it, and who want to play it for themselves, have no shortage of volumes published by Chester to choose from. Einaudi scores in Pianist most recently included Song for Gavin (issue 100). Like many of his pieces it has an improvisatory quality: does his music demand the same kind of fidelity to the

score as Beethoven sonatas or Debussy préludes? ‘It depends,’ he replies. ‘A score is meant to be considered and respected. Sometimes if there is a completely different vision, but it’s a strong one, then it could be fantastic. If it’s just played without a meaning, though, for me it doesn’t make sense to change it.’ Imitation is the sincerest form of flattery, they say, and Einaudi’s style – and success – has produced a host of easy-listening impersonators, who seem to think that all it takes is a few hours of noodling arpeggios at the piano. The man himself smiles. ‘There are many people that started and they liked the idea to compose, which is great. On the other hand, it took me years. Because there is a difference between something that is simple and something that is too simple! Mozart composed very simple melodies, but they are perfect. There is a very fragile line that you always have to consider. There is a mysterious line between simple and complex. Let’s say, there is a complexity behind simple.’ Back to the mountains The sound of the piano itself, of course, is central to his music, and Einaudi’s success has bought him a fine choice of instruments, including two Steinways. 15• Pianist 113

‘I keep a Model D at my house in the countryside,’ he says, ‘and a Petrof that belonged to my mother – I began to listen to the sound of the piano through my mother. In Milan I have three pianos: a Steinway B, a Bechstein, and a little piano I bought from Denmark. It’s a very small upright by the maker Zwicky, and the design is very beautiful. The sound is very soft, not too loud. It was popular in the 40s, 50s and 60s when people needed small pianos to fit into their apartments.’ He prefers to tour with one particular Steinway grand, supplied by Fabio Angeletti, who travels with Einaudi and his band. At the Barbican tonight, however, he’s playing an instrument provided by Steinway in London which he has also used to record several albums at Air Studios. What’s next? ‘I have three weeks off after this,’ he says, ‘and I will be in the mountains for a while. I will do lots of walking. And I will read books, to keep my brain going.’ Is another masterpiece on the way? ■ Seven Days Walking is available in individual volumes and as a collection (Decca 4818166, 7CD). To learn Song for Gavin, which featured inside Pianist issue 100, go to www.pktmags.com/pianist100

HOW TO PLAY A FEELING FOR THE KEYS

PIANO PROPRIOCEPTION Why look at the keys when you can stick to the score? Mark Tanner’s geography lesson will ensure you hit the spot (or the note), whatever the distance

P

roprioception is our ‘sixth sense’; how the body moves itself using proprioceptors located in our joints, muscles and tendons. Sometimes interchanged with kinaesthesia, proprioception explains how we coordinate simple as well as complex physical motor movements and store these away to be used when, say, riding a bicycle, striking a tennis ball... or playing the piano. For pianists, some of these movements can become ingrained consciously through mindful repetition, while others are subconscious, reflex-based or linked with left/right-handedness. Every task we encounter taps into our proprioceptive skills, starting with the simplest up/ down movements of one finger. Importantly, these movements live a kind of virtual existence as well as a practical one, helping us quickly to gauge intervals between notes and meet the challenges in any given piece. What’s more, the better able you are to ‘hear’ internally what is being played, the more reliable you will be. Ultimately of course, our technical skills need to be put to valuable musical purpose.

Eyes on the prize Proprioception is often oversimplified by pianists as how we become better able to keep our eyes on the page while doing all these impressively complex movements. It is certainly true that pianists often wish to ‘stream’

information from the visual to the physical in this way, culminating in flowing, beautiful music. But let’s keep in mind that keyboard geography – our ability to ‘map’ a real piano keyboard onto a mental one – assumes two things: Firstly, a capacity to locate any note at will, preferably unsighted, and then to quickly gauge intervals between single notes and more intricate textures. This in itself presumes good spatial awareness and a fair degree of confidence. You may find that these skills are best honed with your eyes open – not looking down, but kept in roughly the same plane

5

TOP TIPS

DON’T LOOK NOW

1

Keyboard geography is better thought of as ‘topography’, since the physical height of the black keys offers immeasurable advantages when locating single notes, chords or patterns.

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Piano playing isn’t just a matter of moving the correct fingers, it’s about forging a link between each movement using ‘muscular memory’.

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Advanced proprioception skills lead to freedom of movement. This minimises the need to look down at the hands.

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Peripheral vision will help to keep your head still and your eyes on the page. For very tricky passages in one hand, the hand playing ‘easier’ music can be trusted to function on its own.

5

The more harmonic detail your eyes can drink in from the page, the less inclined you’ll feel to look down at your hands. 16• Pianist 113

as when reading from sheet music, rather than with your eyes closed. Experiment and see what works best for you. Heightened proprioception skills explain how advanced pianists patiently develop ambidexterity to the point where one hand might be reeling off scalic runs while the other is doing something entirely different, such as leaping, playing thick chords or florid accompaniments. All the while, they are listening intently and monitoring how the musical texture is building up into a meaningful experience. Feel your way to security Although most of us probably learned our keyboard geography visually – locating the black keys first – it’s the piano’s tactility that ultimately helps us to become adept at moving easily around the length of the keyboard. The fact that the black keys stand proud of the whites is the most indispensable physical aid we pianists could have ever wished for. Try the following progressive exercises by feel. Do each one ten times, quickly and decisively. • Locate a C in the RH with your thumb by finding any pair of black keys with your second and third fingers, then simply allow the thumb to settle comfortably. Now move up and down the keyboard finding Cs. • Locate an F in the RH with your thumb by locating any set of

three black keys with your second, third, and fourth fingers, then simply allowing the thumb to rest naturally. Your fifth finger can locate another C from here. • Now find and play a C octave. First, quickly locate the lower C with your thumb and then use the second, third and fourth fingers as silent locators, just as you did when targeting the F and upper C. • Having located these notes, you can quickly find any others using the remaining fingers. • Get your LH doing similar activities. Begin by locating a group of three black keys with your second, third and fourth fingers, then playing the C with your thumb.

EYES WIDE SHUT

then freeze over the key(s), with eyes closed, and use nearby black keys to confirm accurate placement before committing. Peripheral vision Inexperienced players continually switch focus from the page to their hands. This is because they’ve not yet cultivated the necessary faith in their proprioception skills. This limits the speed they can read and play, but also their level of accuracy, especially if the hands are further apart. In contrast, a proficient player will be continually sizing up the music’s vertical dimension on the page in order to get a better fix on its harmonic shape. Peripheral vision

Mark Tanner’s advice for feeling your way around three of this issue’s Scores Ludwig van BEETHOVEN (1770-1827)

BEGINNER

German Dance WoO 8 No 1

Beethoven German Dance (p32): For 12 of its 16 bars, the LH stays conveniently {{ { in one place on the keyboard, with a {{ { brief octave interlude (dominant and {{ { tonic, bars 11-13) calling for a bold shift in position. Initially, as you strike the C chord in bar 8, glance down and reposition the hand for the first of these octaves. These can then be made into a fun practice loop – use your second finger as a silent locator, first on the C#, then on the G#. TRACK 2 & 3

bit faster. It’s interesting to see with a moderato tempo and once a fair different tempos. how different a piece can sound in two the score. Look closely at the technical tips within

Dances. This feisty 17-bar Beethoven wrote many collections of German comes from his collection of 12 Dance in C major, composed in 1795, Li to record it twice: once Dances WoO 8. We asked pianist Chenyin

second beat of the bar In the RH, make a good emphasis on the a lively dance-like feel. (the sforzando minim) in order to create the note before it – that should help.

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32• Pianist 113

04/03/2020 10:59

Johann Sebastian BACH (1685-1750)

DON’T MISS NILS FRANKE’S

LESSON THIS PIECE

INTERMEDIATE

Bach Prelude in D minor (p44): For just one quarter of its duration, the LH { { breaks away from playing crotchets and { quavers. From a keyboard geography { perspective, tackle the semiquaver exchange (bars 39-43) early on, preferably memorising these notes to ease the transitions. Elsewhere, trust your LH to pull its weight without looking down, and make block chords out of the RH running quavers to reinforce the music’s harmonic flow. TRACK 9

ON

Prelude in D minor BWV 926

PAGE 22

speed that suits the music. Franke that it is up to the performer to find a also explains how to play the mordents. markings. We suggest the odd Pedal tips: Bach’s music is devoid of pedal to play without. dab here and there, but it is equally fine on page 22. Read Nils Franke’s step-by-step lesson

aside from those that Bach wrote a number of standalone preludes one belongs to his set of 9 feature in his Well-Tempered Clavier. This in 1720. Kleine Präludien (9 Little Preludes), composed indication. Nils Franke, who Playing tips: The composer offers no tempo equals 160, but he adds gives his lesson on page 22, suggests crotchet

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44• Pianist 113

09/03/2020 10:07

Every task we encounter taps into our proprioceptive skills, starting with the simplest up/down movements of one finger

Frédéric CHOPIN (1810-1849) arr. Henry MAYLATH (1827-1883) Berceuse

start working on the hard bits first, Playing tips: It’s always a good idea to there are still many and even if this arrangement is ‘simplified’, from bar 19 onwards – challenges: Spend time on the RH figurations on them slowly, hands taking these passages out of context, working by bar. separately, building up the process bar Pedal tips: See markings on the score.

Andantino q = 1 04

6 &8

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is all that’s required when playing. We easily squader time and energy when playing from memory by turning the head to the left and right, whereas a professional player returns their focus to the middle of the keyboard wherever possible to gain a ‘helicopter view’. In addition to the mechanics of finding our way around the instrument, piano proprioception is about combining legato and staccato notes, or loud and quiet, fast and slow-moving patterns/cross-rhythms. We should practise each aspect in every way imaginable, first in isolation, then in combination, always remembering that we’re practising a brain activity, not just finger movements. By patiently building an awareness of how the keys feel under your fingers, the piano in your head will come to life. Advanced proprioception skills make us masters of our own universe. n

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• Progress to finding steadily more tricky combinations of single notes and even chords – say, E-G#-B in the RH and octave Es in the left. • Now try something even more challenging: a chord of Ab-D-G in the RH (thumb on the Ab, 2 on the D) and octave Bbs lower down in the bass! You can use this new-found confidence to instantly reposition either or both hands in any piece you happen to be learning.

INTERMEDIATE

Chopin arr. Maylath Berceuse (p46): This simplified C major version of { { Chopin’s Berceuse cunningly conveys { much of the charm of the original (in D { flat). It’s the perfect example of needing to entrust the LH to do its ‘thing’, while the RH takes on increasingly convoluted figurations. A fun preparatory exercise would be to see how rhythmically and accurately you can sustain this accompaniment while looking away and reciting your 9 times table, or listing family members’ names in reverse letter order. TRACK 10

composer and pianist. He Heinrich Maylath was an Austrian Romantic name change to Henry) and moved to New York in 1867 (hence the and composer for the piano. He made a reputation as a pianist, teacher but today, alas, almost unknown. was incredibly prolific in his lifetime, challenging Berceuse will allow This simplified arrangement of Chopin’s a try at Chopin’s melody. the intermediate-level pianist to have

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46• Pianist 113

04/03/2020 11:04

COMPETITION

Mark Tanner is kindly giving away three copies of his latest book, The Mindful Pianist, published by Leaping Hare.

For more information, visit

More about Mark Tanner at www.marktanner.info. 17• Pianist 113

www.pianistmagazine.com

HOW TO PLAY THE MYTH OF THE WEAKER FINGERS

FEELING STRONG Try some whole-arm choreography, and your weaker fourths and fifths will sound just as strong as the rest, says pianist and piano teacher Graham Fitch

W

hen everything seems to come out effortlessly at the piano, it is easy to feel we have ‘strong fingers’. Science has shown us that this perceived strength is not really muscular as such, rather the result of coordinated, economic movements at the keyboard that come from a body that is free of tension – the hand, fingers and arm working together. Pianism has come a long way in recent decades as we sift through the legacy from our forebears, challenging pedagogical beliefs (including so-called finger strengthening exercises) that were once widely accepted. Given that the fingers are inherently unequal in strength, attempting to make the weaker fourth and fifth fingers as strong as the thumb, second and third fingers seems doomed to failure. Modern trends in piano technique tend to favour coordinated movements of arm and finger, taking the whole body into consideration, rather than fighting against Mother Nature. In this article, I would like to explore some ways of choreographing our movements on the keyboard that empower the outer side of the hand.

by itself before the other notes can be added. The fifth finger is firm with all knuckles supported, the arm aligned behind it on every note.

Voicing first Let’s start with a quick look at voicing. Many players struggle with passages such as the start of Brahms’s G minor Ballade (Op 118 No 3), where we need to project a main melodic line with the fifth finger at a forte dynamic level. Doing this comfortably may have more to do with balancing and voicing rather than attempting to force the pinky. In passages such as this I recommend extracting the top line and playing it by itself until it feels and sounds strong. Think of this line as the leader of the orchestra – it needs to be beautifully shaped and characterised all

A useful second stage is to play the top line while shadowing the lower notes – touching the keys but not allowing them to speak. Then play the top line forte, the lower notes piano. When you arrive at your final sound, the lower notes will support the upper line without covering it.

@ GET IN TOUCH Graham Fitch would like to hear from readers who have piano-playing questions, whether about a cer tain technique or a passage in a piece of music. Please write to the editor at [email protected]. Due to the large number of requests, Graham may not be able to answer each one submitted.

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Alignment A student once brought Beethoven’s Sonata in E Op 14 No 1 to a class. Before he played a note, he pointed to a spot in the development section, asking me for some exercises to strengthen his fourth and fifth fingers because they were weak and he couldn’t manage the LH at speed.

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No wonder he was struggling. He was playing the broken chords by lifting the fingers from a fixed hand position, aligning the 18• Pianist 113

TAP HERE TO WATCH GRAHAM’S ONLINE LESSON arm over the thumb and second fingers; anyone would feel weak doing it that way. Rather than spend any time doing unnecessary exercises, we explored some ways of mobilising the hand. The first thing we did was to remove the stretch by adding small lateral adjustments in the wrist to place the arm behind each finger as it played, giving the thumb permission to move away from the C somewhat as the outer fingers lined up with their keys. After he had found some flexibility we converted the lateral movements into wrist circles by bringing the arm up and round on the fifth finger, down and round on the thumb. Within a few minutes, this passage was much freer and more manageable. The fifth finger felt strong now, since he was using it as an extension of the arm rather than as a small, independent digit. As we increased the tempo, the spinning motions became smaller and smaller until they were hardly noticeable – just enough to control the passage. In his book What Every Pianist Needs to Know about the Body, Thomas Mark writes: ‘Saying that we play the piano with our fingers is like saying that we run with our feet. The fingers move when we play the piano and they are the only parts of our upper body that touch the piano. Similarly, our feet move when we run and are the only parts that touch the ground. But a runner who tried to improve his running by keeping his legs motionless and doing foot exercises would be ridiculous. He is similar to a pianist who keeps his arms motionless and exercises his fingers, although what the pianist does has the sanction of tradition. We play the piano just as we run: by complex coordinated movements of our whole bodies.’ Rotation The RH zig-zag patterns in Chopin’s Etude in A minor Op 25 No 11 (the so-called ‘Winter Wind’) are extremely tiring if we attempt to play using fingers lifted from the main knuckles. This is an obvious place for forearm rotation; the fourth and fifth fingers will not feel at all weak if we think of them as extensions of the arm, allowing the forearm to swing them into the keys. Some basic rules apply. While the elbow must of course move horizontally as the note patterns ascend and descend, we must avoid dipping up and down in the elbow – keep it as a stable joint. In and out movements from the front of the key towards the back are of course necessary, depending on where we need to place the long (second, third and fourth) and short (thumb and fifth) fingers on the ever-changing black-white terrain of the keyboard. “” 5

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There is no better workout for the outer hand than Chopin’s Etude in A minor Op 10 No 2. For 48 bars the RH has to play a long legato line with the third, fourth and fifth fingers in unbroken semiquavers (sixteenth notes), while adding the thumb and second fingers on the main beats to make chords.

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If double-note scales and exercises have been part of the developing pianist’s staple diet from the intermediate level up, we can gradually build up to the point where an étude at this level of virtuosity becomes possible. Double notes are excellent for the hand, since the weaker outer part of the hand needs to match the inner fingers in agility and strength. Let’s look at a scale in chromatic minor thirds, directly relevant to this Etude. You’ll notice the upper part of the scale is taken by the ‘weak’ fingers (third, fourth and fifth) and the lower part by the strong fingers (thumb and second). For the top fingering, it helps to know the pattern: third goes on all black keys, fourth goes on white keys except where two white keys appear side by side (E-F and B-C), when fifth is used. Once we are clear on this, we can practise chromatic scales using just third, fourth and fifth fingers until we can manage them fast and evenly starting from any note (aiming for four octaves up and down, or down and up). Do this for several weeks before studying the Etude. 3 2

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There are many interesting studies that focus on double notes. For the lower intermediate level, I can highly recommend La petite réunion from Burgmüller’s Easy and Progressive Studies Op 100. Czerny’s 160 Eight-Measure Exercises Op 821 contain a number of useful studies that are short and focused, as do Moszkowski’s 20 Petites Etudes Op 91. There are plenty of others, of course. Include some double-note work in your technical regime, taking into account the principles of alignment I have described in this article, and your outer fingers will not feel weak and will no longer be a handicap. n See Graham’s video demonstration for Pianist (www.bit.ly/Graham113), and his in-depth series of articles on double notes at the advanced level in the Online Academy (www.bit.ly/doublenotes).

19• Pianist 113

HOW TO PLAY ABILITY RATING LATE BEGINNER

DUVERNOY STUDY IN F OP 176 NO 17 Don’t be fooled by its carefree demeanour, says Melanie Spanswick: this Duvernoy study requires some diligent slow practice and ten well-articulated digits Key: F major Tempo: Waltz Style: Romantic Will improve your: ✓ Articulation ✓ Touch ✓ Evenness

An etude (or study) focuses on a particular technical challenge. It allows the pianist to surmount the difficulty via careful repetition. This study, by the Romantic French composer Jean-Baptiste Duvernoy, offers up the chance to practise several touches: staccato in the LH combined with a legato leggiero (i.e. smooth, light and graceful) articulation in the RH. It moves along swiftly at a dotted minim equals 68 beats per minute, and the style is that of dance – or more specifically, a waltz.

expected for a waltz style. A waltz demands a clear three-in-a-bar lilt, and it’s ultimately up to the LH to capture this character. The RH melodic line consists of a quaver pattern not dissimilar to a trill or ornament. The pattern is repeated almost throughout the piece, and one vital element is to make sure the quavers are evenly placed. When learning the notes, keep in mind the position changes: ‘block out’ or play together the notes in each bar from bars 1 to 3, noting the importance of fingers 1, 2 and 3, and how their use encourages the hand to move position at the beginning of every bar. This position change also occurs at bars 9-11, 25-27 and 33-35.

© Erica Worth

The LH provides the important accompaniment. For quick study, play through the entire LH part ‘blocked out’ as one chord per bar. I frequently refer to this technique as it’s an easy way to learn the notes, fingering and any chord or hand-position changes. As an example, play all the notes in bar 1 (the F, A and C) together, with the correct fingering. Now repeat this throughout. When playing as written, notice how much simpler it is to locate the note patterns. The staccato touch, which is a feature in the LH, will require crisp articulation. When practising, play each note lightly, leaving the key swiftly, so that every quaver beat is short yet elegant – and ensure the quaver rests are fully observed. As you become more secure with the note patterns, give the first beat of the bar a firmer touch, keeping beats two and three lighter, as is

Jean-Baptiste DUVERNOY (c.1802-1880) 17

DON’T MISS MELANIE SPANSWICK’S ON

BEGINNER/ INTERMEDIATE

Elementary Study Op 176 No

LESSON THIS PIECE

TRACK 5

PAGE 20

Duvernoy designed his Op French Romantic composer Jean-Baptiste and coordination. However, they 176 studies to improve finger dexterity to learn and perform. The graceful are also full of charm – and a pleasure

and light fingerwork plus a No 4 appeared inside issue 109. Nimble study. strong sense of rhythm are key in this lesson on page 20. Read Melanie Spanswick’s step-by-step

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Practise the RH quavers slowly, with a heavy or deep touch. For precision, aim to count out loud in semiquavers, placing the quaver beats, taking care not to rush on to the next note. The final quaver of each note-group (in every bar) needs a slightly sharper staccato touch. Once secure at a slow tempo, lighten your touch and add speed. The addition of the rest at the end of the bar provides a place to release tension, because any repetitive pattern could potentially cause the hand and wrist to ‘lock’ or become tense.

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34• Pianist 113

04/03/2020 11:01

SCORE ON PAGE 34

Notice the vertical wedge sign on the first beat of the bar in the RH. This asks for a marcato touch 20• Pianist 113

(‘well-marked’). You will need a firmer articulation on the first note in every bar, but when the fourth and fifth (weaker) fingers are employed at the start of the bar – which occurs at bars 5-7, 18, 20 and 29-31 – ensure the notes are played clearly. Try to use the tip of the fingers, allowing the hand and wrist to support the weaker fingers.

LEARNING TIP Consider minimal use of pedal – a quick touch at the ends of longer phrases is ample.

Now to practise hands together. Begin slowly with a legato touch, in order to assimilate coordination and position changes. Next, take a bar at a time and focus on keeping the RH line smooth and even, and the LH part short, detached and light. The final beat of bars 1-3 (and all similar) should ideally be the lightest in the bar, both hands coming off together with a distinct gap in the sound as the final quaver rest is implemented. This gives the music time to ‘breathe’. This lively and delicate waltz should never be rushed. Take care to mark the rests at the ends of four-bar phrases such as at bar 8 (beat 1), bar 16 (beat 3), bar 24 (beat 1) and bar 32 (beat 1). Finally, allow for proper ‘breathing’ time at the ends of phrases that have a minim beat in the RH, such as in bar 4, 12, 16, 28, 36 and 40. n www.melaniespanswick.com

21• Pianist 109

HOW TO PLAY ABILITY RATING INTERMEDIATE

JS BACH PRELUDE IN D MINOR BWV 926 Decisions, decisions: Nils Franke explores the implications of playing Bach on the modern piano Key: D minor Tempo: Personal choice Style: Baroque Will improve your: ✓Touch ✓Ornamentation ✓Stylistic understanding

Playing Baroque keyboard music on the piano is a wonderfully free and creative process. There are no dynamic indications, no articulation marks, no tempo indications. In other words, we need to make this piece our own by combining what we know about performance practice of the period, and what today’s instrument enables us to do.

three notes of the D minor triad – D-F-A – are audible, which if applied consistently, will make the tempo sound faster than it actually is. The second factor is that the semiquavers in bars 39-42 should sound clear; fluid but not hurried. Most of the ornaments should be played as mordents or inverted mordents. For example, the ornament in bar 1 is an inverted mordent (D-C#-D), and in the RH of bar 16 it is a mordent (A-Bb-A). The ornament in bar 44, however, can be played as a trill that starts on the upper note (F-E-F-E etc).

This prelude would have been played on both the harpsichord and the clavichord. The former produces a plucked sound, the latter offers direct contact with the string, including the capacity to aim for vibrato on a keyboard instrument. It seems that even in Bach’s time different ways of playing the same piece would have applied, which takes us back to why playing this type of music can be such a creative process. Taking the harpsichord sound as an inspiration, as Chenyin Li’s recording does so effectively, the quavers should be detached to about half their notated value and the semiquavers are best approached as having a non legato sound on the piano.

It is possible to play this piece with broadly one dynamic level throughout. But most pianists employ subtle shading in response to harmonic or textural changes. For example, the ascending D minor triads in bars 7-8 tend to attract a slight crescendo, as do bars 43-44 in which the gradual getting louder goes hand-in-hand with a stretching of time, to underline the sustained cadencial writing that culminates in the trill of bar 44. JS BACH (1685-1750)

DON’T MISS NILS FRANKE’S

TRACK 9

The choice of tempo is inevitably a personal decision. For me, there are two contributing factors that help identify a performer’s ideal speed. The first is a crotchet speed that allows for the quaver notes on each beat of bars 1-6 to be heard clearly. In bar 1, for example, this means that the

LESSON THIS PIECE ON

INTERMEDIATE

Prelude in D minor BWV 926

PAGE 22

speed that suits the music. Franke that it is up to the performer to find a also explains how to play the mordents. markings. We suggest the odd Pedal tips: Bach’s music is devoid of pedal to play without. dab here and there, but it is equally fine on page 22. Read Nils Franke’s step-by-step lesson

preludes aside from those that JS Bach wrote a number of standalone one belongs to his set of 9 feature in his Well-Tempered Clavier. This in 1720. Kleine Präludien (9 Little Preludes), composed indication. Nils Franke, who Playing tips: The composer offers no tempo equals 160, but he adds gives his lesson on page 22, suggests crotchet

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44• Pianist 113

04/03/2020 11:04

SCORE ON PAGE 44

Some thoughts about Baroque fingering. There is still a debate amongst pianists about the extent to which the thumb is to be used in Baroque keyboard music, and what that means for playing Bach on the piano. However, it seems that even as early as 1751, it was clear that the thumb was to be used systematically. Bach’s son 22• Pianist 113

Carl Philipp Emanuel advised the following in his Essay on the True Art of Playing Keyboard Instruments: ‘Those who do not use the thumb let it hang to keep it out of the way. Such a position makes even the most moderate span uncomfortable, for the fingers must stretch and stiffen in order to encompass it. Can anything be well executed that way? The thumbs give the hand not only another digit, but are the key to all fingering. This principal finger performs another service in that it keeps the others supple…’

LEARNING TIP Play the ornaments as lightly as possible to facilitate quick playing.

CPE Bach’s thoughts on fingering contain excellent advice. Much of this has stood the test of time and can still be applied today. One of his generic yet practical suggestions is that good fingering anticipates what happens next: ‘While playing, always think ahead to the approaching notes, for these often necessitate modification of a normal fingering.’ His advice can be applied here, whether at a fundamental level where we debate the use of the thumb on a black note, or the descending scale patterns of bars 9,10, 13 and 14, or in anticipation of the change of texture at the beginning of bar 44. It’s all about decisions. n Find out more about Nils Franke at www.nils-franke.com.

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01) T (1820-19 No 17 Cornelius GURLIT Song Op 117

PLAY PLAY TRACK the and TRACK the gentle accompaniment the bar. up. The LH is the first beat of down or speed emphasis on sure not to slow make a slight from the crescendo melody. Always fellow composer of mezzo forte. Aside RH the pretty studied with mood is one not rise above composer who Copenhagen, at bar 12, the dynamics do Balakirev’s Islamey it!). is a favourite for virtuso pianists, but the Russian composer and teacher in was a German Note how the the diminuendo legato without Cornelius Gurlitt in bar 3, and success as a performer of Altona to end his career to make a fine also wrote more accessible pieces for the piano, such as this Mazurka. and diminuendo player. father. He won required (try to his birthplace Carl Reinecke’s more advanced Pedalling is not Playing tips: This is a luxuriously romantic piece. Even if it may appear that you before returning 34 pieces in total. exercise for the utter tranquility. silently for Rome and Leipzig First Lessons Op 117 comprise a perfect sight-reading might need a wide hand span to cover the LH chords, you will notice that they Count the pulse His This piece is as a bandmaster. is needed throughout. to keep in time, making can be spread (arpeggiated) and that the RH can sometimes take the top notes calm tenderness It is most important Playing tips: A of the chord (e.g. bars 3 and 4, and so on). Make sure to keep to keep the before you begin. melody about three bars

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HOW TO PLAY ABILITY RATING ADVANCED

BRAHMS INTERMEZZO IN F MINOR OP 118 NO 4 Although relatively short, this agitated Intermezzo is condensed in its musical challenges. Establishing a good sense of line will help, says Lucy Parham Key: F minor Tempo: Allegretto un poco agitato Style: Romantic Will improve: ✓ Sense of line ✓ Balance between the hands ✓ Use of rubato

This Intermezzo is one of the less frequently played pieces from Brahms’s Op 118 set. It is full of musical challenges and can be hard to pull off. One needs an incredible control of the instrument, a real ability to use rubato perfectly and tastefully, and a well-honed sense of line and structure. An underlying restlessness should prevail at all times (note the ‘agitato’ at the start). This is the language of Brahms’s maturity. And it needs to come directly from the soul.

a seamlessly woven duet. The underlying triplet figure should be even and carefully balanced. Make sure that it doesn’t overpower the top line, even if it is still of great melodic importance. The dynamic marking at the opening is piano. I suggest you bend your fingertips and keep very close to the keys, maintaining your best legato. The quaver rests in each bar are also important – see how they carry on through the whole first section.

Begin by trying to learn the first two lines as block chords. This means playing the triplet figures as a whole crotchet chord so that you get to feel the exact hand placement. Each hand is moving up and down, in and out, and getting these movements ‘set’ will help you enormously. Notice that the tempo marking is allegretto and not allegro. The allegretto gives it a sense of direction, but in no way should this work be played too fast. Spot the accents in the first line: the RH C passes to the LH C and subsequently the RH F passes to the LH F.

At bar 6 highlight the RH G. It’s the highest note we have had so far, so it is melodically significant. This line drives forward to bar 9 which is the first small climax of this opening phrase. Keep the melodic tension going through bars 9 and 10, really highlighting the melody as well as showing us the two-against-three rhythms. Ebb away beautifully from bar 11, until the melody starts again at bar 12 (second beat).

DON’T MISS LUCY PARHAM’S

TRACK 14

LESSON THIS PIECE ON

Johannes BRAHMS (1833-1897)

WATCH CHENYIN LI PLAY THIS

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© Sven Arnstein

E.COM AT WWW.PIANISTMAGAZIN for the performer: the pianist deceptive! There are challenges aplenty a real ability to use rubato needs an incredible control of the instrument, sense of line and structure. perfectly and tastefully, and a well-honed And it needs to come directly This is the language of Brahms’s maturity. from the soul. 24. Read Lucy Parham’s lesson on page

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These accented notes need to resonate like bells. Feel as if you are literally passing one hand over to the other – a bit like when you hand a baton in a relay race! It is important to make the hands ‘speak’ to each other – like

ADVANCED

Intermezzo in F minor Op 118 No 4

PAGE 24

Clara Schumann in his head. Brahms wrote his late piano pieces with always bearing in mind her He would send them to her for her approval, stretches and a lot of filigree arthritic hands and trying to avoid huge difficult at that point in her passage work which she would have found might, at first sight, seem less life. However, even if these mature works remembering that looks can be technically complicated to play, it’s worth

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each one, using a small amount of rotation between each group of two. It is essential to cling to the lower notes, as they provide crucial harmonic foundation. Your fifth finger of your LH is always paramount. It will help also to think of the fifth finger of the RH and use both of these outside fingers to guide you. The LH in bar 19 is challenging because of the big intervals. Rotating your hand between the fifth finger and the thumb will help. In bar 28 the mood changes a bit and the agitato increases. The same idea of passing the phrase from the LH to the RH still exists. Crescendo through these bars and don’t forget that the LH is just as important as the RH. The texture in these bars is also crucial: there are thirds in both hands and you don’t want to overpower the sound. Having said that, both notes within the thirds need to be heard.

In bar 12 the second statement of the opening phrase repeats itself. But it only lasts till bar 16. Here, the open octave triplets give a sense of haunting and desolate emptiness. It is important to play them delicately and with a sense of flexibility that is not exactly in metronomic time.

The climax of this section is at bar 31. Begin to decrease the sound and feel the harmony as the music goes lower and lower down the keyboard – the lowest point being the final LH quaver of bar 35. Sink into all these descending bass notes (end of bar 32 to the beginning of bar 36), always catching the bottom note of the group with the fifth finger.

The section between bars 18 and 27 needs to be played legatissimo. Crawl over the notes, clinging to

Bar 35 to 37 leads us back into the final statement of the opening theme. We are heading

15

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SCORE ON PAGE 61

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towards the central section. Note the change of direction in bar 45. This is especially important if you are trying to memorise. Give the repeated Cs the significance that they deserve. They were so prevalent at the start and have been brought back to lead us into the central section. Balance them beautifully and lead one C to the next, making the final RH C in bar 49 particularly beautiful and weighted. Listen to the note as it dies away. Keep the sound in your head and try to match it perfectly as you play the last C at the end of the line – this time, however, it appears as the top note of a chord (end of bar 51).

LEARNING TIP Learn hands separately: the LH has some tricky leaps (for example, bar 19).

make sure that each note speaks equally, as they form the underlying structure for the RH. The accented chords at the end of bars 95 and 97 also need proper arm weight (a full weight coming from the shoulder). The final full appearance of the main theme appears in bar 99. For the first time it is forte. The section from bar 99 to bar 123 is the most climactic part of the whole piece. It requires a full, orchestral sound and a drive that must never falter. It is an impassioned outcry and this sense of pleading and agitation in equal force is something that you must never lose. The importance of the repeated accented C (RH) returns at bar 118. Give these notes the prominence that they deserve. Bars 123 to 128 see the final utterance of the theme. Once again, it is based around

The central section at bar 52 is marked dolce sempre (always tenderly). I like to imagine this section as if it were veiled. By writing off the beat, Brahms creates a lilting feeling which should never be heavy and needs to keep a real sense of direction. Always think over the bar and into the next one. Bar lines are the enemy here! Pedal on the bar line but think over it. Also notice how Brahms passes the RH to the LH in the same way that he did in the beginning. The notes are more sparse now, though: instead of the earlier triplet figuration, we have single crotchets. The second crotchet in bar 75 is subito pianissimo. It has a feeling of desolation and needs to have a special colour. Notice the lowest point of the piece – the C in bar 83. This intense ‘depth’ needs to be reflected in your playing. In bar 91 the opening material resurfaces. But this time with a passion that is as yet unheard. All parts are equally important – the soprano, the tenor and the bass. When playing the bass semiquavers in bars 96 and 97, 25• Pianist 113

semiquavers and slurs. Notice the descending line of the LH (first quaver beat, to be played with the fifth finger). In each subsequent bar it gets lower and lower as the RH gets higher and higher – the climactic moment being at the end of bar 126 when all the parts come one on top of the other in a moment of great passion and beauty. Careful practice is an absolute must in order to isolate each line. Sink into the chord of F major at bar 129. Broaden the tempo slightly as each subsequent chord gets that little bit quieter each time. Leave the pedal down for these last five bars and make sure not change it. Lift the hands slowly at the end in order not to break the spell. n More about Lucy Parham at www.lucyparham.com

F O R T H E T E AC H E R

PIANO TEACHER HELP DESK

g in d a e ’ r th ig s st ju t o N ‘ Good sight-readers are made, not born – and if you practise sight-reading using Kathryn Page’s way, you’ll find yourself on a much more enriching musical journey

© Erica Worth

T

here are far too many pianists of all ages around today who are lacking in the ability to read music as fluently as they can read English. This need not and should not be the case, but in order to change things we need to get our pupils to experiment and explore music from different angles in their own time – regularly, and with a practical rather than solely theoretical emphasis. A student’s success in the sight-reading test is a reflection on many different elements of their musicianship, and teachers need to nurture sight-reading skills from all the different angles in order to develop their full potential. Let’s begin with rhythm. It is well known that a solid rhythmic awareness and a steady course of purely ‘rhythmic sight-reading’ is of great benefit for fluency. In an area of endeavour where continuity and lack of gestation is paramount, secure rhythm remains one of the most important prerequisites for fluent reading. Committed students should never resist the temptation to tap along with music they hear randomly in every-day life, nor to swing and bounce in the piano stool when practising their prepared repertoire. There are many books with exercises available to develop rhythmic coordination, but perhaps the most systematic approach for everyone who struggles here is to take a course in Dalcroze Eurythmics. If this is not practical, then try working systematically through Paul Hindemith’s Elementary training for musicians. This was one of the

Kathryn Page has appeared in concert and on television as a soloist and in chamber music. She is a teacher, adjudicator and administrator for Chetham’s International Summer School and Festival for Pianists, as well as the Manchester International Concerto Competition for young pianists. She lives in Cheshire and has five children.

first rhythmically-based courses in pedagogy to appear and it remains one of the most systematic and exhaustively comprehensive. Next, let’s look at technique. We should never forget that posture and eye level/fluctuation has a considerable impact on sight-reading ability. Avoiding looking at your hands as you play is one of the quickest ways to dramatically improve your sight reading! It also encourages better posture as well as a stronger awareness of the keyboard’s geography [more about this subject in Mark Tanner’s masterclass on page 16]. Insisting that pupils refrain from looking down as they practise their scales and arpeggios will therefore nurture better reading skills as well as an improved technique. Be a detective We could go on and discuss a whole range of separate ‘subjects’ which will unquestionably enhance better reading at sight – for example, secure theoretical knowledge and a heightened awareness of style, developed through lots of listening. As indeed is the development of short-term memory: Give a pupil a bar or two with 30 seconds or more to internalise all the information on the score. Take the music away and 26• Pianist 113

ask them lots of questions! I would argue that copying excerpts of music by hand before playing from the handwritten copy made can be a tremendous help, provided musical engagement is present. Let’s close by suggesting the most obvious nurturing sight-reading approach for lessons and practising is analytical. If your pupils develop a curious, enquiringly enthusiastic approach to music analysis from lesson one, this can be adopted for every excerpt of music that is played, practised, looked at or listened to throughout their musical journeys. Enthusiastic analysis will lead to greater love and fascination for the music being studied. Analysis begins with observations and questions. Teachers can start with prepared pieces in lessons before moving onto music they have not seen before. Ask your students not only the obvious things, such as what key and time signature are we in, but go deeper into the make-up of particular sections of the music by getting pupils to play the basic chord progressions, the essential intervals used, and the main motifs. Go further by extending with improvisation ideas from the pieces that seem exciting to develop. In this way sight-reading will extend the creativity and inspiration in every pupil’s musical life. n

Pianist 113 April-May 2020

THE Scores Watch the lessons, play the scores

Teachers Graham Fitch, John Maul, Tim Stein and Frances Wilson coach beginner basics and advanced techniques including posture, pedalling, repeated notes, arpeggios, hands separate practice, fingering and more. Masterclasses from concert pianists Martin James Bartlett, Emmanuel Despax, Pavel Kolesnikov, Chenyin Li, Noriko Ogawa, Samson Tsoy and Luka Okros on popular repertoire including Debussy’s Arabesque No1, Schumann’s Kinderszenen, the Chopin Préludes and Georg Benda’s Sonatina in A minor.

Visit pianistmagazine.com/lessons

Contents 28

KEYBOARD CLASS Interchange between the hands

31

SPINDLER Song without Words

32

BEETHOVEN German Dance WoO 8 No 1

33

SCHYTTE No 8 from 25 Melodious Studies

34

DUVERNOY Elementary Study Op 176 No 17

36

BEETHOVEN Waltz Anh 14 No 1

38

FILTSCH Romance Op 3 No 1

42

SATIE Idylle, No 1 from Avant-dernières pensées

44

BACH Prelude in D minor BWV 926

46

CHOPIN ARR. MAYLATH Berceuse

50

CHABRIER Ballabile, No 2 from Cinq morceaux pour piano

54

SJÖGREN Erotikon Op 10 No 2

58

MOZART Allegro KV 9a/5a

61

BRAHMS Intermezzo Op 118 No 4

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

H AN S - GÜNTER HEUMANN

BEGINNERS KEYBOARD CLASS LESSON 40: SCALE WARM-UP & INTERCHANGE BETWEEN THE HANDS On these pages, Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Günter Heumann. This lesson features a warm-up for scales, followed by two exercises involving rests and interchange between the hands (pages 29-30).

Scale in contrary motion Learn first in the key of C (as below) and then try transposing it into G and then F.

Hans-Günter Heumann

q = 100-144

             1

1

1

1

f

            1 1 1 1                  

19

               3         

23

5

              3

5

13

 

                     

© 2013 Schott Music Limited, London

28• Pianist 113

HANS-GÜNTER HEUMANN KEYBOARD CLASS 66 |

Interchange between the hands The piece below allows us to get used to releasing one hand (lifting it up), while playing with the other. 66 | it slowly, making sure to lift the relevant hand for the rests. Imagine that the hands are passing from one to the other. Practise Turn overleaf and you can study it in two different ways: the first, with closed chords (notes played together in crotchet notes); and the second with broken chords in triplet quaver notes.

Releasing the Hands

Ludvig | Schytte (1848-1909) Little Study Op 108 No 5 66

Little Study Releasing the Hands

CD 33

66 |

Ludvig Schytte (1848-1909)

Little Study  Releasing  Hands        the Andantino q = 108 1



4 2



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5 3





 = 10812      Releasing the Hands  5 Little Study  42    3 p 1 Andantino 3 1

5

CD 33

   4   5   4   2 2  2     1 1 CD 33   12   2  2      4 5 4 2

Little Study 5

1 Andantino = 3 1 5 5 4 4 3 3 2 2 5

Andantino 1 1

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1 1 1   5   5   4   5 52  21 5 42  3  45  3 12     2 12 12     2 3 2 2 2 4 4 913 5   1   5 1     4  15 1 32  2    5342  3 12  5 2 13   5   4   5 2  1 53 2  4   2 1 1 2 2 2 2   1 25  5 2 5 1 4 4 5 1 1 4 1 5 13 2 1 1 2   3 12  13   3       1   5 5        1  5 2 3  5 4 5 3  1 2  41  2 2 2 2 4 5 2 1 4 5 5 4 5 1 5 13  1 1  1 5 5        34   3  2 52   3 5 4  5 3  1 2  2   2  5 2 1 4 1 5 5 5 1  1  1       2    13          3  

13 9

54 32

11 22

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5

5

2

5

1

4

29• Pianist 113 #17 29• Pianist

1

5

1

5

| 67

HANS-GÜNTER HEUMANN KEYBOARD CLASS

| 67

Finger Fitness 7 Finger Closed Chords Fitness 7   Fitness   7 Finger        Finger   Fitness  7

Two exercises for Schytte’s Little Study

CD 34 CD 34

Closed chords

p









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       5       

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 

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 

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

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CD 34

CD 34

 





Broken Chords

Broken chords

3                 3 3 3 3 p 3                  

4 4 4

3

3

3

3

3

3

3

3

                   4  7                  7 3

3

3

3

7 7

3

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

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           3



3



3



3

3

3

3

3

3

3

3

3

3

© 2012 Schott Music Limited, London

RC + DC

RC + DC RC + DC

RC + DC

Hans-Günter Heumann continues his series for beginners in the next issue. To find out more about Heumann, visit www.schott-music.com

• Pianist 113 30• Pianist30 #17

3

3

                3

3



| 67 | 67

Fritz SPINDLER (1817-1905)

TRACK 1

One of the many skilled teacher/performer/composers who made up the backbone of 19th-century German musical culture, Fritz Spindler was extremely prolific as a composer, with a catalogue of more than 400 works, Start out at a calm pace.We suggest counting the tempo silently in your head before you begin.

including symphonies and a piano concerto. He also wrote many short piano pieces such as this one, likely intended for his pupils in Dresden. Look closely at the technical tips within the score.

The RH line should sing (notice the ‘cantabile’ marking). The first line is one long phrase.Why not sing it to yourself first?

Moderato q. = 80

3 &8 f™

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Make a diminuendo, tapering off gradually. 5

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In the key of A minor, you will notice the accidental of G sharp throughout.

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5

& f™ p

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3

1

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Play the grace note lightly, and before the beat.

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f f f

1

Again, make a carefullyjudged diminuendo.

#f #f f f ™

f

3

‰

f

f f f

The opening material returns, but this time it builds up to a climax at bar 14. You will need to pace yourself for the long crescendo.

‰

f

f f f f f f f f f f f #f f f #f f f f f f ? 38 f

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f f f f™

p cantabile

Maintain a smooth legato LH line, but with a slight emphasis on the first note of the bar.Top Tip: Keep the fingers very close to the keys at all times.The fingerings should help.

9

BEGINNER

Song without Words

f f f f f f f f f

1

5

3

1

Bar 14 is the first and only time in the piece where forte is called for.

Bring out the dialogue between the hands. It’s as if they are ‘talking’ to each other. Also notice the descending line: there’s a certain yearning feeling to this section.

17

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poco rall.

f

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2

5

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f f f

Raise the LH for the rest.

In the LH, make a slight down-up motion with the hand for the pairs of slurred quavers.This might feel tricky at first!

24

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Raise the LH for the rest.

f f f

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Throughout this section, always remember to raise the LH for the rests. 31• Pianist 113

f™ f f f

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Ludwig van BEETHOVEN (1770-1827)

TRACK 2 & 3

BEGINNER

German Dance WoO 8 No 1

Beethoven wrote many collections of German Dances. This feisty 17-bar Dance in C major, composed in 1795, comes from his collection of 12 Dances WoO 8. We asked pianist Chenyin Li to record it twice: once

with a moderato tempo and once a fair bit faster. It’s interesting to see how different a piece can sound in two different tempos. Look closely at the technical tips within the score.

In the RH, make a good emphasis on the second beat of the bar (the sforzando minim) in order to create a lively dance-like feel. Try to bounce off from the note before it – that should help.

q = 1 44

44 3q = 1 F #f f f f f f f f f f f f f F & f f 4 The key is C 3q = 1. 44 . F f f f f . F f f f f f f # f f major, meaning & 4q = 1 f. sf pf no accidentals. . 44 f. sf 3 f f ff f F f ff f ff f F f # f f p sf sf 3 & 43 f f. Ff f f f ff f f f f. Fff ff #f f ff f ff f & & 44 fŒ.. ff. f. f. ff. . . f. f. . . f. f. 3 pŒ . sf sf &4 f f ff f ff ff f. f f. f f. Dance,sff. the LHf.takes on fthe. oom-pah-pah . role. f. As is typical p of a German f. sf. . f. Keep in strict 3 time and make a slight emphasis on the first beat of the bar. f f ff ff & 43 toŒŒplay staccato (detached) f shape f Remember f. ff the 10 quaver notesf. ffinto one fphrase. In the RH f below, . . f. fff. fffat. all times.f. ff. ff. &4 f fnote. f f 5 f f f f When practising slowly, try to dig to the bottom of each . . . . . . f . . .f f f ff. f. f. f f .f f Œ f. f f f f f. f ™™ 5& f f f. f f f f f. f f f f f f f ™™ & f f f f f Œ 5 . 5 f ff f f.. f f f ff ff f f f f ™™ . f ff f ff ff ŒŒŒ f f & f f ff f f ™™ f & f f f f ff & f f. f f. f f f f f. . f. f. . ™™ f. Œ f. & ff. ff ff f f f f f f f f f. f. . . f. . f. f. f. f. ™™ Œ & ff ff f f f f ™™ f Œ f f f f ff. ff. & f. f f . f f f . 9 f f. f. sees a short f. . development. . Lead up ff. f.. f..FF f.. f f.. F Bar 9 onwards f F f f ff f f ™™ notes, f f f f f isfpoised . to9the minim making surefthe hand & f f ready over the two-note . chord before you strike. f FF f f FF ff f f f ™ f f f f f f ™ & f f f sf sf 9 . FfF f. f. f 9 FFf f f ff f? sf f ff sf f f ™ f f ff FF f f F f f f ™ & f f f F f f f Œ ∑ ∑ f f ™ f f f ff f f . f. ff & & ™ f.. f f f f f f f f . . f f f f ? sf ∑ ∑ sf f f f f & ™™ Œ f f. f. f sf sf f f.. f.. f f f f f ? ff ff ff ff ∑ ∑ f f f f & ™™™™ ŒŒ ? f f f f ∑f f ∑ fff f f . f. f. f f. 14& . . f f f f f f No big challenges for the LH here, but . . f f f fkeep the.wrist supple. so that the. hand . ™™ 14& f #f f fEnd withfa flourish.fWe suggestŒ f doesn’t f tense up due to the octave stretch.f f f f sticking to a forte (plus) dynamic. #f f f f ™™ Œ f & 14 f f ff f f.. ff.. ff.. fff.. fff ff fff ff fff 14 f f f ™™ ff ff ff ŒŒ ? & ff ##ff f f ff f ff f f ™™ Œ f ff ff f f f & f f f f ? f f Œ hands ™™ Raise both f f ff ff ff ff ff ff for the rest. f f f f f f f ff f f f ? f f ™™ Œ f f f f f ? f f ™™ Œ 4

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1

3

2

4

2

1

3

2

4

2

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3 3

2 2

4 4

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5

1 3

5

5

1 3

5

5 5

1 3 1 3

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2

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2 2

1 1

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1 3

1 2

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2

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1

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1 3

1 2 1 2

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2 4 2 4

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2

3

3

2

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32• Pianist 113

2 1 2 1

2 1 2 1

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Ludvig SCHYTTE (1848-1909)

TRACK 4

The career of Ludvig Schytte should be an inspiration to all musical late-starters: having begun to receive lessons at the age of 22, he studied with his fellow Dane Niels Gade, and then Franz Liszt. He taught in Vienna for most of his career, and then Berlin. His Schumannesque Piano Concerto is available on disc as part of

Danacord’s series of Danish Romantic Piano Concertos. Playing tips: The LH is the calm accompaniment: make sure to keep the fingers close to the keys and to maintain a regular pulse. The RH should be played staccato (detached). Take notes of the dynamics, as they will help shape the piece.

Moderato con moto q = 1 26 5 3 1 j q = 1j 26 # Moderato con moto

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c j ‰ fj ‰ j ‰ fj ‰ f. j ‰q = 1 f. j ‰26F & # Moderato con moto f f j j . . c . j ‰ f ‰ . j ‰ f ‰ f. ‰q = 1 f. ‰26F & # Moderato con moto f f j . . j ‰ . j ‰ j ‰ fj ‰ fjj ‰ F p. j c ‰ # & c pfj ‰f f. j ‰f fj ‰f f. j ‰f f. f‰ f. f‰ F f f & ? # c ff.. ff. ff.. ff. #ff. ff. ff ff ? # c ppff f ff f ff f ff f #ff f ff f ff f ff f ff ff ff ff ff ff ff ff #ff ff ff ff ff ff ff ff ? # c legato ? # c ff ff ff ff #ff ff ff ff legato

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BEGINNER

No 8 from 25 Melodious Studies Op 108

3 3 3 3

1

1

3

1

3

1

3

1

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1

2 4

1

2 4 2 4

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2 5 2 5

5 5 5

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1

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f f f f

ff ff ff ff

f f f f

1 1 1 1

33• Pianist 113

1

3 5

1

3 5 3 51

1 1

2 2

1

2

1

2

1

j f. j ‰ f. ‰ j f. j ‰ f ‰f #ff. f #ff f #ff f #ff 5 5 5 5

j f. j ‰ f. ‰ j f. j ‰‰ ff. f f f ff f ff f ff

j f. j ‰ f. ‰ j f. j ‰‰f ff. f f ff f ff f ff

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j f. j ‰ f. ‰ j ff. j ‰‰f f. f ff ff ff ff

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f. Jf. J. f. Jf fJf ff ff ff

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3 3 3

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1

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2

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4

2

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j f. j ‰ f. ‰ j f. j ‰‰f ff. f ff f ff f ff

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f f f f

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DON’T MISS MELANIE SPANSWICK’S

Jean-Baptiste DUVERNOY (c.1802-1880)

LESSON

TRACK 5

BEGINNER/ INTERMEDIATE

Elementary Study Op 176 No 17

ON THIS PIECE

PAGE 20

French Romantic composer Jean-Baptiste Duvernoy designed his Op 176 studies to improve finger dexterity and coordination. However, they are also full of charm – and a pleasure to learn and perform. The graceful

No 4 appeared inside issue 109. Nimble and light fingerwork plus a strong sense of rhythm are key in this study. Read Melanie Spanswick’s step-by-step lesson on page 20.

Mouvement de Valse h. = 6 8

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Ludwig van BEETHOVEN (1770-1827)

TRACK 6

INTERMEDIATE

Waltz Anh 14 No 1

Always think of the phrasing and aim to bring out a real dolce to the melody, while also striving to produce a good legato between the melody notes (the pedal will help). Notice the dynamics, too: a great deal of soft playing is required. The LH jumps around a fair bit, so have the hand poised ready over the notes a split second before you strike the keys. Pedal tips: See markings on the score. Notice how the pedalling alters slightly between sections.

There continues to be some doubt as to the provenance of the Anh 14 set of works – whether Beethoven wrote them or not – but this A flat major waltz is a gem and deserves to be featured. In 3/4 time, it has a simple, ländler (country dance) feel to it. Playing tips: As you will notice, there are repeat signs throughout: we leave it up to you as to whether you repeat all sections. However, it is important to return to the beginning and then finish at the ‘Fine’ sign.

Moderato q = 1 20

b b3 f f ff & b b 4 fj fj nf f f f f f f f f f f f f f f f f f f f f f f f f

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36• Pianist 113

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Carl FILTSCH (1830-1845)

TRACK 7

INTERMEDIATE

Romance Op 3 No 1

Carl Filtsch was a Transylvanian pianist and composer. He was a child prodigy but tragically died at the tender age of 15 (maybe that’s why little is known of him today). We will never know what other heavenly music he might have further penned! Playing tips: This prayer-like E minor Romance needs to maintain a calm and sustained flow throughout. The base octaves are its ‘foundation’ and they should produce a deep, almost bell-like, sound. The melody enters

at bar 9: here, really sink into the top notes. Don’t forget, also, to bring out the rumbling three-note quavers in the bass (e.g. bars 7 and 8). Bar 41 onwards sees a development where the music intensifies, culminating in the most glorious change of key into sunny E major at bar 53. The final mini-climax, at bar 77, sounds like a last impassioned plea, after which there follows a calm petering out to the end. Pedal tips: See suggestions on the score.

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Erik SATIE (1866-1925)

TRACK 8

INTERMEDIATE

Idylle, No 1 from Avant-dernières pensées

The atmospheric three-piece cycle, Avant-dernières pensées (‘next-to-last thoughts’), with its underlaid words, belongs to Satie’s ‘story pieces’. Composed in 1915, each piece is dedicated to a friend – this one was for Debussy (they fell out some years later!). The curious performance instructions, hard to understand, suggest a certain Romantic expressiveness. Even Satie was known to have said that his words were completely incomprehensible! Some pianists like to have a ‘reading’ of

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them while the music is being played, but Satie was not in favour of this. Playing tips: Firstly, Satie asks for a moderate tempo. Try to make sense of the ‘no barline’ pulse, adhering to some sort of rhythmic stability. Colour and fantasy are the key ingredients and it will help if you listen to Chenyin Li’s stirring interpretation on the soundtrack. Pedal tips: Satie suggests sempre (always). Use your ears to make the best judgement call as to when a pedal change is required.

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DON’T MISS NILS FRANKE’S

TRACK 9

LESSON

Johann Sebastian BACH (1685-1750)

PAGE 22

Prelude in D minor BWV 926

ON THIS PIECE

INTERMEDIATE

that it is up to the performer to find a speed that suits the music. Franke also explains how to play the mordents. Pedal tips: Bach’s music is devoid of pedal markings. We suggest the odd dab here and there, but it is equally fine to play without. Read Nils Franke’s step-by-step lesson on page 22.

Bach wrote a number of standalone preludes aside from those that feature in his Well-Tempered Clavier. This one belongs to his set of 9 Kleine Präludien (9 Little Preludes), composed in 1720. Playing tips: The composer offers no tempo indication. Nils Franke, who gives his lesson on page 22, suggests crotchet equals 160, but he adds

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Frédéric CHOPIN (1810-1849) arr. Henry MAYLATH (1827-1883)

TRACK 10

INTERMEDIATE

Berceuse Playing tips: It’s always a good idea to start working on the hard bits first, and even if this arrangement is ‘simplified’, there are still many challenges: Spend time on the RH figurations from bar 19 onwards – taking these passages out of context, working on them slowly, hands separately, building up the process bar by bar. Pedal tips: See markings on the score.

Heinrich Maylath was an Austrian Romantic composer and pianist. He moved to New York in 1867 (hence the name change to Henry) and made a reputation as a pianist, teacher and composer for the piano. He was incredibly prolific in his lifetime, but today, alas, almost unknown. This simplified arrangement of Chopin’s challenging Berceuse will allow the intermediate-level pianist to have a try at Chopin’s melody.

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Emmanuel CHABRIER (1841-1894)

TRACK 11

INTERMEDIATE

Ballabile, No 2 from Cinq morceaux pour piano

Chabrier wrote his Cinq morceaux pour piano in 1889. The catchy No 2 in the set, ‘Ballabile’, should be performed with dance-like Gallic wit and verve. After all, a ballabile is a dance number performed by the corps de ballet or by the chorus in an opera – this is music to dance to! Playing tips: This is such a great piece, so do pursue and don’t be put off by the complicated-looking rhythmic pattern. It is in fact quite easy to grasp (tap the beat slowly and then sing the notes). Plus, the notes

themselves fit comfortably under the hands. Ensure a clipped, staccatostyle articulation during the entire first page. Then, on the second page, bring out the RH melody and make for a more lush feeling. The piece comes to a climax at bar 48 followed by four bars of complete silence. Don’t rush through these bars: the empty space just adds to the drama. After that, a calm, almost lazy coda ensues, all the way to the end. Pedal tips: See markings on the score for guidance.

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Emil SJÖGREN (1853-1918)

TRACK 12

softer). In bars 8 and 16, you might find it easier to take the last two bass-line notes with the RH. A development sections starts at bar 17, then the melody returns at bar 35, but not long after the piece changes melodic direction, climaxing at bar 49. The coda begins at bar 44 – make sure that you bring out the gorgeous inner melody at bars 52, 54, 56 and 58. Tail off with a slight accelerando, fading off into the distance. Pedal tips: See pedalling suggestions on the score.

Emil Sjögren started his music studies in his hometown, at the Stockholm Conservatory, before moving on to the Berlin Conservatory. Later in life he returned to Stockholm to serve as organist at Saint John’s Church. He penned some exquisite music, such as this rare gem. Playing tips: What a haunting melody this is! Tread carefully and always make the RH melody top-note sing, even if the thickly-textured writing can be a challenge (try playing the other notes within the chord a lot

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INTERMEDIATE

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Wolfgang Amadeus MOZART (1756-1791)

TRACK 13

INTERMEDIATE

Allegro KV 9a/5a

practice, though, to get the bubbling Alberti bass and pearl-like RH runs to be spot-on. The trill at bar 4 (and later at bars 25 and 30) starts on the upper note. Notice all the dialogue between the hands (for example, bars 9-11 and elsewhere). Employ a lightness of touch throughout: even the repeated arpeggiated crotchet chords at bars 14, 21 etc. should be elegantly-played. Note: You will need to make a quick page-turn! Pedal: Pedal is not required, though a dab here and there is permitted.

This Allegro is one of Mozart’s very first compositions. It comes from the Nannerl Notenbuch (Nannerl’s Music Book) in which Leopold Mozart wrote pieces for his daughter, Maria Anna Mozart (known as ‘Nannerl’) for her to learn and play. His son Wolfgang also used the book and some of his earliest compositions are recorded within. Playing tips: This sparkling piece, exuding Mozart’s playful character, should be played with real bravura. It will need a fair amount of slow

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DON’T MISS LUCY PARHAM’S

LESSON

TRACK 14

ON THIS PIECE

PAGE 24

Johannes BRAHMS (1833-1897)

ADVANCED

Intermezzo in F minor Op 118 No 4 TAP HERE TO WATCH CHENYIN LI PERFORM THIS PIECE

Brahms wrote his late piano pieces with Clara Schumann in his head. He would send them to her for her approval, always bearing in mind her arthritic hands and trying to avoid huge stretches and a lot of filigree passage work which she would have found difficult at that point in her life. However, even if these mature works might, at first sight, seem less technically complicated to play, it’s worth remembering that looks can be

> j b 2 b f f b & b 4 f f f fJ ‰ 3 p > f™ ? bb b 42 Œ nf f f b

deceptive! There are challenges aplenty for the performer: the pianist needs an incredible control of the instrument, a real ability to use rubato perfectly and tastefully, and a well-honed sense of line and structure. This is the language of Brahms’s maturity. And it needs to come directly from the soul. Read Lucy Parham’s lesson on page 24.

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SUMMER COURSES & WORKSHOPS 2020

SUMMER COURSES & WORKSHOPS 2020 From lessons with Menahem Pressler in Oxford, to jazz piano masterclasses in Canada’s Rocky Mountain foothills, the opportunities available to challenge yourself are more varied than ever UK Benslow Music Trust Various dates throughout 2020 www.benslowmusic.org

Residential and short courses for all levels in Hertfordshire. Piano courses include Fugues for Fun (8-10 May), Jazz Piano (26-28 May), and Late Starter Piano (10-12 July). Chetham’s International Summer School and Festival for Pianists 8-13, 14-20 & 20-26 August www.pianosummerschool.com

www.citylit.ac.uk

A London institute for higher education, teaching all ages and

9–12 August 2020 at University of Chichester PO19 6PE

CSSM Summer School of Music at Uppingham 1-8 August www.cssm.org.uk

For professionals and amateurs aged 18 and over who wish to improve their playing in a supportive environment. Offers courses such as Masterclass for Accompanists, Staff Accompanists and courses combined. Faculty members this year include Tim Kennedy, Chris Gould and John Reid. Takes place in the lovely setting of Uppingham School in Rutland. Dartington International Summer School & Festival 25 July-22 August www.dartington.org

City Lit Various dates throughout 2020

EPTA Summer School & Conference 2020

A renowned and diverse summer school based in Devon under the directorship of Sara MohrPietsch, who says there will be several new elements this year.

Tutors include Mark Tanner, Fiona Lau and Andrew Eales, together with ABRSM and The Piano Teachers’ Course. Delegates may book a private piano lesson with one of the tutors (subject to an additional fee).

▲

© Kate Mount (Dartington)

Popular courses for all players of all abilities – taking place at Chetham’s School of Music, Manchester. 2020 sees the addition of a brand new Junior Piano Academy, open to under 18s of any level. Faculty includes Peter Donohoe, Noriko Ogawa and artistic director Murray McLachlan.

abilities in genres including classical, jazz and Latin. City Lit runs courses in topics such as returning to playing and piano technique for beginners. Taking place in summer on weekends, weekdays and evenings.

67• Pianist 113

Presentations include: • Pedalling & Making a Beautiful Sound • Developing A Tension-Free Technique • Mindful Teaching and Learning • The Adult & More Advanced Learner • Improvisation

www.epta-uk.org

SUMMER COURSES & WORKSHOPS 2020

Priority teaching When it comes to intense learning, Oxford gets it just right, says John Evans, who speaks to masterclass teacher and RCM head of keyboard,Vanessa Latarche

Courses include an Introduction to Early Keyboard Music (25 July-1 August), Beethoven Sonata Project (8-15 August) and Jazz Improvisation (15-22 August).

Byrne. Residential and nonresidential options available. EPTA Summer School and Conference 2020 9-12 August www.bit.ly/eptasummerschool

Encore Music Projects 7th International Summer School 20 July-1 August www.encoremusicprojects.com

Located at the prestigious Yehudi Menuhin School in Surrey. One-to-one lessons, masterclasses and opportunities to perform. Piano tutors for this year include Vadim Gladkov, Oleg Marshev, Katya Apekisheva and John

Located at the University of Chichester. Masterclasses include Developing a Tension-Free Technique, and Pedalling & Making a Beautiful Sound. Tutors include Mark Tanner, Fiona Lau and Andrew Eales.

TAP TO WATCH Vanessa Latarche

‘The experience can only ever be a snapshot and I accept I cannot fix the world in the short time we have available. I let them play through the piece first to identify the good parts and improve those, and then the more challenging areas where I can offer help. All the time I’m assessing how deeply I can go into something without upsetting or discouraging them, and I am always careful to say that these are only my ideas which you should discuss with your teacher.’ It’s a delicate relationship and one, says Latarche, that must be totally free of ego. ‘I have seen teachers who believe they are the performer. You need to have some personality and project the lesson so the audience feels included but, ultimately, it’s about the student and the music they are playing.’ On that point, audiences present at the masterclasses during the Oxford Piano Festival can be confident of a very special treat awaiting them. www.oxfordphil.com

1-listed manor house near Tunbridge Wells, Kent. The courses are open to all levels, and are taught by numerous tutors including Graham Fitch, Dave Hall, Andrew Dunlop, Melanie Spanswick and others. Guests on the course are accommodated in the newly renovated 18thcentury Coach House. Higham Hall Various dates throughout 2020 www.highamhall.com

Finchcocks Piano Courses Various dates throughout 2020 www.finchcocks.com

Located in a stunning Grade

The Lake District landscape makes a spectacular backdrop to courses at this residential college. Those for piano include

68• Pianist 113

jazz classes, a study of Schubert, Chamber Music for Strings and Piano, and piano workshops with teacher feedback. Fee includes meals and accommodation. Hindhead Music Centre 27-30 July www.hindheadmusiccentre.co.uk

Piano courses for adult amateurs, set in a Victorian country house in Surrey with six acres of private gardens surrounded by National Trust land. Pianists can enjoy masterclasses on technique, Q&A sessions, recitals by students and tutors, and delicious homecooked meals. The piano faculty includes James Lisney, Clara

© Chris Christodoulou

Amid the dreaming spires of Oxford, the Oxford Piano Festival returns in August in this, its 22nd year, with another feast of performances by some of the world’s greatest pianists, punctuated by masterclasses featuring future stars of the instrument. Nelson Freire (who performs Brahms Concerto No 2 with the Oxford Philharmonic Orchestra), Elisabeth Leonskaja, Richard Goode, Paul Lewis, Nikolai Lugansky and Alain Lefèvre – just some of the great names scheduled to play in the Festival’s evening concerts, held between 1 and 9 August in venues around the city. Away from the concert platform, some of these same performers return to inspire today’s rising young stars drawn from all over the world in a series of daytime masterclasses given in the presence of audiences keen to share the experience. They’re joined by other great names from the worlds of teaching and performing, including Vanessa Latarche (pictured), who has been Head of Keyboard since 2005 at the Royal College of Music and a global ambassador for the College in countries including Russia and China where she also gives masterclasses. ‘It’s fantastic what the Oxford Philharmonic Orchestra and Marios Papadopoulos, its founder and the artistic director of the festival, have achieved,’ she says. ‘The festival is now extremely highly respected in the profession, able to attract not only top-flight soloists but also incredible, emerging talents to its masterclasses.’ Latarche will be one of those privileged to help inspire and nurture these same talents when she gives two masterclasses in the Jacqueline Du Pré Music Building at St Hilda’s College during the afternoons of Wednesday 5 and Thursday 6 August. It’s an exciting prospect, she says, and is sure it will be a challenging one, too. ‘The standard of playing is extraordinarily high today and I’m expecting that the students I’ll be coaching at Oxford will be phenomenal. As a teacher this can be quite challenging but it’s important a student knows their own mind and that they ask questions. It’s no good being a “yes” pianist.’ Each of the masterclasses Latarche is giving will last three hours, during which she will coach a number of pianists. It seems a short time in which to get to know each student and to contribute something to their development.

SUMMER COURSES & WORKSHOPS 2020 Rodriguez and Margaret Fingerhut. Open to those of Grade 7+ level. Holiday Music Courses 4-7 April & 10-13 August www.holidaymusiccourses.com

All ages are welcome on these residential courses at the Tonbridge School, Kent (spring) and the Yehudi Menuhin School, Surrey (summer). The courses cater for pianists (solo and ensemble) and other musicians. Workshops focus on ensemble playing, technique and interpretation. Piano tutors include Danielle Salamon, Iain Laks and Nadia Lasserson. Meals, accommodation and tuition are included in the price. International Musicians Seminar (IMS) Prussia Cove 29 March-19 April www.i-m-s.org.uk

Chamber music classes and workshops for advanced pianists in Prussia Cove, Cornwall. Faculty includes Ferenc Rados and Kirill Gerstein.

masterclasses from Menahem Pressler, Marios Papadopoulos, Yoheved Kaplinsky and Elisabeth Leonskaja. See feature on page 68. Penelope Roskell London Piano Courses 28 June & 20-22 November www.peneloperoskell.co.uk

This one-day workshop is open to all pianists (teachers as well as players), while the November workshop – a three-day advanced piano course – is ideal for Grade 8+ players. Piano Week International Festival and Summer School 30 April-5 May (Tokyo); 12-19 July (Italy); 24-31 May, 19 July-2 August & 16-23 August (UK) The UK bases are Rugby School and Moreton Hall. Open to pianists of any age and ability. A faculty of 20 pianists and educators includes Samantha Ward and Maciej Raginia. Applications for places in Italy and Tokyo are also open to UK participants. See feature on pages 74-75.

www.jackdaws.org.uk

www.procorda.com

Weekend courses catering for all levels and tastes. Courses include Pianist’s Technical Toolbox (Alisdair Hogarth), Beethoven in Context (Julian Jacobson), and Advanced Piano Summer School (Mark Tanner). The course was recently voted the second best piano course in the UK.

Courses are available for ages 10 up to 18, and also adults. The course is situated in the beautiful Leiston Abbey, Suffolk, offering specialist training from leading teachers. Sessions focus on sight-reading, musicianship, solo repertoire, posture, skill development, duet playing and creativity.

Master the art of accompanying in the surroundings of Edinburgh. It’s a rare opportunity for singers and accompanists to learn together at this all-Steinway summer school. This year also sees the introduction of Feldenkrais Workshop Classes. Open to amateurs as well as professionals and students. Oxford Philharmonic International Piano Festival and Summer Academy 2020 1-9 August www.oxfordphil.com

Now in its 22nd year, this is a residential course for advanced piano students aged 27 and under. Enjoy tuition and

www.ulverstonmusicfestival. co.uk

Masterclasses and performances in southern Cumbria from eminent musicians. The spring edition pays tribute to Beethoven. Full details on the summer course will be announced in the near future.

Sherborne Summer School of Music 2-16 August www.sherbornesummerschool ofmusic.org

Based in Sherborne School in Dorset. Suitable for students and accomplished amateurs aged 18 plus. Courses include Piano Accompaniment, a Composers’ Workshop and a Solo Piano Course with Julian Jacobson. Bursaries and scholarships are available to particularly gifted musicians. Accommodation and meals are available. Summer School for Pianists 15-21 August

CANADA Cassa Musical Arts 20-24 July www.cassamusicalarts.com

This year’s theme is Beethoven. Courses for different age-ranges 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. Other courses include Piano Pedagogy and Jazz Piano.

FRANCE Lot Music 11-18 July & 18-25 July www.pianolotmusic.com

Two one-week courses of study in the beautiful setting of Prayssac, centre of the Cahors wine district. This year’s tutors include Murray McLachlan and Graham Scott. Music au Chateau 19-26, 27 July-3 August, 6-13 & 15-22 August www.musicauchateau.com

Set in Porte-du-Quercy, Southwest France, Music au Chateau offers intense seven-day programmes of masterclasses, workshops, private tuition, concerts and lectures. Faculty: Paul Roberts, Maria Razumovskaya, Charles Owen, Janneke Brits, Martin Sturfält and James Kreiling. For intermediate and advanced levels aged 17 plus.

CHETHAM’S INTERNATIONAL PIANO SUMMER SCHOOL 2020 Artistic Director:

Murray McLachlan

The friendliest piano summer school in the world!

NEW FOR 2020 – Junior Piano Academy 8–13 August 2020 A new exciting addition to CIPSS, the Junior Piano Academy is in four sections and is only open to under 18s.

14–20 August 2020 | CIPSS Part 1 20–26 August 2020 | CIPSS Part 2 Choose from over 12 different courses – open to all (under 18s must be accompanied by a parent/guardian at all times)

Faculty to include: Dmitri Alexeev, Peter Donohoe, Christopher Elton, Margaret Fingerhut, Norma Fisher, Philip Fowke, Peter Frankl, Grigory Gruzman, John Lenehan, Joanna MacGregor, Wolfgang Manz, Noriko Ogawa, Ronan O’Hora, Steven Osborne, Pascal Nemirovski, Jason Rebello, Martin Roscoe, Graham Scott, Craig Sheppard, Martino Tirimo

Booking opens 10 January 2020

www.pianosummerschool.co.uk

Now based at Stowe School in Buckinghamshire – amid 250

www.pianosummerschool.com

69• Pianist 113

▲

Pro Corda Piano Training 23 May, 12 June & 9 October

www.bit.ly/oxenfoord

Ulverston International Music Festival 28-30 March & 19-27 June

www.pianoweek.com

Jackdaws Music Education Trust Throughout 2020

Oxenfoord International Summer School 30 July-6 August

acres of magnificent gardens – this summer school is for those aged 18 plus and Grade 4 plus. Tutors: Karl Lutchmayer, Christine Stevenson, Graham Fitch and Ann Martin-Davis. Lessons, masterclasses, student and faculty concerts are all on the agenda.

SUMMER COURSES & WORKSHOPS 2020 Piano Courses with James Lisney May-September www.pianowithjameslisney.com

ITALY

THE SUMMER SCHOOL FOR PIANISTS

Music Holiday Italy April through to October

Residential piano courses taking place at Le Vert, Mauroux (a charming hôtellerie in south west France) and Hindhead, Surrey. Immerse yourself in daily masterclasses and workshops, which are interspersed with fine food and sightseeing. For pianists aged 18 and over.

www.musicholidayitaly.com

Saint Laurent Piano Holiday 14-20 July

 

Experience music learning within Italian life in a tranquil Apennine setting. Music Holiday Italy offers one-week piano courses throughout the year. All teaching is led by Gil Jetley. There is no set standard or age limit for pianists taking part.

Stowe School, Buckingham, UK 15th – 21st August 2020 TUTORS: Graham Fitch; Daniel Hill; Karl Lutchmayer; Ann Martin-Davis; Christine Stevenson

USA

www.bit.ly/pianosaintlaurent

Located on 27 hectares of land with views of the countryside and the Pyrenees. This year’s course will again include masterclasses, workshops, individual tuition, a student concert, opportunities to play duets, plus time to explore the local scenery. Graham Fitch is the tutor. For pianists of intermediate to advanced level. Courses are intense, with maximum eight participants. Summer Piano Courses at La Balie May-August www.labalie.com

For intermediate to advanced pianists (Grade 8 and above). Situated in stone farm buildings with good accommodation at La Balie in the beautiful surroundings of south west France. Course tutors include Charles Owen, Noriko Ogawa and Martin Cousin. Zodiac Festival 2-15 July www.zodiacfestival.com

A two-week course for advanced students aged 17-35. Located in La Bolline; a small town nestled in the French Alps. Led by the acclaimed Zodiac Trio. Audition required. Fee includes tuition, accomodation, food and an excursion to Nice.

GERMANY Schleswig-Holstein Music Festival & Masterclasses 4 July-30 August www.shmf.de

Masterclasses at the Musik-hochschule Lübeck in northern Germany. Each course concludes with concerts given by the participants. New this year, workshops on chamber music hosted by Heime Müller.

ArtsAhimsa Music Festival at Belvoir Terrace 16-23 August The Summer School for Pianists has moved to a glorious new home at Stowe!

www.artsahimsa.org

Set in a beautiful 19th-century estate in Lenox, Massachusetts, ArtsAhimsa promotes nonviolence through arts. Chamber music classes for adults at a good playing level. Audition required. Faculty includes Laura Jean Goldberg, Amy Lieberman, Laura Bossert, Terry King, Makiko Hirata, and Moshe S. Knoll.

An exciting week of masterclasses, tutor recitals, presentations and student concerts. One of Britain’s friendliest courses! Ample practice facilities at this All-Steinway school. Accommodation in single en-suite bedrooms on site. For further details contact: Dr Brian White Telephone: +44 (0)1622 756660 Email: [email protected] Website: https://www.pianosummerschool.co.uk/

The Summer School for Pianists is a charitable incorporated organisation, registered charity number 1174674.

Aspen Music Festival and School 2 July-23 August www.aspenmusicfestival.com

This renowned Colorado festival offers masterclasses, workshops, private classes and performance opportunities for advanced students and young musicians. A piano competition will be hosted on 11 August.

Artists set to make an appearance include Jean-Efflam Bavouzet, Vladimir Feltsman, Jerome Rose and Ilya Yakushev.

Golandsky Institute Summer Symposium 26 July-1 August

www.bit.ly/intmusiccamp

www.golandskyinstitute.org

Taking place at the California State University East Bay. The five-day immersion in the Taubman Approach to piano playing includes private lessons, supervised practice times, techniques clinics, lectures, masterclasses and evening concerts. Presentations and lectures by Edna Golandsky and others. Aged 18 and over. International Keyboard Institute and Festival 12-26 July www.ikif.org

Now entering its 22nd season, this renowned New York City festival offers masterclasses from some of the world’s top pianists and teachers. Audition required. Scholarships are also available.

International Music Camp Piano Program 5-11 July Near Dunseith, North Dakota. Open to players aged 10+. The course includes classes in musicianship, ensemble performance, music history and private lessons, and ends with a solo piano recital. Kinhaven Adult Piano Workshop 2-7 June www.kinhaven.org

A Vermont-based workshop directed by Leander Bien. Study four-hand and solo repertoire in a supportive environment. Alexander Technique is also offered. Other faculty members include Victor Galindo, Kristin Mozeiko and Andrew Harley. Music Academy of the West 15 June-8 August www.musicacademy.org

Jeremy Denk, Conor Hanick,

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Jerome Lowenthal and Conrad Tao head the faculty at this top-notch Californian summer school. Weekly private lessons, masterclass performances, chamber music coaching and a Solo Piano Competition.There are just 8 places available. Miami Music Festival Piano Institute 9-21 June www.miamimusicfestival.com

Weekly private lessons, masterclasses and the chance to compete in the MMF Piano Concerto Competition. The three winners of the competition will perform in a public concert with the MMF Symphony Orchestra. This year’s faculty includes Alexandre Moutouzkine and J Y Song. Rocky Ridge Music Center Adult Piano Seminar 23-27 & 27-31 May www.rockyridge.org

Adult piano seminars in the inspiring setting of Estes Park in the Rocky Mountains, near Denver, Colorado. Faculty includes SoYoung Lee, Tamara Goldstein, and Hsing-ay Hsu.

THE NEW WORLD STANDARD IN CONCERT GRAND PIANOS. 89• Pianist 111

YAMAHA.COM

MUSIC FESTIVALS 2020

MUSIC FESTIVALS 2020 Our piano-centred guide is more international than ever before: and wherever you are in the world this summer, you’re quite likely to bump into Beethoven

Aldeburgh Festival 12-28 June www.snapemaltings.co.uk

Steven Osborne plays the Britten Concerto and Imogen Cooper appears in recital. Just two piano-related events that take part at the 73rd Festival founded by Benjamin Britten in Suffolk.

Buxton International Festival 3-19 July

Edinburgh International Festival 7-31 August

www.buxtonfestival.co.uk

www.eif.co.uk

The 2020 programme covers the full spectrum of composers, from JC Bach to Kabalevsky, with performances by Kathryn Stott, Martin Roscoe, Freddy Kempf and more.

As we go to press, the programme has yet to be announced. But there are bound to be pianists galore at the daily Queen’s Hall morning recitals.

Cambridge Summer Music 10-25 July

Bath Festival 15-24 May

www.cambridgesummermusic. co.uk

www.bathfestivals.org.uk

The 2020 programme covers the full spectrum of the greatest classical composers, from Bach to Shostakovich, with performances by pianists Martin Roscoe, Leon McCawley and more.

There’s always a distinguished pianist or two appearing at venues including the handsome Assembly Rooms as well as the grander space of Bath Abbey. See the website for more details. BBC Proms 17 July-12 September www.bbc.co.uk/proms

The world’s largest music festival, based at the Royal Albert Hall but now venturing ever farther afield to venues around the UK as well as spin-offs around the world. Full details will be announced in April. Brighton Festival 2-24 May brightonfestival.org

www.cheltenhamfestivals.com

There’s sure to be plenty to keep West-Country pianophiles happy at this year’s Cheltenham Music Festival. Details to appear soon. East Neuk Festival 1-5 July www.eastneukfestival.com

Llyr Williams appears twice (with Pictures at an Exhibition and Beethoven’s mighty ‘Hammerklavier’) and the graceful Yeol Eum Son – who appeared on our issue 102 cover – offers up more Beethoven in the form of his Diabelli Variations.

www.lichfieldfestival.org

BBC Young Musician of the Year 2018, Lauren Zhang, appeared last year. Details yet to appear. London Piano Festival 7-11 October www.londonpianofestival.com

Hebden Bridge Piano Festival 24-26 April www.bit.ly/hebdenbridgepiano

It might be only three days, but this festival is jam-packed with piano greats: Joanna MacGregor plays Beethoven, Liszt and more; Martin Roscoe appears in recital and in masterclass; David Nelson plays Gershwin; and Harry the Piano improvises for the crowds! King’s Lynn Festival 19 July-1August www.kingslynnfestival.org.uk

Details should be up and running on the Festival’s website by the time this magazine hits the shelves. Lake District Summer Music International Festival 1-14 August www.ldsm.org.uk

Details for the 2020 Festival will be announced early May. If last year is anything to go by – which featured performances by Tom Poster, Florian Mitrea and Ashley Fripp – we’re hoping for some goodies.

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Curated by Charles Owen and Katya Apekisheva, this long weekend at Kings Place features an opening recital by Vadym Kholodenko, a Beethoven lecture by David Owen Norris and the annual Two Piano Gala. Machynlleth Festival 23-30 August www.moma.machynlleth.org.uk

Marc-André Hamelin, Pavel Kolesnikov and Julius Drake all made grand appearances last year. Details yet to be announced for 2020. Master Music Festival 8-16 June www.bit.ly/mastermusicfest

Now in its second year, the festival includes a recital by Global Classic FM and Steinway Artist Ji Liu, who will adjudicate the 2020 Master Music Festival Piano Competition. Music at Paxton 17-26 July www.musicatpaxton.co.uk

The Picture Gallery at Paxton House hosts Imogen Cooper

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Taking place in venues across the Sussex coast, the festival plays host to Isata Kanneh-Mason plus recitals by Paul Lewis, Florian Mitrea and more.

Cheltenham Music Festival 3-12 July

Lichfield Festival 9-19 July

© Chris Christodoulou/BBC Proms

UK

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playing Beethoven’s Diabelli Variations and Steven Osborne with Schubert and Rachmaninov. Chamber music concerts see the Maxwell Quartet teaming up with Cooper and the Gould Piano Trio with Benjamin Frith.

lesser-known music from Ireland, Scotland and Wales, a feature of the work of Leoš Janáček and a celebration of Beethoven’s 250th birthday year. Invited pianists include Clare Hammond and Andrew Matthews-Owen.

Newbury Spring Festival 9-23 May

Ribble Valley International Piano Week 15-18 July

www.newburyspringfestival. org.uk

Russian pianist Mikhail Kazakevich offers up some Beethoven gems, as does veteran British pianist John Lill. Then there’s the annual Sheepdrove Piano Competition final. All events take place in this beautiful market town. New Ross Piano Festival 23-27 September www.newrosspianofestival.com

For five jam-packed days in September, you can hear solo, two-piano and chamber works performed by such pianists as Charles Owen, Katya Apekisheva, Philippe Cassard, Finghin Collins, Cédric Pescia, Jason Rebello and more. Oxford International Piano Festival 1-9 August

www.rvipw.org.uk

Seven concerts with worldacclaimed pianists (Steven Osborne, Lauren Zhang and more) are on the menu. But Ribble Valley also offers the opportunity for amateur pianists to ‘take to the stage’, where they can play a Yamaha CFX concert grand. Artistic Director Martin Roscoe plays the Rhapsody in Blue and accompanies violinist Jennifer Pike for the final recital. Ryedale Festival 10-26 July www.ryedalefestival.com

Piano Week goes global

This North Yorkshire festival is a partner of the Leeds Competition and offers a recital to the winner. Piano highlights include a ‘Concert and Cake’ recital from Isata Kanneh-Mason and an offering of Romantic gems from Lara Melda.

John Evans catches up with course and festival founder, Samantha Ward, and is impressed by this relatively young and fast-growing summer school

www.oxfordphil.com

Some highlights: Masterclasses with RCM’s Vanessa Latarche, Juilliard’s Yoheved Kaplinsky and Richard Goode; recitals by Paul Lewis, Nikolai Lugansky and George Li; Nelson Freire plays with the Oxford Philharmonic. Menahem Pressler pays a visit. See feature on page 68. Perth Festival of the Arts 21-30 May

St Magnus International Festival 21-27 June www.stmagnusfestival.com

Midsummer in Orkney is a magical time with long hours of daylight illuminating the landscapes, seascapes and historic sites. The 44th Festival promises to feature ‘a huge array of unmissable events’. Details to be confirmed.

www.perthfestival.co.uk

Jools Holland and his infamous Rhythm & Blues Orchestra make a jazzy appearance, while John Lenehan accompanies violin virtuoso Tasmin Little in Brahms, Beach and Boulanger. Piano Week International Festival and Summer School 30 April-5 May (Tokyo), 12-19 July (Italy), 24-31 May, 19 July-2 August 16-23 August (UK) www.pianoweek.com

See feature opposite for more details and insight. Presteigne Festival 27 August-1 September www.presteignefestival.com

www.swalefest.org

Not much to report on the piano front, but Freddy Kempf appears with the Sacconi Quartet on 2 June in a programme of Rachmaninov, Beethoven and Schumann. Plenty of guided walks across the rich landscape of the Dales, though. Thaxted Festival 19 June-12 July www.thaxtedfestival.org.uk

Four long weekends fill a superb 14th-century church rising from the fields of Essex, with Benjamin Grosvenor and Susie Allan among the guests.

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Included is an exploration of

Swaledale Festival 23 May-6 June

In many ways, its name, Piano Week International Festival and Summer School, doesn’t do justice to this extraordinary musical venture or, more accurately, adventure. For a start, it’s a touring festival and summer school held over multiple weeks and in multiple countries. And while its primary focus is the piano and acquiring the skills and knowledge to play it well, it’s also, in the rare period of downtime available and because it has a residential aspect, a holiday where people, who share a passion for the instrument, can explore their location and enjoy the amenities it offers. This year those locations range from Moreton Hall School and Rugby School in Shropshire and Warwickshire respectively, to the Scuola Comunale di Musica in Foligno, Italy and the Symphony Salon in the heart of Tokyo. Destinations such as these conjure up images of an exclusive touring residency but in fact Piano Week, as it’s also known, is very much inclusive, open to students of all ages and abilities. For the record, the youngest so far has been three years old and the oldest, 87. And far from being closeted in practice rooms – although practice time is scheduled – students of similar abilities learn together in classes devoted to subjects including effective practice, harmony, composition, techniques for memorising, pedalling and fingering, and even how to present oneself on stage. At the end of each day, everyone performs prior to enjoying a professional concert. ‘It’s a holistic, all-round piano experience with the potential to be a musical holiday, too,’ says Samantha Ward, founder of Piano Week.

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Hard work and great pianos The former Chethams and Guildhall piano student who, after graduating, performed professionally before creating an international performance platform for herself and her fellow contemporaries, founded Piano Week in 2013 with a weeklong event in Wales. Uniquely, she intended it to have a touring dimension, a concept that took root two years later in 2015 when she was asked by Moreton Hall to create a bespoke piano weekend for a group of talented Chinese pianists visiting the UK. As a result of its success, Piano Week has been invited to China twice. In 2017, the festival travelled to no less than seven locations across Europe and Asia and as she finalises plans for Piano Week 2020, Ward is plotting future residencies in more countries. ‘It will be hard work – each new country represents a new beginning for the festival – but one thing I am clear about is that we will never compromise on quality,’ she says. That focus on quality is reflected in the intensity of Piano Week’s courses. They’re offered in two forms: The one-week Standard course provides 24 hours of classes geared to each student’s abilities, including five one-to-one piano lessons and two masterclasses given by carefully selected performers. In addition,

there are concerts each evening. The Intensive course raises that to 29 hours including ten one-to-one piano lessons. Most Piano Weeks are offered on either a residential or non-residential basis. Pianos are provided by Steinway & Sons. This year, prices for a week-long course in the UK range from £1,290 to £2,035 and in Italy from £1,345 to £2,190. For Japan, fees range from £176 for a single masterclass to £2,286 for a week-long, non-residential Standard course. There are many more options including, for those who would just like to give Piano Week a try, a one-day programme costing £250 which is available at Moreton Hall School during the week of 24-31 May. Attracting the best There’s quality, too, in the pianists who will be giving concerts during the festivals. This year they include Martino Tirimo who will give the opening recital of Piano Week’s Beethoven festival, sponsored by G Henle Verlag, music publishers, at its Moreton Hall School residency on 19 July. In recognition of the composer’s 250th anniversary (coincidentally, it is also the 250th anniversary of Schott Music, another valued supporter of Piano Week), Tirimo will be performing the Diabelli Variations in the school’s new, state-of-the-art Holroyd Community Theatre. The residency marks the first time Piano Week has run a chamber music festival. Later in the year, on 16 August, Stephen Kovacevich will be performing the opening recital of Piano Week’s Rugby School residency. As part of his programme, he will be joined by Samantha Ward in a performance of Mozart’s Variations in G major for two pianos. In recent years, Piano Week has become a family affair with Ward’s husband, the concert pianist Maciej Raginia, joining the festival as creative director. Also a graduate of London’s Guildhall, he is busily engaged in planning this and future Piano Weeks. ‘We love how people will travel half-way across the world to attend a Piano Week,’ he says. ‘We see many returnees and they help build a strong sense of family. This aspect of the festival – meeting old friends and making new ones around the world, everybody bound together by a love of the piano – is what makes Piano Week unique.’ Piano Week in 2020: Symphony Salon Tokyo (Japan), 30 April-5 May; Moreton Hall School (UK), 24-31 May & 19 July-2 August; Scuola Comunale di Musica di Foligno (Italy), 19 July-2 August; Rugby School (UK), 16-23 August. Piano Week is produced in collaboration with G Henle Verlag, Steinway & Sons and Schott Music. Full details at www.pianoweek.com.

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MUSIC MUSIC FESTIVALS FESTIVALS 2020 2018

Two Moors Festival 25 September-4 October www.twomoorsfestival.co.uk

Highlights include: Julien Brocal joining artistic director Tamsin Waley-Cohen and the Albion Quartet; Elisabeth Brauss in a recital which includes Beethoven’s ‘Moonlight’; and Chris Glynn and Nicky Spence performing Schubert’s Die schöne Müllerin (in English!). Ulverston International Music Festival 19-27 June www.bit.ly/ulverstonfest

This Lake District event opens with festival director Anthony Hewitt as soloist in Beethoven Concerto No 4 with the Royal Northern Sinfonia. Martin Roscoe appears alongside Jennifer Pike in recital, and other chamber music with piano includes rising cello star Jamal Aliyev in Franck’s Cello Sonata (also with Hewitt at the keyboard) and the Gwilym Simcock Trio. Vale of Glamorgan Festival 15-22 May www.valeofglamorganfestival. org.uk

This adventurous week of new music in the Welsh valleys turns 51 in 2020, and presents an accordingly wide-ranging programme including Huw Watkins playing works by Glass, Adams, Roche and... Watkins. Wimbledon International Music Festival 31 October-29 November www.wimbledonmusicfestival. co.uk

A glance at the pianists to appear: Paul Lewis plays a Beethoven recital, Nikolai Demidenko performs all Beethoven concertos (in chamber form) with the Wiener Kammersymphonie and Arnon Erez appears with the Trio Shaham Erez Wallfisch.

AUSTRALIA Australian Festival of Chamber Music 31 July-9 August

Boogie Woogie to Dances for 10 Fingers – hosted in a village on an island north of Odense.

Australian Piano Duo Festival Late October (dates tbc) www.pianoduofest.org

Established in 2015, a week of concerts and masterclasses in Brisbane: full details available online later in 2020.

AUSTRIA

Festival de Pâques in Aix-en-Provence 4-19 April www.festivalpaques.com

Grafenegg 14 August-6 September www.grafenegg.com

David Fray plays the Mozart K491 Concerto and Alice Sara Ott plays Tchaikovsky – all with top international orchestras and within the setting of this idyllic Schloss. Founder-director Rudolf Buchbinder is soloist in Beethoven’s Concertos 2, 3 & 4.

Chamber music galore in this festival in southern France, with appearances from Beatrice Rana, Denis Matsuev, Martha Argerich (with her violinist chum Renaud Capuçon) and more – plus a masterclass by Frenchman Michel Dalberto. Besançon Franche-Comté Music Festival 11-20 September www.festival-besancon.com

Salzburg Festival 18 July-30 August www.salzburgerfestspiele.at

Beethoven tops the menu this year, with last issue’s cover star Igo Levit performing all the sonatas. Plus recitals by such greats as Maurizio Pollini, Daniel Barenboim, Martha Argerich and more.

A stellar line-up of concerts with the likes of Alexandre Kantarow, Boris Berezovsky and Javier Perianes in the town near the Swiss border where Dinu Lipatti gave his legendary final concert.

www.schubertiade.at

Fazil Say, Francesco Piemontesi, Jan Lisiecki, Paul Lewis, Igor Levit, Marc-André Hamelin, Khatia Buniatishvili, Elisabeth Leonskaja... the list goes on and on. Just some of the pianists appearing in the idyllic valleys which were home to Schubert’s walking tours.

CANADA Stratford Summer Music 20 July-23 August

Some top musicians flock to this festival on the German border. Alexandre Kantarow takes on the rarely-performed Tchaikovsky No 2 Concerto and Grigory Sokolov is the red-ticket recitalist. La Roque D’Antheron 17 July-18 August www.festival-piano.com

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

www.stratfordsummermusic.ca

Canadian and international artists descend on downtown Ontario for concerts and outdoor events, many of them family-focused. More details coming soon.

DENMARK Samsø Piano Festival 2-31 July www.samsoepianofestival.dk

Six concerts by international pianists – from Beethoven to

Deutsches Mozartfest 11-26 May www.mozartstadt.de

The birthplace of his father Leopold, Augsburg is proud of its Mozartian heritage. In celebration of Beethoven’s centenary, the programme of events features music by both composers. Klavier Festival Ruhr Throughout the year www.klavierfestival.de

Every single work that Beethoven wrote for solo piano (including four hands) will be performed at Germany’s answer to La Roque d’Antheron, based in the industrial heartland of the north. It’s impossible to list all the glorious names appearing. Evgeny Kissin wins this year’s 2020 Festival Prize. Rarities of Piano Music 14-22 August www.piano-festival-husum.de

Colmar International Festival 4-14 July www.festival-colmar.com

Schubertiade Schwarzenberg Hohenems April-October

www.afcm.com.au

Artistic director Kathryn Stott brings a mix of fine native and foreign musicians together for 30 concerts in 10 days based in Townsville, North Queensland.

FRANCE

GERMANY

GEORGIA Tsindandali Festival 5-20 September

Alexandre Brager and Andrey Gugnin are the ‘Young Explorer’ artists getting this week of keyboard discoveries off to a bright start. British pianist Simon Callaghan makes a return appearance, artistic director Peter Froundjian also puts in a performance and British journalist Jeremy Nicolas gives a talk on the legendary Leopold Godowsky. Schleswig-Holstein Music Festival 4 July-30 August www.shmf.de

Canadian pianist Jan Lisiecki will play all five Beethoven concertos, whilst the Japanese pianist Hideyo Harada joins actress Corinna Harfouch in a words & music show weaving together Beethoven’s sonatas with his diary entries. However, the 35th Festival will place the Danish composer Carl Nielsen at the heart of its programming.

www.tsindandalifestival.ge

This impressive new festival, now in its second year, has again managed to attract some of the biggest names on the circuit: Nelson Freire, Kirill Gerstein, Alexandre Kantarow, Sergei Babayan, Behzod Abduraimov, Alexander Toradze and more appear in recital, chamber and concerto programmes.

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Spannungen 21-28 June www.spannungen.de

Held in the generating hall of a former power station, this week lights up the Rhineland with high-powered chamber music from director Lars Vogt and friends. More details will be available online in spring.

IRELAND New Ross Piano Festival 23-27 September www.newrosspianofestival.com

Artistic director Finghin Collins brings international pianists to County Wexford, in the pianofriendly acoustics of St. Mary’s Church. More details to come. West Cork Chamber Music Festival 26 June-5 July www.westcorkmusic.ie

A fine house overlooking Bantry bay is home to a week of high-class music-making. Piano masterclasses from Cédric Pescia and Alasdair Beatson, plus solo performances which include Ukranian pianist Anna Fedorova playing Schumann’s Fantasy in C.

ITALY Classiche Forme 5-7 July

weekends of music-making from top orchestras and soloists in two locations – the city of Riga and the coastal resort of Jurmala. Mouthwatering programmes include Hélène Grimaud performing Ravel’s Concerto in G, Sir András Schiff in recital with Beethoven’s last three sonatas – appearing again with the Israel Philharmonic in the ‘Emperor’ – and the ‘retired’ Maria João Pires in a recital of Debussy and Beethoven.

MALTA Malta International Music Festival 25 April-10 May www.maltafest.eu

A rich and varied programme of solo recitals and chamber concerts including a ‘Grand Piano Recital’ by Dmitry Alexeev on 9 May.

NORWAY

www.classicheforme.com

In the town of Lecce, Beatrice Rana curates a concert series on Fazioli pianos near her birthplace, deep in Puglian wine country. Incontri in Terra di Siena 21-28 July www.itslafoce.org

Alessio Bax curates various programmes including a tribute to Godowsky. All take place in Tuscan towns and villages. Pianists Nelson Goerner, Lucille Chung and Bax join various Berlin Philharmonic principals for friendly chamber music-making.

Bergen International Festival 20 May-3 June www.fib.no

An evening recital of nocturnes from issue 110 cover star Isata Kanneh-Mason and a performance of the Grieg Piano Concerto from Icelandic newcomer Vikingur Ólafsson. These are just two events in a diverse mix of music, dance and literary offerings. Fjord Classics 30 June-3 July www.fjordclassics.com

Trasimeno Music Festival 27 June-4 July www.bit.ly/trasimenomusic

Festival founder Angela Hewitt curates summer concerts in Umbria and on the shores of Lake Trasimeno. Highlights include Hewitt performing Beethoven’s Piano Concerto No 1 and accompanying tenor Ian Bostridge for Schumann’s Winterreisse. She closes the week with Bach’s mighty Goldbergs.

LATVIA Riga Jurmala Festival 10 July-30 August www.riga-jurmala.com

Lofoten Festival 6-11 July www.lofotenfestival.com

The opening concert is enough to whet your appetite: pianists galore – including Yevgeny Sudbin, Lise de la Salle and Christian Ihle Hadland – get together for a mixed bag of repertoire including a treat performance of Rachmaninov’s Waltz for six hands. More goodies in the final concert where the pianists play their favourite encores.

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Now in its second year, this star-studded festival features four

Four days of music-making at this international chamber music festival located in the beautiful Sandefjord district. Polina Leschenko and Elisabeth Leonskaja are among the visiting pianists.

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Risør Chamber Music Festival 23-28 June www.kammermusikkfest.no

A week where fine views over the North Sea and music-making on the wing are guaranteed. Kathryn Stott is at the keyboard accompanying instrumentalists in works by Fitkin, Brahms, Beethoven and more. Rosendal Festival 6-9 August

SOUTH AFRICA Gauteng International Arts Festival 18 September-4 October

TURKEY

www.gaufestival.com

Launched in 2016, the fifth edition of this multi-arts festival in the city of Tshwane is due to announce its programme shortly.

SWITZERLAND

www.rosendalfestival.com

LvB250 is the theme behind artistic director Leif Ove Andsnes’ chamber weekend. ‘My hope is that we will experience the outstanding diversity of this extraordinary composer during the festival.’ Pianists Paul Lewis, Jonathan Biss and Vikingur Ólafsson are among the pianists appearing.

ROMANIA George Enescu Festival Summer (dates tbc)

SINGAPORE International Piano Island Festival 14-20 July www.pianoislandfestival.com

A week of masterclasses, lectures and recitals in Bangkok, led by pianists including Pascal Rogé, Eliane Reyes, Ng Chong Lim and Rena Phua. Masterclasses are catered for professional-level students with a limited number of 30 places available. The festival also hosts a piano competition, however students are not obliged to participate. Singapore International Piano Festival 4-7 June www.sso.org.sg/sipf

Now in its 27th edition, this festival features an intensive programme of masterclasses and recitals – welcoming Nelson Goerner, Leon McCawley, Mei Yi Foo and Christian Zacharias.

Istanbul Music Festival 2-25 June www.muzik.iksv.org/en

Quite a dry year on the piano front, but Emanuel Ax is on the programme, performing Beethoven’s ‘Emperor’ with the Staatskapelle Dresden and Myung-Whun Chung.

Lucerne Festival 14 August-13 September (Summer); 20-22 November (Piano Festival)

USA

www.lucernefestival.ch

International stars play in the Jean Nouvel-designed concert hall on Lake Lucerne. Highlights include Martha Argerich in Beethoven No 1 and Denis Matsuev in Rachmaninov No 2 – both with the Festival Orchestra and Riccardo Chailly. Plus Igor Levit makes a six-recital excursion through Beethoven’s 32 Sonatas.

www.festivalenescu.ro

A recent but well-established fixture on the international festival circuit, attracting Europe’s top orchestras and soloists, nearly all of whom bring something of Romania’s greatest composer with them. Details yet to be announced.

concertos but also unique combinations of chamber music.

Montreux Jazz Festival 3-18 July www.montreuxjazz.com

In halls and cafes on the shore of Lake Geneva, the world’s great jazz pianists rev up packed houses and riff with gifted stars of tomorrow. Programme to be announced end of March. Menuhin Gstaad Festival 17 July-6 September www.gstaadmenuhinfestival.ch

The theme of Vienna (where Beethoven spent crucial years) brings Christian Zacharias and friends together for ‘Young Beethoven in Vienna’, while Mitsuko Uchida performs Beethoven’s Diabellis. There’s also the small matter of the giant that is Grigory Sokolov, appearing in recital in the intimate Saanen church – repertoire yet to be announced (of course). Schubert, maybe? Verbier Festival 17 July-2 August

Aspen Music Festival 2 July-23 August www.aspenmusicfestival.com

Inundated with top pianists, many of which are faithful returnees, the 2020 line-up includes: Stephen Kovacevich, Alexandre Kantarow, Sergei Babayan, Yuja Wang, Seong-Jin Cho, and Lucas Debargue – playing not only the standard

The Gilmore Festival 22 April-10 May www.thegilmore.org

Beethoven is celebrated in recitals by Jonathan Biss, Yefim Bronfman and 2018 Gilmore Prize winner, Igor Levit. Plus Chopin mazurkas from Sergei Babayan and Stravinsky fireworks from Beatrice Rana. Evgeny Kissin takes the unusual role as accompanist when he teams up with legendary soprano Renée Fleming. Marlboro Music Festival 18 July-16 August

Public masterclasses and rehearsals galore take place against the stunning backdrop of the Colorado mountains. Beethoven’s anniversary is celebrated with sonata recitals by Paul Lewis and Vladimir Feltsman.

www.marlboromusic.org

Bravo! Vail 25 June-6 August

Mainly Mozart Festival 6-20 June

www.bravovail.org

www.mainlymozart.org

The New York Philharmonic, Philadelphia Orchestra and Dallas Symphony Orchestra are the three top-notch resident orchestras who will be accompanying such illustrious pianists as Yuja Wang (in three different concerto performances), Beatrice Rana, Behzod Abduraimov, and artistic director and pianist Anne-Marie McDermott.

For over 30 years, orchestral musicians from across the US have gathered in San Diego to play at the intimate Balboa Theatre. They’re joined this year by pianist Dejan Lazić.

Grand Teton Music Festival 3 July-22 August www.gtmf.org

Taking place over seven weeks nestled in the foothills of the majestic Grand Teton mountain range in Jackson Hole, the piano highlight has to be Garrick Ohlsson performing all five Beethoven piano concertos over the course of two concerts. International Keyboard Institute and Festival 12-26 July

www.verbierfestival.com

at Merkin Hall, followed in quick succession by the likes of Jean-Efflam Bavouzet, Vladimir Feltsman and Ann Schein.

www.ikif.org

It might be a steamy time of the year to visit New York, but the series of lectures, masterclasses and recitals – led by the pedagogue Jerome Rose – are too tempting to resist. Rose opens the Master Series recitals

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Established stars and young musicians gather for intensive rehearsal before giving five weekends of concerts. Participants this year include Jonathan Biss, Eric Lu and Mitsuko Uchida.

Music@Menlo 17 July-8 August www.musicatmenlo.org

This San Francisco Bay Area festival is led by cellist David Finckel and pianist Wu Han. Courses complement musicmaking in a relaxed festival ambience. Shai Wosner makes his Music@Menlo debut. Tanglewood Festival 19 June-28 August www.bso.org

Paul Lewis features high on the list – performing Beethoven concertos with the Boston Symphony Orchestra in the iconic Shed venue and Beethoven sonatas in Ozawa Hall. Emanuel Ax, too, plays both venues, teaming up with the Emersons for some chamber music-making in the latter. Ingrid Fliter, Garrick Ohlsson, Daniil Trifonov and the Jussen brothers all make appearances. Enjoy masterclasses from many of the visiting pianists.

Igor Levit 2018 Gilmore Artist

“The largest gathering of piano talent in the Western Hemisphere.” — NPR —

April 22 – May 10, 2020 thegilmore.org

Pianist

NEXT ISSUE June-July

ZLATA CHOCHIEVA Jessica Duchen speaks to the Russian pianist about her kaleidoscopic view of music-making – from her studies with Mikhail Pletnev to the success of her Chopin Etudes recording

BLURRY VISION Andrew Stewart explores age-related sight loss, its implications for pianists and what can be done about it

HOW TO LEARN A NEW PIECE Opening the score of a new piece and knowing where to start isn’t as logical as it seems, says Graham Fitch, who reveals a whole toolbox of tricks

THE ART OF PHRASING It’s all about conveying something close to what a good singer does, says Mark Tanner, who explains how to think like a vocalist

© Kristina Radiy

ON SALE

22 MAY 2020

40 PAGES OF SCORES Favourites and rare treats including Schubert Minuet D600 (a Volodos classic), Debussy Valse Romantique, Merikanto Idylle and a jazzy Amazing Grace

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P I A N I S T PA R T N E R S H I P

Making the It’s an experience that many of us recall only in nightmares: the thumping heart; the sweaty palms; the apparent disappearance of everything we had painstakingly learned about scales and their key signatures from our mental filing cabinets. But those days are past! Over the next three pages, three of the top examination boards explain their concept of the exam in today’s world – ensuring that the exam-taking process, whether Grade 8 or diploma, or Grade 2 or below, can be an enjoyable and uplifting experience

Photo © Monkey Business /Adobestock

GRADE

ABRSM Inspiring musical achievement Established in 1889, ABRSM is passionate about music and music education. ABRSM’s mission is to inspire musical achievement. It does this by supporting music teaching and learning around the world in partnership with four Royal Schools of Music: the Royal Academy of Music, Royal College of Music, Royal Northern College of Music, and Royal Conservatoire of Scotland. ABRSM is an advocate for music education. It provides assessments, resources and services to support teachers and learners – and in line with its charitable aims, sponsors a wide variety of music education organisations. These range from leading youth orchestras and choirs to smaller specialist organisations that support a diverse range of learners. ABRSM’s assessments ABRSM provides internationally respected music assessments for learners of all ages and levels of attainment. Each year 700 examiners deliver over 600,000 assessments in more than 90 countries. As a regulated awarding organisation ABRSM assessments are valued and trusted measures of musical progress. Syllabuses are regularly reviewed to maintain standards and ensure they meet the needs of teachers and learners. ABRSM’s graded piano syllabus is refreshed every two years and the Piano Syllabus 2021 & 2022 will be published in early June 2020. This will feature a complete change of repertoire and scale requirements for all grades, extended and redefined repertoire lists, duets (up to Grade 3) and a new Initial Grade. In addition to the core classical graded music exams (Grades Initial to 8), ABRSM also offers practical graded exams in Jazz, Singing for Musical Theatre and Practical Musicianship. Other assessments include Choral Singing and Ensemble exams. These are offered alongside a comprehensive Music Theory exam pathway which encourages developing musicians to learn about the way music works. This understanding helps them to make music with greater awareness, confidence and sensitivity. For beginners and young learners ABRSM recently launched a new Initial Grade for Bowed Strings and will be introducing it for Piano with the 2021 & 2022 syllabus. This pre-Grade 1 exam follows the same structure, content and marking criteria as the graded exams making it a useful stepping stone to Grade 1. The Prep Test is a relaxed introduction to the experience of taking an exam. There is no pass or fail and all candidates are rewarded with a certificate and helpful comments from the examiner. This is complemented by the Performance Assessment, which offers a similar experience to learners at any stage of their development.

For advanced musicians ABRSM’s letter-bearing diplomas provide a range of assessment options for advanced musicians: • ARSM is a performance-only diploma open to anyone who has passed Grade 8. • DipABRSM, LRSM and FRSM diplomas are available in Music Performance, Instrumental/Vocal Teaching and Music Direction. Publications and digital resources ABRSM is committed to creating balanced and diverse repertoire collections, and to commissioning new music and arrangements. Its award-winning books support musicians at all stages of learning with collections of carefully selected and graded repertoire. To further support learners with their musical journeys, ABRSM also offers a wide range of digital resources, from apps to help exam candidates with aural tests, sight-reading, music theory and scales, to a new online learning platform for electric guitarists. Teacher development ABRSM understands that music teachers play a vital role in the delivery of effective and inspiring music education. ABRSM supports music educators through a growing range of teacher development and education resources, helping teachers to widen their skills, knowledge and understanding while building successful, rewarding careers. ‘These exams have helped me to be the best musician I can be.’ Callie, candidate from the USA More information at www.abrsm.org

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LONDON COLLEGE OF MUSIC EXAMINATIONS Ethos and background LCME is the graded examinations department of the London College of Music, the largest specialist performing arts institution in the UK. Examinations are held worldwide. Its qualifications are unique within the graded examination sector in being awarded by a university. LCME is a diverse, forward-thinking community of learners, teachers, examiners and leading experts in its fields. Since the college’s founding in 1887, it has welcomed all those with a passion for music and drama, inspiring generations of students to become performers, composers, teachers and informed listeners. Founded on the principle of offering music education to all who wish to learn, from the beginning courses and upwards, LCME is open to all ages and backgrounds. Its emphasis on accessibility was unique in comparison with the other music colleges of the time. This ethos remains firmly in place as it continues to lead the way in developing exam provision. Diversity and inclusion Examination boards play a part in shaping the culture of society. For young learners, the works they prepare for exams play a key part in shaping their expectations and aspirations of music and drama. LCME is renewing the founding ethos of LCM by working hard to ensure its syllabuses are more diverse and representative of the people taking graded exams. LCME is committed to encouraging perspectives which are more reflective of the diversity within society. It strives to be relevant and of interest to people from a wide range of social and cultural backgrounds. LCME is proactively addressing the gender and racial balance among contemporary composers and authors within each of its syllabuses. Its work in this area is pioneering, providing a broader range of experiences reflecting the world in which its candidates recognise. Qualifications and learning materials Exams are offered across a wide range of subjects, catering for all levels of ability. The board offers qualifications in classical, contemporary and traditional music, drama, communication, spoken English, early learning and creative media. Qualifications range from introductory exams, through graded exams and diplomas in performance and teaching. LCME has pioneered the development of flexible examination formats, giving candidates in many subjects the ability to be assessed entirely or predominantly in performance. Syllabuses contain a wide range of repertoire options, sometimes including an own choice element. LCME offers a variety of examination alternative options to the standard graded exam such as Leisure Play, where candidates perform three pieces plus an own fourth choice, but do not attempt any of the

additional components of the exam. Recital grades allow candidates to enter for a graded exam focusing entirely, or predominantly, on performance. Performance Awards are also available, assessed entirely via video submission. The graded exams in most subjects – including diplomas in music performance, music teaching and drama – are regulated by Ofqual, Qualifications Wales and CCEA. In order to be regulated, qualifications need to meet stringent criteria related to exam content, delivery, assessment and reporting procedures. These measures provide additional value and confidence in that LCME graded examinations are of equal standing to other examination boards. Publications LCME wants its learners to love spending time with its publications. It believes that books can be beautiful, special and rewarding in many ways, from the inventiveness of the content and the quality of the editing to the look and feel of the publication. LCME publishes a truly broad range of materials to assist learners in their development of performing arts. From printed music to theory workbooks and a whole host of drama and communication publications, LCME also provides downloadable digital versions of many of its books, making sure their publications are affordable and easily accessible to all. More information at www.lcme.uwl.ac.uk

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TRINITY COLLEGE LONDON Background Trinity College London is a leading international exam board and independent education charity that has been providing assessments around the world since 1877. With over 850,000 candidates a year in more than 60 countries worldwide, Trinity qualifications are specifically designed to help students progress. In the UK, a network of more than 200 public exam centres are available for taking Trinity Music exams, or alternatively a Trinity examiner can visit private locations such as schools, if certain criteria are met. Musicianship is key Performance is at the heart of Trinity’s graded music assessments, with the belief that musicianship is most effectively demonstrated through practical performance. The exams are numbered from Initial to Grade 8, with the Initial exam acting as an introduction to the exam system for new performers. With flexibility within each part of the exam and a wide range of repertoire to choose from, learners can perform to their strengths and gain recognition for their own unique skills. In addition, there is no need to have passed Grade 5 Theory before taking a higher grade practical exam, though Trinity does offer a comprehensive Theory syllabus. All styles, all levels Pieces cover a wide variety of musical styles and periods allowing learners to progress in their own musical style. Candidates play three pieces in their exam, with the option of playing a duet (Initial to Grade 3) or even one of their own compositions. Instrument-specific technical work has long been a hallmark of Trinity exams. The specially written exercises focus on key areas of piano technique, alongside a small number of scales and arpeggios. Supporting tests encourage learners to develop broader musical skills. Candidates choose two options from sight reading, aural, improvisation or musical knowledge. Performance diplomas provide a pathway to professional musicianship, focusing exclusively on the planning and performance of a recital. Offered at three levels (ATCL, LTCL and FTCL), candidates can choose pieces from the newly expanded repertoire lists, submit their own-choice pieces, or a mixture of both. Repertoire matters Peter Wild, piano syllabus consultant and senior Trinity examiner, explains: ‘Our pieces are selected for teachers to make choices with – in line with the depth and breadth of musical learning they deliver, their own musical experience and knowledge, and their personal values as musicians and educators.’ He goes on to say: ‘We chose music that learners enjoy playing and can play with confidence so that a music exam becomes a fulfilling experience and embeds a love of performing

beyond the exam room.’ Pearse and Hannah are two piano students who were inducted to the TrinityTalent Class of 2018. ‘Since completing exams with Trinity, I have been exposed to styles of piano playing that I never had before.’ says Pearse, who has achieved Grades 4 and 5. ‘Due to the vast range of pieces on every Trinity syllabus, I have been stretched to learn new skills while also falling in love with the piano.’ Hannah, who has achieved Grades 3 and 5, commented: ‘I’ve enjoyed the variation of the pieces between modern and old. I practise for a few hours every day and I have loved playing the piano through Trinity. I have now decided to work towards my Grade 6 and I’m especially excited to play Progression by Manfred Schmitz.’ Publications A full range of repertoire and exercise books are available to support teachers and students including Piano Exam Pieces & Exercises, the Raise the Bar series and Piano Stories which provides creative ideas for learning the early grade pieces in a beautifully illustrated format. Further support is available at www.trinitycollege.com/ piano-resources, with videos and articles exploring pieces and technical work, and a new video series showcasing creative approaches to learning to improvise. More information at www.trinitycollege.com/piano

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E D U C AT I O N

In the fifth lesson of a six-part series, John Geraghty delves into the world of six-note chords, and demonstrates how to harmonise any piece of music with these chords

LESSON 5: SIX-NOTE CHORDS AND MORE

Introduction In the last lesson you learned about creating ninths, how to voice them with both hands and how to add ninths to Twinkle Twinkle Little Star. In this next lesson, you will learn about: • Elevenths – six-note chords using the C major scale • Six-note chord voicings for both hands • How to harmonise Twinkle Twinkle Little Star with eleventh chords How to create an eleventh chord Using the numbered system (1-11 for any major scale), an eleventh is created using 1-3-5-7-9-11 from the major scale. In C major, the notes will be C-E-G-B-D-F. In D major, this would be D-F#-A-C#-E-G and so on. The eleventh note (the final note in the chord) can also be sharpened, depending on the type of chord you want to create. You can also think of the eleventh as a fourth, as it’s the same note. As long as the chord includes the seventh note, it will always be an eleventh-type chord. Note: You do not have to include the ninth note within an eleventh chord. In theory, it could be just a five-note chord.

&

w 1

w 2

w 3

w 4

w

w

w

w

w

w

w

5

6

7

8

9

10

11

Different types of eleventh chords Below shows different types of elevenths using C as the root note. Each chord is formed using the C major scale. You can hear that some are more dissonant than others. After playing these chords, play a simple C major chord and see if you still like the basic three-note chord or if you prefer a more complex-sounding chord. Note: Apart from the first chord, all the other chords contain black notes. Does this mean that these chords can’t be played in the key of C major? No. Not at all. Check out Twinkle Twinkle Little Star re-harmonised on page 86.

CŒ„Š9(„ˆˆ11)

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w w w w w w

CŒ„Š9(#11)

#w w w w w w

C9(„ˆˆ11)

w bw w w w w

C9(#11)

w b#w w w w w

C11(b9)

w bbw w w w w

C7[âÅ]

w b#w w w w w

C‹9(„ˆˆ11)

w w b w bw w w

C‹11

w w b w bw w w

To summarise: • For maj9 chords in C, the third (E), seventh (B) and ninth (D) notes have to be included. If the chord includes an ‘11’, then the eleventh note (F) also has to be included. • Dominant seventh chords (shown within the brackets) have to include the third (E), flattened seventh (Bb) and either the ninth (D) and/or eleventh (F) note. The ninth can be b9 or #9. The eleventh note can be #11.

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• Minor chords have to include the flattened third (Eb) and flattened seventh note (Bb). If the chord mentions a ‘9’, the ninth note (D) has to be added. If it mentions an ‘11’, the eleventh note (F) has to be included, with or without the ninth note. Diatonic elevenths Below you will see all seven diatonic chords in the key of C major. You’ll notice that some include a sharp. If you played these chords without the sharp they would sound more dissonant. All the chords below include the ninth. Play each chord as written and ignore any previous accidentals. Experiment with each chord by adding or taking out the ninth note and making the sharps natural. Use fingers 1 and 2 in the LH for the lowest two notes. Play the remaining four notes with the RH. (See Simplifying Eleventh Chords below.) The last chord below should technically be called a Bm7b5(9/11) which is a diminished chord, but this overcomplicates things!

D‹11

#w w & w w w w

w w w w w w

w w w w w w

w #w w w w w

w w w w w w

CŒ„Š9(#11)

E‹11

G11

FŒ„Š9(#11)

w #w w w w w

w w w w w w

B‹11(b5)

A‹11

Which eleventh chord is your favourite? Which one sounds more dissonant? Do you prefer them with or without the ninth note? Do you prefer the chords played with just white notes or do you prefer playing the chords with the added sharp? Go back to the previous lesson on ninths (Issue 112) and see now if you think the ninth chords sound bland. Simplifying eleventh chords Since eleventh chords are more complex, it’s much easier to superimpose another chord on top of the root and third note. Gma7/C is Cmaj9(#11). C11 and Cm11 are Gm7/C with the added major third (E) or minor third (Eb) in the left hand. GŒ„Š7/C G‹7/C G‹7/C Practise using different chord inversions of these RH chords over a C note.

#w w w w w w

&

{

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w bw w w w w

5 3 2 1 1 2

w bw w w bw w

C11

CŒ„Š9(#11)

C‹11

Go back to the diatonic elevenths and study the following slash chords to create the eleventh chords. Am7/D = Dm11, Bm7/E = Em11, Cmaj7/F = Fmaj9(#11), Dm7/G = G11, Em7/A = Am11 and Fmaj7(#5)/B = Bm11(b5). Chord voicings for both hands Shown below are chord voicings for both hands using various eleventh chords with either the first, third, fifth, seventh, ninth or eleventh as the highest note. Notice that some chords don’t include the third (E), fifth (G) or ninth (D) notes. The first chord could be called Cm11 as the third is missing from the chord. Since major and minor chords include the fifth note (G), it doesn’t matter if this is missing, apart from chords like C7#5 or C11#5, where the fifth note is sharpened. Take time to study and play these. Which chords do you prefer?

C11

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w w w bw w

5 2 1 1

C‹11

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4 2 1 1 2

5

1st

3rd

C‹11

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CŒ„Š9(#11)

#w w w w w

5 3 1

1 3

5 3 1 1 5

7th

5th

C‹11

bw w b ww bw w 5 3

1

1

w bw w w bw w

C‹11 2

5 3 2 1 1 2

5

9th

11th

A quick review... When you’re trying to work out a chord, simply use the numbered system within the key you are in. Here’s an example: To find the Ebm11 chord, you would use the Eb major scale and then find the 1st, b3rd, 5th, b7th and 11th notes. You may also want to include the ninth to add more interest. ▲

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b &b b w 1

bw

w

w

bw

w

w

w

bw

b7

5

b3

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11

Re-harmonising Twinkle Twinkle Little Star

4 &4

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5

C/G F©‹7(b5) F‹9 E7[åÁ]

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& œœ # œœ bœ œ ? œ œ

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9

FŒ„Š7

bœ

bœ

D‹7 G7(b9) CŒ„Š7 F©7(#11) G11

n œœœ bn œœœ œœ œ œ

E‹7(b5) E¨7

& œ œ œœ bœ ˙˙ ? ˙ œ ˙

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G‹7 C11 FŒ„Š7 B¨9(#11) D‹7 G7(b9) C(„ˆˆ9)

œ œ ˙ œ nœ œœ bbœœœ # œœœ bb œœœ nbœœœ nn ˙˙˙ œ

œ #œ nœ œ

E‹7(b5) A7

E¨9(#11) D¨9(b13) CŒ„Š9

b œœœ bœ

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n ˙˙˙˙ ˙

D‹9 G9(b13) CŒ„Š9

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˙ ˙

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œœ œœ œœ b œœ œ bœ

D‹11 D¨9(#11) C‹11 Bº7

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b œœœœ œ œ

A7/B¨ D9 G9(„ˆˆ11) G7(b9)

œœ bœœ œœ œœ # œœ œ œ œ b œœ bn œœ œ #n œœœ œ bœ œ b œ œ œ bœ œ

G9(„ˆˆ11) G©º7 A‹7

˙˙ ˙ ˙ ˙

n œœ˙ b œœ ˙

D9

G9 G7(b9) A¨Œ„Š7 C

œœ œœœ œœ œœ œ # œ n œ # œœ

œœ b œœ ˙œ œ ˙ bœ nœ

œ #œ œ œ

˙

bœ

œ

• Notice the chromatic descending scale starting on G in the first bar to the Eb in bar 2. • A nice way to link two chords is by adding a diminished chord between them, as indicated above the brackets. • Delaying the final chord C with the Abmaj7 in the last bar creates an unexpected ‘lift’ to the music. Go to www.tinyurl.com/playingbyear, where you can listen to the track being played. You’ll hear at the end how a D major arpeggio is played over the last C note, therefore making it a Cmaj13(#11) chord. Next step • Go back to the first lesson (Issue 109) and play Twinkle Twinkle Little Star again. Notice how simple the harmony is and how ‘bland’ the chords sound. • Learn all your major scales and find out where the third, fifth, seventh, ninth and eleventh notes are. • Go back to your seventh chords (Issue 110), adding in ninths and elevenths. For maj7 chords, add the 9 and/or #11. For min7 chords add the 9 and 11. For dominant chords, like A7, D7, add b9 / #9, 11 and #11s to the chords. In the following and final lesson, you will learn • 13ths – seven-note chords using the C major scale • Seven-note chord voicings for both hands • How to harmonise Twinkle Twinkle Little Star with thirteenth chords n Playing By Ear - A Songwriter’s Way will be out later this year. Go to www.learnplayingbyear.com and subscribe. You’ll be notified once it’s available to buy.

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Eliza Aria by Elena Kats-Chernin in this fabulous new arrangement for piano

by Lang Lang

As featured on his album Piano Book, Lang Lang’s arrangement of this beautiful piece, suitable for intermediate pianists, is imbued with his own unique approach to dynamics and ornamentation.

A great addition to concert repertoire, this piece is exceptionally well suited to the piano.

Eliza Aria BB 3541 | £ 5.99

Available in all good music shops and online stores. For more information visit: www.boosey.com/kats-chernin

Homecoming

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

Piano solo by Adrian Lord

Oxford

Philharmonic

Orchestra

Oxford Piano Festival 1 – 9 August 2020 2020 Faculty Nelson Freire Richard Goode Ian Jones Yoheved Kaplinksy Vanessa Latarche Alain Lefèvre Elisabeth Leonskaja Paul Lewis George Li Nikolai Lugansky Marios Papadopoulos Menahem Pressler Amandine Savary

From the album Sky Blue Piano, available on CD, Spotify, Apple Music & Sheet Music Book

Watch the brand new video for “Homecoming” on YouTube and for a

LIMITED TIME ONLY Download for FREE the piano music score for Homecoming

www.adrianlordpiano.com

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[email protected] oxfordphil.com

STREAM ALL OF THESE ALBUMS ON PRIMEPHONIC

REVIEW

Visit www.primephonic.com/pianist-magazine for an exclusive gift

ALBUM reviews ALESSIO BAX

Italian Inspirations: Works by Bach, Dallapiccola, Liszt and Rachmaninov Signum Classics SIGCD 611 HHHH As Alessio Bax notes in his introduction to this album, Italy produced almost no piano music during the Romantic period, probably because of the contemporary prominence of Italian opera. So in devising an Italian piano recital he’s turned his attention to transcriptions. He gives a delightfully crisp account of Bach’s Concerto in D minor (BWV 974) based on an oboe concerto by Alessandro Marcello, and he relishes the technical and dramatic challenges of Rachmaninov’s high-octane Variations on a Theme of Corelli. The only echt-Italian piece is Dallapiccola’s Quaderno musicale di Annalibera – but since this dull set of plinky-plonk variations is actually written according to the rules of Austro-German dodecaphony, maybe it’s not that Italian after all. The highlight is undoubtedly Liszt’s Après une lecture du Dante, which shows Bax in a fabulously dramatic, pearl-clutching mode. Grand gestures, high drama, whisper-thin pianissimos, gorgeous sonorities... Bravo! WT

Reviewed by Peter Quantrill, Warwick Thompson and Erica Worth

FEDERICO COLLI

ANDREY GUGNIN

Scarlatti Sonatas Vol 2: A selection of 16 sonatas Chandos CHAN 20134 HHHH Federico Colli’s first disc of Scarlatti sonatas didn’t appear on my radar, but judging by the strength of his second, I seriously need to adjust my equipment. Colli seems to have limitless reserves of variety – of tone, touch, emotional range – at his disposal, and the result is a thrilling match of artist and subject. He groups sonatas into pairs (not in their spurious published couplings, but in pairings of his own) and uses one to highlight the contrast with the other. Thus a bittersweet melancholic meditation (K144) runs into a dazzling perpetuum mobile (K427), and the odd, experimental ‘Cat’s Fugue’ (K30) feeds into the more conventional repetitions of K35. He keeps the sostenuto pedal at a minimum, which is great by me, and sensibly holds the horsepower of Potton Hall’s Steinway D in reserve for only the biggest of climaxes. Colli’s booklet essay on opposition in music reads like sub-undergradphilosopho-gobbledygook. Never mind – just enjoy the fabulous playing. WT

Homage to Godowsky: Arrangements of works by Sauer, Hofmann, Blumenfeld, Chasins, Friedman and more Hyperion CDA68310 HHH Hear the name ‘Godowsky’, and most likely you’ll think of his Studies on Chopin’s Études which take the difficulties of Chopin’s opps 10 and 25 and ramp them up to yet another level of fiendishness. But Godowsky was also a generous friend, helper and mentor to his contemporaries, and many of them repaid his support by dedicating compositions to him. Author Jeremy Nicholas has selected some as a recital for Russian keyboard athlete Andrey Gugnin, who gives them the best possible presentation – but alas it’s obvious why composers such as Eugenio Pirani and Abram Chasins are pretty much forgotten now. After a while, these meandering pieces come to feel like reams of Late-Romantic white noise, even if I enjoyed Joseph Holbrooke’s Une nuit ténébreuse for its campy extravagance. Nevertheless, this is a good chance to listen to the rarer repertoire, which is played with style and conviction, and with first class piano sound. WT

ETSUKO HIROSE

WILLIAM HOWARD

VÍKINGUR ÓLAFSSON

Moszkowski Piano Works: Original solo works and arrangements Danacord DACOCD 866 HHHHH The first thing that strikes you in this recording from Japanese pianist Etsuko Hirose is the well-captured sound of the Bechstein. As for the music itself, Hirose offers a varied selection of Moszkowski’s music which is stylistically in keeping with Liszt and Chopin, yet always possessing his unmistakable voice. Hirose makes even the lesser-known Moszkowski works sound like masterpieces: just listen to his own impish Etincelles (a favourite Horowitz encore) – brimming full with brilliance and joy (oh, and what nimble fingers) – and the opening Valse, which exudes stamina and panache. The arrangements, too, of works by Offenbach, Bizet and Wagner, are handled with kid gloves: Isoldens Tod is one long, romantic line from beginning to end, Hirose managing to capture the lush sounds of the orchestra. If ever one could say that the music suited the hands of the performer, this release is the best example. EW

Howard Skempton: Preludes & Fugues, Nocturnes, Reflections, Images Orchid Classics ORC100116 HHHHH 58 tracks in 72 minutes, yet the piano music of Howard Skempton (b1947) doesn’t feel like the work of a miniaturist any more than Satie’s préludes and cycles. Early in their careers, both composers honed the art of making new tonal worlds in tiny spaces. Many of the Images (1989) might attract any Grade 5-plus pianist seeking an alternative to Bach Inventions, and each of the 11 Reflections reflects on something real – a chord, a sequence, a mood – and then stops where most such music drifts into self-indulgence. Also written for William Howard, also recorded by him here with utterly captivating clarity and a fine sense of whimsy, the Preludes and Fugues date from as recently as last year. They play with the cycle of keys, with our expectations of such a cycle’s ambitions and, as ever in Skempton’s music, with the sense of an ending. Like a chef at the top of his game, he always leaves you wanting more yet satisfied with what you’ve had. PQ 88• Pianist 113

JS Bach – Works & Reworks: Works by JS Bach, and reworked works by Kurtág and more Deutsche Grammophon DG 4837769 HHH The Icelandic pianist shows a clean pair of heels and hands on CD1’s carefully programmed selection of ‘straight’ Bach. A little more fantasy would be welcome in the WTC Book 1 E minor Prelude, but he is saving up his pianistic imagination for Siloti’s transcription of the same piece and then his own, heavily post-produced version, complete with odd knocking noises, which opens the CD2 of ‘reworks’. Ólafsson made his name in the rhythmically dislocated minimalism which requires a sophisticated independence of right and left hands, and on a technical level his fugues are impressively voiced, as in the standalone BWV904. Is he striving for effect in the service of Bach’s universality, though? The clipped Aria variata BWV989, the polished mysticism of two Bach/Busoni chorales and a chilled take on the inevitable Prelude in C (more weird clicks, now also some poppy reverb) could all be the work of completely different pianists. PQ

REVIEW

SHEET MUSIC BOOK REVIEWS &

Reviews by John Evans (Brubeck) and Michael MacMillan DAVE BRUBECK: A LIFE IN TIME Philip Clark Headline ISBN 978-1-4722-7247-8 At the beginning of his biography of jazz legend Dave Brubeck, Philip Clark explains how the subtitle of his book, A Life in Time, was inspired by not only the dramatic times his subject lived in and his efforts to find time for his multiple lives as performer, composer, husband and father of no less than six children, but also by the musician’s obsession with polytonality, polyrhythm and complex time signatures. Most notably, 5/4 became his very signature. The result is a biography that avoids the traditional chronological path in favour of one that is led by Brubeck’s music and the times that helped shape it – and him. It’s also a biography written by someone with a deep affection for, and encyclopaedic knowledge of, the composer. On top of that it’s packed with fascinating revelations, many of particular interest to readers of this magazine including the fact that his mother, Bessie, wanted so much to be a concert pianist that, as a young mother to Dave and his siblings, she left her home in the US for London to study with Myra Hess and Tobias Matthay. Meanwhile, those who struggle to read notation can take heart from the fact that Brubeck did, too. It’s why he developed such good listening and improvising skills. A lesson for all of us there.

TEACHERS’ CHOICE PIANO COLLECTION

Faber ISBN: 978-0-571-54125-6 (Bk 1) -54126-3 (Bk 2) These books contain pieces chosen by the membership of the European Piano Teacher’s Association (EPTA), who are ideally placed to know what repertoire works with students. A good amount of material is included; 31 pieces (Grade 1-4) in the first book, and 27 (Grade 5-8) in the second, with no composer appearing more than once. A large proportion of the pieces have appeared on exam syllabuses, so teachers familiar with this source of repertoire are unlikely to make any discoveries here. The overall presentation and the short introductory remarks at the top of each piece are directed more towards teachers than students. Nevertheless, these books provide a useful body of clearly printed, motivating music.

BEACH Children’s Album Op 36 Spartan Press ISMN: 979-0-57998-431-3 Amy Beach published over 300 works, and is recognised as one of the most acclaimed American composers of her generation – a remarkable achievement, when you consider that she was largely selftaught as a composer and thought of herself as a pianist first and foremost. Her Children’s Album dates from 1897 (when she was 30 years old), and includes five two-page pieces – a minuet, gavotte, waltz, march, and polka – that are around Grade 3 to 5. The absence of any octaves in all these pieces make them suitable for a child’s hand span, and they are written in a simple, appealing harmonic language that is easy to listen to, though not especially memorable.

RAVEL Jeux d’eau Bärenreiter ISMN: 979-0-006-52640-6 One of Ravel’s most popular piano solos, Jeux d’eau was dedicated to his composition teacher at the Paris Conservatoire, Gabriel Fauré. Completed in 1901, it is a technically daunting work that bristles with runs and figurations that the composer indicated were inspired by the sounds of ‘fountains, cascades, and rivulets.’ This edition has been prepared by Nicolas Southon, the editor-in-chief of Bärenreiter’s edition of the complete works of Fauré. Notes for performance are provided by the renowned French pianist Alexandre Tharaud, who has also added a modicum of fingering suggestions alongside the few that Ravel added to his own score. The music benefits from Bärenreiter’s characteristically crisp presentation. www.universaledition.com www.universaledition.com wien wien | london | london | new | new york york

ISMN 979-0-008-08990-9

9

9790008 790008 089909 089909

UPC

8

ISBN ISBN 978-3-7024-7662-5 978-3-7024-7662-5

8 03452 0345207373 07373 4

4

9

9783702 783702 476625 476625

Printed Printed in Hungary in Hungary PR 7PR / 2019 7 / 2019

BEETHOVEN Six Variations Op 34 Eroica Variations Op 35 Henle ISMN: 979-0-2018-1373-8 (Op 34); -1299-1 (Op 35) The musical text for these two books has been lifted unaltered from the second volume of variations that has already been published as part of Henle’s New Beethoven Edition. These are taxing pieces, appearing on various diploma syllabuses at associate, licentiate, and 89• Pianist 113

fellowship levels, and run to ten (Op 34) and 20 pages (Op 35) in length. Written around the turn of the 19th century, Beethoven described the works as being written in ‘a truly, wholly new manner’ and the Eroica Variations are so-called as Beethoven used the theme in the finale of his Eroica Symphony. This edition, prepared by Felix Loy, comes with fingering suggestions by the British pianist, Ian Fountain.

MY FIRST TCHAIKOVSKY Edited by Wilhelm Ohmen Schott ISMN: 979-0-001-20574-0 This publication is part of a series dedicated to providing students with ‘little pieces by great composers’. It has, to date, covered Bach, Mozart, Schumann, Beethoven, Chopin, and Haydn – and anyone wanting to explore Tchaikovsky’s music should investigate this latest addition, which contains 28 of his easiest pieces. The material ranges in difficulty from Grades 3 to 8, including 19 of the 24 pieces in the Children’s Album Op 39, and nine further pieces taken from The Seasons, ‘12 pieces of medium difficulty’, and the composer’s own solo arrangements from The Nutcracker. The book accomplishes what it sets out to do, providing an excellent introduction to Tchaikovsky’s music through his most accessible piano pieces. MIKE CORNICK

E l g a r F avo u ri t E s Arranged for Piano Duet

ELGAR FAVOURITES

Arranged for piano duet by Mike Cornick Universal Edition ISBN: 978-3-7024-7662-5 Reviewing a book by Mike Cornick without a jazzy chord in sight feels distinctly odd, but the cognitive dissonance quickly disappears once you start playing his piano duet arrangements of Elgar’s music. The six pieces (Salut d’amour, Mot d’amour, Chanson de nuit, Chanson de matin, Enigma Variations, Elegy for Strings) are expertly arranged for pianists around Grade 4-6; the upper part is almost always at the easier end of this range, with the hands often playing an octave apart, whilst the lower part provides rich support. The overall effect is a satisfying reproduction of the original work. An attractive book of duets, with only minor reservations over the fairly high price tag and lack of an accompanying CD. INCLUDES

salut d’amour • Mot d’amour • Chanson de nuit • Chanson de matin Enigma variations: theme & Nimrod • Elegy for strings

UE 21 779

Universal Edition

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