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OCTOBER - NOVEMBER 2016

RI E
AL E
CD T
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SU

& M
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No 92 SO
NS
Helping you become a better player

LEARN ADELES
STIRRING HIT SINGLE

Make You
Feel My Love
ALEXANDRE
THARAUD
Conjuror of the keyboard

MASTERCLASS

14 LEARN
ALL LEVELS AND ALL STYLES
PIECES TO Create fluency
in your playing

Still time to
BEGINNER LESSON
enter our
Clementi
K Sonatina
in C op 36 no 1
K COMPOSING
COMPETITION!

Pianist 92 LISTEN LEARN PLAY WHAT ACTUALLY IS A

14 LEARN
HYBRID PIANO?
TRY YOUR HAND AT
PIECES TO ONE NOTE
ALL LEVELS AND ALL STYLES
SAMBA!
BEGINNER LESSON

Clementi
Every issue, Pianist brings you 40 pages
K Sonatina
in C op 36 no 1
K of scores to learn and a CD to listen
Expert advice on
Scriabins smouldering and learn from. If your CD is missing,
5.25

Exclusive bonus tracks

ALEXANDRE THARAUD Etude op 8 no 12
in D sharp minor
please call 0113 200 2929 or email
plays Scarlatti & Chopin
MELVYN TAN plays Beethoven

SCORES BY CZERNY SCRIABIN CLEMENTI BORODIN GRIEG

NAZARETH MAYKAPAR and more performed by Chenyin Li lauren.beharrell@warnersgroup.co.uk
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17705 Steinway Pianist Mag (92) Penthouse/Wang_Layout 1 08/09/2016 14:43 Page 1

s t e i n way a l l o ws m e t o u n f o l d
t h e w o r l d o f i m a g i n a t i o n .

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

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

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 Pianist 92
October-November 2016 CONTENTS
The next issue of Pianist goes on sale 25 November

70

82 8

12 78
4 Editors Note 27 The Scores A pull-out section of 40 78 Tales out of school It was once
pages of sheet music for all levels. thought that national schools moulded
6 Readers Letters Plus, three scores from Schotts Piano the way in which pianists played was
Anthology series this ever true and is it valid today?
8 News Competition results, a chance to John Evans does his research
visit the August Frster factory, Howard 67 Master & pupil To celebrate his 60th
Shelley explores Mozart and more birthday, Melvyn Tan presents a Master 82 By any other name Gez Kahan tries
and pupil programme with a new disc to bring clarity to the fuzzy terminology
12 Alexandre Tharaud The French and a Wigmore Hall recital surrounding hybrid pianos
pianist talks to Jessica Duchen about
interpreting Rachmaninovs Second Piano 68 Understanding Theory A series to 85 Subscribe today for just 4.50 an
Concerto and bringing magic into music help you build your knowledge of theory. issue by Direct Debit and receive an
This issue: Introducing harmony M&S gift voucher or a Lang Lang
16 How to Play Masterclass 1 Piano Method book
Mark Tanner on fluency 70 Eric Wortham II Editor Erica Worth
talks to her near-namesake the pianist, 86 CD Reviews Nelson Goerners pips to
19 How to Play Masterclass 2 songwriter and producer who tours with the post with his Hammerklavier Sonata,
Graham Fitch on deconstructing the score the likes of Adele and loves to improvise but Peter Donohoe, Barry Douglas and
Rarities from Husum arent far behind
22 How to Play 1 Melanie Spanswick on 72 Composing Tips For those still eager
the first movement of Clementis Sonatina to enter the Pianist Composing 88 Sheet Music Review Includes the
in C op 36 no 1 (Scores pages 34) Competition, Inge Kjemtrup talks to new ABRSM piano syllabus, Trinitys
three expert composers for some hot tips Raise the Bar, Brahms waltzes and more
23 How to Play 2 Janet Newman on
Fuchss Dear little sister (Scores page 36) 74 Pick and Mix As the popular Schott 89 Classifieds
Piano Anthology series nears its 10th
24 How to Play 3 Lucy Parham on anniversary, Erica Worth speaks to Nils
Scriabin Etude op 8 no 12 (Scores page 59) Franke, editor and devisor of the series

27 Composing Competition Win a 76 Advertorial The Pearl River Piano

Kawai piano worth 3,350! Plus the Group celebrates its 60th anniversary and
winning score will featured inside Pianist 25 years in the United Kingdom and
and on the covermount CD Ireland with Intermusic
Cover photo: Marco Borggreve. Images this page, clockwise from top left: Yamaha Entertainment Group; Marco Borggreve
Notice: Every effort has been made to secure permission for copyrighted material in this magazine, however, should copyrighted material inadvertently have been used,
copyright acknowledgement will be made in a later issue of the magazine.

p03_Contents92-FINAL.indd 3 16/09/2016 09:53

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

Editors note Pianist

W
hat would my piano playing be like today had I grown up in
Russia? Or France? Would it be so very different from my www.pianistmagazine.com
British way of playing? In fact, my two main teachers were
PUBLISHER
Russian and American so does that make the way I play part Warners Group Publications plc
British, part Russian, part American? Its a little baffling. Director: Stephen Warner
This national schools of playing topic is one that has long fascinated me and Publisher: Janet Davison
were finally featuring an article about it. On page 78 John Evans considers EDITORIAL
6 Warrington Crescent,
techniques and styles ascribed to national schools of playing from French perl London,W9 1EL, UK
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of today to see what they think. Can we really tell a pianists nationality by the Fax: +44 (0)20 7286 0748
Editor: Erica Worth
way they play? Can we really tell that cover artist Alexandre Tharaud is of French editor@pianistmagazine.com
origin when we listen to his Scarlatti and Chopin on this issues covermount CD? Deputy editor: Inge Kjemtrup
deputyeditor@pianistmagazine.com
Heres another mystery: why is there such a fine line between a piece thats Marketing: Lauren Beharrell
just perfect for our capabilities and one thats either a little too easy or a tad too lauren.beharrell@warnersgroup.co.uk
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to be plain sailing, whereas others find the mere idea to be a nightmare. Nils Franke, curator of the Schott A DVERTISING
Gareth Macfarlane, Advertising manager
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technical aspects not to mention the challenge of finding pieces that are wonderfully appealing. Fax: +44 (0)845 226 0377

Im sure pianist Eric Wortham doesnt think too much about his nationalistic piano style. Hes been
touring with Adele, and when I spoke with him, he told me its all about playing from the heart. (See the READER SERVICES
interview on page 70 and learn Adeles hit single Make You Feel My Love on page 46 of the Scores.)
UK & WORLD SUBSCRIPTIONS
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days, but do we really know what they are and what they do? I asked Gez Kahan to come up with a good West Street
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Tel: +44 (0)1778 392483
Lastly, you still have time to enter our Composing Competition. If youre wondering how to get started Fax: +44 (0)1778 421706
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4 Pianist 64 ISSN 1475 - 1348

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

Treasured Sibelius do something better than Chopsticks! I had been

I would like to thank John Evans for his article
in issue 91 on the piano music of composers not
immediately associated with the instrument. Im
sure I speak for many pianists when I say that
while I love the music of Brahms, Chopin and
Mendelssohn, it is nice to see the spotlight fall on
some of the lesser-known corners of the repertoire.
I was particularly pleased to see the inclusion of
Sibelius, who wrote a large body of music for the
piano that has always been decried as unpianistic
and unworthy of the composers better-known
orchestral masterpieces. I have always felt this to
be a rather unfair appraisal. The piano music is
certainly more intimate than the symphonies and
the orchestral suites but is still imbued with his
unique harmonies and is most definitely a product
of the same soundworld. Indeed, many pianists
including Glenn Gould, Vladimir Ashkenazy,
Hkon Austb and Annette Servadei have held it
in high enough regard to perform and record it.
I hope Mr Evanss article will encourage readers
to seek out some of these composers neglected
piano works.
Joseph Briggs-Ritchie, Oxford
Joseph and other readers who have a passion for
lesser-known repertoire may be interested in the
article on page 74 in which Schotts Nils Franke talks
about his rare repertoire findings.
Misty and more
I only started to study the piano seriously in 2008,
when I found a local teacher, upon whose advice I
purchased my first edition of your magazine and
became an avid reader. I have been working hard
ever since but never played for anyone other than
my teacher and wife until two years ago.
I was on a visit to Dunster Castle, and there in
the large stairwell was a magnificent Blthner
grand I was fascinated by it. One of the
custodians touched me on the shoulder and told
me I could play it if I wished, providing I could
STAR LETTER
Bringing harmony to polyrhythms
I was thumbing through back issues of Pianist, and came across Graham Fitchs article on
polyrhythms in issue 89. It reminded me of something one of my piano teachers once said on the
subject. She told me to not think of two against three, or three against four, but rather two with
three, three with four etc.
She felt that the word against implied some kind of battle between the hands, in the way that
two football teams play against each other.Whereas, the word with implied two hands working
together to achieve the desired outcome.
Thats clever advice from your teacher! Thanks for sharing it. A surprise CD is on its way to you.
working all summer on my first Rachmaninov, the
Prelude op 23 no 5, and could just about
remember the first section. So I sat down and
played, in retrospect too loudly and too slowly.
I managed a linking chord and went straight in
to the Pianist version of Gershwins Embraceable
You I must admit I add a few notes here and
there and play the right hand an octave lower. On
completion I received a rapturous applause with
people hanging over the banisters all the way up
the stairs so embarrassing but secretly satisfying.
That experience gave me the confidence to play in
public more often.
Since then I have played for fundraising
afternoon teas, at other stately homes, in hotels
where I stay, and on street pianos. Your Street
Cred article the last issue really struck a chord (no
pun intended). A street piano was placed in a local
shopping centre recently, and yes I did have a go!
My current challenge is playing the large pipe
organ for services at my church.
Pianist magazines arrangements of popular
music are an important part of my repertoire. My
favourite of all time is Misty, from issue 20. I do
hope you will do some more popular songs soon.
David Kay, Doncaster
Bravo to you for playing in public it sounds like you
are delighting many people with your music. As for
popular songs, this issues Scores includes Make You
Feel My Love, a hit for many singers, not least Adele.
Consonant vs dissonant
Nigel Scaifes excellent expos in Pianist No 91
(Understanding Theory: Intervals) prompts my
question. I note Scaifes caveats on subjectivity and
the emancipation of the dissonance, but am
struggling with judgments on harmoniousness.
Given that two intervals that use the self-same
notes (at least on equal temperament keyboards)
can be spelled in various ways (e.g. a major 3rd and
a diminished 4th), its hard to believe an audience
agree that the aural impact of two intervals that
Brian Fletcher, Edinburgh
6 Pianist 92
Right up my street
In Pianist No 91, at the end of an article on
street pianos, we asked readers to send in photos
of street pianos near them. Heres our favourite
photo, which came from Pete Wolfenden from
Gloucestershire hes playing one of the street
pianos in Cheltenham during the recent music
festival there. Thanks for the great photo, Pete,
and thanks to all the other readers who sent in
heart-warming stories and images.
would be able to hear them in some sense
differently. If all perfect intervals, and the major
3rd, are considered consonant while all diminished
and augmented ones count as dissonant, can a
major 3rd sound consonant if spelled as such, but
dissonant if spelled as a diminished 4th?
Likewise it seems unfeasible that anyone would
be able to pick up the difference in a composers
intentions between spelling an interval as a
diminished 2nd and spelling it as a straightforward
unison. On the other hand I might just about
imagine a composition where a melody descends to
a G while its accompaniment comes to rest on an
F. With thanks for a most illuminating article.
P.S. Im still unsure whether Mr Scaife would
assess the minor 3rd as consonant or dissonant.
John Cardinal, Folkestone
Nigel Scaife responds: I think its important to
distinguish between the notational and aural aspects
here, between how intervals are written and talked
about in theoretical terms and the way they actually
sound. The way in which intervals are perceived is
dependent on both us as individual listeners and the
musical context in which they appear.
Harmoniousness is not so much something that we
make logical judgements about as a facet of music that
we feel and respond to emotionally. The concept of
dissonance and consonance, rather than being binary,
is one in which there is a continuum so the degree of
harmoniousness of any given interval is never
something that can be measured like a temperature.
The way in which an interval is perceived is
unrelated to the way in which it is notated and so I
sound the same but are notated differently, such as the
augmented 2nd and the minor 3rd, is not going to be
different. On the topic of whether the minor 3rd is
theoretically consonant or dissonant, I can report that
it is usually deemed to be an imperfect consonance!

p06_letters92-FINAL.indd 6 15/09/2016 14:37

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 News All the latest news from the world of the piano

piano PROFESSIONAL series piano PROFESSIONAL series

The Mindful Pianist

The Mindful
In typical Mark Tanner style, this book is an
enterprising, absorbing and enjoyable read.
Erica Worth, Editor, Pianist magazine

Pianist
The Mindful Pianist presents amateurs and professionals Also available in the

Mark Tanner
with a fresh perspective on playing and performing. Applying Piano Professional Series:
the concept of mindfulness to the piano, this invaluable text Murray McLachlan:
explores the crucial connection between mind and body: how The Foundations
an alert, focussed mind fosters playing that is more compelling, of Technique
more refined and ultimately more rewarding. Tanner tackles the ISBN 0-571-53275-6
Murray McLachlan:
Focus, practise, perform, engage
issues encountered by pianists when practising, performing,
improvising and preparing for an exam: how to choose Piano Technique
in Practice
repertoire and memorise it; how to set about making an initial
survey of a new piece; and how to take a more level-headed
ISBN 0-571-53935-1 Mark Tanner
view of our aspirations. Drawing on the expert advice of 25 Foreword by Philip Fowke
leading pianists and educationalists, this unique book offers a
wealth of exercises and musical examples to help every player
succeed in becoming a Mindful Pianist.

Mark Tanner is a pianist, composer, writer, examiner,

adjudicator and teacher. He holds a PhD from the Birmingham
Conservatoire and regularly travels the world performing,
examining, presenting and giving masterclasses. He has recorded
extensively and has been broadcast on BBC Radio 3 and Classic
FM. Marks compositions and arrangements have been widely
published, with many featuring on the syllabuses of the major
examination boards. He has also published numerous articles
and was recently Guest Editor for Piano Professional magazine.
Mark teaches at Chethams International Piano Summer School.

EPTA UK, the European Piano Teachers Association UK

(www.epta-uk.org) exists to raise the standard of piano teaching,
piano performance and general musicianship by providing
opportunities for piano teachers, pianists and other interested parties.

Practical, positive, perfect! Pam Wedgwood

ISBN10: 0-571-53963-7
www.epta-uk.org EAN13: 978-0-571-53963-5

PUBLISHING SERVICES

MindfulPianist_cover_04.indd 1 25/07/2016 08:28

SCHUMANN MYSTERIES COMPETITION ROUND-UP

AND MIND-BODY Results from Cleveland, Bergen and Chicago
CONNECTIONS
While a competition report usually starts with information about the first-prize winner, since
Regular Pianist contributors Jessica Duchen and Mark Ukrainian pianist Dinara Klinton appeared as One to Watch in last issues News, we will
Tanner have just been released two very different yet make an exception. Klinton came in third at the Cleveland International Piano Competition
equally enthralling books. in early August. First prize ($75,000, recordings, concerts and management) went to
Duchen serves up a musical mystery in Ghost Variations. 27-year-old Russian pianist Nikita Mndoyants (pictured, left) and second prize to 20-year-
The book is a fictional retelling of the real-life quest by the old Italian pianist Leonardo Colafelice.
famous Hungarian violinist Jelly dArnyi to find the At the International Edvard Grieg Piano Competition, held in Bergen in September,
manuscript of Schumanns long-lost violin concerto. After 32-year-old Ah Ruem Ahn from South Korea (pictured, right, with Pianist Editor Erica
gaining some clues from the beyond at a sance in 1933, Worth) took first prize, following her performance of the Schumann Concerto with the Bergen
dArnyi narrows her search to Berlin but will the Nazis Philharmonic Orchestra. Pianist Editor Erica Worth, who attended finals, says, All three
find the manuscript first? Sounds like Indiana Jones, but finalists had something musical to say and for a change, it was nice to see musical personality
without the bullwhips and with a lot more music. Ghost preside over technical perfection. For me, it was a close call between Ahn and second prize
Variations is the latest from the multi-talented Duchen, winner Zhenni Li from China. The latter took more risks with her Beethoven No 4, which was
the author of the novels Alicias Gift and Hungarian Dances full of excitement. Ahns account of the Schumann Concerto was full of grace and tenderness.
and biographies of Korngold and Faur. I would have been happy with either as first place. Canadian Ben Cruchley came third.
If you are an admirer of Mark Tanners how-to-play One of the most dynamic non-professional piano competitions, the bienniel Chicago
columns for Pianist, you may want to seek out his new Amateur Piano Competition, took place in late August. Chicago Amateur runs two
book, The Mindful Pianist. The concert pianist, competitions simultaneously: a two-round competition for pianists who do not have the
composer, teacher and examiner applies the concept of repertoire to play for one hour and a three-round competition for those who do.
mindfulness to the piano in the new book, that explores First prize in the three-round competition went to physician Michelle Steffers of
the connection between mind and body. The Mindful Rochester, who played Schuberts Moments Musicaux opus 94 in the final. Second and third
Pianist is part of Fabers EPTA Piano Professional series, places went to two other physicians, respectively, Noah DeGarmo of Dallas, TX and David
and, as the press release notes, it aims to present Swenson of Pittsburgh, PA. The winners of the two-round competition are Yinuo Tang
amateurs and professionals with a thought-provoking, (first), Noriko Masuhiro (second) and Jaime Frias (third). Pianist contributor Melanie
entirely fresh perspective on playing and performing. Spanswick, a jury member, remarked, The competition afforded a wonderful opportunity
Ghost Variations (Unbound; ISBN: 978-1-78352-982-7 to hear a whole range of piano playing, some of it approaching professional level. The
[paperback], -983-4 [e-book]); The Mindful Pianist (Faber atmospherewas lovely, and my fellow judges a delight to work with.
Music; ISBN: 978-0-571-53963-5) Read Erica Worths review of the Grieg Competition finals at pianistmagazine.com A full report
on this competition will appear in a future issue.

Est 1910
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7 - 8 chester court. albany st. london. nw1 4bu

020 7935 8682 www.marksonpianos.com
8. Pianist 92

p8 news92-FINAL.indd 8 15/09/2016 15:04

 PianO SeRieS TURNER
autumn SEASon 2016 SIMS Southampton
grEATmUSiClive

STEP UP TO AN UPGRADE
Yamahas offer can make it happen jeremy denk
FROM MEDIEVAL TO MODERN
(until January 15, 2017) Tuesday 27 September 8pm
If its time to replace your piano with
a more up-to-date instrument one of classical musics most charismatic
maybe even an acoustic piano with communicators presents a fascinating
built-in technology that enables you to journey in two hours through seven
play with a headset on without your centuries of Western music, from the
neighbours knowing how late you like 1300s until the present day.
to play then take advantage of a new
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You can get a 1,250 part-exchange
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acoustic piano when you purchase
Yamahas TransAcoustic or its popular Silent grand and upright instruments.
Yamahas Silent pianos were recently awarded an international Quiet Mark by
the Noise Abatement Society, the polite people who are trying to make the
nikolai lugansky
world a little less loud. While you can play a Silent piano in conventional Tuesday 18 October 8pm
acoustic mode and share your keyboard tinklings with all your neighbours, you
can also choose to change to the silent function, put on your headset and still The russian pianists performs Schuberts
get that acoustic piano enjoyment without being heard by others. Four impromptus as well as music by two
Pianist profiled Yamaha TransAcoustic in issue 79. The article described the of his compatriots selections of
instrument as a traditional upright, a silent piano and a high-tech miracle that Tchaikovskys character pieces representing
uses the instrument itself as the speaker system. months of the year, and rachmaninovs
The Yamaha upgrade offer is available until 15 January 2017. moments musicaux.
For full information, including a list of participating stores, go to uk.yamaha.com/
pianopromotions. Watch out for Pianists standalone 64-page Piano Guide 2017 24 / concessions 23
that will appear with the next issue.
Friends 21.60 / students 12

imogen cooper
Tuesday 15 November 8pm

A programme shot through with poetic

nuance, imogen Cooper opens with three
folksong-inspired miniatures from Janeks
On an Overgrown Path, moves through the
striking emotional contrasts of
Schumanns Davidsbndlertnze, and closes
with Albnizs virtuoso evocations of Spain.

24 / concessions 23
MEET THE MAKER: AUGUST Friends 21.60 / students 12
FRSTER FACTORY TOUR
Visit the German piano factory in October mitsuko uchida
Roger Mastroianni (Mndoyants, page 8); August Frster Produktion (Frster tour, right)

along with Peregrines Pianos Thursday 12 January 8pm

When it comes to pianos by August Frster, one of the worlds oldest piano A welcome return to Turner Sims for the
manufacturers, London dealer Peregrines Pianos can rightfully claim to world-renowned pianist, mozarts
have first-class expertise after having been voted The best August Frster well-loved Sonata in C major opens the
dealer worldwide 2015. So if youre interested in Frster pianos or even in programme, followed by Schumanns
seeing how a piano is built, you can join Peregrines Pianos on a tour of the Kreisleriana and his passionate
factory in Saxony on 25-26 October.
Fantasie in C.
The tour will start in Dresden, to better understand the piano makers
heritage and culture, with a look at the beautiful Baroque city and a
concert in the Dresden Piano Salon, a hall in which both Robert and Clara 26 / concessions 25
Schumann performed. The next day the tour group will be shown the Friends 23.40 / students 13
150-year-old factory in Lbau and entertained as guests in the Frster Villa.
All meals, accommodation and transport are arranged. Only 20 spots are
available, so sign up soon if youre interested. Turner Sims is provided by University of
To join the tour or for more information, go to peregrines-pianos.com Southampton and gratefully acknowledges
the support of Arts Council England.

Box Office 023 8059 5151 info@turnersims.co.uk turnersims.co.uk

p8 news92-FINAL.indd 9 15/09/2016 15:04

 News All the latest news from the world of the piano

PLAY BEETHOVEN
STREET PIANOS WITH A NEW PIANIST
GET DIGITAL DIGITAL RELEASE
Comedian Bill Pianists latest digital exclusive is Play
Bailey hits the keys Beethoven, which is jam-packed with
of a Roland LX-7 at scores, lessons, masterclasses and
more, all about one of the greatest
St Pancras station composers of keyboard music.
Pianist Editor Erica Worth has
carefully curated the content of
Elton John isnt the only celebrity who has tinkled the ivories of a St Pancras station the Play Beethoven special, which
piano in the last year comedian Bill Bailey (pictured) joined the ranks in July includes the score for all three
playing a Roland LX-7 piano. Its another indicator of the growing popularity of movements of the Moonlight Sonata
pianos in public places, a trend that we pointed up in an article in Pianist No 91. a piece that pianists of all abilities
Theres more to this story than just a celebrity keyboard moment. The LX-7 was at love. Plus, theres a step-by-step lesson
the London station all July but afterwards it didnt go back to its sponsor, Roland on its profound and much-loved first
UK. Instead, it went to the winner of a competition that asked visitors to play the movement by Janet Newman.
piano, film their performance, and then upload the video. The best performer, as Play Beethoven also contains two beginner pieces, an
judged by Roland UK, was Davide Stramaglia, a pianist/songwriter from London. arrangement of the moving Allegretto from the Symphony No 7
The LX-7 is the first digital piano to be placed on the stations piano-rich for beginner/intermediate level and the Bagatelle op 126 no 4, for
concourse. The digital piano boasts Rolands SuperNATURAL Piano Modeling more advanced pianists. You can listen to all these scores performed
technology. The LX-7 can connect via Bluetooth technology to smart devices so by Chenyin Li, and take heed of practical advice on a masterclass by
you can hear your music-making apps or online piano lessons though its likely Graham Fitch, Getting technical with the Beethoven Sonatas.
that Bill Bailey wasnt having a lesson when he sat down to play. Go to Pianists website, pianistmagazine.com, to download the
Play Beethoven digital exclusive today.

SEASON PREVIEW:
TURNER SIMS CONCERT HALL
Global keyboard stars shine in Piano Series
Turner Sims Concert Hall, which celebrated its 40th anniversary in 2014, goes from strength
to strength, as the impressive line-up of its Piano Series 2016-17 demonstrates.
Following the season opener with Jeremy Denk, Nikolai Lugansky (pictured left, bottom)
plays a programme featuring June-December of Tchaikovskys Seasons, selections from
Rachmaninovs Moments Musicaux and Schuberts Four Impromptus D935 (18 Oct). Later in
the season, Barry Douglas plays the Brahms Paganini Variations and the Intermezzos op 117
and Peter Donohoe performs Prokofievs three War sonatas (Nos 6-8) in his recital.
Two great women of the keyboard are in recital at the Southampton venue: Imogen Cooper
(centre), in a programme of bon-bons including Debussy, Albniz and Schumanns
Davidsbndlertnze (15 Nov), and Mitsuko Uchida (top) playing Mozart and Schumann
(12 Jan). British pianists Paul Lewis and Benjamin Grosvenor also feature in the series.

Decca/Justin Pumfrey (Uchida); Sussie Ahlburg (Cooper); Jean-Baptiste Millot (Lugansky); Jenny Brady (LMP)
To find out more about the Turner Sims Piano Series 2016-17, go to turnersims.co.uk

MOZART EXPLORED BY HOWARD

SHELLEY AND FRIENDS
Lunchtime series at St Johns Smith Square, London,
starts third season
Howard Shelley and the London Mozart Players (LMP) continue their exploration of Mozarts
piano concertos for a third season of concerts at Londons St Johns, Smith Square. Shelleys
introductions to the concertos and lively performances have made these lunchtime events popular.
Shelley has had a long association with the LMP and is now their conductor laureate.
Well-known for his Rachmaninov, he is also a devoted admirer of Mozart and his many keyboard
concertos. These heavenly pieces represent arguably the greatest of all concerto cycles written
by any composer in the history of classical music, Shelley says, and mark the coming of age of
the piano concerto as we know it today.
The Mozart Explored series launched in September with an audience-choice concerto
(Concerto No 20 in D minor K466) and takes place once a month through February.
For more about the Mozart Explored series, go to sjss.org.uk

10. Pianist 92

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 The
INTERVIEW

magic
touch
Whether hes playing Scarlatti, Chopin,
Bach or Rachmaninov, French pianist
Alexandre Tharaud conjures up a unique brand
of musical magic. Jessica Duchen meets him

A
lexandre Tharaud gives a wide,
rueful smile when I ask him what
hed be if he were not a pianist
(see Up Close box, opposite).
A magician, he declares. But
a particular type of magician.
The word he uses is prestidigitateur,
which is generally translated into English as

WATCH
conjuror, but more accurately refers to the
super-fast movements entailed in working
illusions through sleight-of-hand. Prestidigitateur
is not a bad description of Tharauds brand of
Tap the play button to watch piano magic, if you hear him play Rameau and
Couperin with their brilliance of detail, or marvel
Alexandre Tharaud play

at the jewelled sonic colours he creates in his

The Man I Love recording of the complete Ravel piano music. Yet
there is far more to this 47-year-old French pianist
than digits that go hey, presto! Try, for a start, the
conceptual totality that he can bring to works
such as Bachs Goldberg Variations or Chopins 24

WATCH
Tap the play button to watch
Alexandre play and discuss
Prludes. Beneath the wealth of imagination lies
something darker: a thread of existential angst
that offers a unique angle on the music.
Tharaud lives in his native Paris, in a flat close
to the river Seine, and takes great delight in
showing off the view from his balcony you can

see the Eiffel Tower. Not that he is often at home.

Bachs Goldberg Variations He does not have a piano in the apartment,
preferring to keep his home a haven separate from
work. He practises at friends flats or, more
surprisingly, a nearby police academy.
You have to find the balance between real
life being at home and going to the dentist or
buying bread and a soloists life, always in new
hotels, aeroplanes and trains, he reflects. And
its difficult to find that balance, because when
without CD label, without money and
without agent.
Ouf. Tharaud, however, was able to
turn all of that to his advantage. It was
a good time because I was able to
discover new repertoire, to think about
my future, to compose a little bit and to

you stop the tension you can get sick! My
grandfather was a violinist and he told me:
You know, Alexandre, when I stop the violin I
will die. And when he stopped, it was just five
days before he died.
Tharauds whole family was steeped not only
in music but also in theatricality of various
types. His father was a singer not of opera,
but of opra comique and operetta and his
mother was a ballet dancer at the Opra de Paris,
though she gave up her performing career in
favour of teaching after having children. Theres
a dancers look about Tharaud himself: the vivid,
sensitive features, the long limbs, the cat-like
precision of movement.
I remember we had an upright piano, very
old, and as all children do, I wanted to play, he
says. Also I was attracted by the gramophone.
If I record a lot Im sure its because when I was
very young I was fascinated by LPs and the sound
system. I started piano at four years
old with a wonderful teacher,
Carmen Taccon-Devenat,
who was like my second
When
mother. you walk onto
And from his very
first lesson, Tharaud the stage with a new
says, he felt the
piano was a
piece, there is the fever
Up close
listen to different pianists. I listened to
a lot of CDs, sometimes five or six hours
a day, and I discovered a lot of pianists:
Claudio Arrau, Glenn Gould, Marcelle
Meyer (shes my idol, shes incredible),
Clara Haskil, Emil Gilels, Rudolf
Serkin. With hindsight I think they
were also my teachers.
Nevertheless it took a long time for things to
start to move in his career. I had nothing for six
or seven years at the beginning
so I didnt know how can I play. I didnt want If you could play only one piece in
to have a big career, thats not interesting for me; the whole repertoire from now on,
I just wanted to play, to be on stage, to live in what would it be?
a theatre, even a small theatre, even without fee. The Bach Goldberg Variations,
I wanted to play in front of an audience. An of course.
artist, if he has no audience, he dies. So it was
very difficult but it was a good time for me If you could play only one composer
for all those other reasons. Then he caught the from now on, which would it be?
attention at last of the record label Harmonia Bach.
Mundi: My three first CDs for
Harmonia Mundi Rameau, the One pianist, dead or alive, youd
complete Ravel and the Italian
Concerto by Bach were
travel long and far to hear?
Sergei Rachmaninov.
very well received and so
it became a basis for my
career. Then, slowly, I
One concert hall that youd love to
play in?
decided to choose my
own way forward.
The Boston Symphony Hall. I love it.

brother to him. and the fire and youre Fever and fire
More than
a brother, he adds. afraid, but at the same His way forward
When you are
a child a piano is
time youre happy
a game, but you can
talk with it, you can
because you know
have a dialogue. Later, its an important
when youre a teenager,
its like a secret garden: moment
you can talk to him and say,
Oh, Im not happy. And then
you discover the stage and the
audience: your piano begins to be your
partner on stage. So the role of this instrument is
different, depending on the period of your life.
If music and the piano went straight to the boy
Alexandres heart, so did the sense of the theatre,
of performance and the adrenaline rush that
goes with it. I love the circus, he declares. Not
animals, but everything else. For me its a really
artistic life. Every day its new, its danger, the
audience is very large and you travel; its also like
a family. If you want to be a real artist you have
to work in a circus.
Of course his studies were nothing like that.
Tharaud did not much enjoy his time at the
Paris Conservatoire, and he hated competitions,
despite winning prizes at competitions in
Barcelona, Senigallia and Munich. I did not
feel good and I started to be scared on stage,
he remembers. After the conservatoire I was
totally alone: without teacher, without concerts,
has been driven, as
much as anything
else, by the sheer
thrill of performing:
the lure of the circus,
perhaps. Tharaud likes to
perform a newly composed
piano concerto every year.
Earlier this year he premiered
Hans Abrahamsens concerto for
the left hand, and continues to tour it
this autumn. Next, the Argentinian composer
Oscar Strasnoy is writing him a new concerto.
Thierry Pcou has written a piece for him, and
Tharaud says he is talking to Georges Aperghis
for a future project. This fabulous feed of new
works for the repertoire is also tremendously
exciting for the soloist, as Tharaud reveals.
When you walk onto the stage with a new
piece, Tharaud enthuses, there is the fever and
the fire and youre afraid, but at the same time
youre happy because you know its an important
moment. The composer is in the concert hall and
the audience is waiting to hear what it is like.
For me, daily life is pale compared to a concert
or theatre. I like the fire on stage. I like the
danger. If you play a premiere its major because
youre responsible for the piece. And I like the
idea of having a discussion between a composer,
soloist, orchestra, maybe conductor, to say
Any technical struggles?
No. The piano is a really easy
instrument to play and the easiest
thing is virtuosity. But life can be
heavy and stressful. If you have a
bad technique the reason is not the
piano: the reason is your life.
What would be your advice to
amateur pianist about how to
improve?
To follow his own desire.
If you werent a pianist, what would
you be?
A conjuror. In French we say
prestidigitateur.
One person youd love to play for?
Maybe Frdric Chopin. I would like
to tell him that hes a genius, that
we love him and that he doesnt
have to be so sad.
One composer youre not quite ready
to tackle?
Prokofiev.
What other kind of music do you like
to listen to?
Chansons franais. Im a fan of
singers such as Jacques Brel,
Barbara, Edith Piaf, Juliette Grco.

13 Pianist 92
INTERVIEW
LISTEN
Tap the play buttons to hear our
bonus tracks performed by
Alexandre Tharaud

SCARLATTI CHOPIN
SONATA IN C K72 MAZURKA
IN C MINOR
OP 63 NO 3

Alexandre Tharaud on... Rachmaninov's Piano Concerto No 2

Its been a dream for me to record Rachmaninovs Second Concerto.
I first played it 25 years ago, and for a young pianist its wonderful.
You feel youre the king of the world!
Now Im 47, and although I still enjoy the virtuosity, I think I
play it in another way, because this concerto, this masterpiece, is
more than that. Its also the mirror of a dark time for Rachmaninov.
He wrote it while depressed, and its two things at the same time:
the story of his depression and also the story of his recovery by
hypnotherapy, but Im sure also by writing this concerto. So its
placed between the dark, horrible depression and a new time.
Its an extraordinarily popular concerto and was established as
a masterpiece within its first few performances. Everyone knows it, so
how to approach it now? My approach is via my own experience.
I am not depressed now, but I was 20 years ago and I know what is
the desire to die, the desire to stop life, to build some walls around
me. When you fall off, you fall off everything: you have no desire.
Its a very strange sensation a sensation that you are nothing, so
you cant have a link between you and the world. And that is very
interesting in this concerto. Sometimes in the last movement (the
hushed, meandering theme that rises into trills) its as if Rachmaninov
says to himself: I die now, or I wait? Is now the end?
Of course a lot of people play this piece, the Goldberg Variations
and other pieces I have recorded in the past, so I just have to be
honest with myself, with Rachmaninov and with the audience.
The only way is to find the best orchestra, the best conductor, the
best team for the sound, and to work a lot but on the day of the
recording to feel free, to forget everything and to play as if the music
was written this morning.

recommended for, and accepted, a cameo role

maybe we could create a project, a new
concerto; we talk together and slowly the
project comes out. Its really interesting for
me I need creation in my life!
Tharauds thirst for live performance doesnt
mean recordings take a back seat. He has to
his name an eclectic discography numbering
some 30 discs, involving solo works, chamber
music and concertos from Scarlatti sonatas,
Couperin, Rameau and the Bach Goldberg
Variations through Chopin and Ravel to
themed albums of the music of 20th-century
France. Each in its own way involves a
coherent thread from start to finish.
My idea for all my CDs and recordings is
a big arch, he says. I try to find not so much
a concept as a good programme for all my
CDs, and I like, if possible, that the audience
can hear the CD from the first
note until the last, not just three minutes at a
time. For me its like giving a concert in my
living room, a private concert between me,
2, in which Tharaud is partnered by
the Royal Liverpool Philharmonic Orchestra
under the baton of Alexander Vedernikov.
(See the box above for more about Tharauds
extremely personal approach to this concerto.)
Tharaud rounds off the all-Rachmaninov
disc with Morceaux de fantaisie opus 3;
Two Pieces for Piano, Six Hands (hes joined
in this by Aleksandar Madzar and Alexander
Melnikov, which makes it one Alexandre,
one Aleksandar and two Alexanders all
on one disc); the Romance in A major,
which uses the same thematic material as
the concertos slow movement; and the
Vocalise, in its original version for soprano,
sung by Sabine Devieilhe. All his life
Rachmaninov was inspired by the human
voice, Tharaud points out, so I was eager to
have an actual voice in this recording. This
October he will play the concerto twice in
Liverpool with the RLPO and its principal
conductor Vassily Petrenko.
in Michael Hanekes film Amour, which
starred Isabelle Huppert, Emmanuelle Riva
and Jean-Louis Trintignant. The movie was
showered with awards and Tharaud was
amazed to find himself at the Cannes Film
Festival. More recently a track from his
recording of the Goldberg Variations popped
up in the playlist of Fifty Shades of Grey
though he is quick to remark that he hasnt
read the book.
And theres no end to the surprises in the
in-box. Sometimes I get letters from people
who want to tell me that they make love
while listening to my recordings, Tharaud
says. I think its okay to record a CD if it can
make some people happy!
Maybe that could only happen in Paris.
But in the UK too, we look forward to
hearing this musical conjuror work more of
his scintillating black magic.
Alexandre Tharauds recording of Rachmaninov
All photos Marco Borggreve

the orchestra of course and the person
I dont know. Its a very direct connection.
The latest addition to his discography is
a new CD for Erato featuring that perennial
favourite, Rachmaninovs Piano Concerto No
Tharaud may have had a slow start to his
career, but that is a distant memory. Today
astonishing experiences seem simply to line
up for him. Quite apart from all the
concerts, a few years back he was
14 Pianist 92
is out now on Erato (0190295954697).
He performs the Piano Concerto No 2 with the
Royal Liverpool Philharmonic Orchestra and
Vassily Petrenko on 20 and 23 October at the
Philharmonic Hall, Liverpool.
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 play HOW TO

Building fluency and control

WITHOUT HESITATION
Is your playing too often fragmented, stumbling and note by note? Pianist and teacher Mark Tanner
offers six practical ideas for bringing momentum, confidence and fluency into your playing

M
eaningful
piano playing
is by definition
fluent playing.
In the same
way that it can
be easy to lose
the gist of a sentence if you chop it up
into its individual syllables, you will
quickly confound the syntax in a
musical phrase by hesitating, however
momentarily. Your audience will not
persevere for long if you ask them to
endure stumbling, fragmented playing,
no matter how nuanced your turn of
phrase may be elsewhere.
A note-by-note appearance in music
(what I call the stop-and-search
syndrome), while more forgivable when
you are sight-reading, quickly costs
a performance its sense of connectivity,
direction and vitally rhythm.
Bereft of rhythm, the music is left with
randomly placed notes and chords,
which in most piano music will render it
utterly lifeless and uncompelling.
It can prove surprisingly difficult to
sustain momentum in piano playing,
called upon to shift position. These are Mark Tanner is a pianist,
the kind of places where internal composer, writer, examiner,
warfare can begin as you unconsciously and international presenter for
anticipate the stress of the upcoming ABRSM. He co-authored
shift and thereby wreck the moment Teaching Notes for ABRSMs
you are actually playing. 2017-18 piano syllabus. This
Begin slowly, and come off the keys year Mark presented in China;
by several inches between shifts, pausing examined in Korea, Japan and
for a couple of seconds each time, wrists the USA; adjudicated at the
completely floppy, as though you are a EPTA Composers Competition
robot being operated by remote control. and the Singapore music
This freeze-frame approach gives the festival; and taught at his Piano
mind and hands a chance to recuperate, Summer School at Jackdaws,
having executed each little fragment Somerset, and at Chethams
perfectly. This can be highly effective at Summer School for Pianists.His
very slow speeds, but at least as helpful new book, published by Faber
up to performance speed. Enjoy the Music, is The Mindful Pianist
feeling of not having to pounce on the (see this issues News).
next fragment of music simply take
your time, place your hands in their passage, confidently up to speed, free
new positions and continue onwards from neuroses and desperate jolts of the
when ready. You will soon find yourself hands. If at any point you feel the rot
wanting to narrow the gaps between beginning to settle in again, simply go
pauses, but make sure you move just as back to the method described, slow the
calmly into position for each subsequent playing down a few notches and
shift. In no time at all you will have patiently recalibrate your playing.
successfully garnered a fluent musical
Reversal of fortune

despite the fact that the piano, being
a percussion instrument, has rhythm
designed into it. In one sense, we
might feel inclined to forgive ourselves
when the musical thread breaks on
occasion, for we often have so many
notes to play, and yet this is one area in
which I believe we should expect more
from ourselves.
Here are six practical ideas to help
you keep your playing afloat and
minimise the risk of your audience
yawning and fiddling with their
iPhones as you play.
5
TOP
TIPS
REMOVING THE STUMBLING BLOCKS
1 Practise building in breaks between shifts in hand position:
pause briefly, lift the wrists high from the keys, calmly
reposition for the next fragment, and continue.
2 A good variant on the first tip is to continue onwards by one
note, thus practising the tricky link between each fragment.
This approach will respond magnificently to a variety of
speeds, whether hands separate or together, and rhythms,
such as from straight to dotted quavers.
Think about how many of us typically
set about learning a piece: we start at
the beginning, toil away at a section
until it can limp along reasonably well,
then only do we dare to look at the
next passage, and so on. It seems we
have become so accustomed to doing
things in the correct sequence that
we rarely consider an alternative.
(Most textbooks, on any subject,
gradually build in complexity, obliging
the student to start at the the beginning
and work steadily forwards.) There
are two undesirable consequences of

Mind the gap
This may sound counterintuitive, but
by practising deliberately splitting up a
passage which is giving you difficulty,
and working to make each fragment
fully functional, you can improve its
rhythmic flow while at the same time
stem the anxiety associated with what is
coming up next. To do this, take any
piece you are working on (Chopins
Fantaisie-Impromptu or Bachs C minor
Prelude, Book 2 are two good examples)
and search out passages where either, or
preferably both, hands are regularly
3 Learn (and ideally memorise) from the back to the front of
a piece. It will make you more inclined to leap forwards
when errors arise, which can keep your performance flowing,
never retrenching.
4 Reading further ahead in a piece, depending on the complexities
and speed of the music, will help ensure you are not caught
off guard and can move your hands into the positions needed
to achieve fluency.
5 Listening skills underpin all of the above: your mental
metronome needs to be wound up and ticking reliably if you
are to monitor and counteract the tendency to hurry or slacken
off the pulse. Aim to be your most attentive audience.
16 Pianist 92
learning a piece from the start to the
end: one is the well-documented fact
that bars 1-16 will necessarily receive
more attention than bars 88-102. The
other is possibly even more debilitating,
and is twofold: when we stumble, we
go backwards and attempt to correct
the error; in doing so, we take far, far
longer to memorise a piece.
However, by working backwards
from the end of your piece, and indeed
perhaps memorising section D before
section C, section B before section A,
your gut instinct will always be to
leap forward, not back, when you

P16 HTP Tanner-FINALish.indd 16 15/09/2016 09:39


encounter a splodge or memory slip.
By tackling the music in this way, there
are other fringe benefits too, one of
which is that you will be forced to deal
with the climax or high point of a piece
before tackling the approach to it!
This is a little like discovering who the
murderer is in a whodunnit by reading
chapter 27 without having to wade
through all the character development
in the earlier chapters. It can be
enormously helpful when building a
convincing performance to have a fix on
where you are headed.
Tricking ngers, train the brain
Many pianists already know that it is
sometimes advisable to play a straight
passage with dotted rhythms, or perhaps
vice versa however, in my experience,
few pianists really grasp why this is so.
Though improving evenness is certainly
one potential advantage of doing this,
to my mind the principle benefit lies
in the way we tie up the small fragments
of music in the manner I described
just now.
Taking the aforementioned Chopin
or Bach examples, or indeed other
repertoire involving continual shifting
of the hand(s), play each hand
separately with dotted rhythms, but
instead of pausing at the shift, as I
suggested before, carry on further by
one note; then pause. This effectively
papers over the cracks in the playing
and will encourage you to knit together
those tricky, often perilous shifts; in this
way, each hand rehearses its shift
systematically, but without the burden
of playing what comes next.
Playing louder for condence
I have always felt that continuity and
progression in piano playing are placed
on a knife-edge when the fingerwork is
permitted to become frail. This is
because a chain of events commonly
occurs: we inadvertently feel the need to
work harder to overcome non-speaking
notes, and invariably tense up in the
process; when tense, we build in
sticking points in our playing and
before too long, we are stuttering and
stalling all over the place.
A way out of this vicious cycle is to
attack the keys with all the force you
can muster, without becoming tense or
bearing down from the shoulders.
Practising with a high finger action
will require a slower pace of practising,
but this all helps to build confidence in
what you are doing. Ultimately, you
will feel you can ease off the volume,
speed up the finger movements and
yet play just as fluidly and confidently.
Brisk, quiet passages respond
impressively well to this treatment
(Debussys Doctor Gradus ad Parnassum
or Bachs Prelude in D minor Book 1
are good examples). Incidentally,
P16 HTP Tanner-FINALish.indd 17
teachers of strings, brass and woodwind
instruments often seem to do this
instinctively with their novice pupils
first the player is encouraged to really
commit to the sound (which can result
in an initially hard-edged, overly loud
sound, though this is merely short-term
collateral damage); then, gradually, they
are shown how to add a little finesse and
ease off a little with the volume. In
short: volume equals confidence.
Read the road ahead
Advanced drivers are trained to look
much further ahead of them on the road
than the rest of us usually do when we
take the wheel. By spotting that the
car that is six ahead of them has begun
to apply its brakes, they are already
anticipating that the vehicle immediately
in front must soon slow down, too.
A rather similar situation arises when
we play the piano the further we dare
to look ahead (the near distance, i.e.
adjacent notes, the middle distance,
i.e. a couple of bars, and the longer
distance, i.e. a line or two further on)
the more information we have to help
us negotiate what lies ahead. Reading
ahead equals thinking ahead. This, in
itself, is a great means of avoiding
syllabic piano playing, the curse of
many a floundering amateur pianist.
Listen with new ears
All of the above ideas undoubtedly
work, but with one rather important
caveat: we must listen to what we are
doing. Hearing and listening are of
course two quite different things. Latch
on to your chosen tempo, perhaps using
a metronome if it suits your style of
practice, and aim to be as anchored in
your pulse as the music warrants. Pay
extra care when ornaments are being
played, for these often outstay their
welcome, or when the intensity of a
passage is so palpable it brings about an
unwarranted and unwitting shift in
tempo; from here, the risk of calamitous
breakdowns or error-corrections
undoubtedly increases. The trick is to
know what is coming up in bar 20
without allowing these things to trip
you up in bar 19; breathe calmly as you
read ahead, soak in what there is to see,
then get on and play it.
Reading ahead of where we are is
quite different from getting ahead of
ourselves, for this is often what causes
us to scurry away. Furthermore, for
most of us, the machinery of our
playing will only function reliably if
kept within a fairly narrow range of
speeds go beyond these, in either
direction, and we increase the risk of
encountering breaks in continuity.
Lapses in musical flow are surely
among the most irritating of bugbears,
both for pianists and for audiences. In
an exam situation shortcomings in
17 Pianist 92
MASTERCLASS
GO WITH THE FLOW
Mark Tanner shows you how to bring connectivity
and ease to 3 pieces in this issues Scores
1
Maykapar Prelude [Scores page 30]: This delightful, gently lilting
Prelude, subtitled syncopated pedal, was cleverly composed so
as to minimise shifts in hand position. Capitalise on this as you learn
it, following the suggested fingerings attentively. At first, stitch
together the melodic lines in isolation from the accompaniment,
taking care to pass them smoothly and elegantly, with as much
shape as you dare, from the RH to the LH (at bar 17), to the RH (at
bar 24) and back to the LH once again (at bar 31). It is important to
listen intently to the tune and to ensure the lift of the pedal occurs
precisely as marked, i.e. the instant each RH melody note is struck
(and, of course, vice versa when the roles become switched round).
2
Stanford Scherzo [Scores page 32]: Taken too swiftly, this
attractive Scherzo will sound as if its in 6/8, as opposed to the
Allegro 3/4 indicated. If the music is kept at a controlled jocular
pace, it will be immeasurably easier to add dabs of pedal to assist
the joining-up of the LH dotted-minim accompaniment. You could try
practising the RH in two-bar fragments, even though the notes are
kept within a single hand position, or indeed by adding one note to
each fragment, thus taking you from bar 1 to the G of bar 2 etc.
Think cheeky, rather than racy, to ensure the enjoyable staccato
details all emerge crisply and lightly (at beat 3 of alternating bars).
3
Scriabin Etude op 8 no 12 [Scores page 59]: Hands-separate
practice is surely a prerequisite for this splendidly intense Etude.
Written in the unfriendly key of D sharp minor, it nevertheless
benefits from many footholds at the extremes of the register (think
how much harder it would be to play, if not perhaps to read,
transposed down a semitone into D minor). To all intents and
purposes, the piece is in 12/8, save for the fact that the RH melody,
rendered all the more emphatic throughout by being in octaves, has
a recurring semiquaver figure built into it. The ta-daa rhythm out of
which this main tune springs at every reappearance, need not be too
much cause for consternation if practised out of context, unhurried
and with the most supple wrist imaginable. The LH in particular will
benefit from the sectionalised practice described in the article. Why
not tackle the last seven bars first, marked fff, for this is where the
music is so obviously headed. Then begin working your way back,
page by page, towards its more enigmatic opening your performance
will come together more quickly and mindfully by this approach.
fluency can make the all-important
difference, too. They are like the
annoying TV commercial breaks that
chop up our enjoyment of a programme
just when we were getting into the plot.
Musics temporal thread its unfolding
in time is entirely dependent upon
sustaining control in our playing, which
means doing our utmost to airbrush out
hesitations by the methods suggested.
More than perhaps any other gremlin
in the works, issues with continuity
and flow can be kept to a minimum
if you tackle the problems head-on.
This requires you to become more aware
of a) what is going wrong in your
playing, and b) why. For each of us the
issues may be subtly different, so you
need to interrogate your playing at
regular intervals, perhaps record yourself
if you are unsure what is going wrong,
and resolve to make hesitant playing a
thing of the past.
15/09/2016 09:39
 play HOW TO

The bare essentials

DECONSTRUCTING THE SCORE
Knowing whats most important in a piece will help solve technical issues and improve memory,
says teacher and performer Graham Fitch, who explains how to build up by tearing down

M
usic is made up of three main elements melody, Pianist, teacher, writer
harmony and rhythm. As we begin work on a new and adjudicator Graham
piece, it isnt always easy to make a path through Fitch gives masterclasses
the forest of notes and other information to clarify and workshops on piano
these elements. There is little a composer can do to playing internationally,
help us to distinguish between the foreground, and is in high demand
background, and middle ground of a work, apart as a private teacher
from adding grace notes and ornamentation (traditionally printed in smaller in London. Graham is
notation or indicated by signs and symbols). I have often thought that a regular tutor at the
publishers of educational music should experiment printing scores using Summer School for
different colours and font sizes so that melody lines and structural basses were Pianists in Walsall and
bigger and bolder, and accompaniments and figuration smaller and greyer also a tutor for the
the learner would then be able to see at a glance the hierarchy of the musical Piano Teachers Course
picture. In this article I would like to suggest some ways in which we can EPTA (UK). He writes
learn to do this in our imagination by exploring how to deconstruct the score a popular piano blog,
as we practise. This aids perception as we learn notes, and can also help us www.practisingthepiano.
solve technical problems and bolster the memory. com and will soon be
Lets begin with one of the most basic ways to deconstruct: temporarily launching an online
omitting or simplifying one element of the score while we attend to other piano academy.
elements. If we are intent on mastering the second theme from the first
movement of Beethovens Pathtique Sonata, for example, we will be better Have you ever looked at a new score and struggled to figure out what is
able to focus on accurately measuring the distances as the right hand (RH) going on? When playing pieces with a lot of surface detail, it can be very
hops from one register to another if we dont also have to worry about the useful to strip the music down to its essentials and practise a variety of
let-hand (LH) repeated chords. Begin by reducing the LH accompaniment simplified versions. I call this process finding the hull. The dictionary
to its bare essentials, as blocked chords. Blocking the LH chord shapes not defines hull as the main body of a ship, without the masts, superstructure,
only allows us to feel the rate of harmonic change (very slow actually one rigging, engines and other fittings. Finding the hull does not involve writing
harmony lasts for four bars) but also enables us to focus our attention on anything down or committing to anything, but coming up with sketches or
the challenges of playing the RH. Here is the section as written: rough drafts at the piano as we practise. There is no one right version and a
whole lot of possible ones. We dont need to create the same hull each time;

f f bf & f f f bF bF
3
we can be flexible by adding or subtracting different things as we explore.
?b f
4 2
f f
1 2 3 1 4 2 5 3
r r
bb f f Lets look at the beginning of the slow movement of Mozarts Sonata in F

{
' sf sf
K332 and then three possible simplified versions. First, the original:
T
b bf T f f f f f fJ.
f T f nf

1

& b b bff bf f f bf f f bf f f b ff
3

w
ff ff
w f f f w f f f w f f f &b c f J

{ fff fff fff fff f f

p

f bf bm
f f m m ? bb c f f f f f f ffff ffffffff
f bf f f f f f
3 3

b
4 4 3

f f
2 3

&b b f ?f
1 1

f
2

&

{
'
legato

b b f b f f f f f f nf f f f bf f f f f f f f f f f fff
& b b ff ff ff ff ff ff ff ff ff ff ff ff &b J

{
w w w w
f f f f fff fff
And now as blocked chords: ? bb f f f nf f f f f f f f f bf f f f f f fff
J
?b C . f. bf. f. f. f. bF f f bF f f
f. f
j j
bb & f f

{ b
& b b C bw
w
w
w
w
w
w
w
w
w
w
w
The first things to strip away are the ornaments and the passing notes and
appoggiaturas from the melody line. Then you can block the Alberti bass
patterns in the LH. As you experiment, you might find it helpful to play
around with the tempo; the simplest of hulls often make more sense if they
b f ? f bf f. f bf bmf f m
f f m
f f f. f. are made faster than the fully embroidered original. With each successive
&b b f & f skeleton, add more detail, and each version gives us a slightly different

{
' viewpoint of the musical content. As you progress in learning the piece, if you
b notice you are obsessing with the surface detail to the detriment of the bigger
&b b w
w w
w w
w w
w
w w w w gesture you can return to your hulled versions from time to time to keep
things in perspective. Turn the page for three possible simplified versions:

18 Pianist 92

P19 HTP Graham-FINAL.indd 18 16/09/2016 11:36

 NEW

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(ARSM) is a new post-Grade 8 diploma
thats all about performance.

This exciting exam:

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If successful, you can add letters First exams from January 2017. Find out
after your name! more now: www.abrsm.org/newdiploma

Piano Winners Domonkos Csabay

Image credit: R J Baddeley

Birmingham Conservatoire congratulates two students on their

recent competition success
Domonkos Csabay (Weingarten Scholar) First Prize, Brant International
Piano Competition 2016
Ashok Gupta (Advanced Postgraduate Diploma in Professional
Performance) Accompanists Prize, Kathleen Ferrier Awards 2016
and Emanuel Piano Trophy 2016
Ashok Gupta
Image credit: Nick Rutter

For more information about our successful Keyboard department visit

www.bcu.ac.uk/keyboard.

Join us in Birminghams Town Hall for a Piano All-Nighter,

7.30pm-7.30am, Friday 3 March - Saturday 4 March 2017

19 Pianist 92

p19 Ads.indd 19 16/09/2016 10:18

 MASTERCLASS

b4 f f f f f f fff ff f f f f
a) &b 4 f Then either add a few more notes to this:
ffff fffff

{
##2 f
f #f #f f f #f f f R
FF FF ff fff f f &# 4 R

{
ff f F f nf f
? bb 44 F F f ff FF F fF bf f ff ff
f f f f f ff ff ff ff
? ### 42 f f f f ff f f
f f
bb 4 f f nf f bf f f fffff fff f f f f
& 4 f

{
b) f f f f f f ff
## f f #f f f #f f f f #f f
FF FF ff f F f nf f ff fff ff f &# R R
f bf

{
? bb 44 F F f ff FF F F
f f ff
ff f f f f ff ff ff f # f ff ff ff
f
? ### #f f f f f f f f f
b 4 f nf f f bf f f f f f f f f f f f nf f bf f f f f f f f
c) &b 4 f f J J

{
Or do something different, thus:
### 2 f f f f f #f f f f f f #f f f fR # f f R
FF FF ff f F ff fff ff f f f f
? bb 44 F F f ff FF f nf f f bf f f ff
F F & 4 R R

Deconstruction can also help us refine motor skills in technically

demanding situations, such as passagework. Lets take a small section from
Mozarts Rondo alla turca (the last movement of the Sonata in A K331):
{ ? ### 42 f ff ff ff f ff ff ff f ff ff ff
#f
ff ff ff

# # f 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 f f #f f f f f #f f f f #f f f f f f f &# R
3

R R

{
3 4 1

&
2 1

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

? ### f
5 4

Be aware of the finger you will be starting on each time. This might not
f
### f# f f f f fn f f f f f f f f f f f f f f#f f f #f f f f#f f f f f-
3 3 be written in the score, either by the editor or by you, because it would be
&
2 1

obvious in the context. However, if you are deliberately interrupting the

{
ff. ff. ff. . . .
. . . . . . # ff ff ff ff-
? ### #f ff ff ff f ff ff ff f f
It is my firm belief that you should always practise with the fingering youre
I chose this example because it is very simply constructed: the RH spinning
patterns are made from turns and scale passages over a LH chord progression.
The process I demonstrate involves playing the LH intact and complete at all
times, impeccably shaped and articulated, and up to speed. Make the first
note in each bar somewhat firmer than the repeated chords, and feel the shape
of the harmonic progression. Once you have built the LH to your satisfaction,
add pre-selected parts of the RH. This way of practising not only allows you
to see different aspects in the landscape of the passagework, but also gives
wonderful security in performance. Should the unthinkable happen and
you break down, you will have practised carrying on with the other hand,
rejoining it at strategic points along the route. If you intend to play this from
memory, practise the skeletons from memory (challenging but well worth it!)
We might start with the upbeat to every other bar, stopping on the first
beat of the next bar:
flow like this, it might be worth writing in additional fingering so you dont
confuse your muscular memory by doing something different or arbitrary.
going to use in performance. (Please see my video demonstration.)
My next example is the start of the coda from Chopins G minor Ballade.
My detailed practice deconstructions have helped my students make this
famous passage feel very comfortable indeed. The principle is to see the
three-note chords in the RH as being made up of three parts (top, middle,
bottom), and to isolate these in your practice (complicated to explain but
you will see how it works from my examples and my video demonstration).
Practise the deconstructions at a variety of speeds, from slow to up to speed,
with the RH alone and then hands together. You will gain from practising
lightly as well as at Chopins ff marking; when playing at the designated
dynamic level, remember that while the accented notes are strong, other
RH notes do not need as much emphasis. I stress again the importance of
using performance fingering in the exercises.
>f
Presto con fuoco
>f
2

### 2
ffff f ff ff ff fff >fff ff >ff
R f #f #f f fR b . f f #f
5

& 4 & b C ffJ #f f f f

1 2

{ ? ### 42 f
ff ff ff f ff ff ff f
ff ff ff
{ ? bb C
ffz

f
f
ff

ff

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

## ffff f >f >f >f

f #f f f #f ff >f ff.
&# R R
f b f ff f
#f nf
ff f
#f nf #ff f #f nf ff f ff
&b

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

{ f
? bb ff
f.
ff
f f.
#fff
f.
fff f.
fz
ff.
f

@ GET IN TOUCH
Graham Fitch would like to hear from readers who have piano-playing questions whether about a certain technique or
a passage in a piece of music. Please write to the editor at editor@pianistmagazine.com.
20 Pianist 92

P19 HTP Graham-FINAL.indd 20 15/09/2016 15:32

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Whether you fancy a timeless classic or a jazz

standard, the Pianist Sheet Music Store is
You will also find these techniques of deconstruction excellent for deep home to hundreds of pieces from beginner
memory work. If you can reliably play a melody line together with its basses
but without the accompanimental or harmonic element, for example, you to advanced levels and to suit everyones
will end up knowing the music from a compositional viewpoint as well as musical taste.
from a pianistic perspective. Try it other ways round too omit the melody
line and play the background material by itself. Needless to say, the more
thorough your preparation, the more solid, reliable and expressive your All pieces have appeared in past issues of
performances will be.
Pianist, so if youve missed an issue or two,
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P19 HTP Graham-FINAL.indd 21 16/09/2016 11:39

 play HOW TO
FULL SCORES ON PAGE 34
TRACK 5

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Muzio CLEMENTI (1752-1832)

3
3
Sonatina in C op 36 no 1, first movement

This famous movement comes from the first of Clementis opus 36 Sonatinas,
written as an addendum to his Introduction to the Art of Playing on the Piano Forte.
Playing tips: Dont be put off by our pianist Chenyin Lis brisk tempo on the
covermount CD. Over time, with slow practice, you will be able to build it up to
the spiritoso tempo thats required (and makes it fun to play). Remember to start

Spiritoso

f f f f f f f f f f.
& CSpiritoso
Spiritoso q = 138 2
4 2
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q = 138
1

1
5

5
5
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1
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1
4

4
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2
2
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2
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f
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out piano at bar 16 it must be a great contrast to what has been before. This is an
excellent lesson in practising your scales and using lots of different articulations.
Keep it light, rhythmic and energetic!
Pedal tips: See the suggestions on the score.
Read Melanie Spanswicks step-by-step lesson on this piece on page 22.

f f f f f f f f f f f
f f f f f f f f f f f f f
f f f f f f f f
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Sonatina in C op 36 no 1, first movement

5

34 Pianist 92

P34 SCORES Clementi-FINAL.indd 34 08/09/2016 10:06

An object lesson in the Classical style, this sparkling piece needs clever lateral wrist movements, solid
rhythmic and judicious hands-separate practice, as teacher and author Melanie Spanswick explains
Ability rating Beginner/Intermediate
Info Will improve your
Key: C major 3 Rhythm revised, expanded and republished in a second edition by Alfred
Tempo: Spiritoso 3 Articulation
Style: Classical 3 Wrist flexibility
Muzio Clementis Six Sonatinas opus 36
are a good introduction to the
quintessential elements of the Classical
style for the beginner to intermediate
player. This first sonatina in the set is in
C major, and it falls comfortably under
the fingers yet contains ample
opportunity to develop finger strength
and a variety of touches.
I advise a metronome mark of crotchet
equals 138. While this tempo is quick, it
catches the Spiritoso character and will
give the music a chance to breathe. It
will also provide you with the necessary
time to move around the keyboard.
Begin your study by practising hands
separately, left hand (LH) first. Once
the LH is thoroughly grasped, it will
provide a bedrock of support to the main
event the right hand (RH)! The LH has
two functions in this piece: to play
completely rhythmically, and to enhance
the melodic material with a soft yet
distinctive accompaniment.
Ensure rests are always observed
precisely, particularly in passages like
the first four bars. The crotchet beats
will be more effective if you play them
non-legato, that is, you come off each
note fairly quickly, leaving a small break
(or gap in the sound) between one note
and the next. This applies to all crotchet
beats, particularly those in passages such
as those at bars 6-8.
Alberti bass patterns play a small but
significant role in this piece. (Alberti
bass patterns are chords that are broken
up and played as a separate note pattern;
such figuration is generally used as an
accompanimental figure.) These patterns
appear in the LH at bars 9, 11, 32 and 34,
and require slow work. Try playing all the
notes in a bar together (as a chord).
Then, when you separate the notes, they
will seem easier to locate because youll
be more aware of their shape and position.
Fabrice Rizaato
Melanie Spanswick is a pianist, author and music educator. Her
piano guidebook, So You Want To Play The Piano? has recently been
Music. Melanie regularly conducts masterclasses and workshops
in Germany as well as for EPTA, and she is a tutor at Jackdaws
Music Education Trust. She adjudicates for the British and
International Federation of Festivals and has curated the Classical
Conversations Series, where she interviewed many eminent
classical pianists on camera (published on YouTube).
Find out more about Melanie at www.melaniespanswick.com.
using your fingertips), and give a slight Turning and rotating the hand will
accent on the first quaver of each beat. help in running passages such as the
In bar 9, for example, the Fs and As one at bar 7. Check your fingering and
require more sound, but the thumb (a D) then allow the hand to turn over the
can be played lightly. A rotational wrist thumb onto the fourth finger (beats 1
motion will ensure optimum rhythmic and 2) flexibly, with a rotating motion.
precision. Unless stated otherwise, When playing this pattern slowly, use a
quavers should be played legato, and large movement and loose wrist to aid
passages that join sections (such as those freedom and relaxation. Then, when you
on beats 3 and 4 of bars 4 and 23) must play up to speed, the movement should
not feel rushed or rhythmically unstable. be smaller but still present. This will help
you secure even, legato quavers.
At bars 16-19, hold the LH semibreve
and minim beats right to the end of
the bar. (Hold to the stipulated beat in
Learning Tip
bars 18-19.) Giving these beats their full Dabs of sustaining pedal (as
value gives the melody continuous suggested in the score) will
accompaniment and reinforcement. Use highlight the melodic material.
a slight rotational wrist motion to colour
the upper notes in the crotchet pattern at Note the quaver movement in the RH
bars 20-22 (i.e. the F, D, E, C and B). at bars 12 and 35 in which an arpeggio
This is the only time the LH has any pattern is prominent. Here again your
melodic interest, so make the most of it! playing will be aided by lateral wrist
movement, in which the hand and wrist
For ease of learning, block out the RH moves from the left to the right (away
in the opening two bars. To achieve an from the body) supporting the weaker
even sound throughout this pattern, fingers (fourth and fifth). At bars 20-21,
encourage your wrist to move laterally as a tremolo type figure prevails in octave
the second finger plays the first note of quavers. To play this evenly, make sure
the bar (C), rotating onto the second note the fifth finger stands on its tip and is
(an E) with the fourth finger. If aided by working fully (i.e. no collapsing joints).
support from the whole hand and wrist, Together with the thumb, this fifth finger
a full sound will be produced. The third should form a bridge in the hand, so that
and fourth beats of many bars (in the the only motion needed is a quick
RH) are staccato; again, use the hand to rotation made by the hand and wrist.
support fingers and leave the detached Work at this slowly until it is comfortable.
notes cleanly and lightly, as this confirms
the works elegant, graceful character. Rhythm is crucial. Once you have
assimilated all notes, movements and
Quavers abound in the RH. They must fingerings, work hands together, placing
be perfectly articulated and extremely each note carefully with an inner pulse
even. Start by playing them heavily and or sitting on the metronomes beat.
deeply into the key bed. Play on the tips After youve practised playing heavily,
of your fingers, picking them up cleanly return to a lighter touch that will reveal
after playing every note (listening to the clean, clear and perfectly articulated
ends of notes is a useful exercise). Doing fingerwork. Dont rush, especially in the

When practising the Alberti bass patterns this strengthens fingers, and, if combined rapid passagework. Clarity and rhythmic
on their own, play into the key bed to with accurate rhythmic counting, will perfection are the keys to understanding
begin with (play deeply into the keys benefit overall finger technique. the Classical style.
22 Pianist 92

P22 HTP Melanie-FINALish.indd 22 08/09/2016 10:14

 play HOW TO
FULL SCORE ON PAGE 36
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Robert FUCHS (1847-1927)

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Dear little sister op 32 no 14

Austrian composer and teacher Robert Fuchss Jugendklnge (Reminiscences of

Youth) op 32, a collection of 22 solo piano pieces, was published in 1882-3.
Playing tips: Sehr langsam,Sehr
innig ssslangsam,
at the top of the score means Very
sss
sss

3
3
3

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slow and
sweet. The RH has the melody, with the LH the rippling accompaniment. Listen to

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the loving tenderness with which our house pianist Chenyin Li plays it on the CD.
Every note matters! This piece is a real gem, and a joy to learn and master.
Pedal tips: See the markings on the score. You will need ample pedal.
Read Janet Newmans step-by-step lesson on this piece on page 23.

f
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2
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Dear little sister op 32 no 14

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4 1 92 1 2 3 1 2
5 2 5 4
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5 5

P36 SCORES Fuchs-FINAL.indd 36 08/09/2016 10:07

This loving depiction of a sister requires a player to create a perfectly restrained and tender
atmosphere. Teacher and performer Janet Newman walks you through it, gently
Ability rating Intermediate the changes carefully and practising imagine that you are drawing the sound
Info Will improve your them in isolation from each other, you out of the keys, trying to mitigate
Key: B major 3 Pedalling can establish a clear mental picture of against the potential for any percussive
Tempo: Very slow 3 Understanding of structure the musical map without too much sound from the piano.
Style: Romantic 3 Thumb control difficulty. There are six four-bar phrases
in all, with the first two sharing much The key of B major is a lovely one for
of the same material. But in bars 7 and the pianist, as there is a physically
Robert Fuchs, born in 1847, was one 8, there are small harmonic changes very comfortable fit with the hands.
of 13 children. He shared a musical which allows the music to develop. At Apparently, Chopin always used to
heritage with his brother, Johann bar 9, the second idea is shown, and teach his beginner pupils the scale of
Nepomuk Fuchs, who became a over the next four bars, Fuchs travels B before tackling C major for precisely
composer and an operatic conductor. through related keys before leading to this reason. In B major, the hand
Among the many musicians Robert the third idea (bar 13). Then once shape falls much more naturally over
Fuchs taught and influenced were again, in bar 17, Fuchs revisits the the keys compared to the more difficult
Mahler, Sibelius and Enescu, all of second idea, finishing with the third
Learning Tip
whom came into contact with him at idea, which concludes the piece at bar
the Vienna Conservatory, where he 21. It would be a good idea to practise
was a professor of composition and the piece in these phrases and if you are Make sure your pedalling is
harmony. Fuchs composed mostly aiming to memorise, test yourself by completely unobtrusive in this very
large-scale works and did not write being able to play any of the three ideas intimate piece. Remember to
a great deal for the piano. This randomly. This should allow you to get squeeze the pedal so that the
collection of little pieces, entitled off the copy pretty quickly. action is silent and does not add
Jgenklange (Reminiscences of Youth), irritating percussion effects!
published in 1882-3, is among his small Work on the left-hand (LH)
canon of piano works. accompaniment on its own to start. curve required by an all-white key scale.
Aim to keep your hand relaxed and The melody has a natural rise and
I like to think that one of Fuchss loose, especially in the wrist, as this will fall and if you let your hand and arm
sisters must have been the inspiration help to give the tone evenness and a follow this shape, you should avoid the
for this piece. To me it seems to speak supple quality. There should be no potential accents on the repeated Fs
very clearly of love and tenderness. the jarring bumps just a smooth, almost (bars 1-2, bars 5-6, etc.) that occur
piece has such a beautiful simplicity floating buoyancy so that the right-hand throughout the music.
essentially, it is just a melody with a (RH) melody has complete support.
flowing arpeggiated accompaniment When moving the fingers over the As with all music that contains lots of
that it evokes a mood of warmth and thumb, take care that the process is repeated phrases, you need to
peace. Nothing upsets the atmosphere really smoothly in place. If you have any consider how you can avoid playing in
Fuchs creates. The dynamic levels problems with this, take out the small a monotone way. You can do this by
remain restrained, quiet and utterly passage from the second quaver beat to thinking about how to colour the small
calm. It is a very introspective piece and the end of the third quaver beat, i.e. differences tonally. Perhaps the second
needs to be played at a tempo that just B-D-E-A (bar 1), and play it until phrase (bar 5-8) could be even quieter
allows the music to move without you gain control over the sound. In the than the first as if you were trying to
feeling static but at the same time, third bar, take time over the bass line hear a distant echo you might want to
giving the impression of great stillness. progression as it moves to the G as this consider using the una corde pedal as
What comes to mind is a pan of barely is an expressive moment and you might well as the tre corde at this point. In the
simmering water; you want to give just need to give yourself a little extra space second idea (bars 9-12), return to a
the very faintest hint of a ripple in order to let it speak. firmer tone. It seems to me that the
occasionally breaking the surface, which music suggests this simply by having
hints at the movement beneath. In more In the LH at bar 9, lean on the moved some of the interest downwards
practical terms, I think that crotchet crotchet bass notes slightly as the into the bass line.
equals 44 is about right any slower music implies. Take care to catch the
and it becomes leaden, but any faster bass notes fully in the pedal. If you Begin the next idea (bars 13-16)
and the mood is turned into something grab at them, the music is robbed of by playing very quietly again.
altogether less transfixing. the harmonic warmth, and the However, this time you will want to
Janet Newman is Head
performance will feel thin and lacking intensify and crescendo as the music
of Keyboard at the Royal
Structurally, the piece is essentially texture. Otherwise, the LH is fairly heads to the highest point, the B in
Grammar School in
made up of three ideas. By cleverly straightforward in execution as the rest bar 15, before falling away again.
Guildford. In addition to
changing the endings of the phrases, of the piece repeats itself. Essentially, I would follow this pattern
her teaching, she is in
Fuchs moves into different keys and once more in the next two phrases but
demand as a freelance
keeps the musical material fresh. This The RH melody needs to be completely take as much time as you feel to end
pianist and is an examiner
kind of composition is relatively easy unforced and graded. Take care to lean with a really convincing and beautifully
for the ABRSM.
to memorise because by comparing on the thumb at the start (the F), and shaded rit in the final bars.
23 Pianist 92

P23 HTP Janet-FINALish.indd 23 08/09/2016 10:13

 play HOW TO

SCRIABIN
Etude in D sharp minor op 8 no 12
One of Scriabins most famous pieces, this study throws up many challenges. Concert pianist and
professor Lucy Parham presents a detailed guide for making your way through it with panache
Ability rating Advanced Try building the LH up seven quavers In bar 16 pay attention to the LH
Info Will improve your at a time. In other words, play the G to C and subsequent C to F
Key: D sharp minor 3 Octave playing seven quavers a half a bar at a time, progression. Really try to sink into
Tempo: Patetico 3 Gradation of forte always stopping on either the third beat these octave quavers, as they form the
Style: Late Romantic 3S tamina or the downbeat. Keep your thumb harmonic basis of this bar. In bar 17
close to the keyboard at all times as you can take the LH F (fifth quaver)
what you are trying to avoid is jumping in the RH.
Lauded by such geniuses as Tolstoy around too much. You need close
and Diaghilev and influenced in his contact at all time, fitting your octaves We now begin a new section, so try
early years by Chopin, Scriabin never around your hand like a glove. to find a warmer tone. Highlight the
achieved the same popularity in the top (fifth) finger of your RH and
concert hall as his contemporary, When you begin to study the RH, always stay close to the keys. This needs
Rachmaninov. Scriabins extensive the basic way of practising octaves, to be as melodic as possible. In bar 19
piano repertoire ranges from the very thumbs alone followed by fifths alone, I suggest you use fingering of 5-4-5-4
melodic early prludes and tudes to the will be vital. In bar 2, the semiquavers for the descending RH octaves for the
mystical and technically demanding need to be thrown in one movement optimum legato. Crescendo through
later tudes and sonatas. The tude we Lucy Parham performs rather than played as four separate bars 19-21 and notice the subito piano
are looking at here is the famous opus 8 her Debussy words- semiquavers. Within the first few bars (after a small decrescendo) at bar 22.
no 12 in D sharp minor. This study for and-music programme make sure you are heading for bars 7 Again, point the top finger, imagining
octaves heaps considerable challenges Rverie with Henry and 8, and then when the melody it is made from steel! Even within
upon the performer; these include large Goodman in the returns at bar 9 drop the tone a little. the octaves you are always searching
left-hand (LH) stretches of up to an Kings Place London Every time you encounter the RH for a real cantabile. The last beat of
eleventh as well as huge leaps and a Piano Festival on Oct 9. octave jump (as in the case in the
requirement for an unrelenting energy. She presents her opening of the piece), try to throw it in
This piece has been a popular encore for Rachmaninov show, a single movement. You could practise
Learning Tip
many years and was often played by Elgie, with Henry this octave jump in all keys; it needs to Learn the left hand first on its own.
Vladimir Horowitz. Its safe to say that Goodman at St Georges be secure as it recurs frequently. In bar 8 You need to master it before adding
it is a real audience favourite. Bristol (Oct 23) and the make sure the inner notes in the RH the right hand.
Yvonne Arnaud Theatre are all sounding.
My first piece of advice is to learn (Nov 19), and with bar 22 (three semiquavers and a
the LH part on its own first. You will Alistair McGowan at the At the second repetition of the main demisemiquaver) should be thrown in
really need to master the LH before Apex Bury St Edmunds theme in bar 9, youll see that the one movement, rather than trying to
you can think of adding the right (Oct 30). LH begins to acquire even more notes. play each note separately.
hand (RH), which requires a different A special performance Look at the fifth quaver in bar 11,
technique and sound quality. My top of Beloved Clara will for instance. Again, it is possible to put This whole section is building
tip is to remember that the levels of take place in London on these notes into the RH. Take your gradually. It is important to resist the
forte are numerous in this piece. At the Nov 9 with Jeremy Irons time in the second half of bar 14 as temptation to concentrate only on the
same time always have the climax (from and Jane Asher; it will you approach the first climax at bar 15. RH because the descending harmonic
around bar 44) in mind, as you will also be at the Galway This concludes the opening section progressions in the LH are crucial.
need to reserve your biggest sound for Festival on Nov 24. and should have a sense of finality about Really sink into those changing bass
here. In learning the LH first you will For full details, go to it before you enter this new section at notes and try to keep a certain flexibility
also be able to create a skeleton outline www.lucyparham.com bars 16-17. in the wrist. Sink into the diminished
of the piece. It will be easier to register RH chord in bar 29 and then drive
mood and key changes. through the following bars with as
much sweep as possible, as you are
You will notice there are number of aiming to keep one long line. We are
places where you can cheat. By cheat looking for a long sweep. This is now ff
I mean slipping one of the LH notes in dynamic but bear in mind that you
into the RH, when the particular note need to keep something in reserve for
is closer in the RH. How and when you the following page.
do so will depend on the size of your
hand as well. There is no point trying to When you reach bar 32, make sure
stick exactly to the written hand you balance the accompanying
arrangement if it is going to hinder the quavers in the RH (in the second half
tempo. You can see an obvious example of the bar). Continue to highlight your
of this is in bar 2 the LH fifth quaver fifth finger. Take a small ritardando in
(A) fits perfectly into the RH, the RH bar 33 as you ease into bar 34 where
Sven Arnstein

having already played that note with the main theme returns. Again, pay
the second finger, so it would be mad attention the accompanying RH quavers
not to make the swap here! here (first half of the bar this time);
24 Pianist 92

P24 HTP Lucy-FINALish.indd 24 16/09/2016 09:57

 T MISS
DON PARHAMS
N Alexander SCRIABIN (1872-1915)
LESSO
LUCY
TRACK 14 PIECE ADVANCED
ON THIS E
PAG
24
Etude in D sharp minor op 8 no 12

This tude is the last in the first volume of tudes by Russian composer Alexander
Scriabin, and dates from 1894. Horowitz loved Scriabins dense, complex music and
this particular tude was a favourite encore.
Playing tips: Remember that this is an etude, and a difficult one at that, so be
prepared to take some time to master it . The LH uses a wide range of the keyboard
and needs to be totally secure, with hands close to the keys at all times. The same can
be said for the RH with lots of octave playing to boot. Again, the hand should remain
as close to the keyboard as possible (no flying around!). If you listen to Chenyin Lis
performance on our CD, you will notice that it doesnt have to be crazily fast. Patetico
does not mean fast it means with feeling. And Lucy Parhams lesson will surely
encourage you to embark on learning this turbulent and passionate etude.
Pedal tips: There are no markings on the score, but at this advanced level, we are sure
that readers have a good understanding of how to use the pedal.
Read Lucy Parhams step-by-step lesson on this piece on page 24.

r
f #f
4 5

## #
Patetico q = 100 - 112
f
ff f f ff f ff #f

FULL SCORE ON PAGE 59

& # ## c f f ff FFF
f f f f f

{
r f
f #f
4 5

#### # c
Patetico q = 100 - 112
f
r f f f f f f f FFf
f ff f f ff ff ff #f
? ###### cPatetico
& f f f f f f

{{
f f Ff
f ff f f
f f
# f f qf= 100 - 112 f ff ffr f f f f f #f
4 5

## # f f ff f f ff f ff #f
& # ## c r f F f
f f F
f f f ff ff
1

f f f f f Ff f f
2 2

? #### # c f f f f
3 2

# f f f ff f f f f fff
f f f
f ff f f f f
? #### # c fr f f f
1

fr f f f f f f f
2 2
3 2

# f f f ff f f
f
# # # fF f f f ff f F f nff f f ff f <n>fff f
3

& # ## f
1

f f f F
2 2

nf f f f f
3 2
f F

{
r f
#### # ffF f f f f
f nff f f ff f n<n>fff f
3
f F
f f f f f f f FfF f
? ###### f f
& f nf ff f f f
ffr f f

{{
f
f f
f
# f f f f f f f
# # # ffF nff f f ff f <n>fff f
3
f f Ff
& # ## f f f f f f f FF f
nff f f ff f n f
? #### # f f f f f f
f
f f
f f f
# f f f f f f
f f f f f f nf
? #### # f f f f f f fr f f f f f f f
# f
f f f f f f f #f
# # # fF f f Ff ff f f f f ff #f
5

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

{
r f
f f f f f #f
#### # fF f f f f FF f ff f f ff ff ff #f
5
f f
cresc.

? ###### f f #f f
& f f f r f f Ff f ff ff f f f

{{
# f f f f ff F f f f f f #f
#### # ffF ff f f ff f ff #f
5
f f f f f f f FF f f
& # f f f ff ff
cresc.

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

59 Pianist 92

P59 SCORES Scriabin-FINAL.indd 59 08/09/2016 10:11

you can grow through them now
as they have assumed more power.
Note that the leaping LH from the
last beat of bar 34 to the first beat
of bar 35 is now an octave; these
leaps between bars need a specific
emphasis as they are highlighting
the bass line, which becomes like
an insistent, resounding bell. In
order to vary the tone you need to
be searching out different sonority
levels. If you dont, the danger is that
it can become thumpy rather than
mighty as it should be.
At bar 39 Scriabin asks for the
accented quavers in both hands.
Though its not marked, at bar 40,
you need to subtly drop the tone in
order to achieve a monumental
crescendo in the following bars. Use
your whole shoulder and arm weight
to make this possible, and sit right
back rather than hunch over the keys.
You need to find the full-bodied
sound of a symphony orchestra.
Bar 41 is one long drive to the end.
There is a sense of precipitando
(pushing), and it is helpful here to
think of the LH as the leader the
driving force. You really need to
know the LH blind. Close your eyes
and see if you can play the last page
and a half. The RH triplets need a
vibrato technique. Think of literally
shaking them out of the keyboard.
It is important to keep close to the
keys here. The higher you are above
the keyboard the greater the risk of
hitting wrong notes! Always think of
travelling horizontally.
When you reach bar 46 pay
particular attention to the LH
chords (i.e. the octaves that are not
single octaves but filled in). I would
suggest practising them alternately
without the thumb and then
Many words
subsequently without the fifth finger.
You need to grip each chord as each
are used to describe
has a real harmonic significance.
Make as much of a crescendo as
pianos
possible now. You are heading for the
final climax and reiteration of the
main theme at bar 49 this is also
the first time we see fff in this piece.
From bar 52 to the end there is a
natural accelerando. As you can see
on the Pianist score, the last two bars
are marked fortissimo, and thats how
I like to play the ending to this piece.
But its worth noting that some
editions mark the last two chords
the minim and the semibreve as
piano. To me, that doesnt seem to
work musically. And most pianists
that Ive heard play this tude will
play fortissimo right through to the
very end of the piece.
Drop the tone in bar 52 to allow for
a final precipitando. Reserve some
energy one of the key tests of this
piece is pacing of stamina! This tude
will undoubtedly improve your octave
technique. Be patient in practising
this piece, as you will definitely get
out of it what you put into it!

Scriabin on disc
If youve fallen for Scriabin, here are some benchmark recordings to sound out:

Complete Etudes Piers Lane (Hyperion, CDH55242)

Complete Mazurkas Eric Le Van (Music & Arts, CD1125)

Complete Pomes Pascal Amoyel (Calliope, 9360)

Complete Sonatas Marc-Andr Hamelin (Hyperion, CDA67131/2, 2 discs)

Complete Prludes Piers Lane (Hyperion: Vol 1 CDH55450, Vol 2 CDH55451)

24 Prludes op 11 (with Sonatas Nos 4 & 10) Mikhail Pletnev (Erato,

5099962865128)

Vers la flamme (plus solo piano works) Vladimir Ashkenazy (Decca 478 8155)

Piano Concerto Yevgeny Sudbin, Bergen Philharmonic Orchestra/Andrew Litton

(BIS, SACD BIS2088)

Scriabin Edition (complete works) Various artists (Decca, 478 8168, 18 discs)

P24 HTP Lucy-FINALish.indd 25 16/09/2016 09:57

 GRADE BY GRADE
CD of full performances and
aural awareness resources

selected and edited by Iain Farrington

The new and complete repertoire resource

for the aspiring Grade 1 to 5 pianist

A perfect package for teaching,

exam preparation and performance

Includes grade-appropriate scales, arpeggios,

sight-reading and aural awareness tasks

from 9.99 each

Grade by Grade - 1 Grade by Grade - 5

18 pieces including: March 15 pieces including: Montagues and Capulets
from Six Childrens Pieces by Shostakovich from Romeo and Juliet by Prokofieff (arr. Norton) www.boosey.com

26 Pianist 92

p26 Ads.indd 26 16/09/2016 10:04

Pianist 92
EXCLUSIVE COMPETITION
October - November 2016

Scores
Contents
ENTER THE PIANIST
COMPOSING
28 SPEER
Aria

CO MPE T IT ION 29 HEUMANN

Modern Prelude

IN A KAWAI
30 MAYKAPAR

AND W
Pedal Prelude No 5

50
WORTH OVER 3,3
32 STANFORD
Scherzo, No 2 from Six Sketches

PLUS 34 CLEMENTI
Sonatina in C op 36 no 1,
The winning
piece first movement
will be feature
d 36 FUCHS
inside the Pia
nist Dear little sister op 32 no 14
Scores and o
n the 38 KOELUCH
covermount C
D! Sonata in E flat P.XII:42,
first movement

42 CRAMER
Praeludium and Andantino

43 CZERNY
Andante op 453 no 32

N
44 BORODIN
ows your chance to be creative! Compose your own piece of
Nocturne op 1 no 7
music. It can be any style that you like modern, Classical,
Romantic, jazz, boogie-woogie and so on. And it can be extremely 46 BOB DYLAN
simple or incredibly complex. All we ask is that its an original! Make You Feel My Love

THE PRIZE 49 NAZARETH

Turbilho de beijos Valsa lenta
The winner will receive the elegant Kawai upright acoustic Model K-15E
(pictured above), worth over 3,350. It comes in the smart, ever-popular 54 GRIEG
polished ebony finish. Rigaudon from Holberg Suite

Plus, the winning composition will be heard and played by thousands of 59 SCRIABIN
readers, as it will feature inside the Scores in a future issue and on the Etude in D sharp minor op 8 no 12
covermount CD, recorded by concert pianist Chenyin Li.
Typesetting by Spartan Press
The winner will also be interviewed by Pianist Editor Erica Worth for a Music Publishers Ltd Quick guide to
feature article to appear in the same issue. UK/North American
note value terminology
Deadline for entries is 4 November, so you still have time to get creative!
w = semibreve/whole note
h = minim/half note
To find out how to enter, visit our website: q = crotchet/quarter note
e = quaver/eighth note
pianistm.ag/composing92 x = semiquaver/16th note
y = demisemiquaver/32nd note

p27_Scores Intro-FINAL.indd 23 14/09/2016 11:16

 TRACK 1
Daniel SPEER (1636-1707) BEGINNER
Aria

The life of this composer, music theorist, political agitator and writer would make
for an exciting film. Born in Breslau (now Wrocaw, Poland), Daniel Speer worked
as an itinerant musician all over Europe, penned three autobiographies, was
imprisoned for his political activities, composed, wrote practical treatises on music,
and ended his days as a church cantor in Gppingen, Germany.
Playing tips: Try to phrase over four-bar sections, always aiming to make the first
beat stronger than the second. The crotchets in the LH dont need to be legato and
pedal is certainly not required. Notice the dynamic markings and dont force the
forte too much in bar 5.
Take a look at the technical tips within the score.

Choose a steady moderato pulse.
Count the beats of two beats per bar
Moderato
inside your head before you begin.
As a general rule for the RH, put the emphasis on the first
quaver of each bar. Feel the down/up motion of the hand.
f f

2 f #f f #f f f f f f f
& b4 f
1 3 1 2
Key of
f

{
D minor.

mf (p)

? b 42 f f f #f f f
f f f
2
Notice the p inside the brackets. The LH notes do not need to be Repeat the first four bars,
That means when you repeat these legato.They should move steadily this time softly.
four bars, repeat them with the and be in perfect time.
dynamic of p instead of mf .

This second section starts resolute and loud. From bar 5 to the end, the RH articulation
There is a lot of repetition, so try to phrase the should be slightly detached, but not staccato. Make sure that you get
melody we suggest 4 bars to every phrase. Somewhere in between staccato and legato! the dotted rhythm below
spot on!
f f f f f f f f f f
5
f 4
f f f f f
&b f f
3 1 1 2

{ ?b
f

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

Make a sudden change Create a small rit. from here to the end.
in dynamic to p below.

f f f f f f f
rit.
f f f
9
f f f f f f
&b f f
3 1 3 1 2

{ p cresc. f

?b f f f f
f f f f f
5
2
5
2 1 2 3 1 f
Build the crescendo On the first beat of this bar in the
through to the final bar. LH, theres a fingering of 3-1 on the
A. This means you should silently
move from the third finger to the
28 Pianist 92 thumb on that note.

P28 SCORES Speer-FINAL.indd 28 16/09/2016 10:56

 TRACK 2
Hans-Gnter HEUMANN BEGINNER
Modern Prelude
Modern Prelude
Hans-Gnter Heumann composed this prelude exclusively for Pianist. rhythmic stability, you should make a slight emphasis on the first beat of the bar.
Playing tips: This evocative, dreamy piece should sound effortlessly seamless. The Dont forget that the piece needs to be repeated. Pedal markings are on the score.

{
listener should not be able to notice the change between the hands at all! To maintain Take a look at the technical tips within the score.

Dynamics there are no dynamic indications on the score, apart from the p at the start.You need to create a
Hans-Gnter
calm and dreamy atmosphere, with a minimalist quality. However, movement is needed, or it will come across
Heumann
Easy key q = 120 a bit lifeless and static.Think in four-bar phrases. Observe the crescendo and decrescendos at the very end. (*1955)

3
of C major. 1 3

&4
p

b
? 43

2 1 3 1 3 1

{
simile
The pedalling is just one change per bar, Notice how the RH notes change only slightly throughout the piece.
on beat one.This is legato pedalling. The LH leads the way with the changes of notes, so bring out the
bass line LH notes.They drive the piece.
6 1 3

&
# # n
? b
4 2 4 2

{
11 1 2

&

b
? b
4 2 5 2 4 1

{
When playing the piece the first time The second time around, skip past the 1. bar and go straight
around, this is the bar that takes you back to into 2. Remember to rit. and then have your hands over the
the beginning (ignore the 2. bar next to it.) notes of the last chord in order to gracefully arpeggiate it.

1. 2.
U
15
rit.

1 3 2 1 4

&

?
U
3 2
29 Pianist 92
2016 Schott Music GmbH & Co. KG, Mainz

P29 SCORES Heumann-FINAL.indd 29 15/09/2016 14:38

 TRACK 3
Samuil MAYKAPAR (1867-1938) BEGINNER
Pedal Prelude No 5

Born in Taganrog, the Russian city that features in Chekhovs stories, Maykapar
studied piano with Theodor Leschetizky and became a professor at the St Petersburg
Conservatory. This piece comes from his 20 Pedal Preludes op 38.
Playing tips: Look at the long phrases, which generally cover eight bars. Create a
build-up in the form of a crescendo to the climax within each phrase (usually around
the fifth bar) and then diminuendo again. The LH takes over at bar 17. This will
mean reducing the sound to pp in the RH and then making the LH sing (dig deep
into the keys). Observe the lovely long pause at bar 30 (count this bar silently) and
make sure to slow down slightly before it, in order to prepare. The last three bars
should be quiet and precisely in time.
Pedal tips: This is a pedal exercise, so its crucial to follow the pedal markings which
are all marked clearly on the score.

Moderato q = 136

#3 F- f-
& # 4 F
2 2 3

F- F-
-

{
mf
ff. ff. ff. ff.
molto cantabile
. .
? ## 43 fff fff f f fff. fff.
pp 1 1 1 1

3 3 3 2
4 5 4

## F-
5 4
2 3

& F- F- F-

{ ? ##

fff. fff. fff.

fff. ff

.
ff
.

ff. ff.

#
9

& # F-
3 5 5

F-
2

F- f-

{
F-
ff. ff. n#fff. fff. ff. ff. fff. fff.
? ## f f
1 1 1 1

3 2 3 3
4 5 5

#
13

&#
4
2 3

F- F-

{
F- F
-

? ## f. f. ff. ff.
ff. ff.
f f ff ff
1
2 . . 1
5

1
5

30 Pianist 92

P30 SCORES Maykapar-FINAL.indd 30 15/09/2016 09:53

 TRACK 3
Samuil MAYKAPAR (1867-1938) BEGINNER
Pedal Prelude No 5

4 4 3

#
17 4 3 2 2

&#
2 1 1 1

ff ff f fff fff fff

{
. . # ff. . . . cresc.
fff
.
fff
.
pp

? ## F F- f- F- F- f-
-

mf 4
4

#
5
21 2

&#
2

#fff
1

ff ff ff ff fff ff ff
. .

{
. . . . f. f.
dim.
-
F F- -
? ## F- F
&

4

poco rall.

# F- - F- F
25

&#
3

{
mp
#
&# ff
.
ff
.
#fff fff ff ff ff ff
p 1
. . f. f. f. f.
3 1

2
4

a tempo

#
4
29 4

&#
2

2
1

fff fff fff fff ff ff ff ff

. . . .

{
. . . .
ppp
-
poco calando

## -
F F- F F
& ?

pp 3 1

31 Pianist 92

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 TRACK 4
Charles Villiers STANFORD (1852-1924) BEGINNER/
INTERMEDIATE
Scherzo, No 2 from Six Sketches

A dominant (and dominating, by some reports) figure in turn-of-the-century British
music life, Stanford was a composer and teacher who taught Vaughan Williams and
Holst, among others. Six Sketches dates from 1918.
Playing tips: This light, sweet piece is good for working on your RH legato and
staccato. In nearly every bar you will have to use both touches (there are a few
exceptions, of course). In the second and fourth bars (and in similar places), feel the
down-up-up motion of the hand. Remember to keep the rhythm even, allowing
the LH to be the accompanying pulse. Aside from a crescendo in bar 22, most of
this piece is piano, so keep it light throughout.
Pedal tips: Pedalling not required.

Allegro

3
& b Allegro f. f.
1 2 1 2

4 f f f f f
f f f f f f f f #f

{{ 3p
& b 4 fFF f f f. f.
1 2 1 2
f f
3
? b Allegro
f f FfF FfF f f f f #fFF
4p
? b 33 FF FF f. FF
f f f #Ff f f..
F
Allegro
1 2 1 2

& b 443 f f f
3

f f f
2
f f
f. f

{{
& b 4 pf f f
1 2 1 2

f f f f f f f f #f f f
f
f.
3 2

Ff f. FfF f. FF
f.
FF
5
pF
2

b ? 3
1 2 2 4 1

& #f f. FF
? bb 443 F
f F FF FF FF

{{ f. f. f. f.
5 2

& b FfF f
1 2 2 4 1
f #fF f
f.
3 2
f. .f FF
?b f
3 2

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

5 ? b FF F f
1 2 2 4 1

&b f f #Ff f
f.
4 2 4 1

FF
f. f. f.
1 2

{{
&b f
1 2
5 2 4 1
f #f f f. FF
f.
4 2 4 1

FF F f. . . f ff f.
9 1
F
? b
5

f ff. f F#f
1 2 1 2
f f
& fF f f f
9? b F
f FF f ff. f f. f

{{
bb F
f. f.
1 2 1 2
f
& fFF f f f #fFF f
2 4 1
f
4

FfF fFF f f f
1

f
?b
5
4 2 4 1
1
5

FF f f. FF FF f.
9
9? b F F
1 2 1 2

&b f f f f f f f f f f #f f
f f. f.

{{
&b f f f f
1 2 1 2
f f
f f f f f f f #f
13? F F FF FF FF
? bb FF f. FF f f. FF f. f. FF
1 2 2 4

& f f #f f. FF
13 b

{{ f. f. .
& b FfF
f f. f
1 2 2 4
f #fF f f. .f FF
? F f f.
13 b
13? b FF
f. F f. f.. f. f. F f
1 2 2 4

&b f f #Ff f 4
.f
4

FF
f. f. f.

{{
&b f
1 2 2 4
f #f f f. FF
f.
4 4

? b FFF
F
FF f. . f. F f
?b F F f. f f. 4
F f
4

4 4

32 Pianist 92

P32 SCORES Stanford-FINAL.indd 32 08/09/2016 10:05

 TRACK 4
Charles Villiers STANFORD (1852-1924) BEGINNER/
INTERMEDIATE
Scherzo, No 2 from Six Sketches

17 2 2

& b FF
5 1 5 1 3 1 1

f f f. f

{
# FF ff
. # ff. f f.

? f f f f f f f f. f f f. f. F
b F
2 1 3

21 5
4 3 3

ff
& b #FF
3 3 4

ff #ff. ff f f nff. FF f
.

{
.
f. f. f. f.
cresc.

?b f f f f f
F
F

1 1

f. f.
25
f
&b f f f f f
1 2 1 2

f f f f f f f #f

{ F
?b F
3
FF FF dim.
FF
4

f. f. U
29
f f
&b f
1
FF
4 1 2

f f.

{
f.
F n FF bff. ff.
f. U
p
F
?b F
3 3 2 1 3
2

33 Pianist 92

P32 SCORES Stanford-FINAL.indd 33 08/09/2016 10:05

 S
MIS
DOMNTANIE

TRACK 5
EL ICKS
SPAN
SW
ON
Muzio CLEMENTI (1752-1832) BEGINNER/
LESS
HIS P
ON T GE
IECE Sonatina in C op 36 no 1, first movement INTERMEDIATE
PA 2
2

This famous movement comes from the first of Clementis opus 36 Sonatinas,
written as an addendum to his Introduction to the Art of Playing on the Piano Forte.
Playing tips: Dont be put off by our pianist Chenyin Lis brisk tempo on the
covermount CD. Over time, with slow practice, you will be able to build it up to
the spiritoso tempo thats required (and makes it fun to play). Remember to start
out piano at bar 16 it must be a great contrast to what has been before. This is an
excellent lesson in practising your scales and using lots of different articulations.
Keep it light, rhythmic and energetic!
Pedal tips: See the suggestions on the score.
Read Melanie Spanswicks step-by-step lesson on this piece on page 22.

f.
Spiritoso q = 138

f
5
f f f
& CSpiritoso f.
4
f f
2
Spiritoso q
f f f f f f f f f f f
1 = 138
f f f
2 1 3 4 5 4

f f f
f f. f. f f f.
5
f f f

{{
& CSpiritoso
4
f f
2

f f f f f
1

f f f
2 1 3 4 5 4

f.. f
q
f
= 138
. . f f. f
5

C fff ff f f f f f f
q = 138 4
f f
2

f f f f
1

& f f f
2 1 3 4 5
f
4

f f ff
5
f f
& CC ff f f.. f.. ff f f.
4
f f f
2

{
f f f f
1

ff f f
2 1 3 4 5

f
4

f ff f
.
? C ff f f f
f f f f
f f
? C f f
3 1

f f f f f f f
?C f f
3 1

f f f f f f f

3
f 1

f f f. f f f f #f
3 1

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

f f f
1

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

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

{{
1
f
3 1 4 3 1 4 2

f f
1

5& f f f
2 3 1 4 2 2

f. f. f f f #f f f
f ff f f. f f f f ##ff f
5
4 2
f
1
f
3 1 3 1 4 2
p 4
f f f f
1
f
& f f f
2 3 1 4 2 2
f
5

f f. #ff f f f #f f
5
f f f f f ff
4 2

f f
1

& ff f f.. f.. f

f
3 1 4 2

{
3 1 4
f f
1
p
f ff f
2 3 1 4 2 2

f f f f #f f f
? pf #f f f f f ff
f ff
? #f
p
f f
2 1 4 1

? f f f f
f #f f
2 1 4 1

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

f f f f f
5 4

f f
4 5 5

f f # f f
2 1 4 1 3

f. f. f.
5
f f
9 4 5 2
1
. . . f f f f f 1 2

f f
5
f
1

f f f f f
5 4 1

& f f f f
1 4 5

# f f
5 3

f f
9 4 5 2

f f

{{
f.. f.. f..
1
f f
1 2 1
f f f
1

9& f
f.. f.. f.. f
1

f f f f
5 4

f
4 5 5

#f f ff
5 3

f f
4 5 2

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

& f
5 1

f f f f f f f f f f f
9 4 5 2
f
1

? # f f f f f

{
1 2 1
f
1

& f f
1

f
f f f f f f f f f f f
? #f f f f f f
f f f f f ff f f f f f f
? #f f ff f f f ff f f f
5 1 3 1 5 4

? #f f f f f f f f f f f

5 1 3 1 5 4

5 1 3 1 5 4

#f f
5 1 3 1 5 4

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

{{
f f
3 2 4
f f
2 5

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

f f f
2

#f
5
13
& f f f f f f f f f f f f F
?

{
3 2 4

f f f
2 5

& f f f f f f F f
? f f f f
f f f f f
? ff f f
4
f f
1 5 1

? f f f f f

1 5 1 4

f f f f
5

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

34 Pianist 92

P34 SCORES Clementi-FINAL.indd 34 08/09/2016 10:06

 TRACK 5
Muzio CLEMENTI (1752-1832) BEGINNER/
INTERMEDIATE
Sonatina in C op 36 no 1, first movement
f ff ff ff ff
ff bbff ff f f ff f bbff f
16
16 4
4 2
4
4 5
5

ff ff f ff ff ff
4
f
& ff f ff ff.. ff..
2

16&
2 4 2 3 1 2 3

f
2 2 3 1 2 3

f ff f ff f ff f ff
f bf f f.. . .
f f

{{
f f bf f
f f f f f. f.
4 4 5
2

& ppfw f f. f.
2 4 2 3 1 2 3

w bb ww .
FF FF . . ff
ff f f f f f
?
? w
p
bw
FF f
f ff f ff
? F F F f f
1
1 2
2 4
4 3
3 2
2

1 2 4 3 2

ff ff ff ff ff bbff
5
21
ff ff ff f ff f nff
1
21 5 1

f f f f f f nnfff
21&
3 5 4 3 2 2 4

f
3 2 4

& f f f f f f f bf
f f
4 3 2

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

{{
1
5

& f f f f f. f.. f f f.. f.

3 4 3 2 2 4

pf f f .
bb f ff nf ff
p
f. f. f f.
? b f ff f ff nf
? f ff f ff ff ff p
ff
ff
? f f nf f ff f f f f f f

2

f
1 5 2 3 2 1

1 5 2 3 2 1 2

1 5 2 3 2 1 2

ff..
26
26 3
3 4 3 4

3 1 4 3 4

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

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

{{
ff. ff. . fff
f. fff
26
.
3
f f f ff f ff . . ff. .
4 3 4
ff f f ff ff ff
ff. .
f f
f f f f ff f ff.
3 1

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

f f. f. f f f f.
ff fffff f f f cresc.
cresc. . . . .
?
? ff ff ff
ff ff f ff f ff
ff
cresc.
? f f f
f ffff
f ff f f
5 2
2

5 1

5 f 2

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

31
31 5 5

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

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

ff f ff ff ff f
1 1

. f. f.
1 1 2

& f
ff ff f ff f . . . ff

{{
31
f ff f f
5

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

f
2 1

& f f f f
1 1 1 2

fff f f f
f f f
?
? f f f f ff ff ff ff ff ff ff ff
ff
f ff f ff f ff f ff f ff
? f
f f f f f f f f f f f f f
f f f f
5
5 1
1 3
3 1
1
4
4 4
4

4
5 1 3 1 4

ff ff ff f ff ff ff ff f f
35
35 4 5 4 5

f
5 4 5 3

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

35& f f
1
1 1
1 4
4 1 1 4 2 1
1
2

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

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

f f f f
?
? ff ff ff ff
ff ff
? f f f f f f
f
f ff f f ff
f f f f
2 2 1
1 2
2 2 2 4
4
5
5
2 2 1 2
4
35 Pianist 92 5

P34 SCORES Clementi-FINAL.indd 35 08/09/2016 10:06

 S
MIS
NTWMANS
DOT N E
ON
Robert FUCHS (1847-1927)
LESS
TRACK 6 JANE INTERMEDIATE
IECE
HIS P
ON TPAGE Dear little sister op 32 no 14
23

Austrian composer and teacher Robert Fuchss Jugendklnge (Reminiscences of the loving tenderness with which our house pianist Chenyin Li plays it on the CD.
Youth) op 32, a collection of 22 solo piano pieces, was published in 1882-3. Every note matters! This piece is a real gem, and a joy to learn and master.
Playing tips: Sehr langsam,Sehr
innig sss at the top of the score means Very slow and Pedal tips: See the markings on the score. You will need ample pedal.
Sehr langsam,
langsam, innig innig sss sss
sweet. The RH has the melody, with the LH the rippling accompaniment. Listen to Read Janet Newmans step-by-step lesson on this piece on page 23.
Sehr langsam, innig sss 5

#### Sehr
5 4 5 4
4

2 ff
5 4

f f f f
1 5

& ##### 42 fF langsam,f innig sss f

1 5 4 4

f f fF f f f f ff f

{
1

& # 4 fF f f
f fF f f f5

#### 2 pp
5 4 4

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

& # # 4
? ## # 42 f f f f f f f f ffF f
fF f f f f ff f ff ff f f f

{
p

? ##### 42 pf f f f f f f
# f f
f f
f f f f f f f f f f f
? #### 42
2 1 3 5

f f f f
2 1
1 2 1 3 5

f f f sim.
5
5 2 4 5 2
2
f
4 5

#
2 1 3 5

f
1

f
2
f sim.
5 4 5 2

sim.
2 1 3 5

2 1

sim.
5 4 5 2

####
3
3 2 4
2 4 2 4
4 4

f f
4 3 2 1

& ##### f f f
3 3

#fJ ff ff
2 1 1 1 4

f
1 1

nf
4

ffF f fF f
4 2

f f

{
f
3 1

& # f f
1 1

#fJ j nRf ffF f fF f

####
3 4

R
2 4
4 2

f n ff f
3 1

& # f fF f f f
#fJ f ff ## ff
f fj
1 1
f f f nf f
ffF f ff n f f f f f

{
? #### f
f f f R f f f f f ff f
? ##### f f f j f f f f f f f f
# f f f
f f #f n
f
f f f f f f f
# f f f
3 2 1 2 5 1 2 1 3 5

? ## # f f f f
5 1
1 3 2 1 2 5 2 1 2 1 3 5

f
5 2

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

f f
5 2

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

3
3 4

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

f f
4

nf
5 4

f
7 5 5 3 2

f fff f
4 2 2

& ##### fJ ff
3 4 2 4

#ff ff
7 5 5 5

f nf nnff

f f f
2

f ff f

Jff
2

7&
# f f fJ nf f
nf

Jf
4

####
3 4 4

ff f ff #ff
5 5 5

fff f f f f f nf f
1 2

f
2

? ##### fJ f ff
1

& f f f f ff f ff f f nf nff f f f
1

f f
1

{
fJ f
1

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

# f f f f f
1
f
f f f f f f f f f
? ####
1 2 4 1 5 1 2 1 2

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

f f
1

5
1 2 4

# f
1 5 1 2 1 2

f f
5

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

#### nf
4 5 1 1 5
5 4 5 4 1 5
f
10 5
f
1

nf
5

nf
4 5 2

f
10 1 2 5 4 1 2

& ##### f f nf nf
2 5 1 5

f f
fJ nf f nnff nf
1 5 4 5
10
nf
4 2

nfJ f f f
5

{
f f
1 2

# nf
5

10&
f f nf
4

f f
1
f
5

fJ f f npoco f
1

# f f nf
1 5

# J cresc.
5 4 5

f f
& # ##
nf nf
1 4 2

f
1 1 2 5

f f f f f nf
fJ nf f f nf nffnf f
1 poco cresc.
f nf f nfJ nf f f f f f nnff

{
? ####
2
2 1 1
poco cresc.
n f f nf
1 1 1

nf nf f f nnff f
1

nf f
? ##### nf nf
f nf nf
2

f nnffcresc. nfff
1 1
1

f nf f
1

# nf nf nf f nf nRfR f nf
poco

nf f nf f
f nf
? #### nf f
1 2 2 1 4 1 1 1 2 3 1 2
1 2 1 5 4 1 1 2 3 2 1 2 5 4

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

# nf n nff
1 2 5 4 4 1 5 1 2 3 5 2

nf nf n
5 1

f
5 5 2 5 4

f Pianist R f
5 4 4
5 5
1 2
5 36
4 1 92 1 2 3 1 2
2 5 4
5 4 4
5 5

P36 SCORES Fuchs-FINAL.indd 36 08/09/2016 10:07

 TRACK 6
Robert FUCHS (1847-1927) INTERMEDIATE
Dear little sister op 32 no 14

#### f
4 4 4

f f #ff
13
f #f #fff f nf ff ff
1 2 1 4

& #

fJ
f f f f f f

{
J
#f f f f f
2

f f f f f
? #### # F #f
1

f
2 1

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

####
4 5 4 5
16
nf nf
2 2 1 2

f
& # f f f f f fJ nf nf f f nf
f f

{
ff f fJ f
J 1

? #### f f f f nf f nf
4

f f
2 2
1 1

# f f f nf nf f
1 2 2
5 4

5 4
1 5
1

#### nf
5 1 5

f
19
f
nf nff nff f #f #ff
4 2 2
4

& # f
nff f ff f f fJ f f

{
J
f nf f f #f f
2

? #### nf f
f nf nff f nf nf f F #f
# f nf nf
5
4 1 R 1 2 3
4 2 1 2
5 4
5
( 3
3
2
1
1 )
2 4

5 5

f
3

####
4

f f #ff
22 4 2

f nf ff ff
1 4 1

& # fJ
4 3

f ff ff f f f f F
2

f f

{
f f FF

f f f
2

# f f f f

pp
? #### F f f f f f f ff FF
# fJ f
5 3 1 2 4 1 1 3
2
5

37 Pianist 92

P36 SCORES Fuchs-FINAL.indd 37 08/09/2016 10:07

 TRACK 7
Leopold KOELUCH (1747-1818) INTERMEDIATE
Sonata in E flat P.XII:42, first movement

As a young man, Czech composer Leopold Koeluch had to choose between his law
studies and his growing success as a composer. He chose the latter, and enjoyed a long
career as a pianist, composer, teacher, music publisher and conductor, taking on
musical duties in the Habsburg court in Prague.
Playing tips: Its important to decide on your tempo first. A good way of doing this
is by examining the busy bars such as bars 9 and 10 and seeing what tempo works
well in those bars. The RH has a calm, regal melody, which needs to project and also
to flow with the Adagio tempo marking, theres a danger that your playing can
become static. The LH is the accompaniment, although it sometimes takes on the
melody (e.g. at bar 17). Pay attention to the dynamics and also to the fingering
suggestions the key of E flat major is quite an easy key when it comes to fingering.
Notice the wonderful harmonic progression between bars 5-7 thats what made the
editor decide to feature this moving Classical work!
Pedal tips: Dabs here and there at the ends of phrases should you wish.

Adagio

b3 f f
1

f f f f f f fj f f f f f f f f f f f f f f f f f fJ
5 3 2

& b b 4 fJ
1 3 1 4 3

f f

{ ? bb 43 FF
b
mp
ff f ff
f
ff f f f f f f
p

b
5 4 5 5

& b b bf f f f f f f f f f f f f f f f f f f f f f f f f f nf f f f f f f f f f
1 2 3

{ ? bb ff
b
ff ff ff ff ff ff ff ff ff ff ff nff ff ff ff ff ff

ff f f ff
b fffffff
8
f fff f f f f f
&b b f f f f f ffffffff
5 1 3 2 5 1 3 3 1 3
f f f f

{ ? bb ff
b &f
f
mf

f
f
ff ff ff

ff

f f f nf
b f nf f f f f f bf f f f f f f n f f f f
11 1

&b b f f f f f f
2 2 1 3 2 3

{ b
&b b f
f ff ff ff ff FF
mp

ff FF f
nf

38 Pianist 92

P38 SCORES Kozeluch-FINAL.indd 38 08/09/2016 10:07

 TRACK 7
Leopold KOELUCH (1747-1818) INTERMEDIATE
Sonata in E flat P.XII:42, first movement

f f f nf f 5

b
14
f f f f f f f f f f f f f f f ffff
&b b f f f bf f
2 3 1 3 2 1 3
f f f nf f

{ b
&b b F
F
?f
f
F
F
f
f
F
F
f
nf

b
17 4

FF ff
& b b FF ff FF ff
2

{ ? bb
b
f f f f nf
mf
ffff
f f nf f
1
f nf
4
f f f f f f f
p

f f f f nf f f f
5 4 2
fff
1 5 3 2
1

b F fffffffff
20
ff f f f nf f f f f bf f f f
&b b F
5 2

{ ? bb f f nf f f f f f f f F
b nf
f
f
FF f
f

f f nf f f f f
b f f f f f f f f f f f f bf f
23
f
3

& b b nf f f
3

f f f F

{ ? bb FF
b
f
nf
FF
f
f
ff ff nff

5 5 5

b
26 4 3 4 3 4
f f
1 1 5 1

&b b f f ff ff
1 1 1 1
f f f nff nff
1
f f
2

f f

{
f f f f f

? bb f #f f nff ff
f
b #f f f F
F
39 Pianist 92

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 TRACK 7
Leopold KOELUCH (1747-1818) INTERMEDIATE
Sonata in E flat P.XII:42, first movement

bb j f f f f nf j
30
b
f f f f f f f f f ff f f f
1

& f
2

f f f f f f f f f
j

{
mp
nf p
F ff nff ff
? b F f f
f f
bb f f f

b
34

&b b f f f f f f nf f f f f f f f

{
bf f f f f f f f f f f f f f f f f f f f f f
? bb ff ff ff ff ff ff
nff
ff ff ff ff ff ff ff ff ff ff ff
b

b
37

&b b f f f f ff f ff ff f ff

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

? bb ff ff ff ff ff ff bff ff ff ff ff ff ff ff ff ff ff ff
b

bb nf
40
f f f bf
4 2

b f
2 1 3 1 1

& bf f f f f f f b f f f f
f f nf f f ff f f f f

{
nf f ffff
f FF f
? bb bff ff ff ff ff ff F f f
b F

f f f f f f f f f f f f fff
b ff f f f f f f f f f f f f ffffffff
43 4

&b b f
1 3 2 1 3 1

f f

{ ? bb
b
FF f
f
f
f
ff

40 Pianist 92
ff ff

ff

P38 SCORES Kozeluch-FINAL.indd 40 08/09/2016 10:07

 TRACK 7
Leopold KOELUCH (1747-1818) INTERMEDIATE
Sonata in E flat P.XII:42, first movement

b ffff
46
f f bf f f f f f f f f f f
1

&b b f f f f f f f nf f f f
2 1 2 2 3
3

{ ff
p
ff ff ff f ff FF f
?b f FF f
bb

b f f f f f f f bf f f f f f f f f f f nf f f f f f f f f f f f f f
49 5 3
f
3

&b b f f f
4 1 3 3 1

{ ? b FF
bb
f
f
F
F
f
nf
F
F ff

FF ff
4

bb FF ff FF ff
52 2

& b

{ fffffff f fffffff
mf p

f f f f f f f f ffff
? bb fff ff f
b

bb FF ff f f f f f f f f bf f f f f f f f f f nf f f f f f f f f
55
f f
5
1 3

b
5 1 1 3

& fffff

{ ? bb f
b
f
f f
f ffffff F f
f
FF f
f
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f

f f f
b f f ff ff
59
f f f f b f F f bf ff
b
1

b
& f ff f f f f f f f ff ff ff f

{
f ff f
mf f
f ff ff ff f nf f b ff ff
? bb FF f f nf f
f
f
b f f
41 Pianist 92

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 READ THE ARTICLE ON PAGE 74 FOR MORE INFORMATION ON THIS PIECE
TRACK 8
16
Johann Baptist CRAMER (1771-1858) INTERMEDIATE
16 Praeludium and Andantino from Pianoforte Method
16
Johann10
10.
10. Praeludium
Praeludium and and Andantino
Andantino
Baptist Cramer came from a distinguished music family in Mannheim, and was his Pianoforte Method, which were much admired. This piece is very creative, we feel.
a highly10
10. Praeludium and Andantino
fromtwoPianoforte
regarded concert pianist, publisher and composer. He published
10 Praeludium (q = 88) *) from Pianoforte Method
volumes of Method Johann
Read Nils Frankes tips on how to play this piece onBaptist
page 74. Cramer
Johann Baptist Cramer
(17711858)
Praeludium
*)

1
1 (q = 88) 2 3 1 Johann (17711858)
2 3 Baptist
1 5 2 Cramer
2 3 1 5 2
from 1Pianoforte Method

5 3

22 33 1 (q=88)
3
*)
2 3 1 1 2
3 2 3 1 (17711858)
5 2

Praeludium 3 5 3

3 1

1 2 3 5 3

1 5

3
1 5
5
3
1
5 5
3

4 5

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

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

1


4

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

11



1



1
4254 11 22 44
2
1
25 Andantino 1
4 Andantino
5 (q. = 52)
Andantino
1 2 4
(q. =5 52) 4 4 3

1 4 5

2
4 3

5 4
(q. =15 52) 14 5 3 4 5 3 5

2 1

2 1 4 5

3 1
4

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

1 1 2

1

5 4 4 3 1

1 2 1 1 2 2 1 2 5

5 4

1 1 5 2 3 4 5 3 5

1 1
3


1 1 2 2 1 2

4 11 33 44

1
1 4
1 4 1 3 4

3 4


5 5

5 4 3 4 3 4 3 4

1 2

3 4 1
5

5 15 2
4 1
3 2
4 1
3 2
4 1
3 2
4 1
3



1 2

1

1 2 1 2 1 2 1 2 3 4 1

5

5

5 4 3 4 3 4 3 4 3

1 2

1

1 2 1 2 1 2 1 2 1

1 44 22
5
5

3
5
1 3
5

4 2 5 3

33
1 5 5 5
4
1 5

3

9 4 4


5 3 5 5 1 4
41
3 3
5 1
5
1
2

9 35 2
4 4 1
3 5 1
4
4
1 3 1

3

2 5 5
5
2

3 1 1
1
1


9 5 4 4 3 5 1 4

3 3 1

2

2

3 1 1

1




3 2 3 1 4



2011 Schott Music Ltd, London

1
5 4

3
3 1
3 2 3 1 4 5 4 1 1
*) Fingering is the composers own / Le doigt sont du compositeur / Der Fingersatz stammt von Komponisten
3 is the composers
*) Fingering 2 3 own 1/ Le doigt
4 4
sont5 du compositeur Fingersatz1 stammt3von Komponisten
/ Der 92 1
42 Pianist

*) Fingering
2011 SchottisMusic
the composers
Ltd, Londonown / Le doigt sont du compositeur / Der Fingersatz stammt von Komponisten
2011 Schott Music Ltd, London
2011 Schott Music Ltd, London
P42 SCORES Cramer-FINAL.indd 42 16/09/2016 10:55
 READ THE ARTICLE ON PAGE 74 FOR MORE INFORMATION ON THIS PIECE

18
TRACK 9 Carl CZERNY (1791-1857) INTERMEDIATE
Andante op 453 no 32
13. Andante
What13most of us know about Czerny is that he was Beethovens pupil and Liszts his 110 easy and progressive exercises for pianoforte. We think you will enjoy learning it.
Op.
teacher, and he wrote many difficult pedagogical pieces. This gentle piece 453
comes fromNo. Read
32 Nils Frankes tips on how to play this piece on pageCarl
74.Czerny
Andante (q. = 80) (17911857)
2 3 2

5 2
3

4 3
3

1 1

1

4 2 1 5 2

1
2
1 3

5

2 3

2




2

4 2 5 3 4
4

4 1


3 2
3

4 3 2 1

9

f



5 4

3 2 4 2
4 5

4

13

2 3

1 1

2011 Schott Music Ltd, London

5 3
2011 Schott Music Ltd, London
43 Pianist 92

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 READ THE ARTICLE ON PAGE 74 FOR MORE INFORMATION ON THIS PIECE
TRACK 10 Alexander BORODIN (1833-1887) INTERMEDIATE

Nocturne op 1 no 7
34
A member of the Russian Mighty Handful of composers, Borodin is best This beautiful Nocturne is the final piece in a collection entitled Petite Suite.
remembered for his two string quartets, his symphonies and the opera Prince Igor. Read Nils Frankes tips on how to play this piece on page 74.
17

2009 Schott Music Ltd, London

44 Pianist 92

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 READ THE ARTICLE ON PAGE 74 FOR MORE INFORMATION ON THIS PIECE
TRACK 10 Alexander BORODIN (1833-1887) 35
INTERMEDIATE

Nocturne op 1 no 7
2009 Schott Music Ltd, London

45 Pianist 92

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 TRACK 11
Bob Dylan (b. 1941) INTERMEDIATE
Make You Feel My Love

This romantic song was included on Bob Dylans 1997 album Time Out of Mind, but
Billy Joel released his version one month before Dylan and enjoyed the first chart
success. In 2008 British singer Adele released her recording, which was an instant hit,
and no wonder, with the heartfelt and powerful simplicity she brings to the song.
Playing tips: This song is quite slow, so we suggest you find a good pulse before
you start. You need to feel that certain swing or swaying feeling. Bring out the top
melody, keeping the lower parts hushed. Try to keep the minims and the semibreves
held in the RH, while playing the melody, even if you can be aided by ample pedal.
The bass notes should sound like soft, sonorous bells. The musical writing can come
across as a bit repetitive, and youll see there are no dynamic markings, so you will
need to be inventive you can always try to sing the lyrics as you play! Die away at
the end, with a subtle ritardando.
Pedal tips: Ample, legato pedalling can be applied. As a general rule, change the pedal
when you see a new chord symbol above the score (i.e. when the harmonies change).
Turn to page 70 to read our editors interview with Eric Wortham II, the pianist
who has played on Adeles tours.

q = 76
B F/A A E

b4 j j j
3

& b 4 ff
5

f ff j
2 1 5 2

ff ff ff ff f f ff f

{
f ff ff f
f b f ff ff ff f f
mf
? bb 44 F F F F bF F F F
2 1

b
5 E B C7 E/F B
j j
&b j
4 2

f f f ff ff ff f f n FF bFF

{
ff ff ff ff FF
b ff f f 4
2
1
F f f F
? bb F F f f F f f
F F 2
f f 2

b
9 B F/A A
j

Make You Feel My Love.Words & Music by Bob Dylan Copyright 1997 Special Rider Music.All Rights Reserved. International Copyright Secured.
& b w f f f f f f w f f f j

{
w w f f F bw
w f f

3
1

1. When the rain is blow - ing in your face, and the whole world is
2. When the eve - ning shad - ows and the stars ap - pear, and there is one there to

? bb w
F f bw
2 1

b
12 E E B

&b f 5

w

{
f f f f f f
w 4
1
f f F 2
1
bw
w w f f F
on your case, I could of - fer you a warm em - brace
dry your tears, I could hold you for a mil - lion years

? bb
F f
F f w

46 Pianist 92

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 TRACK 11
Bob Dylan (b. 1941) INTERMEDIATE
Make You Feel My Love
1. 2.

b
15 C7 E/F B B

&b nF j bffj f
j j j

{
F f f f f
ff ff ff FF ff ff FF
5
1 fJ f f F f f F
to make you feel my love.

?b F
to make you feel my love.

b f F f f F f f
F
%
b j
17 E B/F

& b w
w
f f f f f f f w
w

{
3
1
4
2 f f F
I know you have - n't made your mind up yet,
The storms are rag - ing on the roll - ing sea,

? bb
F f F f
5

b fj f f f
19 G& E/G B E

& b fj f f w f f f
3

FF w

{
F fF f f f w 3
1
1
but I would nev - er do you wrong. I've known it from the mo - ment
and on the high - way of re - gret. The winds of change are blow - ing

? bb F f
bF nF F f
Make You Feel My Love.Words & Music by Bob Dylan Copyright 1997 Special Rider Music.All Rights Reserved. International Copyright Secured.

B C7 F
b
22
j
(2 Cm7)

& b ff f f ff FF nFf f f f f f f ff FF

{
2
J 4
f ff f F
1 3

that we met; no doubt in my mind where you be - long.

wild and free; you ain't seen noth - ing like me yet.

? bb F f w F f

b
25 B F/A

&b w f f f f w

{
w f f w
f f F
3. I'd go hun - gry, I'd go black and blue,

? bb
4. I could make you hap - py, make your dreams come true,

w F f
2 1
47 Pianist 92

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 TRACK 11
Bob Dylan (b. 1941) INTERMEDIATE
Make You Feel My Love

b
27 A E E

&b
3

f f bf f f f f f f f

{
f f F f f
bw 2
fw 2
1
bw
w
I'd go crawl - ing down the av - e- nue. Know there's noth - ing that I

? bb
noth - ing that I would - n't do. Go to the ends of the

bw F f w

To Coda
b
30 B C7 E/F B

&b w j j
w n F fj f f bffj f

{
f f F ff ff ff FF
F f fJ f f F
would - n't do to make you feel my love.

? bb F
earth for you to make you feel my love.

f F F f F f
2

b
33 B F/A A E

& b w f f f f f f w

f f f f f f j j
fw f f F

{
w w f f F bw
w w

? bb w
F f bw F f

D. S. al Coda

b
37 E B C7 E/F B

& b f f f f f f fj f j j j
4 5

nF f f f bff f w

{
bw
w w f f f J f
ff
fJ w
w
? bb F f F f f f f f
w 2
F

rit.

b U
41 B C7 E/F B

&b j n F fj f f bffj f j
w

{
f ff FF ff w
ff
f F F f fJ w
Coda
U
to make you feel my love.

? bb f F f F
F w
1
3 w
1
48 Pianist 92 5

P46 SCORES Feel my love-FINAL.indd 48 08/09/2016 10:09

 TRACK 12
Ernesto NAZARETH (1863-1934) INTERMEDIATE
Turbilho de beijos Valsa lenta

Composer and pianist Ernesto Nazareth was inspired by the music of his native
Brazil, a heady mix of African, Indian and European styles. Turbilho de beijos
whirlwind of kisses dates from around 1911.
Playing tips: There are a lot of repeats within this piece, and we suggest that you
listen to the CD in order to understand them and to be sure you know where the
final bar is! You can have fun with rubato here; it needs to sound sexy and expressive.
Notice where there are accelerated moments too, as well as rallentandos. Like a Chopin
waltz, this piece gives the RH the melody, which moves around the keyboard a lot,
and the LH the oomp-pah-pah accompaniment. The LH needs to be really solid: we
advise blind practising (where you jump to the notes, but dont look at the keyboard).
This will be fun to play so persevere with slow, hands separate practice!
Pedal tips: See markings on the score.

Expressivo e lento

b3 % j
&b 4
1
bF
1 3
j nf #f f F
2 1
ff nf f #f f
1

n f bf f f #f nff ff

{
f f f fJ fJ
f f f
p murmurando
? bb 43 f nf bf f ff
F f f f

4 1 2 1
3 4
2

ffj
4

fj f nf f #f
F f #f f
3

f #f
1

b F
5 5 1

& b nff ff ff
2 2

ff f
1

#J f J

{ ff ff
3

f #f nf
1

? bb F f f


4 4

nnFFF >
5

f f nf
b
1 5
9
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2 4

b
2 3 1
f f f f f
1 2

&
1 1
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{
f f f
b fff ff b fff ff n ff
f p suave
f f ff cresc.
ff
? bb nf nf f f f f
f

5 1

2
4

> >f f nf f >f f f

5
accel. 5

b
13 4 5 4
3 1 1 4

& b nf f #f f f f f f nf f f
1 2 2 2 1 4 1 2 1
f f
1 1 2

f f nf f

{ n ff b ff
dim.
ff ff ff
? bb f f f f
f f f
f

49 Pianist 92

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 TRACK 12
Ernesto NAZARETH (1863-1934) INTERMEDIATE
bb j
17
Turbilho de beijos Valsa lenta
17
b jj F ffj nnff ff ##ff ff
17& b b
& bFF bbff ffJ ff ##ff nnff ##ff ff F nnff ff

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b J fj F f f
& bbb bF bf Jfj #f
f f nf f f
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17
ff f f ff nf f #f f
& b bF bff
? ff fJ ff #nf bbff f nfff fff Jff
? bb F f nf f fJ
b F ff ff
? b ped. f nf bf f f
? bb ped.F sim. f nf bf f f f
f f
f
b F
sim.

ped. sim.

j ffjj
ped. sim.

bb nnff ##ff FF ##ff ff ##ff ff

ffj
21
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b ff f
21
& b F ##fJ f ff
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f f J fj f nf f #f ffj #f f #f f
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b
25
bb nF ##ff f nf ff f
25

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ff ff
& b n FF ff FF ff nnff ff >f

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f f nf ff ff
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&
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? bbbb nnfff f ff ff ff f f
b fff ff p suave b f
f ff ff n ff ff ff
cresc.

? bb nf b ff ff b fff ff n ff
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f

cresc.

? bb nf f f f
nf f
f f f f
f
al Coda
** al
al Coda

>>
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ff 1.1. Fine ff
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accel.

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ff ff
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ff * al
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29& b nf >f fff *1. al Fine

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ff
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b f f f f f
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& b fFF f
2 4 3 4 3 1 4 3

? F f #f f f ff ff f ff f
? bbb f F F # ff f fFF f fFF
f F ff F f f f f ff f
? bb F F F f f F
? bb f F F f F
f f f F
f f f f
f f


50 Pianist 92

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 Ernesto NAZARETH (1863-1934)
>expressivo
TRACK 12 INTERMEDIATE
j
molto
ff ff Turbilho de beijos Valsa lenta
>fexpressivo
5

fjj
5

ff f f ff ffff ff f
3 molto
ff f f ##fff ##>FfFFexpressivo
3
ff ff
38 5

b f f ff fJf ff ff
& bbb
3
38 molto expressivo
ff ff
5

& f f fJf fff ff #ff #>fF fj

{{{
3

38 bb
38 molto
ff ff ff ff fJf ff f ff #fff #p>FfF >
5

&b

f
3
f

&b FFF f f
ff ff J
f #fff fff ##f>fFff ffff
#fff fff
p
?b FF ff ff pf
#ffp>ff ffff
f
? bb f FFF fff fff ff #fff fff
? bb f FFsim. f ff ff #f f f # ff
fff
? bb f f f ff ff f f
b f f
sim.

f
sim.
f
f f
>>sim.
sim.
>
42
b
f
##ff
f
##>FfF ffjj #ff >f
>f f ff >FF
f
##ff
rit.
# ff ff
j # f > #ff
rit.
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42
f >f f fJf
#>>FFFf
&b f f fj #ff ff Jf fff >FF

{{
42 bb #f #f rit. #f fJf
rit.
>
& b #ff f #fff fff Jf fff >>FF #ff Jf
& b ##f#>>FffF ffff f ##fff fff J f >F ##fff f#fff ##ffff ffff fJ
?
? bbbb f
f f f ff ff

{
#ff>ff ff
fff #ffff ffff >f #fff fff #ffff ffff
? bb f #fff ff ff #fff fff f # ff
f fff ff #fff fff
? bb f f f f
f f
f f
j f f f f
#ff ff f f f
46
bb ffffff

ff
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46
b #ff ff ffnf ff ff
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&
& b ff
f fJ ff nf f ff fj
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46

ff nf ff ff f f f f
ffj FF f

& b ff f #ff
ff Jf ff
ff f ff
& b f f ffff fJ

ff nf
f ff ffff ff

ff f FF fff fff f ff fff
? bb #ff #ff f

{
ff ff f ff
? bb f #ff ff #ff ff ff fff fff
f
ff
ff fff
? bb f # ff
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f
f #fff fff fff fff
ff
f fff fff
? bb f #ff f #f f f
f f f f
f f
f
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b ##ff ff
50
animato
f #f f ff nf ff
& bbb
50
#f f f nf ff ##ff f f f f ff
& f #f

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50
f f f f f ff ff f
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ff F F f F f nf f f F
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f f f f ff
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54
bbb
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54
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54
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f 51 Pianist 92

P49 SCORES Nazareth-FINAL.indd 51 08/09/2016 10:10

 TRACK 12
Ernesto NAZARETH (1863-1934) INTERMEDIATE
rit.
f Turbilhao de Beijos Valsa lenta f f f f
58 bb
f f
58
f f f f f f
rit.
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f f
f f f f f ff f f f

{{
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f f
f
b f f
f f
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62
f
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D.S. al Coda

62& b > F n f > FF fff 1.1. ff ff ff ff 2.2. f D.S. n f

{{
#nff #F nf#f f f
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nf f Coda f f f
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5

b
5

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4

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b b b
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& f f f f b f
b nF b f f f f
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F
bbb bbb f f f f b f f bbbbTrio
5

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f

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5

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4
f
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5 1 2

f F f ff
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p dolcissimo
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f f f

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ff nf b F fff fff ff ff f ff
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ff f f f f ff
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b f f

f
76 bb f f f f
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76& bb b f f n F b f <b> f f f f

f <b> f f f f ff
f ff f f b f f nFF f

{{
76& bbb f b f F
F f
& bbb f f f b f f nF b f <b> f f f f f

FF f f
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F
f ff
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f

n F

F nff ff bff F
f
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f
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ff Ff fff fff
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f f
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n f
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b ped.f sim.
ped. sim.
nf f f f
52 Pianist 92
ped. sim.

P49 SCORES Nazareth-FINAL.indd 52 08/09/2016 10:10

 TRACK 12
Ernesto NAZARETH (1863-1934) INTERMEDIATE
f f f <n> f fTurbilhao
f f
de Beijos Valsa lenta rit.
b f f f f
80 5

ff f bf f
5

f f <n> f f f
2

b f
2

f
f f <n> f ff f f f ff f ff f bf f #fff nf f bf nfrit.f

& bbb f ff ff fnf f

1
1 1
1 1
1rit.
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5

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b
3

f
80& b f f f <n> f ff f ff f f f ff f bf f #ff nf f bf nfrit.f f nf f
1 1 1
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5

& bbbbb f
3

f
ff f ff ff n ffff f bf f ##ff nnff f bf nf ff

f
5
fnnff
1 1 1

f
2

& f bf nf f f
1 1 1

? b f nfff
f
ff ff fff
? bbb f nfff #f f ff ff n f f f
f
#f f f f f
? bbb f nnffff #f f
ff
f
ff
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f
f f
? bbb f f #f f f f ff f
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f
a tempo f
f f f f f f f f
84
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a tempo
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& bbb f f f f f f nF bf ff f f
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& bbb f f
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& bnfF ff ff f f f f
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f f f ff
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2

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ff ff f f ff
f Ff mf n# f

nff nF
f bff n #f nn ff ff

? bbb Ff ff ff Ff ff ff nff n#fffff fffff

nff nf bff ##ff f f

? bbb ff ff

f ff ff nf

nf

b f f nf a tempo

a tempo #f
a tempo 2. a tempo
f D. S. al Fine
1.

j
rall.
> f f f f n f f b ff f ff D. S. al Fine
b
98 ten.
ten. a tempo
1. 2.a tempo

& bbb bffj b ff ff nbff>ten.f <n>f f f f f f f f n f f b fff f

rall. a tempo a tempo
f D.
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f
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bF > ff pp
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ff
ff
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b

f 53 Pianist 92
f

P49 SCORES Nazareth-FINAL.indd 53 08/09/2016 10:10

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 13 Edvard GRIEG (1843-1907)
Rigaudon from Holberg Suite
This is the fifth and final movement from the Holberg Suite op 40 by Norwegian
composer Edvard Grieg. Written in 1884 to commemorate the 200th anniversary
of the birth of the important Scandinavian literary figure Ludvig Holberg, it points
back to music of Holbergs time, such as this French Baroque-style Rigaudon.
Playing tips: This movement has a lovely Baroque feel to it. You will need great
finger articulation (practise slowly with fingers raised) and a good sense of pulse
and forward drive. One of the trickiest technical parts will be the run of octaves in
INTERMEDIATE/
ADVANCED
bars 37-38. We suggest working backwards, first tackling the last octave, then adding
to it, one octave at a time. This is a great way of practising octave scales. When
working on this, keep the hand light, held in a firm position but without the wrist
tensing up and feel that the in the end, the movement is like one. The Trio middle
section at bar 41 allows for a bit of a breathing space.
Pedal tips: As you will see, little pedal is needed. But in the Trio, even though it is
not marked, you can allow for more pedal.

. >>fcon
Allegro con brio h = 144
#CAllegro
f f
brio h f
f f
4

f. f f f. f. f f f ff
3 = 144 4

f3.. >ffcon
3

& #CAllegro
2 1

f ff22 brio
f f fh f== 144 f. f f f.
2 2 1 2 2 3
Allegro con brio h

>f. f. f. f. >f. f. f. f. >f. f. f. f f

4
f
4

{{
3 3

& #C
2 1

f f f 144
2 1 2 2 3

>f f f f f f f f >f. f. f. f. >f. f. f. f. >f. f. f. f f

4
f.
4 3

& #C
2 1 2 2 1 2 3

>f. f. f. f. >f. f. f. f. >f. f. f. f

4
f fffff f
3 4 3 2 1

&#
2
fp 2 1 2 2 3

>f . . f > . . >f . . f

fp
& #CC

fp
f
fp f f f ff ff f fff f f f f
& #C ffffffff f ff f ff f ff f ff ffffffff ffffffff
& #C
1
ffffffff ffffffff ffffffff ffffffff
2 4

&
1
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2 4

f f
1

f f f f f f
2 4

>.
1

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2 4

f f f #ff ff ff ff >fff.
5 4

>f f f f f f f >f f f f f f f
&#
3 2 1
f f f f #ff f ff f >ff. f. f.
5 4

f f f f f f >f f f f f f f

{{
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3 2 1
f
5 4
5
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4
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f. f.
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f f f f f f f f f f. ? f. f.
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2 1 1 2 3 2

f f f f f f f f
3

f
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2 1 1 2 3 2

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3

f
2

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2 1 1 2 3 2 3 2

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2 1 1 2 3 2

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3

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2 1 2 3 2
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3

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

& f f f
2 1 2 3 2

?# p & f #f f
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2 4 1 2

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4 2 2

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4 2 2

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2 3 3

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#>f f
1
f f
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2
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4 2 2

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f f f f f. f >f. # f f
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f. f f # f f f.
? >f f f f >f. f. >. f.
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f # f f f f f f. f. >f f # f f
4
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2 3 2 1
1 4 1 3
5
2 3 2 1
1 4 1 3
5

54 Pianist 92

P54 SCORES Grieg-FINAL.indd 54 08/09/2016 10:11

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
INTERMEDIATE/
TRACK 13 Edvard GRIEG (1843-1907) ADVANCED
Rigaudon from Holberg Suite

>f. >f. >f. >f.

16
# f f # f f f f # >FF ff # f
3

f f f
5 5

f f f
3
?
3 1

& f
3 3 3 4

{
f
> f #f > f f f
# >f. >.
f
>f. >f. >f. >.
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1 1 2 5 1 4 2
> f. f. f.
1 2

? # >FF ff # f ff f ff f ff f ff # f >FF
3 3
20 2 3 5 5 2

f f f
2 4 3 2 1 1

& f. f

{
f f. f
p
f f f f f
?# f f. f. f f f f f
>. f. f. f. f. f. f. > f f
4
. . 1 2

f f f f f
#
2

. f f f. f f #f.
24
f f f f
4 1

f f f
f f FF f
2 1 2 2 3 4 2 1

&
2 1

f.

{
>
>. pp
f
?# f f f f f f f f f f f f f f f f f. f. f nf f
& f f f f f f f

1 2
1 2 5

f f f f f f f f # f f f f >F
5 4 2

#f f f f
4 3 2 4 3 1
28
F
3 2 3 3

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2 1

ff f
1 2

&

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f. f.
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pp

f
2

f.
f. f.
f

f ff f
3

#
2 5
32
f f
3 5
5 2 4 3

ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f ff f
2

& FF

{
ppp

f. f w
?# f. f. f f f f f f f
f

2
1 1

55 Pianist 92

P54 SCORES Grieg-FINAL.indd 55 08/09/2016 10:11

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
INTERMEDIATE/
TRACK 13 Edvard GRIEG (1843-1907) ADVANCED
Rigaudon from Holberg Suite

U
m
ff f 3
f >f U
m> a tempo
U
2

> a tempo
5

# f f f ff >ff f
poco rit.
f j bbb
36 2

f m
3 Fine
ff f fff f
3

ff U
2
F
3

>
4

f ff f f f
5

&# ff ff
3

>ff
poco rit. 2

ff f j ff
36 2 1 2

ff m f
3 Fine
ff f ff ff ff ff f
3

ff U FfF a tempo
2
F bb
3

>
4

{{
f ff f ff ff
a tempo 5

&# ff ff
3

>ff
2

>FFF
poco rit.
ff ff j ff. f
36 2 1 2

ff ff m
3 Fine
ff f ff ff ff ff f
3

>FfFF a tempo
2

bb
3

f.
4

f ff f ff ff
5

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3

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ff ff
36 2 1 2

ff >FF
3 Fine
ffF f ff ff ff ff ff f
3
ff
2

bb
3

f.
4
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5

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poco rit. 3 2

& ff ff ff fFF
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ff >FF
3 Fine
ff ff ff ff ff
f bb
3

f.
4

? # f ff f sfff. f.
3 2

& f ff ff f fFF
1 2
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ff
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F f ff fff f f f FF f. ff.
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ff
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sff
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ff
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f.. f ff ff ff F> f. ff.
> f f fff >F f f fmu F> . f.
4
Trio 41
f > ff f u
FFf
5

b 41f f f m F . f f. f
4

#m
3

b f f FF
4
Trio
2
f f ff FF
5

& bTrio
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4

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3

f FF ff FF f
4
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5

& bTrio
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5

& bb f f f #Fw
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f FF ff FF f
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f f ff
2
p tranquillo 5

&
mf
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3

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2

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mf
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& F w w f #w
1 1

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2

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1 1

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2

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2

& F w F w
4 3 1
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45& bb f
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4 5

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5 4

F f #f f nfF Ff Ff f #F
4 5

Ff
& bbb fFfF f FfF #f
4 5
f
5
f
2
5 1 3 1 4

Ff
2

nfF #pF
2

f Ff f
4 5 2

FfF
4 5 53
f
2

& f
2 1 3 1 4

? bb F f fFF #f FfF
2

nfF #pFF
2

f FfF f
2 3

{
f
2

f
2 1 2 3 1

F
2

? bb F
2

F pF &
3 2
F F
2 1 3 1

pF
2
F
2

? bb F F
2

F &
3 2
F F
2 1 3 1

pF
2
F
2

? bb F F
2

F &
1 3 2

F F F F F
? bb F &
1
F F F &
1
49

nf 49ff ff f nm
f
1 4 4

b
49
f FF ff FF F ff
nm
f f ff FF
& bbb nf 49f f ff
5 3
f
1 1 4 4
3
1
f f f ff FF ff
5
FF Fm F 3
f

{{
4

& bb nf 49f f f FF
4

nm
3
1
f f f ff FF 5
ff FF 4
F 3
f f
& bb npf F
4

nm
3
1
f f f f f f ff FF 5
ff FF 4
FF F 3
f f
& bb npf
4

nFF
3
1
f f f ff FF 5
ff FF F f3
f f
& bb p ff
3

Fw F w F ?f

{
& bb p Fw F w
F F f bf fff ?f
& bb p Fw F w
F F f bf ff ?fff
& bb F F f bf f ?f
3 1
Fw F w
& bb F F f bf f ?f f
3 1
Fw F w
& F F f bf f f
3 1

m
5 4

f ff ff ff F j >
3 2 5 1 2

b f m
53 2
f
4
ff ff
3 5 4 1 3 2

53& bb f
ff F ff fj >F f
3 3 2 2
f fm
Ff
5 4 2

f
53 2 2

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

53& bb f
ff F ff fj >F f
3 2 2

{{
f
5 4 2

f Fm
2 2

f
4
f f ff ff
3 5 4 3 2

53& bb > fF f fff ff ff F ff fj >F f

3 2 2
f fmFf
5 4 2

f
2 2

f
4
ff ff
2 2 3 5 4 3 2
ffF ff pf
& bbb >ffF f FffF f F
1

fj >>F
3 2 2
f
5 4 2

f
2 2

ff ff ff Ff
2 2 3 4 3 2
ffF ff pf
3 1 2
f F
4

&
? bb >FF Ff f f >FF
2

FF ff
2
ff
2
FF ff
1

{
? bb >FF FF ff ff ff > FF
p
&
2
ff
2
FF ff
1

? bb >FF FF ff ff ff >FFF
p
&
2
ff
2
FF ff
1

? bb F F F ff ff ff ff ff >FF
p
&
? bb F F F f f f f ff &
f F &

56 Pianist 92

P54 SCORES Grieg-FINAL.indd 56 08/09/2016 10:11

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
INTERMEDIATE/
TRACK 13 Edvard GRIEG (1843-1907) ADVANCED
Rigaudon from Holberg Suite

m j
4

b ff f f f f
57
#m F Ff
4

b FF ff FF fj f
5
ff f Ff
4

& bbb f ff ff f f f
##mFffF ffj
57
#w F FFf ff #ff
4 4

FF ff FF ff
57 5

{{
& ff ff FFf
4

f f ##Fw ff ##ff
&b
5

f F f F F w f f
3
f 3
f
F F f
mf
3

f
3

b
3
FF ff f ff f
mf
FF
3

& bbbb ? ff F
mf
Fw F w
& Fw FF w ? FF ff f f
&b 4
4
Fw 3
3
w
1
1
? 1
1 f
> >
4 3 1 1

> >
62

b >>F >>F >

>>F fF f nnn>FfF nff
62
Ff
& bbbb
62
FFf ff nFfF Ff Ff #FF nfF f FF fF ff Fff ff nnnfFf nf

{{
& ff FFf ff ff FF Fff
&b f ff nnFff ff ff FFf ##FF nnFff ff ff ff nf
3

f f f ff FF f FF f
f cresc. f
3 3 3
f
3 3
f >f # >>fmolto
3 3

>f
3 3
molto
>f
3 3 3
3
p 3

>>f
3

? bb ff f f
3

>
3 3 3

#f
3 3

> # >
3 3
f
3
p cresc.

##ff #f >ff
3
f f ff # f ##ff
f
molto
f
ff f >ff ff
3
p
?
cresc.
f f
? bbbb f f f ff ff f f f
ff f f ##ff ff f #f
f f f ff f
>F m
4

#
2
f ff f F
4

b j
67 2

m
5

& bbbb ##>>FFF ff ff

2 2
ff ff ff
3 3 3 4

ff ff
ff f FF #m
2
ff
3
ff ff
4

fjj
67 4
f
5 2
4

F
2 2 2
ff
3 4
67 3 3

{{
2
ff ff f ff
5

& ff ff ff f F ff
2 4 2 3

& b ##FFF
ff ff ff ##f
3 3 3

FF ff
4 3

f f f F f f f f
>F
1

>f
ff
nf >>FF F F f
1
f
? bb >>ff f f
ff
f
1

nnff
ff
ff f FF FF ff ff ff f
? ff ff
? bbbb ff nnff ff ff
FF FF FF ff ff ff ff ff
ff
m nf
molto tranquillo
b
71 4

& bbbb m
1

nnff
2 molto tranquillo
j
ff ff m
71 3 3 3 2 2 5 4 4 4 3 2

F molto
f
tranquillo
f f F
1
71

{{
>FF ff ff ff
2 4

& ff ff
fjj F
3 3 3 2 2 5 4 4 3 2
ff
&b
1

ff ff ff ff f FF
ff ff # fFf
2 3 3 3 2 2 5 4 4 3 2

>> f ff ff ff ff ff f F ff f f
pf f f f f F 1 f f f f ## FfF ff pp
F
F p
p
? bb F p
p F F F
1

f f
pp p

? f f f pp
FF
? bbbb f F &
1

>F F FF ff ff
>>F
ff ff >FF FF
FF
FF
ff ff
ff ff
f
ff FF &
&
ff f >>F ff ff FF
f ff
nm
f f f f f ff ff f f
4 4

b
76
FF ff FF F ff
nnm
f ff FF ff
& bbbb
5 3
ff f f f f ff ff
4 4 3

m
76 3

FF ff FF FF
ff fff
4

f f f f ff FF ff
4

ff ff
76 5 3 3

{{
& ff f
3
F f FF
&b
5 3 3

f F F f
3

f >F F
>>FF
b ?f
f
Fw FF
& bbbb w
f
F
Fw FF w
F F f bf f ?f
f FF FF
&
&b
Fw w FF FF ff bf f ?f
f
bf f
3 1
3 1
3 1

57 Pianist 92

P54 SCORES Grieg-FINAL.indd 57 08/09/2016 10:11

 WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
INTERMEDIATE/
TRACK 13 Edvard GRIEG (1843-1907) ADVANCED
Rigaudon from Holberg Suite

F
5
m 4

j >
b ff f f
81 2 2
f f f f
3

f ff ff f f
&b f
3 2
f F f
4

f f F
4

{
1
p
F f f f f >F
? b F f f f f Fw
b f
f F & F
4 3

m
fj F
85 4

b
4

#fF Ff f F
& b f ff FF ff FF f Ff f F
5
2

#w f f #ff f nf ff

{
3 3 3 3
F F f
mf
f
b f f f
&b w
? F f f f f
1 1

90
> > > >
b Ff Ff n
ff n Ff nff
& b Ff nFf
4

Ff #FF FF ff

{
ff ff ff
F 3
F 3 3
3

>f # >f
3

>f
3 3 molto
>f
p cresc.

? bb f f f #f f #f
f f f #f f
f

#>FF m
4

b f ff f F j
94 5 4

ff f
3 2 2

ff ff ff
& b #F
3 3 2
ff ff ff #f
3
f f ff f F
4

F f

{ >F
1

>f n f
ff
f F F f f f f
? bb f nf f
f F F F f f f f
f f
f
DC al Fine

m
molto tranquillo rit. ma senza repetizione
b
98 4

&b F
2

j
3 3 3 2 2 5 4 4 3 2

ff ff ff ff ff ff F

{
> ff f F ff f ff ff ff # fF f F
p 1
pp
? bb F F F F f
f f f f f F
>F f f >F F F f f f f f
F
f

58 Pianist 92

P54 SCORES Grieg-FINAL.indd 58 08/09/2016 10:11

 ISS
T M S
DON HAM
Y PA R
ON Alexander SCRIABIN (1872-1915)
LESS
LUC
TRACK 14 IECE ADVANCED
HIS P
ON TPAGE
24
Etude in D sharp minor op 8 no 12

This tude is the last in the first volume of tudes by Russian composer Alexander
Scriabin, and dates from 1894. Horowitz loved Scriabins dense, complex music and
this particular tude was a favourite encore.
Playing tips: Remember that this is an etude, and a difficult one at that, so be
prepared to take some time to master it . The LH uses a wide range of the keyboard
and needs to be totally secure, with hands close to the keys at all times. The same can
be said for the RH with lots of octave playing to boot. Again, the hand should remain
as close to the keyboard as possible (no flying around!). If you listen to Chenyin Lis
performance on our CD, you will notice that it doesnt have to be crazily fast. Patetico
does not mean fast it means with feeling. And Lucy Parhams lesson will surely
encourage you to embark on learning this turbulent and passionate etude.
Pedal tips: There are no markings on the score, but at this advanced level, we are sure
that readers have a good understanding of how to use the pedal.
Read Lucy Parhams step-by-step lesson on this piece on page 24.

r
f #f
4 5

# f
q = 100 - 112
# ##
Patetico
f f f FF f f
&# # c ff f f f ff #f
f f f f f

{
f F
r f
f f f f f f ff ##ff
4 5

#### # c f
Patetico q = 100 - 112

& # r f f f f f f FFf f f ff
#
? ## # # cPatetico f ff ff f f f f

{{
# f f qf= 100 f - 112 f r ff ff Ff f f
f #f
4 5

f f f f
#### # c f f f f f fFF f f f
& # f f f ff f ff ff ff #f
f
1

f f f f f Ff f f
? #### # c fr f f f f f f f
2 2
3 2

# f f f f f f f f f
f f f fff f
f f ff f f f f
? #### # c fr f f f
1

ff f
2 2
3 2

# f f
f r f f f ff f
#### # fFf f f f ff f f f f
nff f f ff f <n>ff f
3

1

f f f FF
& # f
2 2

nf f f f f
3 2
f F

{
r f
f f f f f
#### # fF f f
nff f f f n<n>fff f
3
f f F f

? ###### f f f f
& f f f f f F f
r f F
f f nf ff f f f

{{
f f
f
# f f f ff f f f f f
f f
#### # ffF n f f f f <n>ff f f
3
f f FfF f f
& # f f f f
f f f F nff f f ff f n f
? #### # f f f f f f f f f f
# f f f f f f f f
f f f f f f nf
? #### # f f f f f f
r f f f f f f f
# f f
f ff f f f f f f #f
5
#
## # # fF f f FfF f f
ff f f ff ff #f
f f f
& # f F f f f f f

{
r f
f f f f f f #f
#### # fF f FF f
ff f f f f ff #f
5
f f
cresc.
f f f
f f f r f f Ff f f f

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

{{
# f f f f ff F f f
f f f #f
#### # ffF f
ff f f f ff #f
5
f f f f f fFF
f
& # f f f f f ff ff
cresc.

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

59 Pianist 92

P59 SCORES Scriabin-FINAL.indd 59 08/09/2016 10:11

 TRACK 14
Alexander SCRIABIN (1872-1915) -ADVANCED
Etude in D sharp minor op 8 no 12

f FF n ff
fjff
fff ff f 3
## # # ff
# nff ff f ff
7
F f ff f
& # f f f fJ

{
f 3

f 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 f
f fJ f fJ

r #f
#### # fF f f
9
f f
& # fF f f ff FFF f
ff f f f ff #f

f f f f f

{
f
f
f
f
f f
f
? #### # f f f f f f f f f f f f
# f f fJ f f f f f f
f fJ f f fJ
fJ

r
#### # ffF f f f f
nff f f ff f <n>ff f
11
f f f FF
& # f f F nf f f f f

{
f
f
f ff f f f f nf f
? #### # f f f f f f f
# f f f fJ f f f fJ
f f f f
fJ fJ

r
f ff f f #f
#### # ff f FF ff f f ff f ff #f
13
f f f
& # f F f f f f f

{
f
f
ff f f f f
? #### # f #f f f f f f f
f f f f f
# f fJ f f f fJ
f f f f
fJ fJ
60 Pianist 92

P59 SCORES Scriabin-FINAL.indd 60 08/09/2016 10:12

 TRACK 14
Alexander SCRIABIN (1872-1915) ADVANCED
Etude in D sharp minor op 8 no 12

n ff
fj
f FF ff ff f
3
## # # ff
# nff ff #fff f ff
15
F ff f
& # f f ff f

{
ff dim.
f nf f f f #f
? #### # f f f f f f f f f f f f f
f f
# f fJ f fJ f f #ff f f
fJ
J J fJ fJ J

f f f f f nf f
#### # fF f f nf ff f f f n f f nf f
17
f f f f f
& # f f f f nf
f J f f nf

{
p
f f f nf ff
? #### # f
f f
f f
nf
f f f f f f nf f f f
f f f
# f f f fJ
fJ
2 1 2
1 4

f f f nf f F nf
3
f
#### # f f nf f n f f f f n f nf
19
f f F f
& # nf f f f f n f J

{
sf cresc.
nf ff n ff ff
? #### # f nf f f f f f
f f f f
nf
f f f nf
f
f f f
# fJ fJ n f fJ
f f f

nf f 3
f f nf f f nf f
#### # nf f f nf f f nf f nf
f nf f f nf f
21

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

{
p
f n ff n ff ff
? #### # f nf f f f f f f f nnff
nf
f f f ff
f f f
# f f fJ
f f

61 Pianist 92

P59 SCORES Scriabin-FINAL.indd 61 08/09/2016 10:12

 TRACK 14
Alexander SCRIABIN (1872-1915) -ADVANCED
Etude in D sharp minor op 8 no 12

f nf f nf f nF nf 3
f
#
# ## f nf nf f nf
nf f nF
23
f nf f f nf f
&# # nf f f nf f nf J

{
sf cresc.
nf f nf f
? #### # nf nf f f f f f nf f f f f f
# f f f f f f nf f bf f
f f n fJ f n fJ b f fJ

nf f f n f nf f nf nf >f 3
>f
#### # nf
3
25
f ff ff
& # f f nf nf f nf nf ff nf f nf nff ff f ff fff
J nf n f f nf

{ ? #### # nf nf ff f
# nf
nf
f n f f
f
f
f f bff
f nf
n fJ
nf
nf
f
nf
nf
n fJ n f
f
f
f
f f
f
fJ

#### # # n fff ff n n>ff

3
fff f ff ff ff
27

& # nf f f #f f f f # f f f f nnff ff ff
J #f f f

{
f # f f J
sf cresc.

#f f nf
? #### #
# f
f
f #f f f f f f nf f f f
f
nf
f f
f
nf
f
# fJ f f f
f fJ f
fJ

#### # nnff ffj

3
#f
29
fff ff f f f
FF
& # n ff f f f f F #ff

{
J f f f f f f f
sf
ff

? #### # f ff f
f f ff
nf f f f f f
# f f f f f
fJ f f f f f ff
fJ f f fJ
f fJ ff
f
62 Pianist 92

P59 SCORES Scriabin-FINAL.indd 62 08/09/2016 10:12

 TRACK 14
Alexander SCRIABIN (1872-1915) ADVANCED
Etude in D sharp minor op 8 no 12

> j
#### # f f ff f f 3
>f f
ff fff ff fff ffff ff ff
31
f f ff f f ff
& # ff f f f ff f
J

{
f f f f f f f
> >
f f f f f f
? #### # f f f f f f f f f f f f ?f
# f f fJ f f fJ f >
&f f f f f f f
f f f >f >f f f f f J

#f
#### # f f ff ff f fff #f
33 rit. a tempo
f f f F ff ff
& # f f f f f f
R f
f f f f f f f f

{
f f F f f f f f f f
cresc.
f f ff
f f
? #### # f f f f ff ff ff ff ff ff ff ff ff ff ff ff ff ff fff f f
# f f f f f f f f f f fJ
f fJ f

r
35
#
# #
f f
f f ff f f f F nff f f f ff f
& # ## f f f ff f f f f f f f f f f f
ff f f f f
f F f f f f f nf f f

{
f f f
f f
ff ff nnfff ff f
ff ff f f f
? #### # f f f f f f
f f f f f f f f f f f f f f f f
f f f f f ff
# f f f f f f
J f
f f f f f f f f
J
f
f f

f f fj j F f ff # f
#
# # # f f f ff f f f f ff ff f f
f f f f f f f f f f f f
ff ff ff ff ff ff ff ff ff f f #f
37

&# # f F f

{
ff f
f f
fff # ffff ff ff ff ff fff fff fff ff ff ff ff ff ff ff ff ff fff ff f
? #### #
# f #ffff f
ff ff ff ff f f f f f f f f f f
J f fJ
f
63 Pianist 92

P59 SCORES Scriabin-FINAL.indd 63 08/09/2016 10:12

 TRACK 14
Alexander SCRIABIN (1872-1915) -ADVANCED
Etude in D sharp minor op 8 no 12

ff ff ff ff nnffff ff
f Ff f j f
fjff
# f f ff fff ff ff ff f f f f
# # f f f Ff f f
39

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

{
> > >> > > > > >> >
> > >f >f > > n >f >f
f f f f f ff ff
? #### # f fff fff ff ff f f ff ff ff ff f ff ff ff ff ff f f f ?f f
# f fJ f f f fJ f &
ff ff ff f
f fJ

# fj F fjf
# # F f f f f f ff f f f f ff f
41
ff ff ff ff ff ff ff ff ff ff f
& # ## F ff ff ff ff ff fff ff ff ff ff f F f f f f f f f f f f f f

? #### # ff ff ff ff ff ff f f f f ff ff ff ff ff ff f f f f
# f f f f f f f f f f f f f
f f f f f f f f f f f
f fJ f fJ

j
# F f f f f f ff f f f ff ff f f Ff f f f f f n ff f f
# ## ff f ff f f Ff f f f f f nff f f
43

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

{ ? #### #
ff ff ff ff ff ff f f f f f
# f f f f f f
f
f
f f f f f
J f
f
f
f
ff
f f
f
f
f
f nnfff
f
f
f

ff f f Ff f f f f f ff f f ff f f Ff f f f f f # ff f f
#
## # # nff f f Fff ff ff ff ff ff fff ff ff fff ff ff Ff f f f f f #ff f f
45

& #

{ ? #### #
# nf
nf
f
f
ff
ff f
f
#f
#f
f fff
f f f
f
fff
f
ff
ff f
f f
f
f #n ff
#fff nff f
nf

64 Pianist 92

P59 SCORES Scriabin-FINAL.indd 64 08/09/2016 10:12

 TRACK 14
Alexander SCRIABIN (1872-1915) ADVANCED
Etude in D sharp minor op 8 no 12

ff f f
#### # ff f nff FFff ff ff ff ff ff fffff fff fff ff f f ff f f f
47

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

{ #
? ## # #
# f
f
n fff
nf
ff
ff f
n f f
f
f
#fff ff
ff
f
f
f
f
fff
f
ff
ff
ff
ff
ff fff fff fff fff fff fff
ff ff ff ff ff ff ff

r
Ff f f f f f f

#### # f F f f f f f fjf fr
f
49

& # Ff f f f f f fJ f f

{
f F f f f f f ff f
f f
fff
ff ff ff ff ff ff ff ff ff f f f
# #
? ## # # f f f f f f f
f f f f f f f f f f f f f
f f f f f ff f f f f f
f f f
# f f f f f f f f f f f
f f
f

r ff ff
#### #
51
f f fff f fff fff f f f f & f f ff
& # j ? f
J

{
F f J ff ff f f
f f f f f f J J
fff

? #### # f f f f f f f f
# f f f f f f f f f f f f f f
f f f f f f f f f f f f f f f
f f f

f f
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65 Pianist 92

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66 Pianist 92

p66 Ads.indd 66 15/09/2016 14:54


T
ell me about the repertoire on
your new Master & Pupil CD
on Onyx Classics.
Onyx Classics approached me a
few years ago about recording
for them. Its been many years
since I made a big solo record,
so I thought, Ive got to do it, and tie it in with
the big birthday [age 60]. One thing I really
wanted to play was the Liszt Sonata. Id worked
on it before and the time was never right. Now
I felt the time had come. So I needed to find
the right repertoire to go with it. My idea was to
look at things that had come before the Sonata.
Id recorded most of the Beethoven sonatas for
EMI, but I still had the last three to do (and the
opus 106). I looked at opus 109 and thought
there were lovely similarities with the Liszt
Liszt was very influenced by the Classical era.
What kind of similarities did you find? Did it
help you devise your programme?
To begin with, theres the way that Beethoven
uses the piano as a very expressive device. If you
look at that fugue variation in the last movement
of opus 109, and the fugue in the Liszt Sonata,
they are very similar. Also, that cadenza-like
passage in the penultimate page of opus 109 feels
very similar, as if coming from the same place.
Beethoven got his Broadwood piano when he
was writing the last set of Bagatelles (opus 126).
When Beethoven died, Liszt acquired that piano!
So I decided to include the Bagatelles along with
the opus 109 Sonata. Then I suddenly thought of
Czerny. Beethoven taught Czerny and Czerny
taught Liszt it could be a master and pupil
programme! Czerny wrote a huge book about
Beethovens music and how his music should
p67_Pianist at work-FINAL.indd 67
MELVYN TAN
Master & pupil
be played, and it was Czerny who discovered
Liszt. I decided on Czernys Variations on a Theme
by Rode opus 33 (Horowitz used to play this as an
encore) and the Funeral March on the Death of
Beethoven opus 146. Czerny was at Beethovens
funeral and he most likely wrote this piece to
commemorate the funeral. The music is not
published, but a colleague of mine located it at
the Beethoven-Haus in Bonn.
Youll be playing the same programme at the
Wigmore Hall, London, in October. What
does Wigmore mean to you?
The Wigmore has always held a special place in
my heart. Its the perfect hall for a recital its to repeat something more than twice, I always
intimate enough and easier to draw the audience
in. And the acoustic of the hall is of course
wonderful. The acoustic for me is the best when
its empty, though! You always hope the hall is
full, of course, and when you sit down, you
think, Oh, its very different from when I was
practising this morning!
Can you see the audience from up there on
the stage?
I always see the audience. I hate it when its
black. I like to see people sitting there! It gives
me a thrill. It gives me something to react against
to play to. If youre playing to a black space,
you dont know whats what.
For many years now, youve been known as a
fortepiano pianist. Has that helped or
hindered you?
In recent years its slightly hindered me, because
for the last 20 years, Ive been doing so many
other things a Jonathan Dove commission,
playing Ravel and so on. People still associate
67. Pianist 92
P I A N I S T AT W O R K
To celebrate his 60th
birthday, Melvyn Tan
presents a programme of
Czerny, Beethoven and
Liszt on a new CD and at
a Wigmore Hall recital. He
speaks to Erica Worth
me with the fortepiano. Ive moved on from
there! Musically though, I think its been
wonderful, working with these old instruments,
then coming back to the modern piano, with
such clarity in my mind.
A lot of the good modern pianists are studying
the fortepiano and applying what they learn to
the modern piano. They can see whats going on
behind the music and why composers wrote the
way they did these players now understand
what I was trying to say all those years ago.
Do you have any technical problems?
I have a problem with repeated passages. If I have
muck up! I really have to work at it. And I hate
anything with sixths, thirds too. But I am better
with those things now that I am more secure
within myself. I love light fingerwork and
articulation. I am learning Feux follets by Liszt
thats going to suit me. Its all very light and
fingery. I love that! When I try playing the Liszt
operatic transcriptions, I find it physically harder,
and think to myself, do I want to go through
this? Its the light stuff I love.
What are you working on at the moment?
Ravel. He loved Liszt and was very influenced by
him. I wont let on right now what Im working
on exactly but when its out, Ill tell you!
Melvyn Tans Master & Pupil: Beethoven, Czerny,
Liszt CD (Onyx 4156) is out now. Hear him play
the first movement of Beethovens opus 109 Sonata
on this issues covermount CD.
Sheila Rock
Tan appears at the Wigmore Hall to celebrate his
60th birthday on 13 October (wigmore-hall.org.uk).
15/09/2016 09:55
 E D U C AT I O N

UNDERSTANDING THEORY
PART 5: INTRODUCING HARMONY
Music educator Nigel Scaife presents an initial lesson on harmony, the basis of tonal music and
a much more hands-on music subject thats more about the ear than the eye

O
ver the last two issues weve been looking at the various types of Nigel Scaife began his musical life
interval the word used to describe the distance between two as a chorister at Exeter Cathedral.
notes. Weve discovered the ways in which these distances are He graduated from the Royal College
named, and how a degree of either dissonance or consonance is of Music, where he studied the
created when two notes are sounded together. So now its time to start thinking piano with Yonty Solomon, receiving
about what happens when intervals are stacked up one on top of each other a Masters degree in Performance
to create harmony, one of the most vital building blocks of tonal music. Studies. He was awarded a doctorate
Lets start by asking the most obvious question: what is harmony? from Oxford University and has
Harmony is a word that musicians use to describe the way chords are subsequently had wide experience
built and the way they relate to each other within the context of a key. It as a teacher, performer, examiner
refers to the vertical aspect of music, as opposed to the horizontal which is and presenter. Nigel has contributed
the domain of melody. to many publications as a writer on
Unsurprisingly, harmony has been described in many different ways music and music education.
since around the start of the 17th century when the common practice
period established the basis of tonal music. The Encyclopaedia Britannica
describes it as the sound of two or more notes heard simultaneously. stacked up in 3rds. When the notes consist of the tonic, the 3rd and the 5th
In practice, this broad definition can also include some instances of notes of the scale they create a chord called a tonic triad. Here, for example, are
sounded one after the other. If the consecutively sounded notes call to tonic triads in the key of G major:
mind the notes of a familiar chord (a group of notes sounded together),
# w
w
w
the ear creates its own simultaneity in the same way that the eye perceives
& w
w
w ?#
movement in a motion picture.
I like music theorist and educator Steven Laitzs definition because he
relates harmony to the density of music and describes it as the musical
space provided by the counterpoint of two outer voices. The composer The triads built on the tonic, the subdominant and the dominant form
Paul Hindemith wrote in his harmony method that Harmony is a simple a group called the primary triads. The primary triads in major keys are
craft, based on a few rules of thumb derived from facts of history and all major. Together they cover all seven notes of the major scale. Here they
acoustics rules simple to learn and apply. Im not sure everyone would are in F major:
agree with him! Subdominant

While its useful to know about chords how they are created, how they
w w
Tonic

&b w
w
Tonic Dominant

w w w w w w
are named, and how they relate to each other this will only take the w w
w w
w w
musician so far. What is far more important is that as developing pianists w
we should learn from practical experience how chords operate in practice,
Subdominant Dominant

and their musical value and function in terms of their sound, colour and In minor keys the triads built on the tonic and subdominant form minor
sonic relationships. This is done by harmonising tunes and by improvising chords, but the dominant triad is major. This relates to the fact that in the
with chords, as well as through studying the way harmony works in the harmonic minor scale (see Pianist No 88) the 7th degree is raised. Here are
pieces being learned. So the study of harmony should be thought of as the primary triads in C minor:
a practical hands-on subject rather than a dry academic one. It must be
b ww nw
&b b w w w
more about the ear than it is about the eye.
Most of the music written in the common practice period is based on w
w w
triads, which are chords made up of three distinct pitches that can be Tonic Subdominant Dominant

68 Pianist 92

p68 Theory-FINALish.indd 68 14/09/2016 09:41

 When all three notes of the triad are positioned as closely together as
possible within an octave, as in the examples in the previous column, they
are said to be in close position. But, of course, they can also be in different
positions when the notes of the triad are spread further apart. When the
notes are not confined to being next to each other within the octave they
are said to be in open position. Here is a D minor tonic triad in two
different open positions:
Harmony refers to the ver tical aspect
w w
w of music, as opposed to the horizontal,
Open position triads

&b w
w w
which is the domain of melody
In open position the notes might be in a different order above the tonic,
as in the two examples above (i.e. D, A, F and D, F A).

Describing chords
When studying harmony in classical music it is usual to consider the
function of each chord in terms of its relationship to the tonic, using the
scale degrees as we have done already and naming them using Roman
numerals. Roman numerals are used to describe a chord when it is being
written or spoken about. These numerals are particularly useful when
analysing a piece of music. When the chord is a major chord it is labelled
with an upper-case symbol; when it is a minor chord it is labelled with a
lower-case symbol. So the tonic and subdominant triads of a major key are
labelled as I and IV, in a minor key they are i and iv. These numerals are
usually placed below the bass stave. When describing triads using Roman numerals, the letters a, b and c (in
However, in many other forms of music the chords are described simply lower case) are used to show whether the triad is in root position or inverted. It
as chords in their own right, without reference to the key in which they are is unusual to indicate the a, as the root position is the default position of a
appearing. In popular music and jazz styles the use of chord symbols is chord. When describing inverted chords using chord symbols, a slash symbol
standard. These are placed above the stave, as you usually find in lead / is used to show how the basic chord is followed by the bass note:
sheets that give a tune and the chord symbols to identify the harmony.
With chord symbols a small m is used to indicate a minor chord:
w w
w
D D/F D/A

&b w
w
w w
w w
# w w w #w
D G A D G A

&# w
w
w
w
w w
w &b w
w
w
w
w w
w i(a) ib ic

I IV V i iv V
Another way to show how a chord is constructed is through the use of
figured bass, which was the standard way to indicate chords in the Baroque
The chord symbols may also have numbers included which show period. Like the use of chord symbols, figured bass does not shown the
additional notes to be played. The most common is the 7, which typically function of the chord in terms of its relationship to the key of the music,
appears in the context of three different types of 7th chord. A single letter but simply indicates the chords construction. This is done by counting the
plus the number 7 indicates a dominant 7th chord. This chord is created intervals from the bass note. For example, a root position chord may be
when a minor 7th is added to the dominant triad in any key. In a major key shown as 53 as it consists of the tonic, with the 3rd and the 5th above. Given
this means that the additional note is the flattened leading note, sometimes that root position chords are so common, the 53 is usually omitted and taken
called the subtonic. In C major this note is B: as read. A first inversion chord is usually shown just as a 6, as the 3rd of the
chord was again taken as read. A 64 chord indicates a second inversion and
& bw
C7
was written out in full to distinguish it from the 6 chord:
w
w
w
w w
w
To show the chord without the 7th being flattened, which creates a major & w
w w
w w
7th chord, either a triangle sign or maj 7 is placed after the letter: w 6 6

&3
5 (3) 4
C7 or C^

& w
w
w
w
Finally, a minor 7th chord is created when a minor triad has a 7th above it: Keyboard players in the 17th and 18th centuries used figured bass as a
shorthand for showing the chords in a similar way that jazz and pop
& bbw
C7
musicians use chord symbols today. In both forms of notation the
w
w
w shorthand allows the musician to improvise a part that sits comfortably
within a given harmonic framework. This is usually done in the context of
So when discussing chord symbols it is worth remembering that minor accompanying a singer or playing with other musicians in a band.
refers to the 3rd and major refers to the 7th. While reading figured bass is an essential tool for the harpsichordist,
The triads weve covered so far have all had the tonic note, called the today it is usual for Baroque music originally written using figured bass
root, as the lowest note. These are called root position triads. However, to have already been realised for the pianist by an editor. But its worth
often a chord is arranged so that the root is not the lowest note and perhaps remembering if youre accompanying Handel, Corelli or any similar
the 3rd or the 5th is at the bottom of the texture. When the 3rd is the bass Baroque music that didnt have a fully notated keyboard part, you shouldnt
note (or lowest note) of the chord, the triad is said to be in first inversion. feel obliged to play exactly what is written but can happily go off-piste
Similarly, when the 5th is the bass note, it is said to be a second inversion provided it is done with an understanding of the stylistic conventions of
triad. At the top of the next column, youll see a D minor triad in root the time, of course!
position, followed by its first and second inversion. The black note heads
show where the root of the chord is placed. Notice how in the inversions In the next several issues Nigel discusses chord pathways, cadences and the way
the root is not the same as the bass note: an understanding of harmonic rhythm can influence your performance.
69 Pianist 92

p68 Theory-FINALish.indd 69 15/09/2016 10:02

 UP CLOSE
The Philadelphia-born pianist, songwriter and producer tours with the likes of Adele and loves to improvise.
Eric Wortham II talks to his near-namesake, Erica Worth, before a Seattle gig
I
ts the end of the working day here in London, but my interviewee has
just woken up for the start of his. Eric Wortham II is in Seattle, and hes
got time to speak to me before his gig with Adele tonight. As I dial his
number, I wonder where our conversation will lead after all, Im more
accustomed to speaking to concert pianists such as Lang Lang and
Stephen Hough than I am to a jazz/R&B/blues pianist like Wortham,
who teams up with the likes of Jill Scott, Vivien Green and, of course, Adele.
So I start with the obvious question: How did the son of a church pastor
who never took formal piano lessons as a child become the recognised pianist,
composer, songwriter and producer he is today? I was singing in the church
choir at a youth convention when I was about six, Wortham tells me, and
I was watching the organist seemingly press buttons and I was really
impressed with the configurations, the ways his hands moved, and the tones
he created. I was also really impressed by how he was able to understand
what to play, to kind of incite the choirs mood. If he wanted them to cry, he
would do certain chords and configurations and melody. And if you wanted
excitement from them, he could do that too just with his fingers. It was
amazing that someone could control that, just with their fingers. I started
playing as a result of that.
And thus started his fascination with the piano. My sisters started
piano before me, he says. Id sit and watch at their piano lessons. We had
a family keyboard, and I used to doodle, and it was all by ear. Being a
church boy, I would be at someones church Monday, Wednesday and
Sunday, listening to soulful, spiritual music. This was music intended to
evoke emotion. Once I had fallen in love with the piano, instead of sitting
next to my mom, sisters and dad in church, Id sit by the organ and try to
remember different configurations, and then take them home to practise
on our keyboard.
Doodling around on the piano is one thing, but what is it that made
him delve deeper? When I like something, it becomes my focus, it becomes
70. Pianist 92
p70_Eric Worthham-FINAL.indd 70
Eric
Wortham
II
Most music
is in your
heart
my world, until I reach a certain proficiency. I have to master it. Why not
operate at that high level?
I have a competitive nature. I didnt like just being a keyboard player in
Philadelphia. I wanted to be on top or on top in my mind. I wanted to be
mentioned among the greats, not just in my city or in my school, but among
some of the greats in the world. I had to find out who the greats were. So
around 13, when I was looking at high schools, I begged my parents to go to
CAPA [the Philadelphia High School for the Creative and Performing Arts].
At CAPA, Wortham began learning the tools of his trade. My teacher
there, Kevin Rodgers, is still a great influence in my life. He made sure I had
the proper tools. He really helped shape me. CAPA was a very, very tough
school in terms of its curriculum. It was a place where you goes to make a
name for yourself. A wide variety of genres were taught there, from classical,
to choral, to jazz improv. In order to stay afloat and get good grades, you had
to mingle with all art forms. I did some studies of classical music, pop music,
Broadway, choral and my favourite, jazz.
As a classically trained pianist who has always admired those who can
improvise, I ask Wortham if improvising has always come easy to him. Yes,
thats what I prefer to do. I can play anything. You dont want to learn a song
with a visual blueprint of the keys. You want to learn it the way its in your
heart in your heart you sing it. I dont have a muscle memory from key
strokes. I just hear it.
And transposing? I suppose thats effortless as well? Yes, I can transpose
very well. Thats why real pianists dont play keyboards. Keyboards do the
Yamaha Entertainment Group
transposing for you. Thats why I like real piano. One of my favourite piano
players is Keith Jarrett. My ideal would be a career like Jarretts where I can
just walk onto a concert hall and sit at a Yamaha grand piano. Wortham tells
me that he first heard the sounds of the instrument when he saw Chick Corea
playing on a Yamaha on the video Chick Corea Akoustic Band Alive. He really
demonstrated the instruments beauty. What I fell in love with was that from
15/09/2016 15:14
 the high end to the low end, it still maintains its quality in terms of tonality.
It still was crisp. It didnt get too low from middle C downwards, as other
pianos do. Yamaha, from the very first note to the last, still has that precision
FreNeEINXT TH E
ISSUE
and pristine brilliance that I like. Not too heavy and not too light. The action
of the keys is perfect for my type of hands. I have a Yamaha at home. And the
one that I play on tour is also Yamaha [C3X Silent].
Over the phone, I cannot see what type of hands he has, but he tells me,
I have chubby fingers! I can stretch a little bit, but I dont really like to use
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a lot of force. I liked to play relaxed and loose, which is better for your wrist OUR DEFINITIVE GUIDE
and your metacarpals. I can get a really good sound out of a Yamaha without FEATURING THE BEST MODELS
having to do too much work.
Wortham has mentioned idols such as Jarrett and Corea, but he knows a FROM THE TOP MAKERS
thing or two about classical pianists. Pianists like Glenn Gould and Vladimir
Horowitz wouldnt just remember the music. They really knew the music it
came off the page and was in their heart. Most music is in your heart.

Love and respect

Worthams collaborations with top musicians in his genre are numerous.
Hes toured with Grammy Award-winning singers such as Jill Scott and
Adele, and collaborated with Vivian Green, Aloe Blacc, Kindred the Family
Soul, Musiq Soulchild and Jeff Bradshaw. Is a strong working relationship
imperative? Absolutely. Like when you have that love and respect for your
peers, not just in music any relationship where you have a love and respect
for your comrades and fellow workers. Its much more positive, the energy
that drives you. Having these concerts and me feeling grateful alone is not
the same as experiencing it with amazing people that I love and care about.
That changes the dynamics.
ON SALE
I ask how much time he has to practise with a vocalist before going on 25 NOVEMBER
tour. That usually is contingent upon the soloist. With Adele, we would run
down the songs that she and I do together as duets. Depending on how she
felt with our cohesiveness, we would do another run down or shed say, No,
Im good. Working with her has been very different in the sense that this is
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At the moment we are still on tour. We have a show tonight at the Key
Arena here in Seattle (Ive totally fallen in love with Seattle. I wish you could
see my view right now).
Quarter page advert.indd 1 16/09/2016 10:41
I ask how many performances he thinks hes done with Adele to date. I got
hired in September of last year for the tour, to be the pianist. This would be
our 59th or 60th. Weve done other performances and promo. Id put it
When you need printed music,
somewhere close to 70-75 shows. Weve done Saturday Night Live, Ellen, just visit the Hound ...
Radio City Music Hall. Glastonbury this year was incredible. Insane!
Theres little doubt that Wortham has made a success of his art, but still
for the most part yes, Im learning. Every time I step onto a stage, it requires
a different focus and attention. This kind of music [for the tour] is not what ... and see for yourself why so many customers
I grew up playing and it requires a lot more concentration because of my
from around the world return to ...
parts and how they have to be on time, and how they affect a much bigger
picture. Every day I learn something new.
What would he say is the secret of his success, then? Being a success is all
a matter of opinion. But what makes someone a great person? Youve got to www.sheetmusichound.com
be a really nice understanding human being. No one wants to be around
someone who is hard to deal with. Who wants to be around someone who
makes their day heavy? Its bad energy. Being a genuinely nice person and
caring for others is step one. And after that, if you really try to be selfless and
put the pride aside, and be honest, work on the areas that youre weak thats  an established leader in print music one-stop
a good recipe for success.
One last question, which I cannot help but resist: Why Eric Wortham II? shopping
Is there an Eric Wortham I? Yes, he lives in my mind! I just dont like being  over 400,000 competitively priced scores
called Junior. I think one day I may be Eric Wortham III!
As the interview draws to a close, and I thank him for his time, Wortham listed online
says, It was so nice to talk to you, Erica Worth. And I reply, So nice to
speak to you, Eric Wortham.  used by music librarians across the world
What a world thats awesome, he says.

TUNE IN Follow Eric on Instagram at

@ericworthammusic
+44(0)1667838
Email: hound@sheetmusichound.com - Tel/Fax:+44(0)845 455701
1760

TO ERIC
Sheet Music Hound Limited Drumdelnies, Delnies, IV12 5NT
Visit his website at
www.ericworthammusic.com
71. Pianist 92

p70_Eric Worthham-FINAL.indd 71 16/09/2016 10:53

 COMPETITION
Fully composed
Eager to enter the Pianist Composing Competition but not
sure where to start or how to develop your ideas further?
Deputy Editor Inge Kjemtrup consults three experts
Nigel Scaife, John Kember and Pam Wedgwood for tips
S
o youve decided to take up the challenge of writing an original
piece for the Pianist composing competition congratulations!
Whether youre a novice composer or youve already tried your
hand at writing a piece or two, you may be wondering how to
begin your work and how to anticipate what the jury is looking
for. To answer these questions, Ive spoken with two of the
competition judges (music educator Nigel Scaife and composer, arranger
and pianist John Kember) along with Pam Wedgwood, music educator and
composer for Faber Music. All three offer practical advice based on their
own experiences advice that we hope will make you sit down and commit
your music to paper (or computer) to be shared with Pianist.
How can I turn that little tune that Ive made up into a
fully edged piece for the Competition?
John Kember: Start by considering the overall form of the piece. A simple
A-B-A pattern will work for a short piece. Dont be afraid to repeat a
phrase, and avoid too many rhythmic patterns. Look at a few tunes that are
catchy and see how the tune develops. It also helps to think question and
answer to develop a first phrase.
Simple but strong musical ideas
and well-chosen sounds can
be hugely effective, so dont
feel that your piece has to
stretch pianistic technique
Pam Wedgwood: Find a few basic chords that sound right with your
melody. When you have played around with these for a while, things may
emerge naturally. Dont be afraid to follow your instincts! After a while
you can start thinking about a structure. You could start with tune A (your
original melody), follow it with tune B (an answering phrase in a relative
key) and then go back to tune A. Use different textures and colours to
make your piece as interesting to the listener as possible. Establish the
mood and style you want to use. Speed, keys and time signatures are also
important. Whatever you write will be an original work no one else has
written it before!
Nigel Scaife: Ask yourself lots of questions as you work, such as What
could act as a useful contrast?, How could this idea be extended? or
Should there be some kind of introduction or coda?, What kind of
atmosphere do I went to create?. Improvising can often be a really useful
way of discovering new possibilities. Simple but strong musical ideas and
well-chosen sounds can be hugely effective, so dont feel that your piece has
to stretch pianistic technique.
72. Pianist 92
p72_How to Compose-FINALish.indd 72
How can I create a left-hand part to accompany the
melody? How do I know if the harmony is correct?
JK: What you do with the left-hand accompaniment depends on the style
you are creating, and what you feel comfortable playing yourself. Avoid
trying to be too clever or complicated. Test the harmony by playing the
outer parts on their own. Ideally these are strongest if in contrary motion,
but there is no such thing as correct harmony except in harmony exercises.
The rules are there to help us but if it sounds good to you, then stick to it!
NS: Try adding a simple bass line first as that will give your piece a strong
harmonic foundation. Spend time thinking through the musical ideas in
your head before translating them to the keyboard. You might find it
helpful to write them down in an abstract way, as that may take you in
a new direction and you may find other material that goes well with the
original idea. You could then add in chordal material or an accompaniment
figuration to fill out the texture.
PW: Creating a left-hand part for your melody is very much an experimental
exercise. Once you have established the chords you are going to use it will
depend on the style that you intend to write as to what the left hand will
be doing. For instance, a Classical-sounding piece may have a musical-box
feel in which the left hand has broken chord patterns under the melody.
Remember, your melody could also be in the left hand!
Is it okay to write a new piece in an older style such as
Baroque, Classical or Romantic?
PW: It is perfectly fine to write your piece in any of these styles. In fact its
great practice to try and do this as a composition exercise. Look at the fairly
simple pieces by the great composers and work out how they used structure
and keys. Even if you dont fully understand the harmony it will encourage
you to copy the way they have used the notes. Dont be frightened to copy
their ideas you dont have to write the same notes!
JK: Try all sorts of styles. You could try a folk tune (modal, perhaps), a
contrapuntal (two-part) piece, a ballad or more romantic style, even
something more contemporary based on rhythms rather than melody.
What about writing it down should I use manuscript
paper or is there a simple notation program I could use?
JK: Pencil first, computer last. I always write with a pencil on manuscript
paper and do all edits and improvements first. Only when its finished do I
use a computer (an old version of Sibelius that I am familiar with).
NS: Hand-written manuscript is perfectly acceptable, provided it is clear
to read. In fact, the winning entry of last years arrangement competition
was hand-written. One tip that I have found useful when hand writing
music is to use a bank card, or any plastic card of that type such as a library
card, and keep that in your left hand (assuming youre right-handed) to
write the bar lines and beams neatly.
PW: Writing down music is quite laborious but is a very good way to
learn about how musical notation is written. You might want to explore
15/09/2016 15:07
 the possibilities of using Sibelius in the future. Its a fantastic way of
producing music and I wouldnt be able to make a living as a composer
without it. There are many music writing programs that are a bit simpler,
including Sibelius First, MagicScore Maestro, NoteWorthy Composer
and Quick Score Elite 12.
Once I have composed my piece and written it down,
should I play it for others (or show them the score) before
I send it off to Pianist?
NS: Its always a good idea to play it to someone else, or better still, to ask
a pianist friend to play it to you without having heard you play it first. That
can be really revealing as you may find that their interpretation is quite
different from what you expected! Its quite likely that you will want to adjust
certain elements to ensure that your musical intentions are as clear as possible.
PW: Whether you play your finished work to an audience will depend on
how confident you are feeling about it. Try making your own recording of it
and then decide if this is a good idea. Once you have completed it, try and
feel pleased with yourself that you have managed to put this work together.
Its an amazing achievement for anyone, so send it in with full confidence!
What will the jury be looking for?
NS: Were going to be looking for pieces that have a strong sense of musical
character and identity. The composers voice should be apparent and the
musical ideas need to be clearly communicated. Pieces might be written
within a general stylistic area, such as a jazz idiom or a Romantic style, but
you shouldnt strive to write in a specific pastiche style, as that will diminish
that sense of originality that were hoping to hear. Above all, make it
personal and meaningful be authentic and express yourself!
Whats the best advice youve ever been given about
composing?
JK: Edit and improve but know when to stop. Another piece of advice is
to consider the form first: If a piece has form, in whatever style, but
particularly with contemporary, with a clear form it will work (the actual
73. Pianist 92
p72_How to Compose-FINALish.indd 73
6 TOP
TIPS WRITING AN ORIGINAL PIECE OF MUSIC
1 Think form and style, and write down your thoughts the ideas
will come. (John Kember)
2 Dont worry too much about rules or conventions of harmony
but instead trust your ear. (Nigel Scaife)
3 Think about the sonority and colour possibilities the piano
offers us so much scope to become a painter in sound. (NS)
Dont make your composition too complicated a long and
4 complex piece is not necessarily better. (Pam Wedgwood)
5 Leave your piece for a few days to see if you still like it (or it is
as good as you thought it was). (JK)
6 Dont be afraid of making mistakes; some of the best pieces in
the world have come about by musical accidents! (PW)
words were, Youll get away with it!). In short, think about the style first.
Rhythmic or melodic, contemporary or traditional? The more modern it is,
the more vital that the rhythms are correct (as in a jazzy piece).
PW: The most important bit of advice is to keep your piece as simple as
possible. Take a bit of time deciding on the title and mood of your piece.
Use your imagination and let your ear tell you what is right or wrong. Good
luck with your writing, and most of all, enjoy the experience and feel proud
of your work.
Photos, opposite page: Scaife, Kember and Wedgwood.
Turn to page 26 to find out how to enter the Pianist Composing Competition.
I had a long standing
interest in music
composition so I was
thrilled to discover the
OCA course. Elaine Goodall
Open
College
of the Arts
LIVE | LEARN | CREATE oca.ac.uk/pianist
16/09/2016 10:07
 E D U C AT I O N
Pick and Mix
As the Schott Piano Anthology series approaches its tenth year,
Erica Worth speaks to repertoire junkie Nils Franke,
editor and devisor of the creative and successful series
N
ils Franke is
sitting in my
office an office
that is dominated
by heaps of sheet
music. It must be
a very familiar
environment to Franke, who in his role
as editor of the Schott Anthology Piano
series is always on the look-out for an
interesting score just like Im always
on the hunt for something new for the
Pianist Scores pages.
How did Franke embark on his
score-searching path? Schott asked me
to come in for a meeting, having seen
some of my reviews. Afterwards, I went
away and designed a structure of books
that is now the Piano Anthology series.
The Schott series, now approaching
its tenth anniversary, is going from
strength to strength and has been rolled
out for other instruments, too. Im
delighted by the success of this series,
Franke remarks.
There are in fact two Piano Anthology
series Classical and Romantic and
four books within each series, described
by Franke as the two-grade anthology
idea where four books cover the eight
grades. But its the content that makes
the Schott series stand out.
The idea from the start was to mix
the familiar, standard repertoire (what
teachers are always looking for), with
material that is new, explains Franke.
I have to say that I am a bit of a
repertoire junkie. I dont just like
mainstream repertoire for example,
I like to know what people around
Brahms were writing at the time, the
stuff his students learned, and so on.
One needs to ask why we always
learn the same pieces, he continues.
The teaching canon came from way
back Id say from Clementis piano
method of 1801. Look at methods that
appeared since then, and you will find
some of the same Handel and Mozart
pieces in many subsequent methods and
tutor books. Schumanns Wild
Horseman, too, has been in teaching
books ever since it appeared in print! Its
there for a reason, of course the runs
in the right hand that then appear in
the left hand and its not only a very
good piece of music but also a very
clever one. But my idea was to take the
teaching canon and to look at it again.
p74_Education-FINALish.indd 74
If you ask most people what the
easiest piece is by Chopin, theyll say its
the Prlude op 28 no 4, which, for
learners, is actually fairly miserable. Its
not easy to balance those chords! But if
you look at this Chopin Polish dance,
he says, pointing to the Wiosna from
volume 2 of the Romantic series, its
got to be the easiest piece around! And
its lovely. It was first published some 40
years ago, but its been neglected.
The average number of pieces that
appear within one of the Schott
volumes is 30, but Franke starts with a
list of about 150 pieces. I look at the
famous composers of the day and then
pianist/composers who were significant
but havent quite stood the test of time
and yet write very well for the piano.
But of course its no use just putting
together 30 great pieces. Thats where
the grading list comes in: each piece
has to deliver something technical for
that particular grade. Its so easy to
play the piano and not make much
progress because the piece youre
learning is either too difficult or its not
stretching enough.
74. Pianist 92
Then you have to choose different
types of pieces for one anthology they
cant be all 3/4, they cant all be the
same key, they cant all be quick, and so
on. I like to take risks too, though, he
says, showing me the Liszt Piano Piece
No 4 from volume 2 of the Romantic
series, which is traditionally set for
Grade 5. In terms of difficulty, if you
can read the key of F sharp major,
you can play it at Grade 4. Just because
a particular grade restricts a scale, it
doesnt mean we cant use it. It shouldnt
restrict teachers or students. On the
other hand, what do you do for
Grades 1 and 2 where you can only use
a limited number of keys? Theres going
to be lots of G major!
Is it a struggle, then, for him to find
interesting easy pieces? Its incredibly
hard for composers to achieve a lot with
very little, with so many restrictions,
Franke answers thoughtfully. Theres a
real skill attached to writing beautifully
and effectively. It required a particular
type of imagination and not all
composers can do it.
Narrowing it down
As we talk, Franke energetically flips
through the pages of the Schott
volumes, sometimes stopping at a
certain piece hes especially proud of.
Look, here is a little piece by Rimsky-
Korsakov, he exclaims enthusiastically.
Despite writing a wonderful piano
concerto, hes hardly a major piano
composer. But this Allegretto is very
pretty. Hes a major composer, but not
a major piano composer.
Franke now draws my attention to an
A4 piece of paper with a grid layout
thats filled in with scribblings. Thats
my database of pieces, he tells me. I
write the title of the piece on the grid
and fill in lots of information. I break
down every piece into lots of things,
15/09/2016 14:32
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08/09/2016 10:08

Cramer Praeludium & Andantino [Scores page 42]

and this helps with the selection. For
example, theres a generic rule regarding
the length of music of Grade 1: the
pieces should really be one page or
even less. To get the grading right for
each level you have to know whether
students can cope with certain
articulation demands for example,
where one note is held with a finger,
while the other fingers play different
notes. All these things have to brought
into the equation. But within each of
the volumes, there are probably three or
four pieces that, ever since I found
them, had to be in there. And then its a
matter of working around them.
I have my own methods of finding
repertoire for Pianist, and Im curious to
know how Franke finds his. Thats a
killer question, he says, laughing. I have
so much music, part of which is my late
fathers archive. Dad took collecting
quite far when I looked through his
estate there was music memorabilia
everywhere. I even found a business card
from Clara Schumann with her signature
WIN A COMPLETE SET OF
SCHOTT ANTHOLOGIES!
For your chance to win one of the complete series (Romantic or
Classical the winners choice), answer this simple question:
How many books are there within each series?
A: 4 B: 2 C: 8
ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM
on it! Ive grown up in an environment
that was piano-centric. I have about 22
metres of sheet music books.
Franke continues to show me some
of his finds, from a Balakirev mazurka,
to an Alkan barcarolle, to a Henselt
etude (a composer dear to my heart,
he mutters). Should readers have
noticed hes spent most of his time
talking about the Romantic repertoire,
with barely a mention of Classical, its
because thats where his musical passion
lies. The Romantic series came first, he
explains, and thats in terms of my own
knowledge and my own repertoire. Im
happiest between 1800 and 1910.
If space had allowed, Id tell you about
Frankes Classical repertoire discoveries
too Boccherini and Hssler just for
starters. But thats for another day
Visit en.schott-music.com to find the
anthologies, plus further titles by
Nils Franke and publications by other
composers and authors. To find out more
about Franke, go to nils-franke.com
Classical Piano Anthology volume 2
Its no exaggeration to say that Cramer was one of the 19th
centurys most influential composers of piano studies and other
pedagogical material. His first set of Etudes (1804), quite literally
spread throughout Europe. Beethoven was reported to have
annotated some for his own teaching! Virtuoso pianists like von
Blow, Tausig and Busoni edited and arranged Cramers etudes
and most major music publishers issued editions of Cramers
famous etudes. So the commercial, musical and pianistic
message was clear: Cramer sells and is good.
The present piece has been taken from the composers piano
method, a book he kept changing over seven editions, and for
several decades. The Praeludium is a bit of a warm-up, helping
students to get used to the key (hence the use of scales and
arpeggios). The right-hand figurations in bars 3 and 4 have
hidden melodic lines in the descending scale patterns of bar 3
(3rd and 4th beats) and bar 4 (2nd to 4th beats).
The Andantino is a short and lyrical piece in which the left
hand needs to be a clearly audible bass line above which the right
hand can sing. Experiment with changes of fingering on the
repeated notes of the left hand, to keep the sound even, discreet
and the fingers and wrist relaxed.
Czerny Andante op 453 no 32 [Scores page 43]
Classical Piano Anthology volume 2
Although Czerny is today remembered for having be a master
teacher (and demon finger-exercise composer), this Andante
shows him in a different light, and one he inhabited more often
than he is being given credit for: that of a very good composer.
The tuneful melody line in the right hand sits above an
accompaniment figure of triads. To prepare for the changes of
chords (for example, into and in bar 5), try practising the left
hand as chords in groups of three notes (as beamed together). And
then take it a step further by playing the right hand as written,
but the left still as chords. Once mastered, switch to practising the
piece as written, and the left hand should flow very well.
To emphasise the phrasing in the right hand, shorten the last note
at the end of a phrase ever so slightly, and lift your hand fractionally
before dropping back onto the first note of the next phrase.
Borodin Nocturne op 1 no 7 [Scores page 44]
Romantic Piano Anthology volume 3
This Nocturne is taken from a suite of seven piano pieces op 1
that dates from 1885. The choice of key, G flat, and the nature
of the piece itself ask for plenty of arm weight with the aim of
producing a full and rich tone. The A-B-A structure allows for
some moments of contrast in the slightly more lively middle
section.
The pianistic challenges of the work include aiming for a
clear balance between hands and also within each hand, in
favour of the melodic line. To achieve this, practise each hand
separately (and without pedal) but play all quavers that are not
to be sustained as detached notes, so that the difference between
sustained and ordinary quaver becomes clearly audible.
In the middle section, the left hand needs particular attention,
as the grace notes do not lie easily under the fingers at first.
Support these stretches with a loose elbow that allows you to find
the most comfortable angle between hand and keyboard.

75. Pianist 92

p74_Education-FINALish.indd 75 15/09/2016 14:32

 A D V E R TO R I A L
A
midst the astonishing
throng of humanity,
working and dwelling
in towers of concrete
and glass, lies an oasis
of tranquillity on
the banks of the mighty Pearl River.
Shamian Island has a grid of pedestrian
boulevards and tropical flower boarders
which lead the eye upwards to the facade
of colonial architecture and the nostalgia
of times past. Favoured by artists
capturing memories with water colours
and walking past the brass sculptures
of early European and Chinese traders,
it is hard to believe a city of 16 million
people surrounds this beautiful place,
the birth place of international Chinese
trade and influence.
Yet this peaceful reminder of days
gone by clearly illustrates how modern
China has built upon a cultural and
trading history, such that, out of
the seeming chaos of activity and
modern technology, leading industries
have emerged as the powerhouse
of world production. Furthermore
p76_Advertorial.indd 76
60 years and
counting Pearl River Piano Group celebrates its 60th anniversary
and 25 years in the United Kingdom and Ireland with Intermusic
ever sophisticated advancements
have returned China to a centre
for innovation and aspiration in all
industries, which many in the West
are only now seeing as a reality. Made
in China is now stated with pride
and confidence.
Across the wide flowing Pearl
River, one of the main arteries of this
vast land, facing Shamian Island, lie
the headquarters of Chinas leading
cultural producer, Guangzhou Pearl
River Piano Group Co. Ltd. Fittingly
it was those European Cantonese
settlers and traders who introduced
the Piano to China and production
has occurred ever since. During the
past sixty years Pearl River Piano
has emerged from the days of small
workshop production to become
the Worlds largest manufacturer of
acoustic upright and grand pianos
that dominate the enormous domestic
market and continue to rapidly gain
market share worldwide.
Today Guangzhou is an ultra
modern city and the third largest
76. Pianist 92
in China. Enjoying a sub-tropical
climate and clean air descending from
the hills of rural Guangdong province
the city lies in the Pearl River delta up
river from Hong Kong and Macao.
Walking along the colourfully lit banks
amidst the swooping Banyan trees of
an evening is to experience the timeless
art of tai chi or walkers relaxing and
listening to the hypnotic tones of
Chinese traditional instruments and
singing. A city at rest and at peace with
itself inspires participation in music
and art. A piano store in Guangzhou
can sell more pianos in a year than
many western countries could aspire.
This growing renaissance has lead
to the current day strength of Pearl
River Piano and has encouraged major
investments for their future expansion.
Towards the east of Guangzhou lies
the district of Zengcheng surrounded
by the foothills of rural Guangdong
where you can see banana plantations
growing in the fertile terra rossa clay
soil from the weathered limestone of
ancient times. From these foundations
there has grown a vast new complex
of state of the art manufacturing plant
which will eventually extend to a
fantastic 1.2 million square feet. With a
concert hall and offices Zengcheng will
become the new home for Pearl River
Piano Group. Today it is the home of
the latest Ritmuller and Kayserburg
pianos, as well as models for the worlds
leading brand, alongside a new highly
technological 200,000 unit capacity
digital piano production line.
When entering the Zengcheng factory
the first impression is immensity. As far
as the eye can see stretch seven parallel
production lines, which is astounding.
This is replicated on six floors including
vast warehousing of pianos waiting
to be shipped around the World. The
15/09/2016 10:44
 second impression is the abundance
of state of the art CNC machines and
automation. Pearl River have been
making pianos for sixty years and the
experienced piano makers arrive each
day from head quarters to add the vital
hand craftsmanship of piano making
to the precision of modern technology.
It is noticeable how few workers there
are on the production line and how
light, clean and efficient is their air-
conditioned working environment.

At various stages of production the

pianos are left to rest and settle for
several weeks. This is meticulous
mass production to ensure each piano
reaches true tonal potential and tuning
stability. Unlike many manufacturers,
Pearl River produces their own piano
actions using a vast array of automated
machinery and precision to ensure a
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only significant component out sourced
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a resplendent finish equal to the finest
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The heart of any piano is the acoustic
assembly being the back frame, back
posts, ribs and soundboard. The Pearl
River lumber yard is one of the largest
in the world of piano production where
the trees arrive and are left to stabilize
in the balmy Guangzhou climate for
several years. Inside the climatically
controlled wood processing plant the
latest machinery prepares the select wood
for piano production. To experience raw
tree trunks being lifted by behemoth
machines, cut and shaped into the most
delicate and precise components of a
piano, is a wonder to behold. Wood
from Russia and the mountainous
regions of China is stored before being
cut and treated in sixteen cavernous
kilns to reach the perfect moisture
content for long term stability. From
tree log to pre-production grade takes
up to five years to ensure the wood is
fully seasoned. The latest wood working
machines then cut and plane the wood to
complete the acoustic assembly. Specially
engineered tapered soundboards tailored
for all world markets are lifted from the
production floor and carried into the
mist of lacquer in an automated spray
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ready to resonate and sing. The acoustic
assembly is completed when the sand cast
iron frame is hand crafted to the heart
of the piano. The resultant birth of a
piano from a combination of automation
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vision, forerunning a lifetime of musical
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For over 25 years Pearl River pianos
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choose from the entry level BENTLEY
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are hand built in the traditional
European methodology using solid
spruce soundboards, hand shaped Louis
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strings and real ebony wood sharps. All
piano voicing is overseen by a European
master piano maker and the Artists series
is leading the Chinese piano industry
into the heartland of European quality
and performance; a true sign of things
to come. China today is a remarkable
country that is changing rapidly. As a
leading State Company, with funding
from their 2012 share floatation, Pearl
River Piano Group is leading the way
in a Chinese renaissance for music and
the arts. n
Contact details:
Telephone: 00 44 1202 696963
www.intermusic.com
www.bentleymusic.co.uk
www.ritmuller.co.uk

77. Pianist 92

p76_Advertorial.indd 77 15/09/2016 10:45

 E D U C AT I O N
Tales
out of
school
Back in the days of Rachmaninov and Cortot, national
schools of playing were thought to be very distinct.
Is this still true today? John Evans investigates
I
ts said that the famous teacher
Theodor Leschetizky (1830-
1915), born in Poland and
reckoned to be one of the most
influential piano teachers of
all time (his students included
Paderewski, Friedman and Schnabel),
could identify the nationality of a pianist
by their playing alone.
Apparently, German pianists paid
great attention to detail and respected
the music, but were a little dull. French
pianists were elegant and phrased
supremely well. Italians were passionate
but couldnt play a note. Americans were
spontaneous. British pianists were good
workers but bad technicians. His own
countrymen were poetic and instinctively
tender. The best pianists were Russians,
equipped with a prodigious technique,
passion and dramatic power.
Were he alive today, how might
Leschetizky describe pianists from Asia
and the Far East? Once upon a time,
and conveniently forgetting the likes
of Mitsuko Uchida who, in any case,
trained in Vienna, it was fashionable to
dismiss them as note-perfect but lacking
authenticity. Not any more, as Seong-
Jin Cho, the South Korean winner of
the 2015 International Chopin Piano
Competition, is the latest to remind us.
However, whether Leschetizky could
or couldnt tell a pianists nationality
from their playing, he may just have
hit on something: the phenomenon
of national schools of piano playing,
as in the Russian school, the French
school and so on.
The term describes a countrys
approach to playing and studying the
piano, including everything from posture
and practise techniques, to repertoire
and interpretation.
Of course, the one crucial variable is
the pianist. Surely, their own character
p78_Schools of Play-FINAL.indd 78
and aesthetic determine how they play Legendary teacher
and how they sound? Proponents of the Theodor Leschetizky
idea of national schools of piano playing
say the early years of study have a huge
impact on how a pianist develops.
According to them, it can be difficult to
shake off the influence of a great teacher,
themselves raised in the shadow of greater
musical forebears and a nations culture.
In his book French Pianism (Amadeus
Press), Dr Charles Timbrell, professor
of music and coordinator of keyboard
studies at Howard University in
Washington, DC, tells how, starting in
the early 19th century, Paris became
the centre of the piano world. The
characteristics of the French piano style
were faithfully passed by professors of
the Paris Conservatoire from generation
to generation for some 150 years.
This tradition and insularity is the key
to the emergence and existence of the pedal, teaching methods and approaches
national schools. to technique and interpretation.
Today, almost 25 years since his book In the cause of demonstrating the
was published, Timbrell is still fascinated distinctions between the various national
by their rise. These national schools of schools, Loureno compares three
playing existed because conservatories recordings of Beethovens Sonata No 23,
were controlled by the state; certainly Appassionata, by Russian pianist
in France, Russia, and Italy, he says. Vladimir Sofronitsky (1901-1961),
In France this meant that professors Swiss pianist Edwin Fischer (1886-1960)
had usually been former students at the and French pianist Robert Casadesus
same school they had to be French (1899-1972). Unfortunately, while
citizens and auditions and performance Loureno detects key differences
exams were standardised. There was a between each performance, her laudably
minimum of outside influence. It was a scientific exercise serves merely to
novelty for the French to hear Russian diminish these great artists. In fairness
pianists, even in the 1950s. to her, at the end of the exercise she
Sofia Loureno, a teacher and pianist, concludes that while national schools of
has studied the rise and development of piano playing do exist, great pianists
national piano schools. In her research rise above them.
paper, European Piano Schools: Russian,
German and French classical piano Technical building blocks
interpretation and technique, Loureno National piano schools were once
claims they are characterised by dominated by France and at the heart
the choice of general and specific of that countrys tradition sits Chopin.
repertoire, sonority, tempo, use of From Chopins music and the few
78. Pianist 92
15/09/2016 10:35
 The School of Piano
images that exist of him, its hard to
imagine the composer in the role of the
great pedagogue but in fact teaching
took up most of his time in later life.
He was keenly interested in the
principles of teaching and playing,
which he attempted to record in letters THE RUSSIAN SCHOOL
and brief notes.
Whats surprising is that he was
actually self-taught; a freedom and
self-reliance that perhaps led to him
placing beauty of sound and how to
achieve it above all things. Reports of his
playing cite his warm tone, refinement
and lack of affectation. He advised his
students to listen to singers in order to
develop a bel canto sound.
Chopin formulated a study method
that rejected what he described as the
old, musically irrelevant principles that
were like learning to walk on ones
hands in order to go for a stroll. In
their place he advised perfecting the
building blocks of technique (scales,
arpeggios and trills), the smooth passing
under of the thumb, and playing with Neuhaus Sofronitzsky
elbows close to the piano and level with Milkina
the keyboard, the hands turned slightly
(the left hand to the left, the right hand THE FRENCH SCHOOL
THE BRITISH SCHOOL
to the right). Above all, he insisted that
no exercises should be mindless
drudgery and that everything should be
for the service of the music.
Chopins ideas became the DNA of
French piano playing. The pianist Alfred
Cortot (1877-1962) was one of the most
influential figures to emerge from the
French school. He studied at the Paris
Conservatoire founded in 1795
under teachers who themselves had been
taught by Chopin. In his Rational
Principles of Piano Technique he repeated
Chopins advice by prescribing short
warm-up exercises before playing. He
advocated suppleness, economy of
movement and, at all times, an unforced,
musical sound. His ideas helped
reinforce the French way. Cortot
Some years after the French school Curzon Ogdon
emerged, hundreds of miles to the
east, the Russian school began to take THE NEW CLASS
Grzedzinski (Cho); Decca/Sophie Wright (Grosvenor); Sony Classical/Harald Hoffmann (Lang Lang)

shape. The catalyst was the founding, by

the Rubinstein brothers Anton and
Nikolai, of the St Petersburg and
Moscow conservatoires (1862 and
1866, respectively).
By this time, the singing tone,
promoted in particular by the French
school, was well known and admired,
and Western European pianists
including Brahms, Clara Schumann,
Liszt and Chopin were well established.
The Russian school embraced this
state of affairs but turned its attention
to developing a Russian teaching style
and system.
In an interview in 2013, Rada
Bukhman, a Russian-born and trained
pianist who, through her teachers,
can trace a link to Heinrich Neuhaus
Cho Grosvenor
(1888-1964), the Russian-born Lang Lang

p78_Schools of Play-FINAL.indd 79 14/09/2016 11:01

 E D U C AT I O N
teacher of Sviatoslav Richter, recalled her
experiences of it: The standard set in
schools for gifted children was extremely
high. It demanded the embrace of art as
a whole. The best Russian teachers
expected children to explore music,
visual art, and literature.
Teachers were both exceptional
musicians and great performers.
Therefore, the students were taught
refined, musical taste and a high level of
musical understanding.
Bukhman said the rise of the Russian
school during the 20th century was in
part explained by the countrys social and
economic situation.
Its ironic, but during much of the
20th century, the terrible economic and
political conditions in the Soviet Union
motivated artists to work with greater
enthusiasm, because the only sanctuary
for real freedom and spiritual happiness
was their art. Consequently, during the
first half of the 20th century, Russia
produced an enormous number of
extraordinary musicians.
Their attention to detail was
impressive. Bukhman says that her
teacher, Mikhail Voskresensky, taught her
to feel as if she was holding the keyboard
with her fingertips.
One should imagine that the grip of
the keys should prevent the keyboard
from falling on the floor, he told me.
When this feeling is established, one is
free to experiment with colours of tone.
Many years later, a variation on the
fingertip control Bukhmans teacher
encouraged was experienced by the
British pianist Leon McCawley.
When I worked with the Russian
pianist Nina Milkina (1919-2006), who
played to Rachmaninov, her emphasis
was on a depth of quality of tone,
achieved by using much more fingerpad
weight, pressing deep into the keys, he
says. She used the wonderful phrase
taste the keys when she demonstrated.
Even so, McCawley believes that
today, national schools of piano playing
are a concept more associated with
older pianists.
I guess that you can hear more of a
distinction with the older generation
of pianists, he says. One to highlight
would be Rachmaninov whose sound
I think could be classed as distinctly
Russian. There is that depth of quality
of tone that you dont hear as much in
playing nowadays, and also a brilliant
transparency and clarity of fingerwork.
Otherwise, as far as McCawley is
concerned, its much harder to distinguish
between national playing styles today.
Institutions are so international both
in faculty and students, that its difficult
to make distinctions. Most good
teaching is all about respecting and
understanding structurally and musically
whatever composition is being studied
and performed, and then allowing a
p78_Schools of Play-FINAL.indd 80
student to blossom and put their
personal stamp on the music.
Professor Vanessa Latarche, chair of
international keyboard studies and
head of keyboard at the Royal College
of Music, agrees wholeheartedly with
that view but claims that even so, she
can still detect the country of origin in
a students playing.
Among our Russian students, for
example, I can hear the influence of the
Russian school, she says. Their playing
is very lyrical and distinguished by its
ringing tone and the way they voice
chords, almost orchestrally. Russian
pianists are among the greatest in the
world, thanks in part to the quality of
the training they receive from a very
young age.
Latarche describes the sound of some
of her French students as being
transparent: Its light but not without
depth or projection.
She describes students from the Asia
and the Far East as tremendous workers.
They are very disciplined from a young
age. The Lang Lang effect is hugely
influential. Those who come here,
really dig deep to succeed and absorb
everything we have to teach them.
However, its the South Koreans who
really impress her. Their playing is
polished, immaculate and intelligent.
Musically, the country will go very far.
But what of British pianists? I
remember the old British school that
was still active in the early 1980s when
pianists Clifford Curzon, Kendall Taylor
and John Ogdon were active. Their style
was characterised by a warmth of sound
and a style that was rarely aggressive.
Now, a new generation of great
British pianists is emerging in the form
of Ben Grosvenor, and our own Martin
James Bartlett, Lara Melda and
Alexander Ullman with their unique
sounds and approaches.
All this talk of national schools and
styles goes over the head of the British
pianist Stephen Hough, however. I dont
believe in national schools. All the
greatest pianists transcend any school
or teacher, he says. The only diversity
I want is the individual, wherever they
studied. With the greatest teachers, every
talented student sounds different.
In fact someone like Liszt cannot
be said to be from any school he
was as German as he was French as he
was Hungarian.
At the same time, Hough dismisses the
idea of a Russian school. Most of the
greats left at the time of the Revolution,
so Hofmann, Godowsky, Rachmaninov,
Lhvinne and Horowitz are in some ways
American pianists. What became the
Soviet School (where you might be able
to discern certain traits) was great and
thrilling and formidable, but had little
in common with the style of those other
Russian players.
80. Pianist 92
French pianist
Jean-Efflam
Bavouzet
on the
French school
W
hile national
schools certainly
existed in the
past, in our time, with
the exchange of experiences, many of the
differences are softened. I am more inclined to hear
recognisable national sensibilities expressed through a
rather more uniform technical approach. There is more of
a consensus concerning the right way of piano playing,
for example, using all muscles up to the back, and having
flexibility and strength of the wrist. And if anyone wants
to prescribe pure exercise, the choice goes from Czerny to
Moszkowski through Brahms and Liszt, with no national
preferences. Differences start at expressing the content.
Today it would be misleading to talk about nationally
varying techniques, but there was a time when French
pianists and pedagogues preferred a light, crispy, pearly
touch. This was especially the case with Marguerite
Long, but others like Monique Haas, Lazare Lvy, Yvonne
Lefbure, Lucette Descaves and Yves Nat. Leading
pedagogues of generations of the most important French
pianists did not adhere to this national technique.
Again, I would stress the predominance of interpretative
imagination over technical considerations.
My main French school influence came from Pierre
Sancan, a pupil of Yves Nat. Although he had a particular
affinity with French repertoire, Sancans teaching was
influenced by the Russians. Many of his students were
among the first to play Rachmaninov, Tchaikovsky,
Prokofiev and Bartk concertos in a way not obviously
associated with French sound. Then after my Sancan years
at the Conservatoire I benefited importantly from Dmitri
Bashkirov and Alexander Edelman.
As a pianist, I adhere to the reasoning clarity of
interpretation and the necessary technical tools so
recognisable with French artists. But my aspiration is to go
toward the spirit and specific style of the composer and
this, in my view, needs a multi-faceted artistic personality,
rooted in the national sensibilities and reaching out to the
more universal.
Charles Timbrell, meanwhile, believes
the Russian school is alive and well,
but says its the last one standing.
Only Russians still play like Russians,
because they have been the last to
be significantly influenced from the
outside, he says. Otherwise, national
schools started dying from the
beginning of the 1950s thanks to radio,
TV, recordings, international teaching
and foreign exchanges.
Now Japanese play like Americans,
English play like French, French
play like Brazilians
Paul Mitchell
Brazil now, how would Leschetizky
have described that countrys pianists?
14/09/2016 11:00
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 MAKERS
By any
other
name
Bafed by the term hybrid piano? Youre not alone, says Gez Kahan,
who tries to bring clarity to this terminally inexact terminology
W
hat exactly is a
hybrid piano?
the Pianist editor
said, as she
riffled through
yet another press
release using the phrase. Im sure some
of our readers will be confused, too.
How about an article explaining what
it means? How about coming up with
a proper definition? Nice idea, I replied,
toddling off to do some research.
Well, I found out lots of things, but
as for a proper definition Sorry to
disappoint, but its not that simple.
In fact, its a pig.
Lest you think I jest, just look up
the etymology of hybrid on the
internet, and youll be told it is indeed
a pig, from the Latin for the offspring
of a wild boar and a domestic sow
(although Lewis & Short, purveyors
of Latin-English dictionaries, content
themselves with mongrel). In any
case, with its roots in hubris, a Greek
word with connotations of behaviour
contrary to the natural order of things,
it was originally a derogatory term,
applicable to such heinous behaviour as
the congress of a freeman with a slave.
Such prejudice has abated somewhat
and genteel rose-breeders, among
others, have helped the word hybrid
gain acceptance in polite society.
p82_Makers-FINALish.indd 82
Nonetheless, I dare say that even Top: Steinways Spirio; The first usage of Hybrid (with a
now there are plenty of purists ready bottom left: PianoDisc capital H) as a product descriptor seems
to denigrate hybridization when it control box; bottom to be on a couple of discontinued Kawai
comes to musical instruments, even at right: Korg LP-380 digital pianos from the late 1990s: the
the risk of offending hurdy-gurdy men, EGP-10 (grand-style) and HA 11
sugar plum fairies and saxophonists. (typical digital shape) neither of which
Careful, though: that way hubris seems to have made any headway in the
lies. After all, our beloved cimbalo di UK, and little enough in the USA.
cipresso di piano e forte itself is a hybrid, Essentially these instruments melded
born of an attempt to marry the power parts from different departments of the
of the harpsichord and the dynamic Kawai operation the action from its
range of the clavichord (with a dash traditional pianos and the sound engine
of hammered dulcimer thrown in for from its digitals. Note that it was only
good measure). the basic action not the hammers,
Enough history. In its modern
pianistic usage, hybrid usually refers to
the yoking of digital and traditional
technology, and thats the criterion were
going to use for this overview. As for
which bit of digital is being yoked
with which element of the traditional
piano following best practice in the
lexicographic world, were going to
define that by example.
82 Pianist 92
14/09/2016 11:08
 strings or soundboard that were
traditional. Instead of felt hammers
striking strings, the hybrid hammers
activated sensors which gathered not just
pitch data but the nuances of dynamics;
strings were replaced by the inbuilt
sample sounds, and, instead of a
soundboard, there was an inbuilt speaker
system (with a headphone option for
those wanting to practise in silence).
Fast forward a decade or so, and we
find Yamaha, another company with
expertise in both traditional and digital
technology, taking the same approach
with its Hybrid range: the AvantGrand
N1, N2 and N3 and their newer
upright sibling, the NU1. Technology
and sonic realism have moved on apace
now, as well as combining a
traditional piano action with a digital
sound engine, these instruments
incorporate a number of digitally-
driven enhancements to keyboard,
pedal feel and internal speakers (see
Pianist Nos 56 and 64 for more details).
Another five years and, making it a
hat trick of Japanese manufacturers,
Casio unveiled its Celviano Grand
Hybrid range (see issue 87). This also
pairs a traditional action with digital
sound generation, but with a slight
difference. While theres no doubting
Casios digital piano credentials, the
company has no history of making
traditional pianos. That has been solved
by a collaboration with the engineers
at C. Bechstein (who certainly know
a bit about real-piano actions and
reactions), not only for the mechanical
response but to help analyse the other
elements that go to making a piano feel
right. The result could be termed a
double-hybrid not just a traditional/
digital product, but a Japanese/German
concept to boot.
That would appear to offer enough
citational evidence for one definition:
Hybrid piano, n.
1. A musical instrument combining
the action of a traditional piano (q.v.)
with the sound production facilities
of a digital piano (q.v.).
p82_Makers-FINALish.indd 83
Top, left to right: Kawai There are those who object to this
CS11, Kawai ATX control as a definition of a hybrid piano.
box and hammers; They think the examples cited arent
bottom: Yamaha sufficiently different to count as a true
TransAcoustic upright hybrid in fact, they argue, these
so-called hybrids are actually no more
than superior digital pianos.
Heres their reasoning: When you
try to define the action of a traditional
piano, you will run into all sorts of
modifications from Cristoforis original
design, so whos to say what does
and doesnt qualify? Furthermore, the
business end of the action is the
mechanism causing a hammer to strike
but not remain in contact with a string
and that is plainly not what these
actions are intended to do.
In any case the action is no more
than the interface between player and
sound, and pianists (as distinct from
technicians) tend to rate a pianos action
as good or bad solely on the ease with
which it facilitates or impedes musical
intention. Logically, then, any action
which gives the player sufficient
control to produce an uncompromised
performance should qualify and
that means this definition of a hybrid
piano could also encompass studio
83 Pianist 92
instruments such as Rolands V-Piano
and its home-friendly derivatives such
as the V-Piano Grand, plus the likes of
Blthners e-Grand and Korgs LP-380
along with practically any other digital
piano manufacturers top-end home
and stage models.
Kawais US operation, for instance,
classifies its CS8 and CA67 digital
pianos which meet all the criteria
above as digital pianos. But its
CS11 and CA97 models which
additionally incorporate a traditional
piano soundboard rather than speakers
to transmit the sound are classified
as hybrid pianos. So we could add a
second usage to our definition:
Hybrid piano, n.
2. A musical instrument combining
the action and soundboard of a
traditional piano (q.v.) with the sound
production facilities of a digital piano
(q.v.).
That would mean that instruments such
as Yamahas TransAcoustic models (see
issue 79) would also qualify as hybrid
pianos, even though the company itself
doesnt categorize them as such. As,
indeed, would Blthners e-Klavier 2
and 3 (but not the e-Klavier 1).
Again, we hit a snag. Kawai US
rather spoils its own demarcation by
additionally defining its entire range of
AnyTime Pianos as hybrids meaning
it lumps in the K300-ATX2 which uses
the Soundboard Speaker System with
other models that dont.
But demarcation is often futile
anyway. Words will insist on changing
their meanings to suit different
circumstances. Hybrid, for most of its
life, implied a single entity that mingled
two or more species, or races, or
cultures, or technologies (the list goes
on). Then came the hybrid car and the
meaning widened to take in the
capability of alternating between
technologies. Pedants might insist that
describes dual not hybrid technology,
but words, thankfully, pay no homage
to pedants. As Humpty Dumpty
16/09/2016 14:16
 MAKERS
pointed out to Alice, words are only
answerable to their public, and enough
people now use hybrid in that way to
allow us to add a third definition:
Hybrid piano, n.
3. A musical instrument capable of
being played either as a traditional
piano (q.v.) or a digital piano (q.v.).
That opens up the field to all those
other dual-purpose pianos besides
Kawais AnyTimes Yamaha with its
Silents, Blthners e-volution, Seilers
DuoVox, Bechsteins Vario, Schimmels
TwinTone for starters, plus anything
retrofitted with kits such as PianoDiscs
QuietTime and its ilk (see issue 77).
But how about this one?
Hybrid piano, n.
4. A musical instrument capable
of being played as a traditional
piano (q.v.) or played by a digital
performance reproduction system.
p82_Makers-FINALish.indd 84
That describes modern player pianos
such as Steinways Spirio (issue 90), plus
instruments fitted with the PianoDisc
(or similar) system (see issue 57). These
use digital technology not to make the
sound but to activate playback just
as if the player were there in person
the keys move, the hammers hit
the strings, the soundboard vibrates
and the dampers damp. And lets not
forget Yamahas Disklaviers (we covered
its latest incarnation, the Enspire,
in our previous issue) which can not
only operate as player pianos but also
incorporate silent technology.
As if all that werent enough, hybrid
has practically achieved buzzword status,
and canny marketeers sprinkle their copy
with buzzwords because it helps them
stay near the top for Google searches.
This suggests that so far from arriving at
a cast-iron definition (or four) for
Top, left to right: hybrid piano were likely to find the
Blthner e-grand, Casio phrase used more and more
Celviano Grand Hybrid indiscriminately and less and less precisely.
GP-500BP, Schimmel So the simple answer to the question
TwinTone system; What exactly is a hybrid piano? is that
bottom: Roland V-Piano theres no simple answer, and no right
Grand or wrong answer either. Usage is the
only way to define a phrase, and by
that yardstick every example mentioned
previously measures up.
Lest you think thats a bit of a cop-out,
I do have a practical suggestion for
those readers who arent sure what it
means when they encounter the term
hybrid piano. If youre confused in
the slightest, disregard the words on
the website or in the brochure. Instead,
go to your local shop and try out
the instrument in question. Your ears
and fingers will soon tell you whether
the instrument measures up to what you
want from a piano. n
A quick guide to hybrid pianos
Type 1 Superior digitals
These are digital pianos but with an action and response
that feels practically the same as a traditional piano.
Examples include Yamaha AvantGrands, Casio Celviano
Grand Hybrids, Kawai CS8, Roland V-Piano Grand,
Korg LP-380 and Blthner e-Grand.
Type 2 Hybrid sound production
These are digital pianos, which, along with a superior
action, include an acoustic soundboard instead of or
in addition to speakers. Examples include Yamaha
TransAcoustics; Kawai CS11, CA97 and ATX2; and
Blthner e-Klavier.
Type 3 Dual mode pianos
These can either be played as a traditional instrument or
switched to digital mode (especially for silent practice).
Examples include Yamaha Silent series, Kawai AnyTime
series, Blthner e-volution and Schimmel TwinTone.
Type 4 Player pianos
These include Yamaha Disklaviers (which also have
dual mode capability), Steinway Spirio and PianoDisc
retrofit systems.
14/09/2016 11:08
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 REVIEW

CD reviews
Marius Dawn applauds Peter Donohoes victorious Prokoev sonatas and Barry Douglass solo
Brahms but Nelson Goerners Hammerklavier leaves him breathless with admiration
Pianist star ratings: Essential go get it! Really great A ne release Average Fair
Buy these CDs from the Pianist website.Visit pianistm.ag/cd-reviews

LUCILLE CHUNG & ALESSIO BAX EDITORS CHOICE

Poulenc: Works for Piano Solo & Duo
Signum Classics SIGCD455
Francis Poulenc was a fine
pianist, and with his friend
Jacques Fvrier he made a
now-historic recording of
his Concerto for Two Pianos
with the Orchestra National
de France and George Prtre.
On this new disc, the Concerto is presented in
the version without orchestra, and I find I very
missed Poulencs imaginative orchestration.
That aside, the Sonata for Four Hands receives
an idiomatic performance, with the two pianists,
wife and husband, being totally in sync. The
performances of the solo works, all played by
Chung, can sit alongside some of the best French
pianists in the catalogue. Poulencs very personal
Three Novelettes, which is not overly represented
on disc, receives an extremely fine performance.
The 15 Improvisations, where Poulenc is at his
most inventive, show Chung at her very best,
especially in her rhythmic attack in the faster
sections and for this nearly half hour of music
alone, makes this disc worth the purchase.
NELSON GOERNER
Beethoven: Sonata No 29 in B flat op 106 Hammerklavier,
Bagatelles op 126
Alpha Classics ALPHA 239
When the living legend that is Grigory Sokolov released his
account of Beethovens Hammerklavier Sonata, one might have
thought that was that it could simply not be surpassed.
Sokolovs performance, which was recorded at a live concert in
Salzburg, simply outclassed the so-called Beethoven players of yesterday and today.
So how on earth can Nelson Goerner even think of challenging the Russian titan? When I
put them head to head, I am unable to declare one or the other the winner. The two pianists
approach this sonata undoubtedly the most complex of piano sonatas from the 19th century
from very different angles, and both approaches are valid. Sokolov is a grand romantic, using all
the colours of the keyboard and taking his time to set every note of the fugue with a watchmakers
precision. By contrast, Goerner is a more intellectual interpreter, adhering closely to the printed
score, very much in the style of a player like Pollini. Even so, Goerner leaves a strong personal
stamp. The accented rhythms in the first movement, and the long drawn-out singing lines in the
slow movement, portray an emotional pianist who can control feelings and put his intellect to
the fore. The clever use of the sustaining pedal in the gigantic fugue leaves each individual voice
shining out of the myriad of notes Beethoven weaves together in the tapestry of what, in lesser
hands, could be a pianistic nightmare.
Goerner is generous in adding the complete opus 126 bagatelles on this disc, and again,
demonstrates admirable ability to tame feelings and exude intellect in these late works. On top
of this, add the discs fine piano sound, and other recordings are left way behind.

PETER DONOHOE BARRY DOUGLAS ANGELA HEWITT

Prokofiev Piano Sonatas Vol 3: Nos 6, 7 & 8
Somm Recordings SOMMCD 259
Peter Donohoe is a pianistic
superman. The British pianist
chews through repertoire like
most people eat handfuls of
peanuts, and his technical
level is truly awe-inspiring.
Given all that, that it should
have taken him so long time to tackle Prokofievs
sonatas is something of a mystery, but here, in
his third volume of the sonatas, he comes close
to the peaks climbed by Richter, Marshev and
Gilels. The three sonatas Nos 6-8 are called the
War Sonatas and the more introverted No 8
works well programmed in concert between
Nos 6 and 7, as if a sort of slow movement.
Donohoe is simply fantastic with No 6, racing
straight into the first Allegro and leaving the
listener breathless in the last Vivace movement.
There are others who can control the fearsome
No 7 just as well, but Donohoe has the extra
power to let the reflective side of No 8 shine
bright. All in all, a great victory, and surely the
highlight of his Prokofiev series.
Brahms: Works for Solo Piano Vol 6
Chandos CHAN 10903
Two excellent pianists have
recently embarked on
recording the complete
Brahms piano music
Jonathan Plowright for BIS
and Barry Douglas for
Chandos. Douglas is the first
past the finishing line with this sixth volume
containing some of Brahmss more rare piano
pieces, not least a finger-breaking arrangement
of a Chopin tude and a Weber rondo. In
between such rarities, he weaves in the better-
known intermezzos and capriccios from opus 76
all to tremendous effect. The skill and sincerity
he gives the early unpublished Hungarian
Dances is rewarding to hear, as are the couple of
gigues. This release, which is truly Douglass
crowning glory, ends with his performance of the
left-hand arrangement of the Bach Chaconne
originally written for solo violin. Tenderness,
rhythmic stability and idiomatic pedalling
simply make this the best performance of this
fine transcription to have ever come my way.
Bach: Goldberg Variations
Hyperion CDA68146
In 1999 Angela Hewitt made
a fine version of the Bach
Goldberg Variations for
Hyperion, which has ever
since had the recording as a
bright star in its catalogue.
That this new version might
push the earlier one out of the catalogue is a
shame. This time Hewitt is rhythmically freer
and her phrasing more in line with her generally
less romantic view of the work, however, the
respect and sincerity that she so convincingly
brought to her first version is here supplanted
by a chirpiness that her many admirers will find
utterly charming. But with repeated listenings
one wishes for a Rosalyn Tureck, who inspired
Glenn Gould with her clear voicing of all
the parts, or a Konstantin Lifschitz, whose
phenomenal keyboard control weights every note
to its full value. Theres the usual crystal-clear
Hyperion recorded sound, which, along with
Hewitts lecture-long booklet notes, will help
make this a perfect recording for her fans.

Pianist
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 ANTHONY HEWITT
Scriabin: Complete Prludes
Champs Hill CHRCD072
Danacord DACOCD 779
Theres a journey that one
takes in Scriabins Prludes:
you begin with the young
Chopin-influenced composer
and end with the older
Scriabin and his bizarre late
prludes in which tonality is
about to break into pieces. As a collection, these
works show every side of Scriabin. On his
journey through these works, Anthony Hewitt
seems slightly intimidated, choosing a hesitant
approach in many of the slower prludes with
tempos almost grinding to a halt. His more
exultant outbursts in the later faster prludes are
better judged and his technical control is never in
doubt. However, it is hard to discern a strong line
through the prludes development, something
other pianists not least some of the Russian
school have grasped. Selected individually, the
later, faster and louder prludes are the most
successful and here Hewitt can easily stand out as
a top choice. So if you can live with his sedate
early ones, theres much to admire.
RARITIES OF PIANO MUSIC 2015
Live recordings from the 2015 Husum Festival
various pianists and composers
This year sees the 30th
anniversary of one of the most
inventive festivals devoted to
lesser-known piano repertoire.
Danacord has released its
annual CD of highlights from
the two-week-long August
festival, held in a castle in the North German
town of Husum. Each disc contains recordings of
todays finest pianists in repertoire they would
probably never get to record commercially.
Three of todays best British pianists Jonathan
Plowright, Jonathan Powell and Martin Jones
give astonishing performances of music by
Craxton, Dobrowen and Guastavino. The discs
cornucopia of music is made even more
overwhelming by the inclusion of an 18-minute
long improvisation by Cyprien Katsaris that must
be heard to be believed. And who would have
thought that Plowright could do such a swinging
boogie-woogie! Good piano sound and, as always,
informative and well-written booklet notes.
SHAI WOSNER
Haydn & Ligeti: Concertos & Capriccios
Onyx Classics ONYX 4174
In a cutting-edge restaurant
with a penchant for the
experimental, nobody would
question the partnering of
smoked herrings with
chocolate sauce or any
other weird combination for
that matter. So why not stick Haydn and Ligeti
together? They would present a compatible menu
together, wouldnt they? On the evidence of this
disc its hard to think they would, even though
Shai Wosner is a fine pianist with excellent
articulation and a pleasant sound, and the
Danish orchestra gives him a good ride for his
money in both concertos, The booklet notes
state that humour is meant to be the common
thread, but thats a forced intellectual way of
trying to convince us that there are musical
similarities from these two composers some 200
years apart. There are already some great Haydn
concerto releases around, and the Ligeti is not
such a rarity. But programme them together?
Not a memorable meal.

PIANOFORTE
TUNERS ASSOCIATION

Do you:
Need a piano tuner?
Need advice about purchasing a piano?
Want to join the Association?
Want to become a piano tuner?

Visit www.pianotuner.org.uk
or contact the Secretary on
4 Guildford Road, Dukinfield
Cheshire, SK16 5HA 0845 602 8796

The Association provides the music profession and general

public with a first class professional service in which they trust.

87 Pianist 92

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 REVIEW
Sheet music
Michael McMillans round-up includes ABRSMs new piano syllabus,
Trinitys Raise the Bar series, Schumanns Album for the Young, Brahms waltzes and more
AVAILABLE FROM THE PIANIST DIGITAL STORE pianistm.ag/digitalshop
RAISE THE BAR
Trinity College
London
ISBN: 978-0-85736-492-0
(Initial-Grade 2); -493-7
(Grades 3-5); -494-4
(Grades 6-8)
ABRSM published a set of
four volumes last year called
Encore, which contained a collection of popular
Grade 1 to 8 pieces from their past graded
syllabuses. Now we have Trinitys rejoinder,
Raise the Bar, which consists of three similar
books that present favourite repertoire from
former Trinity Initial to Grade 8 syllabuses.
It is a useful and interesting resource in this
regard, and the total of 70 pieces ranging from
Baroque to contemporary styles come with the
reassurance of having been tried and tested by
students worldwide. Each piece also comes with
teaching notes by Graham Fitch, and a table at
the back of each volume provides insights into
the essential elements of each piece, such as key,
tempo, time and characteristics.
SCHUMANN
Album for the Young
Brenreiter
ISMN: 979-0-006-53964-2
The 43 pieces that make up this
album have enjoyed universal
popularity since they first
appeared in 1848. In this edition, the musical
text is primarily based on Schumanns copy
of the first edition, while Clara Schumanns
instructive edition has been consulted to
provide fingerings (supplemented by those of
Ragna Schirmer, a German pianist), metronome
marks and pedalling indications. The appendices
contain several more pieces that werent
published, as well as themes by other composers
that Schumann collected for his daughter.
Schumanns advice to young musicians with
its nuggets of wisdom is printed at the back
of the volume, where youll also find a critical
commentary. A seven-page preface completes this
attractive and reasonably priced book.
THE LANG LANG
PIANO METHOD
LEVELS 1-3
Faber Music
ISBN: 978-0-571-53911-6
(Level 1), -53912-3 (2),
-53913-0 (3)
These Lang Lang-endorsed method books for
young beginners (seven- to nine-year-olds)
show that there is no magic formula towards
p88_Sheet Review-CORRECTED.indd 88
becoming the next global piano superstar. For
there is nothing revolutionary or innovative in
this method itself the music begins in five-
finger positions in C major, then G major and
on to A minor, while crotchets, minims, dotted
minims, semibreves and quavers are introduced
in that order. There is plenty of colour, a cartoon
figure of Lang Lang to guide the learner through
the book, and a link that goes to complementary
online resources such as MP3 demo tracks and
one-handed teacher accompaniments for part of
Level 1. Scales are introduced in the third book,
and Grade 1 is within sight by the end of this
book. (Levels 4-5 were released early September
and will be reviewed in a future issue.)
ABRSM PIANO
EXAM PIECES 2017
& 2018
ABRSM ISBN: 978-1-
84849-881-5 (Grade 1),
-882-2 (2); -883-9 (3), -884-6
(4), -885-3 (5), -886-0 (6),
-887-7 (7), -888-4 (8)
Piano exams account for
roughly 60 per cent of all the practical graded
exams that the ABRSM conducts worldwide
in other words, thats more than the combined
total of all the other instruments they examine.
The ABRSMs biennial refreshment of their
piano syllabus is therefore a major affair, not
just for their bottom line, but for the 300,000
(or so) candidates around the world who take
piano exams every year.
The nine pieces in each book (12 pieces in
Grade 8) cover a broad range of styles to cater
to this large consumer base, and benefit from
typically sleek and professional presentation.
The repertoire selection mixes familiar pieces
with lesser-known works, and all pieces have
been carefully chosen to match the ability level
of candidates at each grade.
If the selection in your book doesnt suit
your tastes, do remember to take a look at the
alternative pieces list, where youll find gems
such as a Zinck sonata movement (Grade 8)
and Paderewskis Nocturne opus 16 no 4
(Grade 8), and favourites that appeared in
previous syllabuses such as Brian Bonsors Willie
Wagglesticks Walkabout (Grade 7) and Gedikes
Miniature in D minor (Grade 5).
All books can be bought with or without a
demo CD [the catalogue numbers listed above
are with the CD], but if the extra cost of the CD
is prohibitive, you can listen to snippets for free
and download individual tracks for a small price
at abrsmdownloads.org.
Pianist
8888 92
Pianist 83
BRAHMS
Waltzes op 39, Waltzes
op 39 simplified version
Henle
ISMN: 979-0-2018-1286-1
(HN1286), -1287-8 (HN1287)
These two volumes were
extracted from a single
volume (HN 6014) in Henles new edition of
Brahmss complete works, edited by Katrin Eich.
Conceived and published as pieces for piano four
hands, they also appeared in a two-pianos,
four-hands version, followed by two versions for
piano solo. The simplified version (Grade 4-6),
which Brahms called the childrens edition, is
easier due to the pruning of the musical textures
throughout the waltzes, and modifications to five
of the key signatures. All but one of the page
turns occur at the end of a piece, and the music
is laid out with Henles characteristic clarity.
Brahmss fingerings have been supplemented by
those of Rolf Koenen. Whichever volume you go
for, you cant fault the quality of these editions.
RELAX WITH
Baroque, Classical,
Romantic, Folk,
Impressionist, ...Piano
Schott
ISMN: 979-0-2201-3681
-8 (Baroque), -3682-5
(Classical), -3683-2
(Romantic), 3684-9
(Folk),-3685-6 (Impressionist) [ED13849-53]
Schott Musics Relax With series contains 169
pieces selected from Schotts catalogue by British
pianist Samantha Ward. Pieces written as piano
solos are all presented in their original forms,
while some of the music in the Baroque/
Classical/ Romantic/ Impressionist books (and
all the folk piano pieces) are arrangements by
notable figures such as Carsten Gerlitz and
Barrie Carson Turner. The appearance of the
music notation differs according to the engraving
style of the volume from which it was taken.
The books cater for a wide range of levels. The
easiest pieces, such as Robert Fuchss Sad at Heart
are around Grade 1-2, while the hardest, such as
Brahmss Intermezzo opus 118 no 2, are on several
diploma syllabuses. This may limit the books
appeal for more advanced students, for whom
only a few pieces will provide a challenge, but the
easier pieces can be useful sight-reading material.
Each book contains a generous quantity of music
that lives up to its billing to help you unwind
with some of the piano repertoires greatest works,
alongside lesser known pieces from the Baroque
period right through to the 20th century.
16/09/2016 09:58
 WHERE C AN I FIND...
R E TA I L E R S
CHESHIRE
Shackleford Pianos
Athey Street
Macclesfield
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0800 0329919
shacklefordpianos@me.com
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LONDON
Peregrines Pianos
137A Grays Inn Road . London
WC1X 8TU
Tel: 020 7242 9865
E: info@peregrines-pianos.com
W: www.peregrines-pianos.com
We are here to sell and hire out fine,
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and to provide a unique working
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NW LONDON
Markson Pianos
The Name to Note
7 8 Chester Court, Albany Street
LONDON NW1 4BU
Tel : 020 7935 8682
Web: www.marksonpianos.com
Our family run business established
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SURREY
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www.pianoworkshop.co.uk
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126 Deansgate, Manchester M3 2GR
0161 834 3281
pianos@forsyths.co.uk
www.forsyths.co.uk
With over 150 years of experience
Forsyth offers the complete piano
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stephen@stephenbrandonpianos.co.uk
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We have been selling high quality
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www.Yorkshirepianos.com
One of the countrys largest selection
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 CL ASSIFIEDS
Est 1910
C

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TECHNIQUES
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on 0845 226 0477
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Improve your playing with

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