O 4 WITHFR

PL
F 0 E
VE E
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TO H A
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CD T
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SU

& M
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JUNE - JULY 2015

NL U
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IN S
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No 84 SO
NS
Helping you become a better player

MASTER THE
BLACK
NOTES
3 STEP-BY-STEP LESSONS
✓ AMY BEACH for the beginner
✓ WAGNER for the intermediate
✓ MENDELSSOHN for the advanced
Read what’s great about
DIGITAL PIANOS!
IGOR
LEVIT
The deep-thinking
Russian on finding
that special tone

MUSIC THEORY
LOVE IT OR LOATHE IT?

FANCY FOOTWORK
BAROQUE & CLASSICAL
PEDALLING TECHNIQUES
WATCH THE VIDEO LESSON TOO!

p01_pianist84.indd 1 18/05/2015 16:30

15679 Steinway Pianist Magazine (Issue82)_Layout 1 12/01/2015 17:08 Page 1

“The Steinway is not only an

instrument, it is a work of art of the
first rank." Christoph Eschenbach

For information on Steinway & Sons pianos or to arrange a private appointment to visit our London showrooms,
2• Pianist 82
please call 0207 487 3391 or email info@steinway.co.uk WWW.STEINWAYHALL.CO.UK

p02 Ads.indd 2 14/05/2015 09:27

 Pianist 84
June-July 2015 CONTENTS
The next issue of Pianist goes on 31 July 2015

67 74

76 14 9
4 Editor’s Note 26 How to Play 3 Janet Newman on 82 Insuring your Instrument Ever
a Wagner Albumblatt (Scores page 41) wondered how well protected your
4 Reader Competition Win a Martha beloved piano is? We look at the terms
Argerich & Daniel Barneboim DVD 27 Great Piano Composers of the and conditions for both acoustic and
Classical Era Pre-order your copy of digital, and what you need to know
6 Readers’ Letters this Pianist special issue
84 Subscribe today for just £4.50 an issue
8 News A plethora of pianists at this year’s 27 The Scores A pullout section of 40 by Direct Debit and receive an Improve
BBC Proms, Argerich and Barenboim pages of sheet music for all levels your piano grade book worth £8.99
united, Steinway unveils the Spirio player
piano, a farewell to Katin and more 45 Beginner Keyboard Class 86 CD Reviews Louis Lortie’s waltzing
Hans-Günter Heumann’s Lesson No 12: Chopin and Donka Angatschewa’s
14 Igor Levit He might love Bach and Polyrhythms concertos disc both receive five stars, but
Beethoven, but he has a penchant for it’s Stephen Hough’s Grieg Lyric Pieces
Rzewski too. Jessica Duchen meets the 67 Jeremy Denk Inge Kjemtrup meets that wins Editor’s Choice
deep-thinking Russian pianist the concert pianist and writer to find out
what makes this $625,000 MacArthur 88 Sheet Music Review Praise for
18 How to Play Masterclass 1 ‘genius grant’ winner so special Bernstein from Boosey & Hawkes,
Mark Tanner on tackling the black notes Debussy from Bärenreiter, American
70 Music Theory Love it or loathe it, piano duets from OUP, plus more reviews
20 How to Play Masterclass 2 getting to grips with theory will help of music for all levels
Graham Fitch on Baroque and Classical your playing no end. John Evans presents
pedalling. Second of a three-part series a strong case for theory 89 Classifieds
on pedalling
Don’t miss Graham’s online lessons! 74 Leif Ove Andsnes He’s approaching
the end of a four-year Beethoven journey,
22 How to Play 1 Melanie Spanswick on which culminates at this year’s BBC Proms.
a Minuet by Amy Beach (Scores page 30) Erica Worth finds out how it began

24 How to Play 2 Lucy Parham on 76 In Praise of Digitals Gez Kahan Sign up for our FREE e-newsletter
Mendelssohn’s Song without Words op 67 looks at features that make digitals able to Make sure you keep in touch with our
no 2 (Scores page 62) transcend the limits of an acoustic piano editorial team and receive exclusive extra
articles and interviews.
Cover photo: © Felix Broede. Images this page: © Michael Wilson (Denk); © Felix Broede (Levit); © Oezguer Albayrak (Andsnes); © Belinda Lawley (Argerich & To register, visit:
Barenbom). 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. www.pianistmagazine.com

p03_Contents84-FINAL.indd 3 15/05/2015 09:17

 Editor’s note Pianist
T
his past month I’ve received several inspirational letters from Pianist
readers, and this issue’s star letter from Jennie Gardner was especially www.pianistmagazine.com
moving. Jennie writes about the passion and joy she feels for the
PUBLISHER
piano, even though she claims there is ‘nothing magical’ in her Warners Group Publications plc
playing. That made me think about what we mean when we say a pianist Director: Stephen Warner
possesses a special ‘it’ quality. Publisher: Janet Davison
The answer might be found inside this issue, in three in-depth interviews EDITORIAL
6 Warrington Crescent,
from three super-talented and yet totally different pianists. Firstly, there’s our London,W9 1EL, UK
cover artist Igor Levit. The whole music world has been talking about him Tel: +44 (0)20 7266 0760
recently (and I’ve heard him live for myself – he’s out of this world). Read Fax: +44 (0)20 7286 0748
Editor: Erica Worth
what he has to say about playing ‘badly’, about approaching Bach on the editor@pianistmagazine.com
modern instrument, and about really listening to the sound you create. Then Deputy editor: Inge Kjemtrup
deputyeditor@pianistmagazine.com
there’s concert pianist and writer Jeremy Denk, who is interviewed on page Designer: Nathan Ward
67. Jeremy recently won a $625,000 MacArthur ‘genius grant’. How did that
A DVERTISING
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who has been immersed in a Beethoven journey for the past four years. We spotted the Norwegian pianist’s garethm@media-shed.co.uk
Lottie Day, Advertising executive
star quality way back in 2001, when he was on our first-ever Pianist cover. lottied@media-shed.co.uk
What would these mighty three pianists say about music theory? I reckon they’d all say it’s important. Tel: +44 (0)845 226 0477
That’s what John Evans argues in his article on page 70 – embrace theory rather than fear it. He’s backed Fax: +44 (0)845 226 0377

up by the likes of British pianist Joanna MacGregor who says this about theory, ‘I absolutely loved it… it
was like a bit of joyful maths’. Take that as inspiration to get cracking on your Grade 5 theory! READER SERVICES
Our star letter writer Jennie Gardner tells us that she is glad that Pianist caters to all levels. The Scores
this issue, for example, contain lots of easier pieces by Purcell, Czerny, Bach and Amy Beach; an array of UK & WORLD SUBSCRIPTIONS
intermediate-level pieces including Wagner, Chopin and Satie; and finally, an advanced Mendelssohn (EXCEPT USA & CANADA)
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P.S. We received dozens of entries to our ‘Compose an Arrangement’ Competition. You can subscribe online, via email,
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DANIEL BARENBOIM DUOS DVD FOR ALL OTHER ENQUIRIES

Contact Janet Davison, Publisher
Warners Group Publications
Answer the question below correctly, and you could be one of three winners to Fifth Floor, 31-32 Park Row,
Leeds, LS1 5JD, UK
receive a copy of the Martha Argerich and Daniel Barenboim concert from Tel: +44 (0)113 200 2929
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Registered Address :Warners Group Publications,West Street, Bourne,
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Postcard entries are also accepted. Please send to Erica Worth, Editor, COMP PIA0115, Pianist,
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to put your name, address and telephone number on the postcard as well as your answer.
Pianist ISSN 4200395 is published bi-monthly (6 times a year / February,
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4• Pianist 64 ISSN 1475 - 1348

p04-editorial84-FINAL.indd 4 15/05/2015 09:26

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p05 Ads.indd 5 Anniversary ad UK - Pianist.indd 1 12/05/2015
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09:29
 Readers’
Letters
Get in touch
WRITE TO:The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK
OR EMAIL: editor@pianistmagazine.com
STAR LETTER wins a surprise CD. Letters may be edited.

STAR LETTER Last year I decided to get back into the piano,
so purchased a copy of your magazine. I very
The magic of playing the piano quickly took out a subscription: the variety
of graded music, the articles, the reviews, the
When I first started reading Pianist, I felt not only out of my depth but also a fraud. Surely, I said teaching help has really engaged me. (I too have
to myself, this is a magazine for serious pianists, professionals even, not for people who simply learnt a great deal from Graham Fitch’s ideas on
aspire to be better than they are. As someone whose family is not musical and who had never practising). At one point, I had a passion to get to
listened to anything but pop songs, I was not a prime candidate for learning the piano. It was my Grade 8, but do not know whether I could spare
grandmother who suggested that I might like to have lessons, so, aged 14, I made my first tentative the time (or have the energy) for all the scales,
foray into the world of music. My piano teacher did not expect me – a late starter, with no musical arpeggios, technical work as well as pieces.
background – to stick to it. It was a certain determination that helped me persevere and slowly A friend mentioned the London College of
work my way through the grades. I stopped playing when I took a gap year, and I only played Music Leisure Play exams, where you can just
sporadically at university, mainly because the pianos I had access to were so old and out of tune that play four pieces: three from specified sources and
only half of the notes worked, and the sound they made was truly awful. one choice of your own. There are no technical
After university I took the piano up again. I was about to start studying for Grade 8 when I fell demands re: exercises/scales etc. This appeals to
pregnant. Now my son is 18 months old, I have gone back to piano lessons. Deep down I cherish my me. I would like to push myself as far as I can
dream of reaching Grade 8 and sometimes I even dare to think about the possibility of a diploma. go, but essentially I am now (at the ripe young
I am not a particularly good player; there is certainly nothing magical about my playing – I don’t age of 62) playing for pleasure.
have that enviable ability to make people stop in their tracks or sit up straight and really listen. I would love to hear from anyone who can
I struggle with the technical side and with the concept of musicality. Oftentimes I am too busy suggest ways for me to take my piano studies
trying to find the right notes to worry about the subtleties of touch and phrasing, let alone further. In the meantime, I shall continue to
sufficiently control the pedal, and yet I try not to let this worry me. I play the piano because I enjoy subscribe to your great magazine for all it gives me.
it and want to have fun. I accept that I will never be an amazing player and instead focus on being Jerry Bettington, Leicestershire
the best that I personally can be.
To sit at the piano and feel a piece of music work its way under your fingers and into the very Jerry, you are doing wonderfully! Keep practising.
heart of your body and mind is such a satisfying thing to do. The deep resonance of sound and Can readers suggest ways for Jerry to make further
colour stays with me all day, an extra ray of sunshine, shining brightly and cheering me along. progress? Write to us at the contact details above,
Your magazine is the perfect companion and reading it is like embarking on a voyage of and we’ll pass on your words of wisdom to him.
exploration, which broadens my knowledge and understanding and introduces me to new pieces.
This new window on the world is so inspirational. Although I look at the advanced pieces and long A mystery London piano maker
for the day that I can play them, I no longer feel like a fraud, for I have realised that just like the I wonder if you at Pianist, your contributors or
piano, your magazine is for all players, whatever their level, the only prerequisite is a love of the your readers may be able to help me find out
piano and a desire to have fun! more about my great-grandfather and great-great
Jennie Gardner, Bath grandfather, who, I’ve discovered, were makers
  of pianos in London in the 19th century.
What an inspirational letter! We are delighted that Pianist has been your companion on your musical My great-great grandfather was Robert Lovell,
journey and that you’ve kept on with your playing, even if your life has become busier. Your story is one and the censuses of 1841 to 1891 describe him
that many of our readers will find familiar. A surprise CD is on its way to you. as a pianoforte maker. Advertisements in local
newspapers confirm that he was a pianoforte
manufacturer in Holloway Road, Islington,
London during the 1850s, 1860s, and 1870s.
Smiling over ‘Cry Me a River’ Ready for a new challenge! My grandfather, Richard Buckler, married
When I picked up a copy of the current issue Just over a year ago I subscribed to Pianist, Robert Lovell’s daughter and is also described
of Pianist [No 83], and saw the wording on the which I love. Like Elisabeth Geiser (Readers’ in censuses as a pianoforte maker. It seems
cover ‘Learn the sultry “Cry me a River”’, I was Letters, issue 83) I had been ‘dormant’ for some that he worked with Robert Lovell and there
delighted. It is such a great song, and I’ve wanted years. I started playing the piano at the ripe old is a newspaper reference in 1879 to Lovell &
to learn it for some time. I’ve never found the age of 37 when my dear grandmother passed Buckler, Pianoforte Manufacturers.
perfect arrangement for my level of playing, on and left me her beloved upright piano. I was I shall be delighted to receive any further
which is what you’d call intermediate. The ones determined to learn to play this piano, even information about these two men and their
that I’ve come across have either looked too easy though it was riddled with woodworm! I could work. And I wonder if there are, or ever were,
or too hard. But this suits me perfectly, and the not then afford another piano, so I treated this any ‘Robert Lovell’ or ‘Lovell and Buckler’
harmonies are really ‘juicy’. It’s going to take me piano for six months before bringing it inside. pianos in existence?
some time to perfect, but that’s the joy of it. Subsequently, I had lessons from a lovely Guy Buckler, Hertfordshire
I also appreciated the accompanying article teacher in a local town. Being a classical
by Inge Kjemtrup. I knew very little about the guitarist originally, I had great difficulty at first We consulted some experts, but are sorry to say
background to the piece. It was a real eye- reading the bass clef. However, I persevered that we have so far proved unsuccessful in finding
opener, and it somehow makes me understand and eventually got to Grade 6. Then, it just all anything about this maker. Can any of our readers
the music more. Thanks for both! stopped: family, children, high-pressured job, help Mr Buckler? Please contact the Editor at
David Benson, Wiltshire etc. just all conspired to squeeze my time. editor@pianistmagazine.com.
6• Pianist 84

p06_letters84-FINAL.indd 6 14/05/2015 11:54

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p07 Ads.indd 7 14/05/2015 09:30

 News All the latest news from the world of the piano
PIANISTS REIGN AT THE BBC PROMS
Mozart, Prokofiev, Schiff’s Goldbergs and more
This year’s BBC Proms (17 July-12 Sep) is shaping up to be a gratifying one for
pianophiles. Pianists are everywhere, playing repertoire from Mozart to Boulez, and
managing to nudge aside the often-more heard violin from the top spot. Even the
Last Night of the Proms (12 Sep) features a pianist: Benjamin Grosvenor (pictured
© Umberto Nicoletti (Labeques); © Decca/Sophie Wright (Grosvenor); © Belinda Lawley (Argerich & Barenboim)
above), playing Shostakovich’s Second Piano Concerto.
This year all of virtuosic Prokofiev piano concertos will be played in a one-evening
marathon on 28 July, with the London Symphony Orchestra conducted by Valery
Gergiev. Daniil Trifonov plays Nos 1 and 3, while his teacher, Sergei Babayan,
handles Nos 2 & 5, leaving Alexei Volodin to perform No 4, for the left hand.
Prokofiev’s Fourth Concerto was commissioned by the one-armed Austrian pianist
Paul Wittgenstein, whose most famous commission, the Ravel Concerto for the Left
Hand, is also played this year, by Marc-André Hamelin (12 Aug), while Jean-Efflam
Bavouzet plays the other Ravel, the Concerto in G (7 Aug).
A Mozart thread weaves through the Proms, with many of the best-known keyboard
concertos making an appearance. It starts on opening night (17 July) with Lars Vogt in
Concerto No 20 K466, and goes on with the Labèques (pictured above; they’ll play the
Concerto for two pianos K365; 31 July), Francesco Piemontesi (No 26 K537; 2 Aug),
Elisabeth Leonskaja (No 22 K482; 19 Aug), David Fray (No 24 K491; 24 Aug),
Maria João Pires (No 23 K488; 28 Aug), and Igor Levit (No 27 K595; 2 Sep).
Other pianistic pleasures include András Schiff in a late-night concert of the
Goldbergs (22 Aug), Leif Ove Andsnes with his monumental Beethoven journey (see
page 74 for details) and Jeremy Denk in the rarely heard Cowell concerto (see page 67).
This year’s Prommers will definitely be shouting ‘Heave-Ho!’ many more times
than normal, as yet another piano makes its way on or off the Royal Albert Hall stage.
For full information on this year’s BBC Proms, go to bbc.co.uk/proms
Est 1910
C
CM
MY
CY
CMY
7 - 8 chester court. albany st. london. nw1 4bu
020 7935 8682 www.marksonpianos.com
p08 news84-FINALish.indd 8
Fantastique finalists at
Paris amateur competition
They’re called amateurs, but the five so-called amateur pianists
battling for first prize at this year’s Concours des Grands
Amateurs de Piano on 15 March at the Grand Amphitheatre of
the University of Assas in Paris played at a nearly professional
level. I have attended many of this competition’s finals as a
member of the press jury, and this was the highest standard yet.
The most outstanding finalists were Michael Slavin, an
ophthalmologist from the USA, Eric Rouach, an estate
agent from Israel, and Samuel Bach, a doctoral student in
mathematics from France. Slavin entranced with an intimate
but intelligent Ravel Le tombeau de Couperin, Rouach brought
the house down with a driven and convincing Liszt Sonata
and Bach brought gorgeous singing tone and inner calm to
Schubert’s Sonata D959.
Choosing the winners was not easy for those of us on the
press jury nor could it have been for the main jury, which
included Marc Laforet, Michel Dalberto, Reiko Nakaoki,
Marc André and Bruno Rigutto. After a short deliberation, the
jury awarded Slavin and Bach joint first prize, with Rouach
given second prize. Third prize was another tie, going to the
remaining two finalists: Oliver Korber, an investment banker
from France, and Johannes Gaechter, a computer programmer
from Germany. Rouach won the press jury prize, and he shared
the audience prize with Bach.
The winners get to share the $3,000 prize, plus each will
perform with an orchestra this autumn. About 100 contestants
from over 29 countries entered this year’s competition, or
rather an ‘anti-competition’, as the president Gérard Bekerman
calls it. It was founded in 1989, and continues to be one of the
most popular amateur piano competitions.
Erica Worth
15/05/2015 09:20
 Many words
are used to describe
pianos
TOGETHER AGAIN:
Martha Argerich & Daniel
Barenboim play duos
A friendship forged as children in their native Argentina means that
Martha Argerich and Daniel Barenboim have a lifetime of understanding,
personal and musical, which is evidenced in a new DVD of them playing
piano duo repertoire.
The touching DVD booklet describes when they both played at the home
of a local music lover. ‘We were the two little wunderkinder,’ says Argerich.
‘My mother used to say, “Oh, why can’t you be like Daniel?” For his part,
Barenboim recalls her playing of Chopin’s C sharp minor Etude from opus
10 as having ‘exactly the same fire and brilliance that she plays it with today.’
The two talents went their separate ways to brilliant careers, but recently
have performed duos together, which culminated in the new disc. Pianist
Editor Erica Worth was at the Royal Festival Hall when the encore following
Argerich’s performance of Beethoven’s First Concerto with Barenboim
conducting was Schubert’s duo, Grand Rondo in A D951. ‘Argerich and
Barenboim sat close together in front of the keyboard, creating music of the
highest level,’ says Worth. ‘An intimate account – as if the audience didn’t
exist. They worked the music together subtly, in tune with each other’s musical
thoughts. The hall was silent. We all knew this was history in the making.’
The DVD features Mozart’s Sonata for Two Pianos in D K448, Schubert’s
Variations on an Original Theme in A flat D 813 and the four-handed
version of Stravinsky’s Rite of Spring. The recording was made during the
Festage in Berlin in April 2014 and recorded at the Philharmonie Berlin.
Deutsche Grammophon released a CD of the same concert last year.
Martha Argerich/Daniel Barenboim Piano Duos from Euroarts: DVD 2059998
and Blu Ray 2059994 (CD: Deutsche Grammophon 0289 479 3922)

Obituary: Chandos Records

founder Brian Couzens
Brian Couzens, the founder of the noted
independent record label Chandos, died in April
at the age of 82.
Couzens began as an arranger, music publisher
and recording engineer, and started Chandos in
1979. Within a decade, the new label was praised
by critics for its high audio standards and for its
exploration of a wide repertoire, notably music
by British composers. Chandos scooped up
multiple awards, with Couzens himself receiving a
Gramophone special achievement award in 2010. On Chandos’s 30th
anniversary in 2009, Couzens reflected that he had ‘the opportunity to
work with some wonderful artists, and my philosophy has always been
to produce beautiful recordings that people wanted to hear.’

p08 news84-FINALish.indd 9 15/05/2015 09:49

 News All the latest news from the world of the piano
CD Review: 1 box,
32 pianists, 40 CDs
DG’s gigantic new collection
is an amazing treasure trove
Deutsche Grammophon has always attracted the finest
pianists, and many of them are represented with samples
of their finest recordings in a remarkable new 40-CD
collection, which can be purchased for little more than
the price of four full-price CDs. I can’t cite a single
disc in this box that doesn’t include some of the most
important piano recordings from the past 65 years.
Many collectors will already own some of the releases
here – ground-breaking Schumann from Géza Anda,
Ravel from Monique Haas and gritty Bartók from
Andor Foldes. Likewise, Mozart played by Clara Haskil
and the moving Grieg Lyric Pieces as played by Emil
Gilels have never been out of the catalogue.
The box presents 32 pianists born between 1895 and
1991, including no less than five Chopin Competition
winners, though not the 1980 winner, Dang Thai Son.
Chopin’s Etudes in the steely Pollini performance and the
Ballades wonderful realised by Zimerman are only two
of the many Chopin recordings included. Three versions
of Chopin’s Barcarolle (Argerich, Grimaud, Zimerman)
make for fascinating comparison. Argerich’s debut album
is still a marvel, and could Debussy reach any greater
heights than in the hands of Michelangeli?
Collectors will savour the rarities, too: the two Weber
sonatas from Dino Ciani, four sparkling Haydn sonatas
from Christoph Eschenbach and a colourful Debussy
recital from Alexis Weissenberg. Then there are some
controversial recordings, such as Andrei Gavrilov’s
Goldberg Variations and the Pogorelich ‘edge of your seat’
recital which includes Ravel’s Gaspard. The younger Asian
stars, Lang Lang, Yundi and Yuja Wang, are also here with
their finest recordings from the catalogue, as are the
Russians – Richter, Berman, Trifonov and Horowitz.
It’s a pity there are so few Chopin nocturnes (a few from
Pires) and just half of Szidon’s Scriabin sonatas. It’s also too
bad that short playing time of some CDs was not better
filled. However, these are minor quibbles and should not
stop anyone from grabbing this box while it is available.
Marius Dawn
111 THE PIANO: Legendary Recordings on Deutsche
Grammophon, Limited Edition (DG 0028947943518;
40 CDs)
p08 news84-FINALish.indd 10
A breath of fresh air – Steinway Spirio
New high-tech player piano technology debuts
Steinway’s Spirio player piano technology
made its debut at a glittery launch at
London’s Serpentine Sackler Gallery
in May. Spirio – or ‘Spirare’ in Latin –
means ‘to breathe’, and this new product
is a breath of fresh air for Steinway.
Introducing Spirio, Steinway CEO
Michael Sweeney (pictured at the launch)
said that it was the first new product from
the legendary maker in 70 years.
Spirio boasts a high-resolution playback
system that uses proprietary software that
measures hammer velocity and proportional pedalling, making it possible to see the subtle
playing of any number of Steinway artists on this high-tech player piano. At the launch,
British pianist Simon Mulligan played a Chopin waltz and Gershwin’s ‘I Got Rhythm’, which
was then played by the Spirio on its own. A Spirio performance of another Gershwin piece
(coordinated with a film of Gershwin performing) was also impressive.
The Spirio system is controlled by an iPad app, and will be available in North American on
Models B and M, and in Europe and Asia in Models B and O.
For details, visit www.steinwayspirio.com. More about Spirio in a forthcoming issue of Pianist.
British pianist Peter Katin dies
The distinguished British pianist Peter Katin, who found initial
fame in the Romantic repertoire but forged his own path, died in
March, age 84. Born into an unmusical family, Katin became a
student of the noted pedagogue Harold Craxton. Katin made his
Wigmore Hall debut age 17, enjoyed success at the Proms with the
Rachmaninov Third Concerto in 1953, and was soon a regular on
the concert stage. He also toured internationally, including the first
tour made by a British pianist, in 1958, of the Soviet Union.
But Katin was not satisfied with his place in the musical
firmament. As his former concert manager Lisa Peacock writes,
Katin’s ‘real interest lay in the Classical and less flamboyant
Romantic repertoire, and especially in the music of Chopin of which he was considered an
outstanding interpreter.’ In 1978 he moved to Canada to teach, and, returning to the UK
in 1984, found the musical landscape not to his liking. He nonetheless rebuilt his career
and attracted a late-life following. Peacock says, ‘He made a large number of recordings,
many of which are still obtainable, including complete cycles of Mozart’s piano sonatas,
Grieg’s Lyric Pieces and Chopin’s Nocturnes, Ballades, Polonaises and Waltzes.’
Yamaha’s ‘b in the movies’ competition
a piano for life
To celebrate the tenth year of its popular b series
pianos, Yamaha Europe has announced its ‘b in
the movies’ competition. If you play on one of the
b series pianos (b1, b2 or b3,), all you need to do
to enter is to upload a short video on the Yamaha
Facebook page of yourself ‘enjoying and playing
a b series piano,’ as Yamaha puts it. ‘The clip can
be shot anywhere: in a music shop, in a school, at
home or at one of a number of locations up and
down the country where Yamaha will be installing
pianos for the duration of the promotion.’
Simply upload your video to YouTube or
© Chris Perry/Steinway (Spirio)
Vimeo, and enter at www.facebook.com/
YamahaPianosEurope. The deadline for entries is Enter our online video competition
1 October, and you have to be a UK or European resident s to enter. If your video is chosen,
We’ve been making b Series pianos for 10 years and want everyone to join in the celebrations. Enter our online video
in the competition and you could win one of ten £800 prizes. Simply upload a short video of you enjoying a b Series piano to
you’ll win £800 – and maybe even another £800 if yourb movievideo receives the most public
#playya
ma hatowi
n
YouTube or Vimeo, and enter on our Facebook page by October 1st 2015. The top 20 entries, as voted by the public,
will be judged by our panel which includes Yamaha Artist Jamie Cullum and Piano Battle.
1 FIND a b Series - Try your local Yamaha piano store or music school
2 SHOOT your video - Make your own “b” movie with yourself or others having fun
votes (get your friends and family to vote too). Plus, if you’re a Pianist reader, your entry
3 UPLOAD and ENTER at facebook.com/YamahaPianosEurope
4 SHARE with friends and family and ask them to vote for you! Please make sure that the recording is your own original
composition or copyright free. Terms and Conditions apply.
Visit uk.yamaha.com for full details.
will appear on the Pianist Facebook page – fame, if not fortune, guaranteed!
#41672 - B Series Anniversary ad UK - Pianist.indd 1 12/05/2015 10:56
10. Pianist 84
15/05/2015 09:20
 A Piano For Every Performance

KawaiUK www.kawai.co.uk
11• Pianist 84
@KawaiPianosUK

p11 Ads.indd 11 14/05/2015 09:44

 R E TA I L E R F O C U S

JAQUES SAMUEL PIANOS

Supporting the music community for 80 years

London retailer Jaques Samuel Pianos is a sure stop for piano lovers – with pianos to
buy, to rent, to practise on, a restoration service and much more. Now in its 80th year,
and with Managing Director Terry Lewis at the helm, it continues to impress
FESTIVALS Jaques Samuel Pianos’ experienced adjudicator to offer helpful, Top: Terry Lewis with a recorded Wigmore Hall recital, a
engagement with the community positive feedback in a relaxed and colleagues from Grotrian- concert at the Fazioli Concert Hall in
thrives through its three yearly piano friendly environment. Steinweg, Petrof, Fazioli Sacile, Italy, and a performance and
festivals and once yearly Junior & Kawai. Bottom, from interview on BBC Radio 3’s ‘In Tune’.
Festival. The Junior Festival is open to COMPETITION 2015 sees the 20th left to right: Daniil
youngsters from the four main colleges year of Jaques Samuel’s Intercollegiate Trifonov on Fazioli with EXAMS In 2013 the company
with the opportunity to perform at Piano Competition, which continues to Terry Lewis; Angela was thrilled to become an exam and
Wigmore Hall on a beautiful Fazioli! go from strength to strength – with the Hewitt on Fazioli; Royal diploma centre for the ABRSM and
With its many years of experience in Wigmore Hall final being webcast live College Professor Ruth Trinity. Suzuki teacher training also
the industry, the piano festivals – open around the world. Open to students Nye presents the trophies takes place at the showroom and with
to all ages, grades and levels – enable from London’s four main music at Wigmore Hall for the its competition heats and festivals held
Jaques Samuel to provide a highly colleges, the competition prizes include Junior Festival there too, it ensures a thriving centre for
all piano-related activity.

12• Pianist 84

p12_JS Advertorial-EW6.indd 12 15/05/2015 10:46


Sightseeing on the Kawai factory visit to Japan
FAZIOLI AND ARTIST
RELATED Jaques Samuel Pianos
continues to supply the world’s most
talented young pianists with the piano
of their choice, Fazioli, for their biggest
UK performances. Names include
Daniil Trifonov, Boris Giltburg,
Federico Colli, Francesco Piemontesi,
Antonii Baryshevskyi as well as 2014
BBC Young Musician of the Year
winner Martin James Bartlett.
Established stars such as Angela
Hewitt, Herbie Hancock, Louis Lortie
and Nikolai Demidenko are also
artists the company regularly provides
with Fazioli. During last year’s Arthur
Rubinstein Competition, the winner
decided to switch from a Steinway to a
Fazioli piano. His subsequent victory
demonstrates yet another of the many
significant occasions in recent years
where the new generation of pianists
have had the greatest success choosing
to perform on Fazioli. The last two
winners of the Rubinstein Competition
requested Fazioli for their Wigmore
prize recitals. There is no such thing as a
‘Fazioli Artist’. Mr Fazioli insists it must
be the pianist’s choice. To provide the
artist with the finest instrument in the
world continues to be the Fazioli ethos,
and as such, Jaques Samuel Pianos
continue to provide the world’s finest
piano from its London showroom.
TUNERS All of the company’s tuners
are required to pass strict in-house tests
in addition to any existing qualifications
they may have. Those interested in
pursuing concert platform work may
do additional training courses at piano
factories in Italy, Germany, Japan and
the Czech Republic – an opportunity
p12_JS Advertorial-EW6.indd 13
that Jaques Samuel Pianos is delighted
to provide to the piano tuners of the
future. It is the only shop providing a
concert technician course which takes
five years to complete.
TRIPS As part of the company’s
commitment to the pianos it sells,
Jaques Samuel provides a unique
insight for teachers and tuners (or any
interested parties!) into how and where
the instruments are made. Trips have
been organised to the Kawai Factory in
Japan, the Fazioli factory in Italy, the
Grotrian-Steinweg factory in Germany
and to Piano Fiks in Poland. The trips
help to demonstrate just why the
company chooses to work with these
particular brands, not to mention
simply being a lot of fun!
THE EDWARD MANDEL/
JAQUES SAMUEL PIANOS
BURSARY continues to support
students of the RCM, RAM and Trinity,
with the welcome new addition of
The Purcell School and The Yehudi
Menuhin School. There will never be
a time when talented young pianists,
many perhaps coming to the UK and
London for the first time, do not need
the help and support of the musical
community in achieving their dreams.
Jaques Samuel Pianos aims to be part
of that support, providing the yearly
bursary to one new recipient from each
college who shows a clear and promising
talent but who is in particular need of
financial assistance. It is the company’s
aspiration to be one of the many vital
components in making the success of
tomorrow’s greatest concert pianists a
reality. ■
13• Pianist 84
Jaques Samuel Pianos
from past to present
1935 – Jaques Samuel moves from
Austria to the UK with his wife Erna.
He was a piano tuner and set up as
such, but also sold a few pianos that
he reconditioned. His first ‘shop’
was situated in their front room in a
house in Notting Hill. Sadly Jaques’
health deteriorated and he returned to
Austria in 1965. He and his wife were
great friends with the stars of the day,
Richard Strauss, Arthur Schnabel and
Shura Cherkassky.
1965 – The Shop is sold to Edward
Mandel who was then a manager at
Marks and Spencer. In the same year
Jaques Samuel Pianos was appointed
Bechstein House, moving to Edgware
Road in 1972. Mr Mandel passed
away in 1999 and his three children,
Steve, Mel and Sue remain the major
shareholders.
Until 1998 the piano restoration
factory is located in the basement of
the showroom.
1996 – Terry Lewis becomes
Managing Director of Jaques
Samuel Pianos (formerly piano
buyer at Harrods). Work begins
on a £0.5 million refurbishment of
the showrooms. Practice rooms
introduced and increased to 14 by
2015. Terry continues the company’s
association with the leading lights of
the piano world – establishing lasting friendships with Daniil
Trifonov, Louis Lortie, Nikolai Demidenko and Angela Hewitt.
In 1996 Jaques Samuel Pianos is voted Music Retailer of the
Year by the MIA (Music Industries Association).
2014 – was the company’s most successful year in its
history, with 200 Kawai pianos alone sold that year. There are
in general 6,000 tunings per year, 1,000 short term hires, 600
domestic hires.
2015 (Jan) – 80 years anniversary of Jaques Samuel
Pianos, celebrated at a Gala dinner event at the London
showroom with all of Jaques Samuel’s nine full time staff
hosting at various tables.
ADVERTISING FEATURE
15/05/2015 12:51
 INTERVIEW
Game of Tones
IGOR
Anything but your stereotypical Russian virtuoso, Igor Levit loves Bach, Beethoven and
Rzewski, and tells Jessica Duchen why playing ‘badly’ can sometimes be helpful
T
his happens to be an
extraordinary time
for amazing pianists
under 30. Yet even
amid a peer group
that includes the
likes of Daniil
Trifonov, Benjamin Grosvenor, Federico
Colli and Boris Giltburg, Igor Levit
seems a young man destined for
greatness. Compact, well-dressed,
ferociously intelligent, this young
German-Russian musician is 28, but
already has a recording contract with
Sony Classical. He was also a BBC New
Generation Artist for two years and he
has been showered with international
awards. His debuts at the world’s
greatest concert halls are piling up in
quantities matched only by the
subsequent reinvitations.
It’s an imposing start to a career –
but with the last six Beethoven sonatas
as his first CD release, followed by
the six Bach Partitas, Levit has set his
own bar high from the outset.
You would expect no less
from a young man who,
while still a schoolboy,
commissioned a
p12_interview-FINALish.indd 14
LEVIT
work from that powerhouse of
contemporary American pianism,
Frederic Rzewski.
Levit was born in Russia – in
Nizhny-Novgorod, also Daniil
Trifonov’s hometown – but the family
moved to Hanover when he was
eight. He regards Germany as his
home country and German as his first
language, identifying not so much
with his Russian background as with
his parents’ attitudes and heritage.
‘Both are Jewish and both came from
educated, intelligent families,’ he says.
‘I grew up in a house that was full of
books and conversation.’ His mother,
a pianist herself, had studied with a
pupil of Heinrich Neuhaus, and was
young Igor’s first teacher.
The literary influence of his family
and the encouragement he received
at school to take an interest in
politics emerges in
14• Pianist 84
playing that is full of a questioning,
questing personality – an unconscious
yet inevitable reflection, he suggests.
‘I base everything on the composer’s
text. But it often happens that as I play,
I’m very focused and then something
comes into my mind that I experienced
a month or a week before: something
I read, something I ate, someone I met.
Of course it changes the atmosphere
and the aura of the music. It happens
all the time.’
Anyone who expected Levit to fit the
stereotype of the young Russian virtuoso
just playing warhorse concertos has had
to think twice. ‘People don’t expect that
any more,’ he laughs. ‘I love “Rach 2”,
I performed it twice and I don’t have
to do it again.’ Romantic music is only
periodically his cup of tea: ‘There are
certain pieces I feel close to, like
Schumann’s Concerto, Tchaikovsky’s
Concerto No 1 and The Seasons, and
Liszt’s Années de pèlerinage. But I’m not
sure much between that and Busoni
is really “mine”.’
Levit’s multidimensional
approach is quickly
evident in concert. He
has an exceptionally
beautiful sound,
which
▲
08/05/2015 15:53
 incorporates a remarkable control of
silence. ‘I’m very much aware of
timing,’ he explains. ‘When I press
down the key and the sound appears,
what happens when is it over, when is
it on a certain level so that I can go on,
this differs from concert to concert and
from instrument to instrument. I can’t
work on it at home for the piano at
the Royal Festival Hall, for instance.
It depends on what happens in the
hall – not only the acoustic, but the
audience, the atmosphere and how long
a sound lasts.’
His tone is so special that I try to
find out how he does it. ‘First of all,
Rzewski, my name is Igor Levit, I am a
Igo
student, I listened to The People United,
I think it’s a great piece, would you
UP
write something for me?” To my
amazement he wrote back to say that if
I found someone to finance the
commission, then yes, he would. So I
found someone. And he wrote a piece
for me – a cycle called Nanosonatas,
which is now freely available on the
Internet. I premiered it aged 16 in a full
recital with music by [Wolfgang] Rihm
and [Jörg] Widmann. There were about
12 listeners, but I couldn’t care less.’
He credits Rzewski with changing his
life. ‘At the moment I began to dive into

trust the instrument,’ he says. ‘For me
personally it is about good balance,
how I sit, and simply a matter of trust.
I read somewhere that the human being
is the only creature on earth that can
deliberately relax. So if I’m relaxed and
I can just put my hands on the table...’
He demonstrates. ‘That’s all. When I lift
my arm, I’m focused enough to think
“OK, the tone I’m going to produce is
X…” and I just put it down. It doesn’t
always work, but when it does it’s a
good thing. Lifting up the shoulders
and looking like Quasimodo is not
helpful, at least not to me.’
He has a particular trick that he
enjoys when practising. ‘When I’ve
been working for a while and I’m happy
with a result, I play again badly, as I did
at the beginning, so that I can hear the
difference.’ This was advice from one of
his chief mentors, the Hanover-based
Hungarian organist, harpsichordist and
conductor Lajos Rovatkay. ‘He always
says, “Play badly,” I say “I can’t,” and he
says, “Yes, you can!” I do it and he says,
“It’s not bad enough, it’s not what you
did at the beginning, do it again”.’
The People United
Strands both ancient and modern feed
into Levit’s music-making, with
Rovatkay representing the early music
influence and, on the contemporary
side, the extraordinary figure of Frederic
Rzewski himself. Levit first came across
Rzewski’s music by accident, exploring
CDs in a music library as a schoolboy.
‘I found this CD on Hyperion by
some guy I’d never heard of named
Marc-André Hamelin, playing a piece
by Rzewski called The People United
Will Never Be Defeated. It was 61
minutes long and I thought I’d listen to
maybe five minutes. Soon, though, I
was sitting there with headphones in
the library and I couldn’t stop listening.
Then I went to the librarian and asked
if they could order this music. When it
arrived, I looked at it and thought:
All photos © Felix Broede
Up Close
his work and his life, I began to dive in
to the entire avant-garde. I got to know
the works of Stefan Wolpe, Morton
Feldman, John Cage and Cornelius
Cardew; I also got very much into Pete
Seeger, Woody Guthrie, Bob Dylan, IGOR LEVIT
and so on. It’s about the whole idea of
how political music can and should be.
It always was – in Beethoven’s time,
for instance. This changed entirely my
approach to my work, my repertoire
knowledge and myself. It made me go
along a very different path.’
This attitude has profoundly affected
his daily thinking, he adds. ‘I read a
book about Bob Dylan’s song Like A
Rolling Stone by Greil Marcus. He writes If you could play only one piece in the whole repertoire
that in the 1960s, when the Beatles from now on, what would it be?
came to America, and the Rolling Stones Beethoven’s ‘Hammerklavier’ Sonata.
and Bob Dylan were popular, people
listened to music on the radio not as an If you could play only one composer from now on, which
abstract thing, but as part of their own would it be?
daily life. Music was influenced by daily Beethoven.
circumstances. Even Beethoven was
influenced by his daily circumstances. One pianist, dead or alive, you’d travel long and far to hear?
I see more and more that I am influenced András Schiff.
not only by politics, but by the people
I meet, the songs I hear, the books I read. One concert hall you love to play in?
‘If I play a piece by Cornelius Cardew Wigmore Hall.
it doesn’t mean I’m a Maoist like
Cardew himself,’ he points out. ‘I even Any technical struggles?
would say it’s not one of the greatest Yes. I’m complicated – I love playing trills, but mostly I play
pieces on earth – but it’s an important them with very strange fingering: either 3-4 or 4-5, or 3-5.
piece of musical history and it needs to With 3-4 I have a damn good trill, but with 1-3 I don’t have
be played; people need to think about a good trill, even though this is what most people do.
why this was performed. It is part of
history and it becomes relevant. That’s What would be your advice to amateur pianist about how
part of the idea: music, no matter which to improve?
kind, becomes relevant for the people.’ Love and work. But I love to work, so I advise everyone:
work.
Forging ahead
Not every young pianist can make If you weren’t a pianist, what would you be?
headway playing radical compositions I would go into diplomacy or an NGO.
alongside Bach and Beethoven, but
Levit has the gumption to forge ahead One person you’d love to play for?
in circumstances from which others I can’t name anyone… maybe I’ll call my mum.
might shy away. ‘It depends on where
you play,’ he says, when I ask him how One composer you’re not quite ready to tackle?
audiences respond to his contemporary Chopin. I love him indescribably, but as long as there
repertoire. ‘Take a piece like The People is someone like Rafal Blechacz around, I don’t need to

forget it! It’s ridiculous.
‘But then I made an investigation.
Hanover had a strong new music scene.
I found out Frederic’s email address and
I wrote to him, saying, “Dear Mr
United [which he now plays regularly].
It’s based on this great Chilean protest
song, and quotes an Italian socialist
song “Bandiera Rossa” and the Hanns
Eisler agitprop “Solidarity” song with
▲
perform him. I’d rather listen to Rafal.
What other kind of music do you like to listen to?
Folk, good hip-hop and good old-school rock. I love the
Rolling Stones and Eric Clapton.

15• Pianist 84

p12_interview-FINALish.indd 15 08/05/2015 15:53

 INTERVIEW

Igor Levit on… Bach on the piano

I always knew that Beethoven would be on my first recording and the
Bach Partitas on the second. I’ve worked on these pieces for a very long
time and I simply think, first of all, that they work on the modern piano;
I don’t think that everything in Bach does. And besides, the collection of
Partitas is one of those holy grails of the instrument.
I make the most of the piano’s capabilities when playing Bach. I do
use the pedal – it’s a beautiful thing that was invented! Again, I care
about timing a lot, together with the meaning of espressivo, the length
of one note compared to the others, speaking tone and singing tone,
the declamatory idea. I hate constant staccato playing in Bach. When
I hear it, I switch it off. Perhaps that tendency resulted from people
trying to imitate a harpsichord, but that’s not how a harpsichord has to
sound. This is what’s so great about Mahan Esfahani’s playing. Listening
to him, you realise how stupid it is to say there’s no such thing as a
singing tone on the harpsichord!
Not all of Bach’s pieces work quite as well on the piano. I wouldn’t
think the Chromatic Fantasia and Fugue is a good piece for it. But the
French Suites suit the piano, and The Art of Fugue too; I think that’s
the only case where I’d say it’s more beautiful on the piano than the
harpsichord. With the Goldberg Variations I see the problem with the
piano, but I would still love to play it and I will be playing it soon. But
it’s not unproblematic. I refused to learn the Goldbergs for a long time.
Then I thought: you know what? Let’s give it a try. I could sit down now
and perform them. But I will sit down and work on them instead.

words by Bertolt Brecht. In Berlin, East against it, but in general the reaction the outgoing director of the Manchester
Berlin, people know what it is about. was positive. So it depends what you International Festival, and the two of
The reaction there was one of a kind. do as a performer to let people take them found they had ‘an immediate
‘But then I played it in the part in the music.’ spark,’ he recalls. ‘Once we were sitting
Musikverein in Vienna.’ That meant an Levit’s momentum continues at a bar in the middle of the night
altogether more staid and traditional through 2015, with a range of very and I played at the bar piano in front
environment – and for Levit the stakes
were exceptionally high. ‘I replaced
Maurizio Pollini at five and a half hours’ ‘I base everything on the composer’s text. But it often
notice,’ he says. ‘The place was sold out
and it was my debut there. Pollini was happens that as I play, I’m very focused and then
going to play Schumann and Chopin.
I played Beethoven’s opus 110 and something comes into my mind I experienced a month
opus 111 and then The People United in
the second half. It was the first time or a week before: something I read, something I ate,
they’d ever heard this piece there. In it
you have to whisper, stamp your foot someone I met, and it changes the aura of the music’
and scream – on that stage.
‘I therefore gave a ten-minute speech different highlights. He gives a Rzewski of everyone there: the last movement
beforehand. I took a microphone and world premiere, Dreams, Part II, at of the “Hammerklavier”, at 12.30am.
told the audience about the history the Heidelberg Spring Festival, in a This whole atmosphere transmuted into
of the piece and about the McCarthy programme also including his first something incredible! Then we spent
era, and I said that whether you like performance of the Bach Goldberg two days speaking and painting and this
it or you don’t, that’s up to you – but Variations. He will play at the idea came up…’ He won’t reveal further
the piece doesn’t care, because it has Wigmore Hall in London on 20 July, details, but it seems likely to make
attitude. That’s why I think it’s one of a programme of Cardew and Rzewski considerable waves.
the great pieces – it will force you to culminating in The People United, All in all, Igor Levit’s career is on a
have an attitude. Some people were and later in the year he starts his first powerful trajectory. He is emerging more
Beethoven sonata cycle. and more as a force to be reckoned with,
LISTEN • LEARN • PLAY
An exciting project involving the and he is here to stay. All eyes – and ears
Goldberg Variations will find him – are on his next move. ■
11LEARNPIECES TO
BEGINNER TO ADVANCED
ON THIS ISSUE’S CD You can hear
Igor Levit play the third movement from
working in New York City’s Park
Explore an elegant
Avenue Armory with the cutting-edge Igor Levit appears at the Wigmore Hall
Chopin Beethoven’s Sonata No 30 op 109 and
Polonaise artist Marina Abramovic. ‘It’s about on 11 June with soprano Christiane Iven
 the Gigue from Bach’s Partita No 4 in D
the audience – about what I do with and on 20 July in a solo recital of works
IN-DEPTH
LESSON ON BWV 828 (see full track listing details on
EXCLUSIVE
BONUS TRACKS
MENDELSSOHN’S
the audience to bring them maybe by Cardew and Rzewski. For further
back of CD cover).
SONG WITHOUT
Igor Levit plays Bach WORDS
and Beethoven

SCORES BY SATIE CZERNY PURCELL WAGNER BEACH

OP 67 NO 2
another experience,’ he explains. Levit details, go to www.wigmore-hall.org.uk
HAYDN BACH SPINDLER and more performed by Chenyin Li

Pianist 84 CD cover-FINAL.indd 2 23/04/2015 15:44

met Abramovic through Alex Poots, and www.igorlevit.de.
16• Pianist 84

p12_interview-FINALish.indd 16 11/05/2015 09:13

 138 years of internationally
respected music exams

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17• Pianist 84 @TrinityC_L

p17 Ads.indd 17 14/05/2015 09:46

 play HOW TO

The world of
BLACK NOTES
Playing pieces with lots of black notes is not the dark art that many pianists imagine. Pianist and
teacher Mark Tanner shares several tricks to help overcome your fear of the black keys

I
n the world of piano learning,
and indeed piano playing in
general, a strange assumption
prevails, which is that the white
keys are somehow easier to
grapple with than the black
keys. The first scale many of us
learn is C major, simply because it is the
easiest to visualise, despite the fact that
Chopin felt F sharp/G flat and C sharp/
D flat major to be the most logical scales
to tackle first, because they are
technically easier to play. I have heard
countless cocktail pianists stick resolutely
to white keys hour upon hour; it is
almost as if too many black notes are bad
for one’s health, or else too tricky to
compute. Perhaps if C major had always
been known as B sharp major things
would have been different?
Taking our lead from Chopin’s, had it
not been for the existence of black keys,
piano playing as we know it would be
literally impossible; thankfully, 36 of the
piano’s 88 keys are black. Just to explore
this line of thought more, let’s do a spot
of DIY. Take a couple of piano books
and stand them on edge next to each
other just in front of a dozen or so black
keys around the middle of the keyboard.
All you should be able to see is a long
run of white notes. Now try to find a G.
Unless you happen to fluke it correctly
(or cheat, by working from the keyhole
to isolate middle C and then counting
up or down), navigation instantly
length of the gaps between F sharp, Mark Tanner is a pianist,
G sharp and A sharp. If you find yourself composer, writer, ABRSM
getting wedged in because your fingers examiner and teacher. In 2015
are too wide, then I hope they are also his performing and academic
quite long to compensate, meaning work will take him to Australia,
that you are still able to organise your USA, South Africa and
normal hand position to minimise in- Caribbean. This August he will
and-out movements when negotiating teach piano, composition and
passages at speed. improvisation at the Chetham’s
Try this experiment: using your second, Summer School and presents
third and fourth fingers (in either hand or his own popular piano summer
both simultaneously), align them with a school at Jackdaws. A dozen of
group of three black notes – keep the his pieces feature on current
fingers nicely curved so that the tips are exam syllabuses, including five
placed no further than a quarter to a half on the new Trinity College
an inch down each of the keys. Play up piano syllabus. Spartan Press
and down the three notes as quickly, has published 50 books of his
lightly and evenly as you can. So, for compositions, arrangements
example, in the right hand, going up and and transcriptions. Find out
down as such: 2-3-4-3-2-3-4… and so more at www.marktanner.info
on. Now slide your entire hand right
forward (so that your fingernails are entire wrist backwards and forwards like
practically touching the wood) and aim a demented donkey. This wastes energy
to play the notes as before. You will and will likely produce a markedly
notice straight away that the keys are uneven effect. The optimum placement
significantly heavier to depress. This is of the fingers for chromatic scales is such
simply a function of the ‘law of leverages’ that the curved, relaxed thumb is able
– the closer the distance between the to glide along the top of the white notes
depression of the key and the hammer’s (just as it does when playing the scale of
strike-point, the greater the downward C major), while the third finger (equally
weight needed to achieve the same force. relaxed and curved) ‘nibbles’ away at the
Chromatic scales are particularly rounded ends of the black notes.
revealing of ineffective black key playing. Now, just for fun, having honed your
I see a lot of early learners adopting a perfect hand/finger shape for a glycerine
stiff, straight thumb and third finger, chromatic scale, move the whole hand
compensating for this by seesawing the forward as far as you can go, as I asked

5
becomes impossible. Now imagine
another hypothetical scenario whereby
the keys run consecutively: white, black,
white, black etc, from the bass all the
way to the top. Had the piano been
configured this way, once again the
absence of landmarks would immediately
1 Think of the black keys as your best friends in piano playing – they
have rendered the keyboard unnavigable.
you to do in the previous exercise. Try
playing a chromatic scale now – you’ll
TOP find the thumb has to move inordinately
TIPS
BLACK NOTE SUCCESS high to climb over the black key obstacle
course, and (just as before) the notes will
are the landmarks and footholds that make all things possible.
feel inordinately heavy. The point is that
we need to be mindful of our ideal hand
shape when addressing the keys. This

Keyboard geography
The glaringly obvious fact that the black
notes are grouped in alternate threes and
twos turns out to be an indispensable
facet of the piano’s design, without
which instantaneous discovery of any
note cannot happen. The physical
gap between the black notes has been
calculated to permit an average player’s
fingers to slide in and out relatively
easily. With a flat hand, try slipping your
second and third fingers along the full
2 Consider your optimum strike position for black keys. Most
people strike all keys too far down; this increases unevenness,
makes notes harder to depress and generally slows things down.
3 Chromatic runs need a still, supple wrist and curved fingers.
4 When playing chords full of black notes, adapt a hand position
similar to the white note equivalent, e.g. F sharp major = F major.
5 Practise using black notes as locators to help you quickly access
white notes at extremes of the keyboard. This will aid confidence
of attack, accuracy and mobility.
18• Pianist 84
includes which part of the finger and
indeed which part of the key itself, all the
more so in cases where black notes crop
up frequently in a particular piece or
scale. How the hand looks and feels will
be a firm indicator of how even, flowing
and directed your playing will sound.
If you have a slo-mo app on your
smartphone, video yourself playing a few
black key-oriented scales at different
speeds – say, F sharp major, C sharp
minor and a chromatic. Then spend a bit
of time reviewing both the visual and

P18 HTP Tanner-FINAL.indd 18 13/05/2015 12:44


audible effect. If you turn the volume
down, can you still tell where any lumps
and bumps are occurring? Learner golfers
sometimes do this sort of thing to
fine-tune their swing, but pianists often
seem blissfully unaware of how ungainly
their hand shapes are when playing.
All of these little exercises are
designed to illustrate that, for the
most part, the optimum placement
of fingertips – both for white and
black keys – is as near to the edges as
is comfortable. Since the keyboard
is fixed, we have to be flexible in our
approach to it if we are to ensure the
best possible negotiation of both the
white and black notes. Naturally, your
own hand shape and size will govern
precisely how you micro-manage the
strike point for each key; furthermore,
you will find that playing in various
keys will predispose your hand to
position itself differently.
Black key magic
In my article on fingering in Pianist
No 74, I mentioned that the piano’s
design generally anticipates placement of
the longer fingers (i.e. 2, 3 and 4) on the
shorter black notes, and conversely, the
shorter fifth finger and thumb on the
longer white notes. Though this makes
obvious sense from the perspective of
executing running passages, especially
those laden with black notes, the playing
of chords involving predominantly black
keys is an entirely different matter.
Play a four-note chord of F major
(1, 2, 3 and 5 on FACF), taking care
to hold an orthodox hand position: the
back of the hand should be horizontal,
with tips of fingers 1 and 5 near the
edges of the F and C; fingers 2 and 3
may be as much as two inches further
forward. Now, keeping the position
fixed, simply move the entire hand up a
semitone to find yourself addressing an
F sharp major chord; it should feel just
as comfortable. It’s only when you try
this that you realise just why the black
notes, short as they are, still need to be
long enough to permit chord playing.
In essence, everything that is true
of playing fast music on white keys
applies equally to playing on black
keys – i.e. use the tips of fingers,
positioned as close to the ends of the
notes as is feasible, with curved fingers
and minimal jerking of the wrist when
changing hand position. Chopin’s
‘Black Key’ Etude op 10 no 5 is surely
the best-known piano work requiring an
unrelenting chain of black semiquaver
triplets. The secret here is lightness of
touch and not allowing your fingers to
gradually wander down the keys!
Incidentally, if you can already play
the aforementioned Chopin Etude,
spend a minute or two transposing
the first few bars into the adjacent key
of G major. Does playing the piece in
P18 HTP Tanner-FINAL.indd 19
this ‘simpler’ key make life any easier?
No! For as soon as the first shift in
hand position is executed, note location
becomes decidedly more difficult than
in the original ‘pentatonic’ version.
The same point is true of Schubert’s
Impromptu D899 No 3 (also cast in
the key of G flat major, but sometimes
found ‘simplified’ in the key of G), for
in both cases the success of the writing,
and indeed the very playability of the
music, is intrinsically bound up in
the composer’s original choice of key,
which necessitates lots of black notes.
Admittedly, my points regarding effective
finger placement anticipate standard
hands, so those with very small, large
or unusually shaped fingers may have
to reinvent the wheel to achieve an
equivalent effect when playing.
Location, location, location
Have you ever encountered the need
to quickly reach the extremes of the
keyboard in order to play a note, octave
or chord, but were unable to see what
you were doing due to complexities
occurring elsewhere? If so, you will
find the following ‘black note location
trick’ absolutely invaluable. For more
proficient players this will likely be an
instinctive process already, but there is
no harm in spelling it out for those who
have not discovered it for themselves.
The white keys are far harder to hit
at speed when approached from above.
Why? Because a) the black notes are
physically higher and are therefore
reached first as the hand falls, b) the
spacing between all white notes is
identical, as well as being much closer
together than any of the black notes, and
c) there are more than twice as many
of them! However, we can turn these
factors to our advantage by using one or
more black notes as locators to isolate
the white note(s) we are targeting.
To illustrate this, play an octave C in
the right hand, adopting your normal
hand shape, and spot where your second
finger naturally comes to rest. At the
middle of the keyboard my second
finger sits comfortably on the F sharp.
For octave Ds it rests happily on the G
sharp and for octave Es the A sharp. For
octave As my second, third and fourth
fingers fall on D sharp, F sharp and G
sharp respectively. Though you are of
course not aiming to play these black
notes, you are using them as reference
guides to facilitate rapid discovery of
other notes nearby. Gauge for yourself
the black notes which guide you most
naturally, and then try playing white
note octaves from ever higher above the
keyboard, as well as at increasingly faster
speeds and from a variety of angles.
Even if you only wish to play, say, a
single high C with your right-hand
little finger, it is often still advisable
to form an octave shape first by the
19• Pianist 84
MASTERCLASS
BLACK IS BACK
Mark Tanner’s advice for handling the
black keys in 3 of this issue’s works
1 Spindler Ivy Leaf op 123 no 6 [Scores page 33]: The chromatic
detail in the melody (e.g. bars 4-8) needs untangling before fluent
progress can begin in this easygoing piece. This is best achieved with
very curved fingers positioned to minimise wrist movement. An
excellent application of your newly acquired ‘black note locator’ skill
comes seven bars before the end, when both hands need to find
octave Fs a few octaves apart. Musically speaking, you’ve plenty of
time here, so practise using the B flats (second finger in each hand) as
locators. Employ the reverse tactic a few bars later when the octave
B flats arrive: your second fingers will fall quite naturally on the Fs.
2 Wagner Albumblatt für Ernst Benedikt Kietz [Scores page 41]:
The key of E, with its four sharps, gives you plenty of anchor points.
Indeed, if you play the RH notes starting with the second note of bar 1
through to the first note of bar 3, you will find yourself tracing the
scale’s descending form. Once you’ve got your head around the clever
harmonic side-slips (e.g. bars 9-15) this beautiful song-like piece should
come together quite comfortably – but take the espressivo marking at
face value, since the triplet figures in the accompaniment will keep
things moving along even at a modest tempo.
3 Mendelssohn Song without Words op 67 no 2 [Scores page 61]:
This piece depends heavily upon the distinction between its
staccato accompaniment and amiable legato melody, made doubly
difficult by the fact that the RH has to manage a lot of this on its own.
Keep the thumb, second and third fingers (tasked with much of the
accompaniment) close to the edges of the black notes, and tuck away
the LH notes as lightly as you can.
method I have just described, if only to
take advantage of the F sharp locator a
nanosecond prior to attack.
Be aware that your preferred locator
notes will likely vary as you target
different regions of the keyboard, because
the wrist has to rotate in subtly different
ways as you move away from the middle
of the piano. Nevertheless, with mindful
practice, the process of touch-referencing
the black note(s) will become so reliable
and automatic that you will grow
immeasurably in confidence. Even when
playing at high speed, this trick will help.
Try it with eyes closed – you should
eventually find that you can more boldly
attack all kinds of weird chords, or indeed
any isolated note, simply by growing in
awareness of your favoured black note
locators as they fleetingly come into
contact with your other fingers.
In more complex configurations I
sometimes find that the contact made by
the side of one or more fingers achieves a
similar purpose. Make this a regular part
of your everyday playing, and in extreme
circumstances make a note in the
score of your preferred locator for each
individual event. The whole business of
reading a score and playing confidently,
obviating the constant need to look
down at your hands, is steadily becoming
a skill requirement for pianists, so invest
time in this and it will repay you a
thousand times over. ■
12/05/2015 11:20
 play HOW TO

Baroque and Classical

PEDALLING WITH STYLE
Continuing his series on pedalling, Graham Fitch considers how to play Bach, Haydn and Mozart
on a modern piano, and explains why intelligent finger pedalling or ‘overholding’ will help you

P
edalling, of all the aspects of piano performance, is very Graham Fitch is a pianist, teacher,
much at the discretion of the individual performer. How writer and adjudicator. He gives
we pedal depends on the particular sound we intend, and masterclasses and workshops on
on the instrument and performance space we are presented piano playing internationally, and is
with. In my article on pedalling in Pianist No 83, I looked in high demand as a private teacher
at how to adjust resonance by using fractional pedals, and in London. A regular tutor at the
how to hold on to bass notes while clearing dissonance from Summer School for Pianists in
above by using half and flutter pedalling. This time I am going to discuss Walsall, Graham is also a tutor for
the thorny subject of pedalling in Baroque and Classical period music – the Piano Teachers’ Course EPTA
specifically the music of Bach, Haydn and Mozart. (UK). He writes a popular piano blog,
Let’s begin with Bach. I don’t want to dwell on the age-old debate about www.practisingthepiano.com.
the choice of instrument, but it is helpful to gain a little clarity here. It did
not seem to matter too much to Bach which keyboard instrument he used
j f f f ff f f
for his clavier works, but we know he felt the clavichord was the best one
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to express his most refined thoughts. It is possible to taper phrases off, and J ™J

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to play with dynamics (albeit a relatively narrow range) on the clavichord 2 J
– you can even create a vibrato (called ‘bebung’) by applying pressure up
and down into the key. However, because the clavichord is essentially a
private instrument (too soft to be audible to anyone except the player), ? bb2 Œ f Ff ™™ fF F f
the harpsichord won out when it came to performance. Don’t think for a
2 f F
moment that the harpsichord is not absolutely capable of expression; it’s
just that the harpsichordist uses somewhat different means to achieve it.
Our modern piano shares certain important expressive characteristics with
the clavichord. Playing Bach on the piano without tapering phrases or using f F f f f f f
m
f f fj
dynamic shaping and tone colour is really dull and as dry as dust – no wonder f
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ff ™ f J ‰ Œ ‰
generations thought Bach’s music sounded mechanical and soulless! Some

of my most moving and profound musical experiences have been hearing
performances of Bach played on the piano – please don’t let anyone tell you
we pianists are not allowed to play this music on the instruments of today.
Finger pedalling is ideally suited to
the Alberti basses found throughout
the Classical repertoire
There is no mechanism in either the harpsichord or the clavichord
to sustain a note once the finger has been released. When Bach writes
something that is not possible to connect, that means he didn’t want it to be
connected, even if it might be possible on a modern piano. The harpsichord
has small dampers similar in function to those of the piano, but they are
controlled completely by the fingers. If we want to create resonance on the
harpsichord (and indeed early pianos), we need to discover the technique of
finger pedalling, or overholding.
I want to distinguish between finger pedalling as a specific touch, and
the bad habit of neglecting to pick up the fingers when required by the
notation. Beginner and elementary pianists are constantly being told (quite
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F F F F
The German school did not feel the need to complicate the score
with such matters, assuming the performer would use this technique
where appropriate, according to personal taste. Apart from examples in
counterpoint and style brisé where note lengths are precisely notated,
overholding is not generally indicated by the notation. Harpsichordists do
it routinely, even in some scale patterns and notes under slurs. Because
of the difference in resonance between the harpsichord and the piano, we
pianists have to be rather more careful where and how much we overhold.
Next, let’s consider an example from the opening of Bach’s Sixth Partita.
In my opinion it would be a misreading to play this opening without
adding resonance, either by finger or foot. If you decide to pedal, I would
certainly not use a legato pedal to connect the two harmonies. This is a
good general rule for Bach’s music – pedal for resonance and not for joins.

#
correctly so) by their teachers to release the keys very precisely by picking
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& C
up their fingers. Holding fingers down beyond the written note values in
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the early stages is bad technique and produces unwanted blurs and smudges.
However, at the advanced level an overlapping touch is indispensable and
most certainly not erroneous.
f FF f f f
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It all comes down to how we read a score. Let’s look at an example from
François Couperin’s Les barricades mystérieuses from the Sixth Ordre (top of F F
next column). As is typical of the French clavecinists, Couperin is fastidious
in his notation, and that includes writing out the overholding in full:
20• Pianist 84

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 MASTERCLASS

If you feel this resonance is too much, or you believe adding pedal to
Bach is a no-go area, try overholding the notes that make up the chords
with your fingers. In bar 1, I would hold the full E minor chord until just
before the semiquaver (16th note) G, making a small articulation before the
next harmony to punctuate the texture. In bar 2, I would be very careful
not to overhold the passing note G in the RH of the spread chord, but I
would hold all the harmonic tones.
Let’s look at a popular prelude of Bach, the C minor from Book I of
the Well-Tempered Clavier (below). This prelude will sound impossibly dry
unless it is played imaginatively. There are so many ways to articulate and
colour this music using touch, that we will probably find we don’t need the
pedal at all. Experiment with slightly overholding some notes (to create
harmony) and playing other notes less legato, but don’t play every bar the
same or your performance will be predictable and boring. If you still want
some pedal, add a very short and shallow dab on certain main beats.
Instead of playing the LH completely evenly, try putting a slight stress on
the first note of each beat. You now achieve a texture where there is a hint of a
bass line. If you want a bit more resonance (perhaps in the second half of this
theme when it goes into the major), try overholding these first beats just slightly
(below). You can mix and match these touches to bring out the rhythm, or the
harmony and expressive possibilities in the theme. The choice is yours!
j f f f
? # >f f f f f f
f f f
There are other options for slower pieces, such as the slow movement of
Mozart’s Sonata in F K332. You could simply hold onto the first note of each
beat (as above) or you could create even more harmonic resonance by holding
onto the other notes too (it looks unnecessarily clumsy when notated):
Adagio

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f f f f f f f f f f f f f f
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Mozart left no pedal directions in his piano music at all, but we know he
was impressed with the knee levers he encountered on Johann Andreas Stein’s
pianos in 1777. The knee lever was the precursor of the foot pedal, and before
Stein’s invention the only way to control the dampers was with a hand stop
(meaning the dampers remained on or off the strings until the player had his
hands free to change it). The only pedal indications Haydn left were the ‘open
pedal’ markings in the C major ‘London’ Sonata (Hob.XVI:50), which work
well with a fractional pedal on our modern instrument. Put the pedal down a
tiny bit and adjust it if the resonance gets too much but without actually
changing it. Just because Haydn left us no other pedal markings does not
mean we are not free to use it at our discretion elsewhere!
Finger pedalling is ideally suited to the Alberti basses we find throughout
the Classical repertoire. If we play them literally as they appear on the
page these broken chord patterns can sound dry and clattery, but pedalling
them would blur the melody and add way too much resonance. Instead of
releasing the notes of the Alberti bass using a conventional legato touch,
we might hold onto them and create a harmonic carpet for the RH. Now
we will be able to play broken harmonies without dryness, and yet preserve
all the articulation in the top line without any of the smudging that would
happen if we used the sustaining pedal.
It depends on the situation quite how we manage the overholding. In
some places we hold onto just the bass note of the Alberti pattern, in other
places we might want to hold onto more notes.
Let’s explore the possibilities for finger pedal in the last movement of
Haydn’s E minor Sonata Hob.XVI:34 (below).
Molto vivace
# 2 1j Æ #f f ‰
ff f
2
f f fj f f f fj f f fj f f fj f
? bc f f
b
(dab of pedal?)
Actually we are still able to use the sustaining pedal. You’ll notice from
this example that I suggest trying a tiny dab of pedal on the third beat.
It’s not absolutely necessary but it might help highlight the dissonance
(the written-out appoggiatura E natural in the RH). Don’t even think of
marking anything in the score though, because your pedalling will vary
depending on the piano and the room. Simply have your foot in contact
with the right pedal and add a short dab whenever you want to liquefy or
warm up the sound. These dabs of pedal add highlights to your sound.
If your hand is not used to behaving in this way, try this preliminary
exercise for Alberti patterns. Hold down the notes of the chord and lift each
finger in turn only as far as is necessary to repeat the note. On a grand piano,
you will only need to lift the key about halfway before sending it down again
– thanks to the escapement mechanism we can actually tie a note to itself!
(hold)
w
w
w f f f f f f f f
f f f f
? bb
(hold) (hold) (hold)
There are plenty of examples in Haydn and Mozart that require more
resonance than the fingers alone can give. When exploring the possibilities
try starting off with no pedal at all, discovering what you can achieve with
the fingers. Thereafter, feel free to use the pedal, remembering that what
you decide may well change when you play on a different piano. There are
great pianists who play Bach without the sustaining pedal but most make
careful and discreet use of it. If you use short and shallow dabs, you will add
depth and dimension to your sound. This has to be done carefully – always
let your ear be your guide. ■

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In the next issue, Graham discusses the sostenuto and una corda pedals.
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on these pages – and more.
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There’s nothing like watching
the expert!

21• Pianist 8

P20 HTP Graham-FINAL.indd 21 08/05/2015 15:51

 play HOW TO
FULL SCORE ON PAGE 30
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31

f f f f F™

F
F

F
2

2
3
3

f .
.
Amy BEACH (1867-1944)
Minuet, No 1 from Children’s Album op 36

Amy Beach, also known professionally as Mrs. H.H.A. Beach, was born into a
prominent Massachusetts family and was a piano prodigy, giving her first public recital
age seven. Following her marriage to a physician, she focused on composition, writing

Playing tips: This lively, yet sweet piece, in ABA form, requires a strong rhythmic
pulse throughout. The RH carries the melody, sometimes with the LH playing along

3
Allegro q = 184

& bAllegro
. F f
qf= 184 f. f f f f nf f ff f f f f f f

f ff f f f f °
5

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

ff fff
1

1
3 2
1 2

2
3
5

5
f

f f nf f f
4

f f f ff. f ff f f f nf f ff. f f f f f f
5 4

f f ff f f ff. f ™ f f f f ff ff f ff. fF ™ f f f f f. f. fff. f f f ff

3

f f f f F™
1

f f f f. FF ™™
1

f f f f FF ™™
2
1

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

1
5

1
5
1
5

1
5
F

f
™

. f. ff
5
3

5
3
.
3

1
2

1
2
1
2

1
2

ff. ff ff ff FF
ff. ff. f. ff FF
f bpfF ff f fF FF f f ffF ™ f . ffF FF f f cresc.
4
2
5
1 . f
. f. ff
5
3

5
3
.

f f f ff n°
3

f
f
3
2

3
2
3
2

3
2
°
1

f f f. nfF ™ f
1

f f f ff nFFF ™™™
f f f ff. n°
3

FF ™
. F ™™
3

2
FF ™
3

3
. .
.
f f f.
2

f. f f f f f f
2

2
4

2
4

4
.

nf. f. f. F
n

F
F
f
2

f f
4

2
1
2
1

2
1
f
. . f.
nff ff ff F
3

f ff nf f ff. FF ™™™ f b FF ™™™ f

3

f . fF ™ f f. bfFø ™f f ff
3 2

3
1

nff. ff. ff. F

f
2

. . . f f f ff
2 5
3
f

F
5
2

5
2
5
2

5
2

5
bfF ™ f
bF
bbFFF ™™™
b FFø ™™
5

5
bFFø ™™

ff f ff f
5
3
ø ff

ff f ff ff
5
cresc.
3

cresc. f
ffF ™ f f f
5
3
1 12

3
4
2
3
4
2
4
2

4
2
2

f
with it (e.g. bars 1 and 3 etc). Try to think in long lines – for example, the first phrase,
even if broken down into two- or four-bar mini-sections – should end up being one
long eight-bar phrase. There’s quite a bit of repetition, so try to alter the dynamics and
character wherever possible. Keep the fingers light but remaining close to the keys.

1
2

1
2
1
2
Pedal tips: We have placed a few suggestions in the score. Dabs here and there on
the downbeats. The pedal has to remain sparse though, in order to keep the light feel.
Read Melanie Spanswick’s step-by-step lesson on this piece on page 22.

f
f

f
f
2

2
4

1
5

5
2

5
2
5
2

5
2

5 5
3
3

5
3

5
3

5
3
3

1
2

1
2
1
2

12
2
3

3
2
3
2

3
2
1

3
2

2
2

2
4

2
1

2
1
2
1

2
1
3

3
1

1
3

3
5
1

5
1
5
1

5
1

3
5

3
5
3
5
2
3
5
2

5
3

5
3
5
3

5
3
5

1
4

1
4

4
2

4
2
1
3
5
1
53
5
1
53
5

1
44

1
44
2
5

1
3
5

1
4

1
4
1
4

1
4
4

4
3

1
5

1
5
1
5

1
5
3
1 2

3
1
3
1

3
1
1

1
2

4
1
2
4
1
2

1
2
5

1
2
4

4 2

4 2

4
2

5
1

5
1
5
1

5
1
BEGINNER/
INTERMEDIATE

3
4
1

4
1
4
1

4
1

5
4
1

4
1
4
1

4
1
5
3

AMY BEACH
& f f f f . f. . F
1

™ F™ f f F™ f f cresc.
F™
2 2 2 2 2 2

& b f f mfff F ™ F
2 1 2 1
1
5
p
F™ f f F™ f f F™
1

f F F F
2 2 2 2 2 2

& b f ff f ff nf f™ f f f Œ ™ Œ ff f ff ff fff FF ™ f f ff f ff FF f ™ ff. bFF

5 1 4 23 1
f
4 5 3 4 2 4 5
22 2 1 1
12 3
4 1 5 4 5 4 3 2
2 1
4 5

22& b
1 51 1 1 2 3 2 1 3 2 1 1 1
1 2
2 2 1 2 1 1 2 2 2 1 2

f f f ff f F f f F F f
2
F f Ff f F .
1

{{
5 4 5 3 4 5
52 3 4 4 3 4

ff F
2 4 2 5

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

22 b f f f f nf f f f f f f f
2

& f f ff f f f f f ΠΠmfff f ff ff ff FF
1 1 1 2 3 2 1 3 2 1 1

ff. bFF
1 1 2 1

ff f ff ff ff FF
5 2 2 1 2 1 2 25 2
4 5 3 3 4 2 1 4 4 23 1 4
2 1 12 1 5 4 5 4 3 2 5
1 4 2 1

bf f f nf f f f ΠΠff f f f f FF
1 1 2 3 2 1 3 2 1 1

bF
51 1 2 1

22& b ff f f f f FF
1 1

& f ™ f ff f ™ f f f f f f mf ™

{{
f ™ f f f fF ™f f f f ™ Ff f f ffF. bFF f
5 4 5 3 4 5
2 2 3 4 4 2 4 3 4 5
1 1 4 1 5 5 4 3 1

& bb fF f f ffF nff f ff f ff Œf Œf mfffF f ff f ff FF

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

f f f f Ff
1

&
1 2 1 2

f f f
1 1 1

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

&b F ™
2 4 4 4

F™ f f f f f f mfF ™ f™ f f f F™ f™ f f f F f
1 2 1 2
F
2 1 2 1 2 1 3 3 4 3 4
2 4

b
4 4

& ™
1 2 1 2

f™ f f f F™ f™ f f f F f
2 1 1 1

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

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

Minuet, No 1 from Children’s Album op 36

30• Pianist 84

P30 SCORES BEACH-FINAL.indd 30 08/05/2015 15:30

Good fingering, careful chord voicing and the right tempo will bring charm to this elegant,
quintessential dance movement, explains teacher and author Melanie Spanswick
Ability rating Beginner
Info Will improve your
Key: F major 3 Articulation
Tempo: Allegro 3 Rhythmic pulse
Style: Late Romantic 3 Interpretative skill
This elegant Minuet by Amy Beach
is a quintessential dance movement.
It acts as a prelude to Beach’s suite
Children’s Album, a set of five beautifully
crafted works influenced by JS Bach’s
traditional dance movement idea.
Aim for a fairly brusque tempo, akin
to an Allegro. Crotchet (quarter note)
equals 184 beats per minute seems an
appropriate speed, and that is what I
have marked in the score. This should
imbue any performance with plenty of
energy, drive and purpose. It’s best to
start with slow steady practice, building
up momentum and technical control
carefully, in order to accommodate all
the necessary detail.
An interesting feature of this piece
is the use of the upper part of the
keyboard only. Notice how both lines
are written out in the treble clef. Resist
the urge to adjust your piano stool, as
it’s important to become accustomed to
moving the torso, swivelling the body
comfortably to the right, in order to
negotiate the left hand (LH) notes.
Without the bass clef, there’s a
metaphorical hole in piano’s sound.
That means you’ll need to try extra
hard to produce a sweet yet full and
clear timbre. When using the top half
of the keyboard, a firm finger touch
with plenty of arm weight will ensure a
good sound. This is also true of playing
softly or piano; even quiet passages
need a solid touch as opposed to wispy,
flaky fingerwork, which only leads to
insecurities in both clarity and rhythm.
It’s essential to really get to grips
with the fingering in this piece. I have
added some fingering in the score to
help you. Try to keep finger changes
as close knit as possible, avoiding any
unnecessary or awkward leaps. This is
especially true of the opening phrase,
particularly the melody in the right
© Fabrice Rizaato
Melanie Spanswick is a classical pianist, teacher, adjudicator, author
and presenter. She regularly conducts workshops and masterclasses
in Germany as well as for EPTA (European Piano Teachers
Association). She adjudicates for the British and International
Federation of Festivals and curates the Classical Conversations
Series, where she interviews eminent classical pianists on camera.
These interviews are published on YouTube. Her book, So You Want
To Play The Piano? has been critically acclaimed.
Find out more about Melanie at www.melaniespanswick.com
and www.soyouwanttoplaythepiano.com
while quick movement may assist at the end of bar 1 guarantees a quick
the clarity of articulation, it can also lift, significant in the characterisation of
cause errors. Keep fingers close to the this dance. Think of the first beat in the
keyboard when playing in a fast tempo. bar as the downbeat with slightly more
emphasis. The second beat needs to
Practise hands separately to begin linger a little, coming off to prepare for
with. Ensure that the chord passages the short staccato crotchet at the end of
(e.g. LH bars 6-8) and passages of thirds
(e.g. RH bars 17-20) are correctly voiced,
with the notes depressed together, Learning Tip
sounding in complete unison. This The third beat of the bar essentially
requires careful balancing of the hands, provides the dance character, so
keeping a flexible wrist, but with the place it carefully, resisting the urge
fingers always ready in the appropriate to rush.
position with more weight towards the
top of the hand – i.e., in the RH extra bar 1. Bar 2 is the end of the short first
weight over the fourth and fifth fingers. phrase (within the four-bar phrase
Depress the notes in each chord together structure); the minim requires more
at the same time, slowly at first, checking weight and the crotchet on the third beat
for the ‘biting point’ – rather like the must, again, be light, hence phrasing off.
clutch in a car – searching for the point This phrasing works for the whole piece.
where the action will allow minimum
sound. Once you’ve grasped the position The middle section (bars 49-64)
you need to play two or three notes comprises different material. It
perfectly at the same time, you’ll find it feels more like a waltz, with a waltz
easier to find this ‘point’ every time the accompaniment in the LH (which
same passage is played. Most students should ideally be light on beats two and
find this technique can be easily mastered three), and longer phrases in the melody
blind – that is, not looking – so listening (RH), benefitting from a fluid cantabile
and touch become paramount. The top voice and softer dynamics.
note of a chord usually needs more
depth, as it is the melody note; the hand Colour the little melodic moments in
must fully support the finger playing that the LH from bars 17-32 to provide
note, dispatching greater weight and the RH material with support and a
therefore a richer tone. ‘conversation’. The climax at bar 32,
along with the ending at bar 48, are the
A confident sense of pulse is vital in only sections calling for fortissimo – take
dance music. The three beats in a bar, a little time here, employing firm fingers
and four-bar phrases can be greatly and a rich sound. The harmonic
enhanced by precise articulation. Beach language is predominately diatonic, but
has included copious articulation marks, the intensity of some chromatic passages
which should be closely followed. will be increased substantially if you
Phrase marks and slurs abound in subtly pronounce certain LH chords
virtually every bar, alongside staccato a bit more; e.g. bars 6-8, 38-40 and
and extensive dynamic markings. 45-47. ‘Sliding’ from chord to chord
with a secure legato fingering will help.

hand (RH) in bars 1-12, where it is The dance flavour comes from specific A dab of pedal in a few choice spots will
possible to use fingerings that encourage phrasing that is apparent from the first add warmth and grandeur to this simple
quick movements and jumping. But two bars. The decisive staccato crotchet yet effective minuet. ■
22• Pianist 84

P22 HTP Melanie-FINALish.indd 22 08/05/2015 15:50

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23• Pianist 84

p23 Ads.indd 23 14/05/2015 14:45

 play HOW TO

MENDELSSOHN
Song without Words in F sharp minor op 67 no 2
This poignant miniature will benefit from the clearest and lightest of staccato touches. Concert pianist
and teacher Lucy Parham helps you find the touch that will make your fingers dance
Ability rating Advanced that is not already in the copy and that you are hurrying while playing this
Info Will improve your will enable you to remember it with piece. A word here, too, about
Key: F sharp minor 3 Leggiero touch greater ease. I’m a big believer in writing pedalling: Pedal judiciously and observe
Tempo: Allegro leggiero 3 Finger strength in the left hand in a lot of your fingerings into the score the rests – most especially when you
Style: Romantic 3S inging tone – sometimes more than you might need have three semiquaver rests in a row.
– as when you return to a piece having You need to breathe in these passages.
not played it for a while it is really
Mendelssohn’s piano works are some
of the real gems of the Romantic
helpful to know exactly which fingering
you were using in which passage.  Learning Tip
repertoire. In my view, his piano works Take the left hand alone and learn
are too often overlooked in favour of You will need a special touch for this it firstly with perfect legato, always
works by his contemporaries Chopin, piece. This is somewhat easier to bearing in mind a seamless touch.
Liszt and Schumann. In his Songs demonstrate than write about but
without Words, Mendelssohn gave us essentially we are looking to have a
several books of miniature masterpieces small plucking movement on each note. It will help to learn the semiquaver
that have enchanted pianists for nearly Try to imagine there is a little speck of figures in chordal blocks. For instance,
200 years. I have played many of these dust on each key and you are trying to you begin with F sharp minor and go
pieces but have always been drawn to Lucy Parham performs pluck it towards you with the fingertip, into B minor. Have this key structure
this particularly poignant one, which is her composer portrait using the main joint of the finger. You in your mind as you are playing each
wistful and reflective in character. concert Beloved Clara could try this short exercise: play a scale, group of semiquavers. In bar 1, make
on 1 June at Leighton first legato and then trying to play each sure you observe the rests – do not
The piece’s key (F sharp minor) is in House, London (with note towards you in a staccato way. Start hold this right hand (RH) B minor
itself a bit of a giveaway to its mood. Juliet Stevenson and slowly and increase the tempo as you get chord over the rest. Do the same in the
F sharp minor is a key that is often Henry Goodman), and at more confident with this technique. At following bars. Release it gently as you
used to create a sense of reflection and Bath Guildhall on 11 July no point should you be using your do not want it to sound aggressive and
sadness. I have always been fascinated and the Llandeilo Festival whole arm. It would not only be very make sure the dynamic is piano. Note
by the use of specific keys for pieces in Wales on 17 July (both difficult but completely exhausting! This the crescendo in bar 2 and use it as
(take a look at the Bach Prelude and with Joanna David and is something that comes from the an upbeat into bar 3, when you need
Fugue in F sharp minor from Book I of Henry Goodman). She knuckle and from the finger, not from to observe the diminuendo. Once the
the Well-Tempered Clavier, or Chopin’s performs Nocturne at the the forearm or shoulder. Once you have melody arrives at bar 4 you need to try
Nocturne in the same key, if you have a Cambridge International learnt the whole piece legato, you can and balance the semiquavers against
moment, and you will see what I mean) Festival on 26 July (with begin to start refining it. it perfectly. Always imagine you are
but that is for another article. Patricia Hodge and accompanying yourself as the singer!
Henry Goodman). Note the tempo indication (Allegro Keep the flow and line of the melody
The real challenge that Mendelssohn Her latest CD, leggiero) and the 12/16 time here, always focusing on the melodic
presents us in this piece is to play Odyssey of Love, with signature. Mendelssohn uses 12/16 line as if it were being sung.
staccato with great clarity and a light Juliet Stevenson and rather than a 6/8 marking, which
defining touch. It could almost be Henry Goodman, is on implies that each of the 12 notes in the At the beginning of bar 7, lean into
regarded as a study in that touch. You the Deux-Elles label. bar must have its own special weight – the RH C©. It is not a violent accent,
will notice just by glancing through For other dates and in effect, a slightly slower, more however! When you reach the second
the five pages of this piece, that this details, please visit measured tempo than a 6/8 marking half of bar 9, ensure the RH is very
very specific technique – in the left www.lucyparham.com would imply. You must never feel as if melodic; there is a small hairpin
hand (LH) particularly – is prevalent crescendo here that is very important.
throughout the whole work. And all In bars 10-11 really grip the fifth finger
this must take place while projecting the on your LH and trace the bass line. This
melody against the accompaniment – as leads into the crescendo and first small
in the Song without Words. climax at bar 13. The tone from the sf at
bar 14 (RH) needs to carry through two
My top tip for learning this piece is to bars and I suggest changing your finger
isolate the LH part and learn it firstly from a 4 to a 3 halfway through bar 15.
with perfect legato, always aiming to When you reach bar 16 change back to
achieve a seamless touch. If you can a 4. At bar 18 you need some help from
play through entirely with legato, you your LH, so make sure this is forte as
can then begin to change the touch to well, especially in the chords at the end
match what is required. However (and of bar 18 as well as throughout bar 19
this is very important), it is difficult to and into bar 20.
go straight into this touch if you are not
© Sven Arnstein

100 per cent certain of all the notes in Be sure to observe the più forte
a legato way first. Learn the LH slowly marking in bar 24. Following this
and meticulously, adding any fingering marking will help you get over the
24• Pianist 84

P24 HTP Lucy-FINALish.indd 24 15/05/2015 10:29

 TRACK 11
Felix MENDELSSOHN (1809-1847) ADVANCED
Song without Words in F sharp minor op 67 no 2

# # >j f f™j
12 sf 2

& # f™ f f ff f f f f nf
2 3

ff f #fff f nfj f f F™ f f f f
3

f f f ≈ .R ≈ ≈

{
≈ f ≈ f ≈ . ≈ . . ‰ ≈ .R ≈ ≈ ≈ f
. . . . . . . . . . . . .
. f. . . f. f
f p
. . . . .
3

? ### f. f. f. f. f. f . f. #f . f. f R ≈ ≈ f #f. f. fff ≈ ≈

1 1

. f f f f. ff. f R ≈ ≈
cresc.

# f. f. f. f f
f. R f. f 3

FULL SCORE ON PAGE 62

1

° ° ° °
2 4
3 5
4

##
15

& # F™ f f f n f #f f nRf ≈ ≈ f™ nf f f f™j f ff f f j j

3

f™ f ff #f f f™ nf ff f f

{
≈ f f . ≈ f . f ≈ f R≈ ≈ ≈ f R ≈ ≈ ≈ f R≈ ≈
. . . . . . . . . . . . . p . . cresc.
. . . . . . .
. cresc. n f. # f . f.
1

f.
4

? ### f. f. f f. f. #f. f. R ≈ ≈ r≈ ≈ ‰ ≈ . nf. f. fR ≈ ≈

f

f. f. R ≈ ≈ . f. f. Rf ≈ ≈
f. f f f f. f
f.
° ° ° °
1 5 3 4
1

>j >j >

18
## j
4

> >
1

& # f™ f f f f™ f™ f f f f f™ nfj™ nfj™ f™j f f f™j

5 4
f™
2 2 4 3 5

J J fff

{
ff ≈ ≈ ≈ # ff ff ≈ f f fR ≈ ≈
.R . p . . .
. . n ff . .
sf
.
1

? ### . f f f f ≈ f f ≈ f f ≈ . cresc.
‰ ≈ ? . f. f #Rff ≈ ≈
f

f & ff ff f f ≈ nf f ≈ ≈ ≈
f f f f # ff ff n ff ff fff fff fff fff # fff fff f
° ° °
2

>j >j >j >j

## f™j j
5

MARTHA ARGERICH
4 3
21

& # f™j f ff #f f f™j nf ff nf f f f f™ f™

2

f™
ff ≈ ≈ f ≈ f f ≈ #f f ≈ f f ≈f™ #f f f™ nf f
3

{
≈ f R ≈≈ ≈ f . R ≈≈
. . . . . .R nf f nf f
1

f.
2 1

. . ff ff f f ff ff f f ff ff ff ff
? ### f. f. ff ≈ ≈ f. f. ff ≈ ≈
f
f f. f
R #f R f . fR ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
f. # f. 3 1 f.
° ° °
3

62• Pianist 84

P61 SCORES MENDELSSOHN-FINALish.indd 62 08/05/2015 15:41

barline into bar 25. Keep the
tone strong until the diminuendo
in bar 27. There is a very tender
moment at the beginning of bar 28
(espress) so really ‘show’ this slur and
mould it with you fingertips. Note
that at bar 31 there is now an extra
grace note in the RH (not present
in the exposition) and this should
also be expressive and not grabbed.
The RH thirds at the end of bar 33
should be seamlessly legato. These
can be a little tricky and I would
suggest practising them separately.
You can try the useful practice
method of breaking them down from
the top to the lower part (i.e. with
the fingering on the score, you’d do
as such: 5-3, 3-1, 4-2). Also, try to
keep your elbow free in this passage.
The following passage in the LH
in bar 35 is also challenging,
especially for small hands. You are
really aiming to make the top third
(i.e. third semiquaver of each group
of three) speak properly with both
notes sounding. Try highlighting
the top note with your thumb and
really aiming for it. You can also
try practising this LH passage
(bars 35-36) omitting the second
finger, and then playing it again,
but this time omitting the thumb.
There should be a sense of a long DANIEL BARENBOIM
line from bars 40-48. The climax
of this line (and of the piece) is at MOZART • SCHUBERT • STRAVINSKY
bars 47-48 and the ensuing three
dotted quaver RH notes leading PIANO DUOS
into bar 49. It is important to keep
the dynamic tension and drive
going throughout this passage. The
LH is just as important here. We
often tend to ignore the LH in
cantabile pieces where it is typically
taking an accompanimental role
(as with Chopin’s Nocturnes), but of
course it provides a much-needed
harmonic platform.
Bar 49 right through to the end
forms a short coda. The entire
section is piano (or even quieter!).
These final bars should really ebb
away. Aim not to start too quietly
in order that you have something to
die away from. Bar 54 could cause
problems technically. I would try out
this bar in some different keys as it
would be an extremely useful exercise
in arpeggio playing, too. Make sure
that every note is sounding clearly
and that you are really ‘plucking’ the DVD 2059998
notes out of the key bed, in the way
you did at the start of the piece.
Keep the pedal down for the final
two notes and release gently for the
perfect finish. ■
BLU RAY 2059994

More Mendelssohn to explore

More of Mendelssohn’s Songs without Words to try, as chosen by Lucy Parham “Blistering stuff, brilliantly
Andante con moto in E major op 19 no 1 played and articulated...
‘Beautiful and accessible, this piece is a good study in melody and
accompaniment. It’s full of sunshine and openness.’ The great news is that the concert
Andante expressive in A minor op 19 no 2 is due to be released on DVD”
‘Nicknamed “Regrets”, this introspective and sombre piece is great for working
on the singing line and inner voices.’ [Find a lesson on this piece in Pianist 67] The Guardian, April 2014
Allegretto tranquillo in F sharp minor op 30 no 6, ‘Venetian Boat Song’
‘A rather haunting piece that’s sparsely written and has a barcarolle in the left hand.’

Andante con moto in A flat major op 38 no 6 ‘Duetto’

‘This piece has a soprano and tenor line and an accompaniment, which makes
more challenging in that you have to balance voices. It’s not fast, but it is
difficult to control.’ [Find a lesson on this piece in Pianist 60]

Allegretto grazioso in A major op 62 no 6

‘Such a charming, lilting and elegant piece. The accompaniment has little grace
notes and it must be played in a stylish and graceful way.’

Presto in C major op 67 no 4
‘Known as “Spinning Song”, this piece harkens back to Schubert’s song
“Gretchen am Spinnrade”, and reminds me of the “Oh spotted snakes” chorus
from Mendelssohn’s Midsummer Night’s Dream.’
Marketed and distributed in the UK by
Select Music and Video Distribution Ltd,
3 Wells Place, Redhill, RH1 3SL
Follow Select on Twitter: @selectmusicuk
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P24 HTP Lucy-FINALish.indd 25 15/05/2015 10:29

 play HOW TO
FULL SCORE ON PAGE 41 3
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WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM

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33
Richard WAGNER (1813-1883)
Albumblatt für Ernst Benedikt Kietz WWV64
Think Wagner and you think opera. His music has made its way to the piano largely
through transcriptions and arrangements of his operas, not least those by Liszt,
including the famed ‘Isolde’s Liebestod’ from Tristan und Isolde. So praise is due to
Llŷr Williams, who in his Wagner Without Words album for Signum Records not only
plays transcriptions but also original Wagner piano works, like this one from 1840.
Playing and pedal tips: There is indeed something operatic about this short work.
Firstly, the melody sounds like an intense aria, and secondly, the whole structure of

Espressivo
>55
Espressivo

######c ff ™™ ff >>>ff
Espressivo
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the piece is rather dramatic, ending rather abruptly! In order to create the drama, you
will need a very astute LH: Try to make it surge back and forth, along with the melody.
Even if it the LH should never come across as clangy, it does need an inner turbulence.
So remember to shape it as well. The RH melody needs to sing. So dig in to the bottom
of the keys, creating a rich tone, and take your time over the RH melody octaves, always
aiming to relax the wrist.

5
5
5
5
Read Janet Newman’s step-by-step lesson on this piece on page 26.

4
4
4
4

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3

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4 3
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øø ø øø

Albumblatt für Ernst Benedikt Kietz

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

ø ø Pianist ø ø
5 5
41• 84

P41 SCORES WAGNER-FINALish.indd 41 08/05/2015 15:34

Teacher and performer Janet Newman has several ideas to share about playing this luscious rarity
from Wagner, which is a challenge for mastering rubato and for those with smaller hands
Ability rating Intermediate will also help to keep the harmonic
Info Will improve your support cushioned and warmly textured.
Key: E major 3 Balance of melody
Tempo: Espressivo 3 Understanding of rubato The melodic line will need a lot of
Style: Romantic 3 Use of dynamics practising on its own in order to
strengthen the weaker fingers. Keep
your hand in an open position – in
A piano piece is a rarity from Wagner,
who was known primarily as a
other words, ‘ghost’ the thumb part – as
this accurately reflects the shape of the
composer of epic, large-scale operas. RH when it is playing both parts and
Still, even in this little Romantic work, increases the workout needed for the
it is possible to detect some of the muscles on the side of the hand. As
richly textured harmonic structure that ever, be really precise about using the
informed his compositional style and fingering you’ve chosen so that there is
the florid, luscious melody shape has a always a consistent approach, one that
definite vocal feel to it. Wagner wrote builds up the muscle memory within
this piece in 1840. He was living in the hand. From my own teaching, I
Paris at the time and having trouble know that using consistent fingering
making a living and also had problems is something that pupils struggle with
with debt – something that plagued him the most. Becoming truly aware of your
throughout much of his life. fingering and being able to control it
presents the greatest challenge, but
The title, ‘Albumblatt’ (Album Leaf ), until you know exactly what you are
generally refers to a piece that has doing within a phrase, you can never
no specific compositional form as guarantee a successful tone or evenness
such. It could just as easily have been of line. In performing this piece, you are
called Nocturne or Impromptu – and trying to achieve a beautifully graded
it usually makes relatively few technical legato shape against a thickly written
demands on the performer. Having said background – understanding your
that, this piece can be more challenging fingering in the weaker side of your
for those with smaller hands. Indeed, hand is crucial.
controlling the balance of the chordal
accompaniment against the right hand Musically, there is a lot of expressive
(RH) melody can present a problem for rubato within this piece. When
smaller hands. Wagner writes a rit in bar 7, take
time to ease your way through this
Separating the melody from the phrase before it moves into E minor
accompaniment will be your first task. in bar 9. This move into a darker
Begin very simply by playing the triplet key is significant and the dynamic
figures in the left hand (LH) – and level is important too, as it creates a
the RH thumb triplets as well – as a more tentative and searching quality
‘block’ chord, just to learn the harmonic compared with the opening. Wagner
outline. By using this technique, you has moved away from the warmth of the
can quickly learn the chord shapes home key of E major, and the melody
within the hand and also understand takes on a more chromatic character. Let
when and where the harmonies change, there be a feeling of greater flexibility
which helps with memorising if you here, especially as the movement of the
want to try to do so. Perhaps only use bass line also needs a little more time
this technique for four bars at a time to speak. Do make sure that you hold
and then go back to the first bar and try the minims (half notes) from the LH in
to play the accompaniment as written. bar 9 and onwards, because when you
Bear in mind that the RH thumb in change the pedal, these still need to be
Janet Newman is Head
particular will have a tendency to play heard as a countermelody to the RH.
of Keyboard at the Royal
more loudly and therefore listen very
Grammar School in
hard to this and check that the balance Take time over the occasional two
Guildford. In addition to
is sensitively shaped. Try to keep close against three rhythms, such as
her teaching, she is in
contact with the keys as you play the those in bar 11 – these are beautiful
demand as a freelance
accompaniment – imagine that the keys moments and worth lingering over.
pianist and is an examiner
are bringing your fingers up rather than If you coordinate the B in the RH with
for the ABRSM.
too much overt finger movement – this the top D in the LH and then place the
26• Pianist 84
C© in between the accompanying LH
A and F©, it will fit exactly, and should
sound very fluid and natural. Similarly,
don’t rush the dotted rhythm in the
RH (bars 14-15), as this is also a very
poignant and expressive passage and
Learning Tip
Sing the melody before playing it
so that you understand where the
natural breaths and shape are.
musically will benefit from a less clipped
and rigid rhythmical approach.
The music intensifies in feeling from
bar 16 as it approaches the climax of
the piece with the return of the
triumphant main theme. You can
afford to take the most time through this
section, enjoying the spacious and broad
sweep of the phrase before you arrive at
bar 21. There are small differences in the
musical material from here to the end,
namely the RH has the theme in octaves
(bar 25) and Wagner writes a kind of
coda from bar 27 in order to bring the
music to a conclusion.
There is a very operatic feel to the
shape at this point that I think calls
for increasingly spaciously shaped,
big-boned playing, with an almost
orchestrated sense of colour. I hear
the octaves (from bar 30) as having a
brass quality but be careful that they are
not played all within the same dynamic
range. Start the phrase at bar 30 with an
intense tone, but reduce the dynamic
to mf before grading each octave and
arriving at a true fortissimo on the C©
(bar 33) so that this carries the most
emotional impact of all. It’s very easy
in this kind of piece to let rip too soon,
which, oddly enough, defeats the point
of the music. It can just make the
listener feel bludgeoned by the musical
rhetoric, rather than moved!
If you have enjoyed playing this piece,
there are other pieces by Wagner that
you might like to explore as well. One
piece written for Princess Metternich
(catalogue WWV94) is rather beautiful.
There are also many other works by
composers such as Mendelssohn and
Schumann that cover similar musical
territory and would definitely be a great
addition to your repertoire. ■

P26 HTP Janet-FINALish.indd 26 08/05/2015 15:49

Pianist 84 June-July 2015

Scores
Contents
28 PURCELL
Air in D minor ZT 676

29 CZERNY
The Fair

30 AMY BEACH
Minuet, No 1 from Children’s
Album op 36

PRE-ORDER YOUR COPY NOW! 32 BACH

Prelude in C BWV 939

GREAT PIANO COMPOSERS

33 FRITZ SPINDLER
Ivy leaf op 123 no 6

OF THE CLASSICAL ERA 36 HAYDN

Adagio in F Hob.XVII:9

Pianist special issue 38 MAYKAPAR

Toccatina op 8 no 1
ON SALE 26 JUNE 2015
41 WAGNER

5 How-to-play lessons from beginner to advanced – includes the

famous first movement of Beethoven’s ‘Moonlight’, a Clementi Sonatina
and Mozart’s Rondo in A minor 44
Albumblatt für Ernst Benedikt Kietz

CHOPIN
Polonaise in G minor B.1

2 Masterclasses from the experts

Mark Tanner on perfecting your Classical playing and Graham Fitch on
new approaches to the technical challenges of the Beethoven sonatas
45 KEYBOARD CLASS
Polyrhythms

40 pages of sheet music plus cover CD Our editor’s selection of

the best Classical Scores from past issues of the magazine
51 SATIE
Je te veux
Top concert pianists talk about the joys (and challenges) of playing the
61 MENDELSSOHN
great Classical repertoire
Song without Words in F sharp
John Suchet, the Classic FM radio presenter and renowned Beethoven minor op 67 no 2
author, talks about his passion for the composer and his piano works

Discover the Classical era with articles on Mozart the Man, Beethoven’s Typesetting by Spartan Press
‘32’, Keyboards of the Classical Period, the best recordings and sheet Music Publishers Ltd
music, and more

Walk in the footsteps of the great Classical composers by reading

our feature on European cities and festivals brimming with musical history Quick guide to
UK/North American
note value terminology
PRE-ORDER YOUR COPY TODAY w = semibreve/whole note
AT THE SPECIAL PRICE OF £4.50 h = minim/half note
q = crotchet/quarter note
CALL +44 (0)1778 392 483 e = quaver/eighth note
x = semiquaver/16th note
OR VISIT www.pianistm.ag/gcomposers y = demisemiquaver/32nd note

p27_Scores_Intro-FINAL.indd 23 12/05/2015 11:22

 TRACK 1
Henry PURCELL (1659-1695) BEGINNER
Air in D minor ZT 676

In his short life, English composer Henry Purcell produced an extraordinary amount music Purcell composed for a theatrical work called The Double Dealer (1693).
of music – many vocal works (operas, religious and secular pieces) and a comparatively Playing tips: Phrase the RH melody two bars at a time, supporting it with firm and
small number of works for keyboard, generally undemanding pieces drawing on dance even LH crotchets. Pedal is not necessary.
forms. This Air was composed originally for harpsichord
Moderato q = 115 and appeared as incidental Take a look at the technical tips within the score.
Moderato q = 115
f f f
5

3 f f f
q = 115
# f F
Moderato 3

b 3f f f
Dig
5 into the keys for a nice RH
ff ff
3
f ff
3

& b 433 ff #f ff ffq = 115

ff ff ff ff FF f
3
Moderato singing tone.
ff
3 5

{{
3

& bb 443 f ##ff f f

&
3
5
f f f f f f
3
ff
f F
3

f
3 3
The key is D minor,
& 4 pp f f
f1: Lift RH up atff #Phrase
f 2:nAgain, fftwo-barnnnphrase...
fThis is now fa longer bf f don’t##liftffthe RH ffrom the
with B flat in the

? b 43 ppf Phrase ##after f lift the RHfup at

ff the nnthird bbff
key signature and
ff beat. ff ff ff #tillfend of thisff bar.
? bb 4433 ff ff
the endfof this bar. f
...so
?
then the C sharp.
keyboard
f # f nf f nf bf f #f f
Think in terms of
a stately minuet.
? b 43 f 5
2
2
2
2
f 1
1
4
4
1
1
2
2
5 2 2 1 4 1 2
5
2 2 1 4 1 2
5
The LH crotchets should ‘tread’ at an even pace. Keep the LH close to the keys, as if crawling over the notes.
The notes should be slightly detached.

5
f f f f f f f F ™™
#f ff f #f
4

& bb fff ff ff
3

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

{{
&
4 2

& bb f
3

f f
2
f
5
#f f ff f f f f #f F™
3 4

& mp
2

? b mp f f f
Follow phrasing as before.
#f f f
? nf
mp
? bb ff
mp ff ff ##ff nnff f
ff ff f
ff
f
ff ff f
ff f
?b f f f #f f
1
f ff
nf
3 1 1 4 2

f f f f
3 1 1 4 1 2

f always
3 1 1 4 1 2
3 1 1 4 The LH should taper off nicely,
1 2
remembering that detached quality.

Start out softly here. Even if the phrasing suggests one bar, plus one bar, plus two bars, you
should think of the long line and climb all the way to the end of bar 12.
9
f
4
f f f F f
& bb ff
2

ff
3 4 1
f f
3

f FF
9 1

ff ff
2 3

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

ff ff

{{
3

& ff
2 3 4 1

& bb pf ff ff
3 4 1 2

ff f
3

ff
1
F
9 2 3
3 4
f f
1 4
f 3
f f f
2

& pf f
2 3 1

f f f f f f
?b p f f f ff f ff f
? f ff f f ff f ff ff ff
? bb pf ff ff ff ff f f
? b ff f f f f f
f f
2 2 2 3
f f
5 5

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

Here is the loudest part of the

piece. Make it sing! Die away gradually towards the end.
13 f
5
f f f
4
f f
ff ff f f f f f #f F ™™
& bb ff ff ff
5 4

ff
13 4

ff ff ff ##ff
5
ff ff FF ™
13 4 4

{{
&
& bb mf f f
4

f f f
5
f
13 4

f f
4
f f f #f F™
& mf f f
? b mfF ff F ff f f
? ff f
? bb FF FF ff f f
mf
f f ff ff ff f
?b F F f f ff
f
4 5 2 4 1
4
4
5
5
2
2
4
4
1
1 f f f
4 5 2 4 1
28• Pianist 84

P28 SCORES PURCELL-FINAL.indd 28 08/05/2015 15:29

 TRACK 2
Carl CZERNY (1791-1857) BEGINNER
The Fair

Born in Vienna, Carl Czerny studied with Beethoven and Clementi, and became a thumb on G, the second finger on A and so on. The LH provides a very simple
teacher himself, writing numerous small pieces such as this one for piano students. accompaniment of two-part chords.
Playing tips: The RH remains in a five-finger position throughout – that is, with the Take a look at the technical tips within the score.

Notice the short phrase markings (every three notes).The emphasis should be on the first note, then begin to raise the hand for the
Lightly second two notes, with the third note being the lightest/softest.Then lift the hand completely before the next set of three notes.

#6 Lightly
f f f f ff ff ff ff f f f f ff ff ff f. f. f. f ff f f ™
1 2 3 4 5 5 4 3 2 1 4 5 4 2 2 3 5 3 1
3 3 2
Key of G major
& # 68Lightly

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

& 8 fp f f f f f f f f. f. f. f f f™
with the one

# 6Lightly f f f f f f f f
F sharp.

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

& 8
? # 68 f ™ f
f™ ™ f f
f™ ™ f
f ™
™ f
f ™
™ f f . ™ . . f™ f™

{{
™
p
# 6 f™ f ™ f ™ f ™ f ™
ff ™ f f f ™ f ™ f ™ ff™™
? # f™ f f ™ f f ff ™ f f™ f
1 2 3 4 4 3 2 1 4 5 4 3 5 3 1
f
3 5 5 3 2 2 2

& 8 ff ™ p
f f f
f ™ f ™ f ™ f ™
f . ™
f
. f
. f
f ™
f ff ™™
Play?
the#LH6two-part ™ over ff ™ ff ™
1 1 1 1 2 2 1 1
f™ 3
f™and evenly. Keep
3
f ™ the LH fingersfraised
3 3 5 5
f™ 3
f™ 3

8 solid
1 chords softly 1 1 1 2 2 1 1
3
p accompaniment. 3 3 3 5 5 3 3
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29• Pianist 84

P29 SCORES CZERNY-FINAL.indd 29 08/05/2015 15:30

 S
MIS
DOMN’TANIE
E
SPAN
L
SWIC
ON
K’S
Amy BEACH (1867-1944) BEGINNER/
LESS
TRACK 3
IECE INTERMEDIATE
HIS P
ON TPAGE Minuet, No 1 from Children’s Album op 36
22

Amy Beach, also known professionally as Mrs. H.H.A. Beach, was born into a
prominent Massachusetts family and was a piano prodigy, giving her first public recital
age seven. Following her marriage to a physician, she focused on composition, writing
art songs, chamber music, concertos and many works for solo piano. This Minuet is
the first of five pieces in her 1897 Children’s Album for the piano.
Playing tips: This lively, yet sweet piece, in ABA form, requires a strong rhythmic
pulse throughout. The RH carries the melody, sometimes with the LH playing along
with it (e.g. bars 1 and 3 etc). Try to think in long lines – for example, the first phrase,
even if broken down into two- or four-bar mini-sections – should end up being one
long eight-bar phrase. There’s quite a bit of repetition, so try to alter the dynamics and
character wherever possible. Keep the fingers light but remaining close to the keys.
Pedal tips: We have placed a few suggestions in the score. Dabs here and there on
the downbeats. The pedal has to remain sparse though, in order to keep the light feel.
Read Melanie Spanswick’s step-by-step lesson on this piece on page 22.

Allegro q = 184
.= 184F f . . f f
5

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2 4 4 4

30• Pianist 84

P30 SCORES BEACH-FINAL.indd 30 08/05/2015 15:30

 TRACK 3
Amy BEACH (1867-1944) BEGINNER/
INTERMEDIATE
Minuet, No 1 from Children’s Album op 36

ff...
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{{
59 3 2 2 1 2 5 1 4 2 1
ff ff ™™ ™™ ff ™™ ff
2 3 1 4 1 2 1

& ff ff
4 1 4 3 2

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

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

dolce pp
™
dolce pp
pp
& bb ŒŒ bbff FF ŒŒ ŒŒ ŒŒ ŒŒ ™™ ŒŒ
dolce pp
& ff bbfff
dolce
ff bbff bbFfF
& b ŒŒ bbff ff FF ŒŒ ŒŒ ŒŒ ff ff FF ŒŒ ™™ FF ŒŒ
&b f
2 2
f F1 bbff
1 ff
1
f bbff ff bbFfFf ff
ff ff FF ™ FF
f f f F F
2 2

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

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

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

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

° °
4 4 3
1 4 5
1 4 4
3 5

31• Pianist 84

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 TRACK 4
Johann Sebastian BACH (1685-1750) BEGINNER
Prelude in C BWV 939

This prelude is the first of Johann Sebastian Bach’s Funf Kleine Präludien (Five Little the opening, building up ‘regally’ to bar 4. There is nice interplay between the hands
Preludes) BWV 939-943, and dates from around 1717, although it was not published – both of which get a chance at the melody. The trickiest part comes at bars 9-11 in the
until the middle of the 19th century. It’s likely that this prelude was composed with the LH. The fingers should be firm, but the wrist supple. Put the emphasis on the third
purpose of teaching Bach’sAndante q =keyboard
90-100
many children about
Andante q = 90-100 playing. note of each LH three-note figure, keeping the other two notes light. Pedal not
5
necessary.
Playing tips: This is a gorgeous piece to learn. The harmonies are4 wonderful. Phrase Take a look at the technical tips within3 the score.

44Andante ff f f ff ff FFF
5
3

‰ ff
ff f bbff ff
Œ
1 2 5 4 4

ff f ff f ff ff ff ff
3 3
1

& 44 ‰ ff ff ff
& ffNotice
1

Œ
1 2 5 4 4 4
ff often
1
fthe fphrasing throughout
1
q = 90-100

{{
fshould digfdeep
fmelody ff into‘broad’ F in the LH and RH.You
f Thef
5
Fingers the keys.
4Andante f f FF
Practise hands 3

Πfff
3

& 4 pp‰ f f bf fof fthe bar.

1 2 5 4 4 have to lift the hand, for a brief second, after the first quaver
4

f fff ff ff
should sound . 1
f Like
1
separately to q = 90-100
begin with.
f ff f f f
fF
f a short breath.
f
ff
5

? 4 f
f f f f f f‰‰FFF ff ff ff Œff ff ff ff
3 3

& 444 p‰w

?
f f bf f w
fw f f f f f fw
1 2 5 4 4 1 4 1

wf f f wf

{
w w f f w f
? 44 pw w
w
w
w
w ‰f f f f f f f
5 3 2
5 3 2
Key of C major.

? 44 w w
w
w
w
w ‰ f f f 5
f f f
3 f 2

w w w 5 3 2

Start off quietly.You need to be able to

4
The LH minim octaves should be 5
The LH now takes over.
4
5 4 crescendo over three bars. 4
2 sonorous and last the whole bar. 5
3

ff f ff f ff
3 1

FFFF ff
5
Œ ŒŒ
The chord here is31 tied, which 3
f FF ff ff ff f
3 2
1 1 2

&
1

Πff ff ##ff ff f f
3
f
2

ffJ ff f f ff f
1 1

5&
1 gives a syncopated effect.
F f f

{{
ff f f
J
4 Most of the RH crotchet 4 5
chords should be detached. 2 3

ff f f f ff
3 1

FFF Œ fff Œ
3
F ff f mp f f
1 1 2

&
1

? #f f f f fFJF f f ff ff #>>ffF mp f #f f f
f
ff f fŒ ff ff f ff f f fŒŒ fff
4 4 5

? f f f ŒŒ
F#fFF ff ff ff Œff ff fff f #Fff mp#f
f
5
ff
3 2 3 1 3
F
1 1 2

&
1

ff fJ f f f f f f
f f #>F f

{
f f f f
? #f f f f f f F Œ f Œ
f f f f
2 3 2 2 2

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

>
1 5 3 2 1 3
mp
f f f
? #f f f f f F Œ f f #F Œ
f f f f f f f f
5 3 2 3 2 2 2
1 5 3 2 1 3

5 3 2 3 2 2 2
1 5 3 2 1 3
A long build-up begins, lasting 3-4 bars. 4
4
2

nnff f ff ff f ##ff ff f ff ff FF
9 5 3 2
1
ff f
4 5
9
f ŒŒ ff
4 3 5 3 4 5

f f
2 3 1
f
1 4

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

ff f f ff
1 2 3

9&
3

{{
4
2

nf f f f f #f f f f f fFF
5 3 1
ff
4 5
f Πf
4 3 4 5

f f
1 2 3
pf f f
9& p fF
3

f f f f f f 4

?
? pfff ##ff f™f™ f fff ff f™ f™ nf f ff ##ff ff ™™ f f fff ff ff ™™ f f #ff ##ff ff ™™ f f fff ff ff ™™ f f ffFFF f ff fŒ nnfff ff
2
5 3 4 1
4 3 4 5 5
1 2 3

&
3

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

{
? ——f #ororf——f™ Two suggested
f f f™ f #f f ™ fff ™ f #f f ™ fff ™ f nf 5 3 2

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

fListening to the CDf will help. Practise extremely

f slowly when playing
f hands together!f
1 3
p 2 3 2 fingerings here; find which works for you.You might find this LH part tricky.

? —f #orf—f™ f f f™ f #f f ™ fff ™ f #f f ™ fff ™ f nf f

2 3 2
2
f
5 3

f f
1 2 1

f bars 13 and 14.f Try practising bar 14 onfits own, f f Only a veryf slight slowingf down at the fend.
1 3
2
Keep forte through3 2
3 2
out1 of2context,
1 until the notes are really secure. 5
1 3
— or —

ff f bb ff
rit.
rit.
ff ff ff ff f f f
2 3 2

ff ff ff
13
f f f nnff ff ff f ff ff ff ff ff ff
4 5

f ff w
5 5 4 5
13 1 4 5
f FFrit. w
5 1 5 4 5

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

13& w
2 3 1 1 2 1 1

{{
f f bf f F ff w
f f f ffffff f f
4 5

f nf f f f f f f f f w
1 5 5 4 5

f FFrit.
1

13&
f
2 3 1 1 2 1 1

? ff f b ff f w
? ff ff ff f f ff ff fw
w f f f f f nf f f f f f f f f ff ff ffF ff ff f
4 5

w
1 5 5 4 5
1

&
2 3 1 1 2 1 1

f F ff w

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

? f f f f f f f f w f f f f f f
2 Pianist
32• 84 1
5 3 2 3 4 3 5 2
5

P32 SCORES BACH-FINAL.indd 32

5 3 2 3 2 4 3 5 1 2 w 11/05/2015 09:14
5
 TRACK 5
Fritz SPINDLER (1817-1905) INTERMEDIATE
Ivy Leaf op 123 no 6

One of the many skilled teacher/performer/composers who made up the backbone of
19th-century German musical culture, Fritz Spindler was extremely prolific as a
composer, with a catalogue of more than 400 works, including symphonies and a piano
concerto. He also wrote many short piano pieces such as this one, likely intended for
his pupils in Dresden. ‘Ivy Leaf ’ comes from a collection of ten pieces entitled Blätter
und Blüthen (Leaves and flowers), which appeared in 1861.
Playing tips: This sweet Romantic piece should be played ‘full of wonder and not
quickly’ (as per the German directions at the start). Take note of the long phrase
markings. The notes should flow seamlessly between RH and LH. There is a middle
section at bar 17, where the melody sounds broader and more expressive. Aim to
produce a lovely rich singing tone in the RH and deep ringing bass notes in the LH.
The opening returns at bar 31, with a coda at bar 39. Some help with the German words
on the score: ‘zunehmend’ means to move forward, and ‘abnehmend’ to pull back.
Pedal tips: See markings on the score.

Empfindungsvoll, nicht schnell

ff f f
Empfindungsvoll, nicht
ff
schnell
ff ff ff ff ff ff f f f
ff ##ff ff f
4 1

b 2Empfindungsvoll,
ff f f
1 2 4 1
Empfindungsvoll, nicht schnell
b ≈ 4 f
ff f ff ff f
1 2

b 2
& bbb 442 ≈≈ ff ff ff f f f ff ff
& f f
2
nicht schnell
f f ff
ff ##ff ff ff
1 1

ff ff ff ff
1 2

{{
f f f ff
1 2 1 1 2

b2
4

& b 44 pp≈ ff ff f
&
2

f f
1 1 2

? bbbb 4422 pFF

?
& ≈≈ f ff ≈≈ f f ff ≈≈ f ff
p
f f
? bbbb 4422 °
? FF & ff f f f ff f f f ff f f f
& ≈ ≈ ≈
& ≈ø f f ≈ø f ff f f ≈ø f f ff f
F f f f
° øff f 4
øf
3
øff
°
4 3

° ø
ø
4
4
ø
ø
3
3
øø
b nf nf bf ff nnff ff f bbff #f f f f nf f f f f f f f
4
5

5 & bb nf nf bf
4 4 4 4 3 3 2
5

5 & bb nf nf bf f bf #f f f f nf f f f f f ff f f ff ##ff. nnff. nf. bf.

4 4 4 4 3 3 2

{{
n f
bbb nf nf bf f nf f ff bf ##ff ff ff ff nnff ff f ff ff f f ff f f #f. nf. nf. bf.
f f
4 4 4 4 3 3 2

& f # ff f f #f. nf. nnff. bbff.

4 4 4 3 3 2

& ff
bb ≈ # f n # f ff. . nfff. .
& b f ≈ f ?
? #f f f
n#ff nff
& bbb ≈≈ f f ff f ≈ f f ff f
≈≈ø f f f ff ? #f
f
f #
nnfff f nnfff
& b b ≈ø f f f ff ? #f f f
ff
& ø f f f ø ff ff f f
øø f f øø
ff f f f ff ff ff ff ff ff f f f f
b ff ##ff ff f
9
f f f f f f f f
9 & bb ≈
9

9& b ≈ f f f
f f f f ff f f ff f ff f f f ff f f f f
#

{{
b f f f f f f f f f f f f f
& bbb ≈≈ f f ff ff f #f f ff
& ff f
?
? bbbb FFF & ≈ ≈ f ff ≈≈
f f ff ≈≈ f nnff
? & f ff f f f f
nn ff f f nf
? bbbb °
ff f f f
FF & ≈ ≈ ≈
& ≈øø f f f f ≈øø f ff f f ≈øø n f f ff nf
f f
° f f f nf f
°
° ø
ø ø
ø ø
ø
b nf nf bf ff #f f f nf nf bf f f f
13 4

13& bb nf nf bf ff ff f Œ
5 4 4 1 1 3
13 2 2

# n
4

13& b nf f f nf nf bf f f f f f ™ f f
nnff f f f f ff f Œ
f
4 4 1 3
f f
5
f ™ f
1 2 2

{{
b n f b f f #
4

bbb nf nf bf f #f f f nf nnff bbff ff ff f f f ™

f fff f Œ
4 4 1 3
f
5 1 2 2

&
4

ff f f ™ n f #nf f f n ff f ff ff Œ
n f f f
5 4 4 1 3

f
1 2 2

& f f #
f
ff n f # f f f n f f f fff
b bb ≈ ? ≈ f f f nf # f f
&
& bbb ≈≈ ff ff b f f ##ff ? ≈ f f f nf # f f f n f # f f ff n f ff ff ff f
b b ? ≈ f f f ff nf # f ff f n f # f f n f ff ff
&
& b ≈ ff f b f f #f f f f #f ? ≈ nf ff
2 1 4

°
4 5
2 1 4

°
4 5

bf f ff
4 5
2 1 4

°
4 5 4 5
2 1 4

°
4 5
4 5
4 5

33• Pianist 84

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 TRACK 5
Fritz SPINDLER (1817-1905) INTERMEDIATE
Ivy Leaf op 123 no 6
17
b f f f f
5

& bb f
2 1
17
f f f ff ff ff f f f
ff nfJ ™ f
17 5
5

{{
b
17 2
2 1
1

& bb ff
& ff ff ff
17 5
5
ff ff nf ™™ f
2
2 1
1

ff ff ff ff ff ff ff ff ff ff ff n ff nfJJ
?b ff ff ff ff ff ff ff ff ff ff ff nn ffff
b fff fff fff fff f fff fff fff fff fff fff fff
?
? bbb ff f f f f ff f f f f f f f f ff
b f ffø
5

° ffø
4
4 5
5

° øø øø
4 5

°
4 5
4 4
4
4 4
4

20 bb f
f f f
f f nf
20

20& b nf ff f ff ff ff
ff ff nnff
20

{{
b f
20

& bb nnff
& fff ff
f n fff ff
ff
ff
ff
ff
ff b fff ff
ff
ff
ff
ff
ff
? bb ‰ ff ff nn ffff fff fff fff bb ffff fff fff fff
ff fff ‰ f f
?
? bbbb ‰‰ f ‰‰ f f f #f f f f f
f ff ##ffø
°
°
° øø
zunehmend
23
b f f f f nff nf f f
& bb ff nfJ ™ ff nff f f
2
zunehmend
zunehmend
ff ff nnff nnff ff
23
23 zunehmend
ff

{{
bb nnff ™™ f nnff ff ff
23 2
2 zunehmend
&
23

&b ff
2

JJ
2

n ff n ff f ff ff ff
? bb nn fff
ff
ff
ff
ff n fff ff
nn ff b fff ff ff ff
fff fff nn ff ‰ ff ‰ f bb fff fff fff fff
?
? bbbb f fff ff ‰‰
ff
‰‰
ffø f f f ff f 4
f f f
øø
4
4
4
4

>
abnehmend
b nf j j
26
f f f
2
j
& bb nf bf
3 4

f f >>fJf
abnehmend
abnehmend
nnff f fj fj
26 abnehmend
f
26
ff fj

{{
abnehmend 2

bb nnff bbff
3 4

ffj ffj
2
ff ff ff ff
26 4

ffj
3

&
26 2

&b ff
4

fJ ff
3
3 4 2

FF
FF n Jff ff nfff ff
? bb FFF nn ff fff nnfff ff
? fff fff
? bbbb F f ff
f

U
a tempo
f f f f f f f f
b bF
29

& bb bf bF U ≈ f f ff ff
a
a tempo
tempo
29
29
U
FF a
a tempo
f
tempo ff ff ff ff ff ff

{{
bb bF ≈≈ f f ff ff
29
&
29
FF
& b bbbbffff pFF
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

FF ff f
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

p
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

? bb pppFF
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

FF pF ≈
p p
f
p
FFF FFF FF & f
? b
p

? bbb F FFF FF ≈≈ f f ff
u &
&
& ff ff
u F ff
°
u ø ø
°
° øø Pianist 34• 84
øø

P33 SCORES SPINDLER-FINALish.indd 34 08/05/2015 15:31

 TRACK 5
Fritz SPINDLER (1817-1905) INTERMEDIATE
Ivy Leaf op 123 no 6
ff ff ff ff
bb ff ##ff ff nnff nnff bbff
33
33
f f f ff ff ff ff ##ff ff
b
5

& b b f f #f f nf nf bf
33 5

& ff ff f f f f #f f ff
& bbbb
5
ff

{{
33
ff ff ff ff ##ff ff nnff nnff bbff ff f
##ff
33
ff ff
5

&
&b
5
ff
b bb ≈≈ ≈≈ nnff ≈≈ ?
&
& b b ff ff ff ≈ ff fff ##ff ?
& bbbb ≈ ≈ nf
ff f ff ?
≈≈øø ff f f ≈≈øø nn ff f f nnff ≈≈ f f bb ff ff #f ?
&
&b f ff ff ff nf ff bf f ##ff ?
ø ff ø nn ff ff ff f bb ff ff
36
øø øø
36
bb nnff
36
b nnff bbff ff ŒŒ
4 4 1 2 1

& b b ff ff fff ff
4 4 1 2 1

& ff ff nnff ff ff
& bbbb nnff
36
nf bf ff ™™ ff f Œ
4 4 1 2 1

{{
36
f f f f f f ff f
nnff bbff f™ nf f ff ŒŒ
4 4 1 2 1

& b nf
& ff ff ff
4 4 1 2 1
ff ff ff ff ff
##nnfff
ff ™™ ff ff ff
ff ## ff ff nn ff ff ff nn ff f fff
?
? b ff f ff nnff #f ff nf #f nf f
? bbbbb ≈≈≈ f ff f nf ## ff f f
ff nn ff ## ff ff ff nn ff ff ff ff
ff ff
? ff fff
? bbbb ≈≈ ff nnff ff
ff
ff
zunehmend

ff...
zunehmend
bb
nnfff...
39 zunehmend
f
bbffffff ff
39

& b
b b
ff ff ŒŒ ff ŒŒ bbfff fff ff ŒŒ
39
& ff ff ff.
zunehmend
ff
& bbbb Œ Œ Œ

{{
zunehmend
ff bfff bff nff. ff f
ff.
39
ff ff ff
nnff.
39
& ff ŒŒ bbfffff ŒŒ bbppff ff ŒŒ
&b ff ff ff ff f. ff
nnppfff
p
fff ff... ff.. ff bb fff
?
? b ff. fff. f
? bbbbb ff ff n ff ff ff. f. ff b ff ff
? fff fff nn ff ff bb ff fff
? bbbb ff ff
ff ff
ff
ff ff ff
ff... ff... ff
bb nnfff... fff... fff. fff. fff
43
f
bbffffff
ff ff
43

& b
b b
ff ff ŒŒ ff ŒŒ bbfff ff f. f. ff fff ff
43
&
& bbbb
ff Πff Πff f f

{{
43 ff bfff bff ff nff. ff.. f ff ff ff ff ff
ff ff nnff.
43
ff ŒŒ bbfffff ŒŒ bbppff ff ff ff
&
&b ff ff
ff ff ff
fff ff... ff... ff ff ff
? nnppfff fff. bb fff f f
p

? b n ff ff. b ff ff ff ff ff
? bbbbb nnff ff ff. ff
ff nn ff ff ff. bb ff fff fff fff ff ff
?
? bbbb fff nnnnffff ff ff ff... ff... ff ff
ff nf °
° ff. ff. ff
nn ff ° . .
.ff. f
f
ff... ff ff... ff... °
f°
ff
48
48
bb fff.. fff. fff ff ff
fff.
ff.
fff.
ff. fff U
U
U
& b
b b ff ff. ff. ff nnffff ff bbff f ff ff FF
48
& f f U
& bbbb nff bf ff ff ff U

{{
48
f ff ff ff f ff. ff. FF
ff ff.. ff..
48
ff nnffff ff ff bbff FF
&
&b ff ff ff ff. ff. U FF
fff ff fff U
pp ppp

? f f fff.. fff.. U
pp ppp

? b ff ff ff ff f FFF
? bbbbb
pp ppp
ff fff fff fff ff ff ff ff ff ff ff ff ff. ff. U FF
ff... ff... U
pp ppp

? ff ff fff
pp
fff fff
ppp
fff. fff.
? bbbb ff 1 ff 2
ff... ff... ff
FFF
f f F
1 2

ff.° ff. ff
5 ppp
°
5
1 2

.° .
ppp
° ff. ff. ff
5

° . .
ppp
°
1 2
1
5 2

°
ppp
°
5

°
ppp
35• Pianist 84
°
P33 SCORES SPINDLER-FINALish.indd 35 08/05/2015 15:31
 TRACK 6
Joseph HAYDN (1732-1809) INTERMEDIATE
Adagio in F Hob.XVII:9

In 1786, when Haydn wrote this Adagio, he was Kapellmeister to the Esterházy family while aiming not to produce any bumps! The runs should sound seamless, but there
and one of Europe’s best-known composers. He earned additional income selling the also needs to be a detached quality to them (listen to how wonderfully our CD’s pianist,
rights to his music, with chamber music and piano works being especially popular. Chenyin Li, does this). When listening to the CD, you will also notice how, at bar 7,
This short standalone piece may be an arrangement of a work by another composer. the RH D acciatura is played on the beat. Both Ds end up being of equal length (two
Playing tips: Even though the tempo indication is ‘Adagio’, remember to feel the semiquavers). The same applies to the acciatura at the start of bar 22.
beat and keep the pulse moving. The RH melody needs a sweet singing tone, with the Pedal tips: There is no pedalling marked on the score, as it is almost too subtle to
LH being the foundation. This is a really good exercise in playing at an adagio speed write down. You will need dabs here and there to ‘cushion’ the sound.

Adagio
. f.
j f f #f f ™ f f f. nf. f.
4

f
3Adagiof f. f.
Adagio
3

f
3

..
1 1

b ‰ Œ
3 4

ff..
1 2 1 1 3

& 4 331f™
f™ f ff.. nf..
1
Adagio 3

f f f #f f ™ f j f f f #f f ™ f f
ff..
4

33 f™ ff f f f ff ff.. ff..

{{
f f
ff ff ff #f ff ™™ ff ffjj
4
ff
3
f f #f f ™ f nf
1 1

b ‰‰ ŒŒ .
1 2 1 3 4 1 3

f.
3

& bb 443mpf™
& f. nf.
1 1 3
1 2 1 3 4 1 3
f ff f f #f f ™ f f
f.
1 4 3

f™ ff ff f
f f. f.
3

f
1 1 3

‰ Œ
1 2 1 3 4 1 3
f™
fff ™™ f ff #f
1 3

FF ™™
? b 443mp
& f™ ff ff fff f f #f f ™ f f f

{
mp ™™
f™ ff ff ff ‰ f f FF ™™
? 3mpf
? bb 443 fff ™™
f ™ ff ff
ff
ff ff ‰‰ ff ff ff FF ™™
FF ™™
? b 43 f ™ f
1 1 2 1

f ff f
5

f ‰ f F™
2 3 4 2

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

f f™
3
4
f f f f ®fffffff fff fff
&b ‰ ‰
3 4 1 1

ff f f f f f
2

Jf f f f
f ff ™™ ff f Jf f

{{
4
4
b ff f ff ff ‰‰ ff ff ff ff ®® ff ff ff ff ff f ff
3 4

‰‰
1

f f ff ff ff
1

&
2

ff f fJ f
& bb
3 4 1
f
1
fJ ff ff f f f f
2

f f f™
4
Jf f ff ff® f f f fff f f f
f ff‰ fff ff f JfffJ
f ff‰ ff f f f fff f f
3 4 1 1

& f™f f fff ff ff

2

J ff f f ff
?b

{
f ™™ ff ff ff ff ff ff
? ff ™ ff ff ff ff ff ff ff ff ff
? bb ff ™™ ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
?b f™ f f f f f f f f f f f f f f f

1. 2.
f fffff f f
ff ffj r f
3
f
7
j j
3

&b Jf ‰ Œ ‰ Œ ff ff ff f f f ≈ Rf ≈ fR ≈ fR
4

f f f f 1.1.f ™™ ™™ f
1 3 2 2
2.
j f
3

{{
fj fj
7
ff Jffj fr ff ™™ ff f
3 2. 3

b fJ ‰‰ ŒŒ ‰‰ ŒŒ f f f f ff ff ≈≈ fRfR ≈≈ ffR ≈≈ ffR

4
7
ff f f f 1.f ™™
3

& ffj ffj

1
3 2 2

& bb fJ
4
3
ff
2.
ff fJj ffr f f
1 2 3 2

f f ff ff ff ™™ ™™
7
j j ≈ R ≈ fR ≈ fR
3

Jf ff‰ ffŒ ‰ Œ
4

f ff Jff fr f
3

&
1 2 2

?b ff ™ f f ™ R R

{
ff ff
ff ff J f ff ff ff ff
™™ ff
fJfjj
f f
ff &
™™
?
? bb
ff ff ff ff ff ff ff ™™ ff ff ™™ ff ff ff ff ff ff
?b f ff f f ff f f ™™ f ffJj ff
f&
& ™™ ff ff ff ff ff ff
1
f
f fJ
2
f f
3

f f ™ f f ™ ff ff ff ff ff ff
4
f 1
J &
f f f f f f
3
1 2
3 4
2
4
f
1
2
f fffff
3

fff ff f f
3 3 4
f f f f
10
f f f r
5
f f
5 1 4

f fr f nf
3

10 b f f f f f f
ff ≈ Rf ≈ Rf ≈f ff
5 1 4 3 4

10&
2
f
ff ff ff f ff ff ff f f
2 2

ff ff
≈≈ Rff f ff
3 3
ff

{{
f ff ff r
5
f ff ff
5 1 4

ff ffrr ff nf
3
f
3 3

10& b f f f f f ≈ ≈ ff ff
4

f f f f ff
5 1 3

f f f f f4r
5 4

f ≈ fRfR ≈ fRfR
2 2 5 1 2 3
f
& bb f f f f f ff f nf
5 1 4 3
f
4

f R f
2
2 3 3 2
f4
f
5
f f f f f r
≈ Rf f
5 1

f fr f nf
3

≈R≈R f f
5 1 4 3 4

& f
2
2 2
f
R

{
& b ff ff ff ff ff ff ff ff ff ff ff ff FF f
& b ff
& bb fff ff ff ff ff ff ff ff ff ff ff ff FF ff
& ff ff ff
f f
ff
f
ff
f
ff
f
ff
f
ff
f
ff
f
ff ff
f f
ff FF
f F f
f
36• Pianist 84

P36 SCORES HAYDN-FINAL.indd 36 08/05/2015 15:32

 TRACK 6
Joseph HAYDN (1732-1809) INTERMEDIATE
Adagio in F Hob.XVII:9

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

ff ff
1
f f f f f fn
13
13 1 4 4

ff ff ff f nf
1 1

b nf ff f nf nnff ff ff ŒŒ
1 3 2 1 4 4 3
f f f
1 3 2 1 4 1 3 2
13
f f
1 3 2 1 4 3 2

& f nff
1 2

& bb nnff f nf
1 3 2 1 4 4 3
f f f f
4 1 2

f f

{{
13
f f f f f
1

f f nf nf f nf f Œ
1 3 2 1 4 3
f f f
2

&
r r bbff f ff
& b ‰‰™™ fr ‰‰™™ fr ff j ?
? f
& bb fF
fF ff ffr
fF
fF ff ffr f ffjj ? bf f f
& fF ‰™ fR fF ‰™ fR ff ff ?
f f
3
3
f
1 3

fR fR
1
1 4
4 1
1
1
3 4 1 3
3 4

R R
1
3
3 1 3
1 4
3

f ff ff #f f ™ ff ffÆÆ ff ff fÆÆ
4

j fnf fÆ
4
4

ff f fÆÆ
16 4

ff f nf f f
4 3 4 4

f f f #f f ™™ ff bfjj fnf fÆ
16 4 1 1 3 4

& bb b ‰ Œ ff
4 3

f f f #f f ™ f fÆ f f fÆ
3
3 4 1
1 3 1
1 3 4 4
4 4
ff ™™ ff
16 3 4 3 4 2
f
4

f f nnff f f
4 3 4 4 4 2
2
1 1

‰ Œ fnf fÆ f ff ffÆ ff
3 4 3 4 4
ff ff
2

{{
&b ff f f #f f ™ f
16 3 f4 f
ff ™™ f f nf f f
4 3
f f f #f f ™ f bf
1 1 4

‰ Œ ff
3 4

f
4 2

& f™ f f f f f #f f
? fff ™™ ff ff ff ff FF ™™
? bb ff ™™™ ff ff
ff ff ff ‰
‰ f ff ff FF ™™
?b f™ f f ff f f f FF ™™
‰ f

ff ™™ f f f f nn ff bb ff
f f bf
5
5 1
1 3
5 1 3
3

f f fff f bf ff
19
ff ff ff
1

®® f ff f ff f ff f
19 3 5 3

b ff ‰‰ ff
3 4
f f f
19 3 4

f ™ ff ff ff n f b f
4

& ff f f f f bf
1

& bb Jf
3 4 5 3
f ff f f

{{
19
f f ®fffff f f
f ff f fJ ‰ f f
3 4

& f f f
J f
ff
f ™™ ff ff ff ff ff ff ff ff ff ff ff
?
? bb ff ™ ff ff ff ff ff ff ff ff ff ff ff ff ŒŒ
ff ff ff f f f f f f ff ff ff
?b f™ Œ

r
ffr
4
4
4

ffrr
r ff
2

j
2
ff
4

ffr
22 2 3 2
r
2 3 4 1

ffrr
22 3 4 5 4 1

j ff
3 2 3 4 5

& bb ff
ff
2

ff nffj ff Œ
4 1

‰‰™™ ‰‰ ™™ ‰‰ ™™
3 1 1 4 5 2
ff ff
22 1 1 1 1 4
f3r
3 2 3 2
ff ff
3 1 1 1 1 4 1

ffjj Rffr
4 5 2

ff
3 1 1

fRff fff ff ŒŒ
2

j f
f nnJffJf
1 1 2

&b f ff
1 1
f3r 3

{{
ff RffR
22
ff
2 3 4 1
ff ff fR
4 5

f ‰™ ff ‰™ fRpp ‰™ f
1 1
ff
2

& JffJ f
1 1
f 3

f ff fR f f f ffR
J fJ f f r R f fr
fr fpf ff ffr
p
f F f ff fff
? ff f ‰‰™™ ffr fF f ‰™ Rf f ‰‰ ™™ ffr ff ff ŒŒ
? bb f f f
f
FF RfR Ff f ‰™ R f fRf ff Œ
?b f F ‰™ f f ‰™ R ‰™ fR ff
R R

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

≈ f f ff f ff f JfJ j
27 1 3 3
ff
1
f
1 2 1 1

ff f f
27 3 4 2 1 1 1 4

j
3 1 3 1 4

& bb ff ®
nnffjj ‰‰ Œ
1

f ® f f #f ff ff ff ff f ff ##ff ff f f f f f
1
1 1
1 3 4
4 2 3 1 1 1 1 1 4
4 4
4

ff ™™
27 1

ff
1 1 1
1 1
1 1 5 1 1 1 1
1

ffjj
3 3 1 1
ff
1 4
1 4 4
1

≈fffff J Œ
1 1 2 3 1 1

ff ff
3

{{
1

&b
1 1 2 1
ff ff
27 1
ff f ® f f ##ff f f f f f ™™
3 4 1 1 1 1 4 4

≈fff ff
nff ‰ Œ
1 1 1

& f
1 1 1
ff
1

ff f fp ff ff ™
f f f p ff f f f
? nnff
p ff

? bb F ff ff ΠΠf
Ff ff ff ‰
JfJ ‰ Œ ™™
Œ Œ Œ
p

?b FF ff Œ Œ FF nf ™™
FF ff
f FF ff J ‰ Œ ™
F f F Pianist f
37• 84

P36 SCORES HAYDN-FINAL.indd 37 08/05/2015 15:32

 TRACK 7
Samuil MAYKAPAR (1867-1938) INTERMEDIATE
Toccatina op 8 no 1

The pupil of famed teachers Beniamino Cesi, Nicolai Soloviev and Theodor
Leschetizky, and the chamber music partner of the well-known violinist and pedagogue
Leopold Auer, Samuil Maykapar led a life in the centre of the Russian music
intelligensia of the turn of the century. After spending a decade in Moscow, Maykapar
accepted a position as professor of music at the St Petersburg Conservatory, where in
1927 he performed all the Beethoven sonatas in recital over seven nights. He composed
over 300 works, including many pedogogical works for his piano pupils.
Playing tips: This piece is great for showing off your brilliant RH fingerwork! It’s
also good for small hands as there are hardly any big stretches. Don’t be put off by the
very fast tempo though – start off by practising extremely slowly and build up over
time. The middle section, which starts bar 10, requires perfect coordination between
the hands. Again, really slow practice is the key to getting things as perfect as possible.
It’s not as hard as it seems, and it’s a lot of fun to play.
Pedal tips: See the suggested pedal markings on the score.

Allegro
Allegro vivace
vivace qq =
= 152
152

f ff
q
f f . f. f f f. f f f. f f
f f. f f
5
Allegro
2 3 vivace
f 5 f f f f f
3 5 = 152
c≈ 2 f f f
3 5 3 4 3
f f f f
c ≈ f.. f f
4

&
2 3 3 5 3 3

f.. f f f.. f f
3
Allegro vivace q
f
= 152
ffffff f f ff. f f

{{
f f f
3

c ≈ f f f
3 5 3 4 3

& c ≈ fnon f f f f
3

f f f f fff
5

flegato
legatof f f f f f fff fff
3

f f ff
2 3 5 3 4 3

& pp non f f f f f
3

non legato

& c pF bf
p non legato
f f #f f nf
& cc FF poco f
f
bf
bf
f 1
#f
3 f
1
nf
& ° poco f #f f nf
1 3 1

°
1
1 marcato
marcato
1 3 1

° poco marcato °
1
poco marcato
1 3 1

° . °
1

3
.f f f f f. f f f f. f f.
f f. f
3
f f f ≈ f f f f f f f f f f f f f f f
& f.. f f f ff. f f f f.. f f f. f
3

{{
f f f ≈ f f f f f f f f f f ff f f f f
&
3
f f f f f f f f f f f f f f p≈ f f f f f f f f
& p f f f f f f
p
& #F F F p
#f nf
& #F F F #f nf
& #° °
1

#f nf
1 1

F F
1

° F °
1 1

° °
1 1
5
5

f ≈ f f f f f
5 4

& f. f f. f f f. f f f f f f
4

f f f. f f f f f f f. f f f

{{
5

f ≈≈ f f f ff f
4

& ff. f4
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 f f f f f f f f f
>f.
& f j ‰ >Jf. ‰ Œ j ‰
#f f nf # f. j ‰ >Jf. ‰ Œ f. j ‰
& f #f nf ‰
&° f #°fj J ‰ Œ f. j ‰
# f..
1 2
2
1

f #f f nf
3
3 3
3
1 2
f.
° °
3 3
1 2

° ° fff
3 3

# f
1
f
7
f
1

ff
7
f f ≈ f f f f f Œ ffffŒ Œ ffÓ
1 1
™™
1 1

7& . f f f f f f f f # f f
1
f
7
f

{{
f f f
& ff. f f f ≈≈ f f f ff f f f ff f f f Œ f f ff ff Œ f #f f Œ ff Ó
1 1
™™
1

Œ ff Œ ff Œ Ó
1 1

& . fff fff fff fff ™™

>f. #f f >F
j ‰ f f
>Jf. ‰ Œ j ‰ Œ fff Œ Œ >F
5

& f f ™™
5

f f f #f f Πf #f f
f #f f Π>F
& f. jj ‰‰ >fJ. ‰‰ ŒŒ .j ‰ f f ff ff ŒŒ
5
™™
j ‰ f f ##ff ff Œ f f Œ
5

f ™™
4 4 3

&° f.. J f.. fø f

4 4 3

°
2
2 4
4
ø ø
5

ff
5
4 4 3

° °
2 4

ø ø ø
5
4 4 3

° °
2 4

ø ø ø
5

38• Pianist 84

P38 SCORES MAYKAPAR-FINAL.indd 38 08/05/2015 15:32

 TRACK 7
Samuil MAYKAPAR (1867-1938) INTERMEDIATE
Toccatina op 8 no 1
>>>f
5
5

ff fff f # f
5 3

>>>f f ff b f
5 3

f ## ff
3

>>>
###>>>fff ff fff fff Œ
3

ff ff f b f Œ
10 1
1
10

fff fff bbff ###fff ŒŒ

1
1 2 1
™™™
10 2

ŒŒ Œ Œ
2 1

&
2 1 1

& Œ Œ f>f fff fff ff Œ ff Œ

1
f
1 1

& ™
1

{
>>> >>
fff brillante
fff.. fff.. ff... fff... ŒŒ
### fff.. bbff... ff ff fff fff.. ff...
brillante
brillante

™™ ŒŒŒ ŒŒŒ bbbfff. ff. ŒŒŒ bf fŒ f

fff. ff. ŒŒŒ ?
1
? f
1

&
1

& Œ Œ
1
?
& ™ .. f.. .. f.. Œ
° ° ° ° ° °
1
1 1
1 2
2 2
2

° ° ° ° ° °
1 1 2 2 2

° ° ° ° ° °
1 1 2 2
2 2
2

>>> ≈≈≈ #f. ≈≈≈ ff.. ≈≈≈ fff...

. .
≈≈≈ bbbfff.. ≈≈≈ fff.. ≈≈≈ fff... ≈≈≈ bbbfff... ≈≈≈ f..
13
13
Œ
13 5 4

fff ŒŒ
1 2 3 3 2 1

&
1 2 3 5
5 4 3 2 1

&
1 2 3 4 3 2 1

##ff.
1 2 3 5 4 3 2 1

&

{
f f

fff... ff... -
FFF-
p
### fff
p
b f p
? f
? ŒŒf bf
? f f f fff..
ÓÓ bbff..
1
1

###fff. fff.. fff..

1
& .
1
&
& fff. . . . ff. fff.
.. . . .
° °
3
3 2
2 1
1 2
2 1
1

° °
5 3 2 1 2 1

° °
5
5 3 2 1 2 1
5

. . . fff.. bbb fff.. fff.. fff.. ≈ bf... fff...

≈≈≈ bbff.. ≈≈≈ fff.. ≈≈≈ ≈≈≈ bbbfff.. ≈≈≈ ff... ≈≈≈ nnnfff.. ≈≈≈ fff.. ≈≈≈
15 5

≈≈≈ #f.. ≈≈≈ ff... ≈≈≈ ff.. ff..

15 5 4

≈≈≈ ≈≈≈ ≈≈≈ ≈≈ bf ≈≈≈

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

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

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

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

{
f

ff...
cresc.
. bbbfff... .
cresc.
. ff.. ff.. fff.. fff...
cresc.

&
& fff.. ###ff...
& fff. fff..
.
bbbfff
.. fff. fff. ff.. fff... nnnfff..
. . .. .
.
° °
2 1 2
2 1

°
3 1 1

°
5 5 3 2
2 1 2 1

°
5
5 5
5 3 2 1 2 1
5 5 3

fff... bbb fff... ff... ≈ fff... ≈ bbff... fff... ≈≈

fff fff fff bbb fff ff ff bf f
5

... ≈ fff..
17 5
5

≈≈ ≈≈≈ f ≈≈≈ f ≈≈≈ bbff ≈≈ ff

17 5

≈ ≈≈≈ ≈≈ ≈≈≈ ≈≈ bf ≈≈≈ ≈≈≈

17 1 4

≈≈
& ≈ f ≈≈
≈ ≈≈
1

&
1 4

f
4

& ≈
1 4

{
sf
sf sempre staccato
sf sempre
sempre staccato
staccato

fff... fff.. bbbfff... fff... fff.. bbbfff... fff...

ff

fff... fff... fff... fff...

f
& . fff. bbff..
& fff.
& .. .
fff.
.. fff.
..
sf
sf
2
2
2
1
1
1
4
4
4
1
1
sf1 2 1 4 1
1

°
° °
°
1
1
1

fff ≈≈ ff ≈≈ fff ≈≈ ff ≈≈ bbbfff ≈≈ ff ≈≈ fff ≈≈ ff ≈≈ bbbfff ≈≈ ff ≈≈ fff ≈≈ ff ≈≈ fff ≈≈ ff ≈≈ fff ≈≈ ff

19
19
≈
19 5 5

& ≈
1 2 5 5

& ≈ ≈ f ≈ ≈ ≈ ≈ ≈ ≈ f ≈ ≈ ≈ ≈ f ≈ ≈ ≈ ≈ f
5

&
1
1 2
2 5 5
1 2

{ &
&
& bbff..
.
3
3
3
3
fff.
.
ff..
.
fff.
..
fff. ff.
°
°
.. f..
1
1
1
1
ff..
.
fff.
.
fff. ff.
°
°
.. f..
1
1
1
1
bbff..
.
fff.
..
fff. ff.
°
°
.. f.. ff..
.
fff.
..
39• Pianist 84

P38 SCORES MAYKAPAR-FINAL.indd 39 08/05/2015 15:33

 TRACK 7
Samuil MAYKAPAR (1867-1938) INTERMEDIATE
Toccatina op 8 no 1

21
b f f f f f f f f f nf f f .
f b . f f. f f. f
f
f f f
& ≈
2

f f f f f f f f f

{ & F
mf

°
1
nf bf bf
°
4
f
1
f
2
f

bf. .
f f f ≈ f f f f f f f f f f f nf f f f ≈ f f f f f f f f f f f
23

&

{ & #f. j
°
4
‰
n >f.
2
J ‰ Œ f.
3
j ‰
°
j
f. ‰
5
>f.
2
J

>f
‰ Œ f.
5
j ‰

ffff ff f >f
ffffΠffff ff
25
fŒ
& Œ Œ Ó Œ
1
™™

{ >F b f.
mf

ffffŒ ffff f. Œ
& ffffŒ Œ ™™ Œ f.
f.
°
4 3

ø ø ø
>f
f ff >f >
28
nf f f
& f bf f f Œ Œ Œ Œ f bf f Œ Œ
f

{
>
> >
b f.
5

. .
? nf . ? nf
fff f
& Πf. Π.f f f f .
f f. Œ Œ
f Πf . f.
&
f. Πf f.

f f f
FF- U
31 4

f Πw
& f f f f Œ
2
? FF FF w-
- -

{
FF
-
mf

? Œ f. f. Œ Œ Œ?
bf U
& f. f bf FF FF w
. sf sf
- - w-
° ° ø
2 2

40• Pianist 84

P38 SCORES MAYKAPAR-FINAL.indd 40 08/05/2015 15:33

 S
MIS WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
DOT N’TWMAN’S
ON
N E
TRACK 8
LESS
JANE
HIS P
IECE Richard WAGNER (1813-1883) INTERMEDIATE
ON TPAGE
26 Albumblatt für Ernst Benedikt Kietz WWV64
Think Wagner and you think opera. His music has made its way to the piano largely the piece is rather dramatic, ending rather abruptly! In order to create the drama, you
through transcriptions and arrangements of his operas, not least those by Liszt, will need a very astute LH: Try to make it surge back and forth, along with the melody.
including the famed ‘Isolde’s Liebestod’ from Tristan und Isolde. So praise is due to Even if it the LH should never come across as clangy, it does need an inner turbulence.
Llŷr Williams, who in his Wagner Without Words album for Signum Records not only So remember to shape it as well. The RH melody needs to sing. So dig in to the bottom
plays transcriptions but also original Wagner piano works, like this one from 1840. of the keys, creating a rich tone, and take your time over the RH melody octaves, always
Playing and pedal tips: There is indeed something operatic about this short work. aiming to relax the wrist.
Firstly, the melody sounds like an intense aria, and secondly, the whole structure of Read Janet Newman’s step-by-step lesson on this piece on page 26.

Espressivo
>55 >>
Espressivo
Espressivo
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ff ff 3ff ff f ff ff ff ™ ff ff ff FF‰‰ fff fff fff fff fff ff‰‰ ff ff fff ™™ ff ff fff
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ff ff ff ff ff ff ff ff ff ff FF‰‰ ™™ ff ff ff ff ff ff ff ff ff ff ff
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5 rit. 4 5
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3

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ø Pianist ø
5 5
41• 84

P41 SCORES WAGNER-FINALish.indd 41 08/05/2015 15:34

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

TRACK 8 Richard WAGNER (1813-1883) INTERMEDIATE

Albumblatt für Ernst Benedikt Kietz WWV64

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4 3 3
12
nf
5 5

f™ f F f ™ f nf
5 5 2 1 4 3

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2 1

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{
f™ f
pp

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nfF f f f f f f f nf f Œ
3 1
fF
2 1
fF 1 2 1
5
ø ø ø ø ø 4
ø ø

>
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15 rit. a tempo
f™ nf f ™ #f nf ™ f
1 5

Œ
2

& nf ™ f nF f™ f f™ #f f f

{
F f
f

f nf f fj ‰ ‰
‰ nnff ff ‰ fff fff nf n fff fff f ff ff F‰ nff ff ff ff ff ‰ #fff fff fff fff fff
? #### nfw nf f ff f f nF
nf f f f 1 1 4 1

ø ø ø ø ø ø ø
5 2 5 5 2 2
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18
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5
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fj F
5
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w
F Ffffff F™ f
ø ø ø ø ø ø ø

42• Pianist 84

P41 SCORES WAGNER-FINALish.indd 42 08/05/2015 15:34

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

TRACK 8 Richard WAGNER (1813-1883) INTERMEDIATE

Albumblatt für Ernst Benedikt Kietz WWV64

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f
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f dim.

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ø ø ø ø ø ø ø ø
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27 4

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{
f
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>

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f f f
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ø ø ø
43• Pianist 84

P41 SCORES WAGNER-FINALish.indd 43 08/05/2015 15:34

 TRACK 9
Frédéric CHOPIN (1810-1849) INTERMEDIATE
Polonaise in G minor B.1

Written in 1817, when Chopin was about seven years old, this characterful polonaise
is rarely performed in recital.However, should you want to play Chopin’s polonaises,
which are very demanding, this might be a good one to explore first.
Playing tips: There’s lots of passion and character to this short polonaise. It might
look quite ‘bitty’ at first – there are four short sections – so we suggest that you study
the score from beginning to end before touching the keys. It will also help to listen to
the CD. There are tricky moments, such as bar 5 (and similarly at bar 9). Here we
suggest that you take the bar out of context and practise extremely slowly, hands
separately, counting out loud. To make it easier to turn the pages, you might wish to
pull out the middle four Keyboard Class pages in the centre of the magazine.
Pedal tips: Chopin is always complicated to pedal. Look at the markings on the score
for some guidance.

Allegro, ma non troppo

5

b3 j
Allegro,
5
4 ma non troppo2

ff #ffjjma‰nonŒ troppoff ffj

4

& bb 43Allegro, ‰ Œ
3 4

ff ff ff ff ff ff ff
2 1 1 1
5 5

{{{
ff ff ff ff ff ff ff
4 2 4

& bb 43Allegro,
ff #fffma‰nonŒ troppoff ‰ Œ
3 4

ff
2 1 1 1

ff ff ff ff ff ff
5

ffj
5

f j
f f fff
4 2 4

f
& bb 43 ffff #fffj ‰ Œ f ‰ Œ
3 4

pf ff ff ff ff ff
1 1 1
ff
2

f fffj ff
5 5

ff ff ff ff #fff ff
4 2 4

b ‰ Œ ‰‰ ŒŒ
3

? 3 f # f
4

f
& bb 44 ff #ffj ‰ Œ f pf
1 1 1

f
2

ffj ff ff ff ff ff ff

{
f f
? bb 43 f f f
f # f
f f f pf f f f f #ff f
fj ‰ Œ ‰ Œ
fj
f
? bb 43 f° f fj ‰ Œ #f°
f ‰ Œ pf
° f f f f #f f
2 3 2

? bb 43 ° f f ‰ Œ #°f fj ‰ Œ ° f f f f f #f f
2 3 2

° f #°f f °
2 3 2

f L.H.
f f
5
f f f f #ff
4

ff°f f Ff
4

b ° ° f
4 2 2 3 2

& bb #fff fff fff fff fff ‰ f f ff ff ff ff ff

5

f f f f≈ f f f
L.H.
f #ff
1

f #ff
4

f Fff
f‰
4
4
Jff

{{{
2
fff ff ff ff
& bb #fff fff fff fff fff ‰ R.H. L.H. f
5

f 3f f f≈ f
1 L.H.
f #ff f #ff fF
4

f
f‰
4

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4 2

& bb #fff fff fff fff fff mp ‰ R.H.3 f f f≈ f ff f #ffff fFf ff ff ff

1 4 5

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4

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2

‰
4

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

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2

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1
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R.H. 1
4 2

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1 1
4 2
4

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2

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1 1

°
4 2

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b fj f f
f °f f f °f
4

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b f ™ ff ff fff nf f°
3

f f
4
7
f b fj f f f f
b f ‰ f f ff°f f ‰f ff° f ff
4

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3

f
4
7
Jff ff

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b f f f # ‰ f 3f f f f ‰f
fff
4

f f f
& b f ™ f f ff #nff nff fb fj f
3

f
4

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7
fff
& bb f ™ ff ff fff #nff nff f # fff fff fff fff ‰ f fff
4

f
3

f ‰ f
4 3
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7 mp
f
f3 f f f ff
? bbb f f f f
& ff f # ff ff ff ff ‰ f 3
n f3 f ‰ 3 ‰ J
mp

{
? bb #f f f f f mp f f
f # ff ff ff ff fff f3 f ‰ 3
? bb ° ° f #f f f f
° ° ff‰
mp

? bb ° ° fff
° ‰
sim.
°
f ff
° f f #f ° ° nfffjj f
sim.

° f f f #f f Fine
5

f F f™ f f
b
4 4
10
10 b ° ° °
1 3 sim.

& b #ff f #ff f Fff ff ff ff f ™ fff fff

f f f f f f f f #fff f
nfff° f f ff ™™
5 Fine
‰f sim.ff
4 4

{{
ff ff f f
1 3

nfffj f
10 b f ™™
& b #f f #fff f fFf ff ff ff f ™ ff ff ‰f fJff
ff Fine
5

ff ff f #fff f
4 4
1 3

nfffj f
10 b f
‰f Jfff
& f™ f f ff
Fine
™™
5

? bb #f f #ffff f Ffff fff fff fff f fff #fff f

4 4

{{
1 3

ff ff ™™
‰ fJf
& # f f ff ff ff ff
? bb f f J ™™
? bb ™™
? bb ™™

44• Pianist 84 this piece continues on page 49

P44 SCORES CHOPIN-FINALish.indd 44 11/05/2015 09:14

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

KEYBOARD CLASS
LESSON 12: POLYRHYTHMS

On these four pages, Pianist covers the most basic stages of learning the piano through a series of Keyboard Class lessons devised by
Hans-Günter Heumann. Lesson No 12 talks about polyrhythms, which you will find a lot in piano writing – especially from the
Romantic era onwards. On pages 47 and 48 we present Chopin’s Prélude op 28 no 4, which contains polyrhythms, and on page 48
a Finger Fitness exercise that should improve your skills in playing polyrhythms.

Polyrhythms
Polyrhythms are the simultaneous occurrence of different rhythms. Certain forms are known as ‘conflict’ rhythms,
asasasasas
for example, duplets against triplets, a common feature of much piano music.

Although the presentation of duplets against triplets – commonly known as ‘two against three’ – looks very complicated
in notation (examples 1 and 2 below), the structure can be simplified (examples 3 and 4).

The rhythm and sound are identical here:

If you combine the rhythms and

present them on one level, you Rule: The second duplet note comes in between
obtain the following rhythm: the second and third triplet notes.

Divided between the hands, it looks like this (always think of the rhythm and feel it as in examples 3 and 4):

45• Pianist 84

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 HANS-GÜNTER HEUMANN KEYBOARD CLASS

Prélude op 28 no 4 A Z E R T Y
PLAGE XXXX (XXXXX)
Frédéric Chopin (1810–1849)
zerty

A
This gorgeous piece, which has been featured inside Pianist in the past, contains polyrhythms in bars 12 and 18.
Make sure that you play the rhythm absolutely accurately.
du faux texte Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus
tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut
remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi
sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus
civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta.
Ex quibus deduxi in colonias aut remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis
militiae dedi. Naves cepi sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot.

stretto = push on, speed up, hurry Double sharp: ‹

A double sharp sign indicates that the note should be raised by
smorz. = smorzando = restrained, dying away, gradually two half tone (semitone) steps. For example, the note G would

T
slowing down become G double sharp.
The turn:
The turn is an ornament whereby the upper and lower
neighbouring notes are played around the main note in a group of
four. Take care with accidentals!

46• Pianist 84

p45-48_Keyboard-FINAL.indd 46 14/05/2015 11:53

 HANS-GÜNTER HEUMANN KEYBOARD CLASS

A Z E R T Y
XXXX (XXXXX) PLAGE
zerty

The 24 Préludes opus 28 are a piano cycle composed by Chopin (see box below for biography) between 1836 and 1839. This work is
related to Bach’s Well-Tempered Clavier in that it goes through all of the major and minor keys. The Fourth Prélude is one of his best known
as well as one of his easiest pieces. It has a yearning melody, and due to the descending chromaticism and the key of E minor, has a resigned,
depressive, hopeless mood. Chopin wanted to have this piece played at his funeral along with Mozart’s Requiem.

Frédéric Chopin By the age of seven, Chopin had already composed two polonaises. By the
(1810–1849) age of eight, he was often performing in public, and was being hailed as a
wunderkind. Chopin’s path to a career as a virtuoso began in earnest in
Country: Poland Warsaw in 1827 and continued in Vienna in 1829. His fame established,
from 1831, Chopin lived and worked as a pianist and teacher in Paris,
Period: Romantic where he became a part of the city’s high society. In Paris he also became
acquainted with many other important musicians such as Liszt and Berlioz.
Due to ill health, he spent the winter months of 1838-9 on the island
of Majorca, accompanied by his lover, the writer George Sand. In 1848,
Chopin travelled to give concerts in London and Scotland, and returned
completely exhausted to Paris, where he died one year later.
Chopin created a new virtuoso piano style, incorporating many ornaments, expressive melodies and
a poetic sound. His compositions were primarily for the piano. Among his works are two piano
concertos, three piano sonatas, and many préludes, waltzes, études (studies), nocturnes, mazurkas,
polonaises, ballades and scherzos.

47• Pianist 84

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 HANS-GÜNTER HEUMANN KEYBOARD CLASS

Finger Fitness Exercise A Z E R T Y

PLAGE XXXX (XXXXX)
Now try this exercise, which should improve your polyrhythm skills!
zerty

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

Hans-Günter Heumann continues his beginner series in the next issue.

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

48• Pianist 84

p45-48_Keyboard-FINAL.indd 48 14/05/2015 11:54

 TRACK 9
Frédéric CHOPIN (1810-1849) INTERMEDIATE
Polonaise in G minor B.1

j j
5

b
13 5 5 4
ff
3

& b ™™ nfff fff ‰ Œ ‰ Œ ff ff ff ff ff ff

4
ff
1 1 1
ff
2

f f f f f f f

{
f f f
j
f p

? b ™™ f f ‰ Œ
f f
‰ Œ
f f f f f f f
b f f f
f J 2 3 2

f f f f f fj f f f f
b
16
fj f
& b fff fff fff fff fff ‰
?
2 2

{
f f f
mp
ff f ff ff f f
p

? bb f f f f f f f f f f f f f f
° °

f f f f f f f f
19
? bb f f f f
1

& ‰
1 3 2 3 1 3
2

f f f f f f f f

{
f
f
ff ff ff ff f ff
mf
ff ff f
? bb f f f f f f f f f f f
° ° °
Trio
f f f f f
22 4

b b f f f f ™ f f ™ nf bf
5

f
&b f f f f b Œ
1 1 4
™™
2

f &

{ ff ff ff
{ ff ff ff ff ff
p
f ff ff ff ff ff
? bb ff f ‰ fJ ™™ ? bb f f f f f f f f f f
f f
° °

f f f
f f
4

b f nf ™ bf
25
f f f
4

&b f Œ
1 2 4
f™

{ ff ff ff ff ff
cresc.
ff ff ff ff ff
? bb f f f f f f f f f f
f f
° °
49• Pianist 84

P44 SCORES CHOPIN-FINALish.indd 49 08/05/2015 15:35

 TRACK 9
Frédéric CHOPIN (1810-1849) INTERMEDIATE
Polonaise in G minor B.1

f f f f
b f f f f ™ f f™ nf bf
27

&b f Œ

{
mf
f f f f f f f f f
dim.
?bf f f f f f f f f f f f f f f
b
° °

f f f f Tn f f f nf f f f f f
f f f f
4 3 2 1
5 2

b
4 3
29
f f
2

& b ™™ ™™

{
p
f f f f f f f f f ff ff ff ff ff ff ff
? bb f f f f f ‰ fJ ™™ ™™ f f f
° ° °

f f f “”
f f j
3

b nf f
32 4

f f f f f f
2 5

&b ‰
1 2
f
2
f

{ f
? bb f
°
f
ff
f
ff
f
°
ff
f
ff
f
ff
f

<“>
f f f f
4

b f f f f f f f f ™ f
34 5

&b f f f f j ‰
3 2 1

{
f
f ff ff f
ff ff ff ff ff
? bb f f f f f f f f f
f
° °
Tn
f f f f
36
f f f
4 3 2 1

f f f f f
5 4 3

bb f ™ nf bf Œ f ™™
&

{
dim.
ff ff ff ff ff ff ff ff ff ff ff ff ff ff
? bb f f f f f f f f f f f f ‰ f ™™
f f J
° ° Polonaise da capo al Fine
50• Pianist 84

P44 SCORES CHOPIN-FINALish.indd 50 08/05/2015 15:35

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

There have been a handful of Pianist readers who have requested Je te veux (‘I want
you’) recently. Erik Satie likely composed the original song for the cabaret singer
Paulette Darty, whom he’d accompanied for a time. Play it in the right mood and you
will find yourself transported back to a Parisian cabaret at the turn of the century.
Playing tips: After a short four-bar introduction, the charming waltz swirls into life.
Even if it looks tricky, with all the hand distribution needed, this piece in fact fits well
under the hands and is not too technically demanding. The most important thing is
to bring out the melody notes – whether they’re in the RH or LH. The listener should
not be able to tell the difference! There are of course some more demanding moments,
e.g. when the RH melody is played in octaves. And there are even stretches of a ninth
(such as in bar 62)! If your hands aren’t big enough, split (arpeggiate) the notes. That’s
fine. Don’t be put off by the length of the piece – there’s a good deal of repetition.
Pedal tips: Apart from the opening, which requires ample pedal, we suggest a dab
of pedal on the first beat of each bar. Do experiment, however.

Modéré Valse

3Modéré
Modéré Valse
Œ
& 4Modéré FF F F™ ™
3 2

3 f f ff f ff
Valse

{{
f Valse
f
& 433 ŒŒ FF ™™ FFF ™™ FF F™ ff F™
3 2

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
f ff ff ff

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
&44 Œ
& f f
FF ™™ FFFFFF™™™™ f FFFFF™™™™ fffff Œ
F™
33 22

ffff ffff
pf
FFFF™™™™ ff FFFF ™™™™™ fffff
R.H.
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F™
FFF ™™
∏∏∏∏∏ pp
ff ŒŒ

∏∏∏∏∏
? 43
R.H.
F™ F™ f
p
∑ f Œ Œ
2 1
F ™™ fpp
pp
R.H.
f
? 43
pp R.H.

∑ F™ F™ F™ f f Œ Œ
2 1
fŒ
fŒf
pp
? 343
? FF™™™ FF™™™ FF™™™ ff f
∑∑ ŒŒ ŒŒ
22 11

4 fŒf Œ ff
° FF™ FøF™™ FøF™ ff °
° ø ø ff ŒŒ ŒŒ ff
°
7 °
° øø øø °
°
&
1 3 1 2

F fff ff ff ff ff ff ff ff ff ff
7

{{
f
& F™ F™ F™ ff Œ F™
77
1 3 1 2

ff ff ff ff ff ff F ff ff
& FŒ ffff fŒ Œ FŒ ™ FŒ ™ FŒ Œ
11 33 11 22

& fŒf F™ ffff ffff ffff ffff ffff ffff ffff Œ F™ ffff ffff
FŒF f ŒF™ FŒF™™ FŒFŒ ™™ FŒF Œ ŒF™
fŒ
? F™ F™
ŒŒ ŒŒ fŒŒ fŒ fŒŒ
f ŒŒ Œ Œ Œ Œ Œ Œ Œ Œ
? Œ f Œ Œ fŒŒ Œ Œ f Œ Œ fŒŒ Œ fŒ f Œ Œ
?
? f ŒŒ ŒŒ ŒŒ ŒŒ f ŒŒ ŒŒ ŒŒ ŒŒ f Œ fŒf ff ŒŒ ŒŒ
ff° ff
° ff
° ff ff ŒŒ ŒŒ
ff° ff ff
sim.
ff
° °
ff ff
°° ° °
sim.
13 ° ° sim.
sim.

&
1 1
13
ff ff ff ff ff

{{
& f F™
13 1 1
13
F™ ff ff f ff ff f F ff f
& f F™Œ FŒ™ FŒ
11 11

& ffff ffff f ffff ffff f ffff fŒ

ff R.H. Œ
F™
F™ ff
R.H.
FFŒ™™ ff FFŒŒ fŒf
? fŒŒ Œ Œ fŒŒ Œ Œ fŒ Œ ŒŒ
3
f R.H. f f
2 2
R.H. 3
f
R.H.
fR.H. f
? f Œ Œ f Œ Œ f Œ Œ
3

fŒ fŒ fŒ fŒ fŒ fŒ
2 2 3
f f f
R.H.
? f
R.H.
? ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ
33
22

fŒf fŒf ff f fŒf fŒf

22 33
ff f fŒf fŒf ff
ff ff ff
ff ŒŒ ŒŒ ff
ff ŒŒ ŒŒ ff
ff ŒŒ ŒŒ ff
19 3

F™ f
2

& F F™
f f ff ff ff ff ff
19
ff
3

F™ f

{{{
2
19
&
33 F F™
f ff ŒFF™™ ff ff ff Œfff ff ff
19
f ΠffF 22
ŒFF ŒFF™™
&
& fŒ ŒF ffff F™ ff ff ffff ffff ffff ffff ffff
ŒF™ ff ff f ŒFF™™ ŒFF Œf ŒFF™™
4

? fŒf ŒŒFŒF Œ
2 2

ŒfŒ Œ Œ ŒfŒ Œ ŒŒ ŒfŒ Œ Œ

3

Œ fFF™™
4
ff ff ff f
? fŒŒ Œ Œ
2
f
2

fff Œ Œ Œ Œ Œ Œ
3

ŒŒfFFf™™ Œffff Œffff Œff Œff

44

?
? f ŒŒ ŒŒ
22 22
f f
ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ
33

f Œ Œ ffff Œf Œ f ff
ff ff ff
ff ff ŒŒ ŒŒ ff ŒŒ ŒŒ ff ff ff
51• Pianist 84

P51 SCORES SATIE-FINALish.indd 51 08/05/2015 15:39

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

25 4 5
4 5

F ™ ff f
4

& F ™ ff f
3

ff ff F ff f F™ f ff f f f

{
F™ F™ F f F™ f f f f f
ΠΠΠΠΠ1 2

? Πff
3 4

ΠΠΠΠΠΠΠΠΠΠff
f f f f
f f f Œ Œ
f f f
31

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

f f f F ff nf

{
f f f f f f
F
Πnf
ΠΠΠf Πf F f
? ff ff ff f #F
f ff ŒF™ f
Œ f f Ff F™
f Œ Œ f Œ Œ #f f nf f Œ Œ
f f #f f f nf f f
>
#
37 3

F F f
4 4 5 3 4 2

& #f f f
5 1 4

F™ f f f f f f F F f

{
F™
Œ
ΠFF
p

? ff # Œ ff ff Œ Œ
Πff ff
Œ Œ
f Πf f f ΠΠf
Œ Œ f f f Œ Œ
f f
43
>
# fF F f F™ ff ff f
4
f
5

& fF F f f
2 4

F™ F™ f

{
f f f f f F™
Œ
? # Œf
FF ΠFF Πff ff ff ff
f Œ Œ Œ Œ Œ
ΠΠf ΠΠf
ΠΠf
f
f
f f Œ Œ

#
49

& f F™ F ™ Ff nf
f F F f f F ff ff

{
f f f F #F f # fFF F ff F™ F ™ Ff n f
Œ
Œ
Œ
?# Œ Œ Œ Œ #f Œ Œ f Œ Œ nf Œ
f f
f #f f nf f
f
52• Pianist 84

P51 SCORES SATIE-FINALish.indd 52 08/05/2015 15:39

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

#
54

& F F f fF F f
f f F f fF F f

{
F
f f Œ
Œ F™ f f f f f Œ FF ™™ ff ff f Œ F Œ F
?# F™ f f f f f f F f F
nf f f
nf Œ Œ f Œ Œ Œ Œ f Œ Œ Œ Œ
f f Œ Œ
f f f
60
# F™ f f
& F™ ff ff f

{
f f
Πf
F™ ff ff f f f
Œ F ™™
?# ΠFF
f Œ Œ ŒF™ f f f Ff
ff ff
f f
f ΠΠf
f Œ Œ f Œ Œ Œ Œ
f f

fjf très retenu n

retenir
# F™ f
65 5

F™ f f
nffJ ‰
3

& f ff
3 4

f f fF f F™ f F ™ nf

{
f Πf
f f fF f Œ Œ
ffj ‰
pp
f
3

?# f b FF Πnff ff f n
2

Œ Œ Œ Œ bf Œ
f
f Œ F™ fJ
f f bf ‰ Œ Œ
f
70 1 2 1 2 5

& F™
4

ff ff ff ff ff ff ff ff ff

{
F f F™ F™ F™
Œ Œ Œ Œ Œ Œ
? f Œ Œ Œ Œ f Œ Œ Œ Œ f Œ Œ
f f f f f
f f

75

&
1

ff ff ff ff ff

{
F Œ F™ f F™ f
ΠΠΠR.H.

?
R.H.
f f ΠΠf f f ΠΠf f
2 3

f ΠΠf f
f
f
f ΠΠf
f Œ Œ

53• Pianist 84

P51 SCORES SATIE-FINALish.indd 53 08/05/2015 15:40

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

80 2
3

& f f f f f

{
f
F™ f f f F f f f F f
Œ Œ Œ Œ Œ
™
Œ FF ™ ff ff f
R.H.
? f
2

ΠΠf f f ΠΠΠΠff
3
f f
f f f
f f Œ Œ f f f Œ Œ f Œ Œ

86
™ f
4

& FF ™ ff ff F ff F™ f ff F ™ ff ff F™ f ff F ff f

{
F f F™ f F™ f
Œ Œ Œ Œ F™ Œ F f
Œ Œ Œ
?
f ΠΠf
Œ Œ f Œ Œ
f Œ
Œ f Œ Œ
f
Œ Œ
f f f f f f

92
f f f f f
& F™ ff ff f f f f f f f
f

{
F™ f f f f f f f f
Œ
Πff Πff ff Πff f
? ΠΠΠΠff
f f f f
f f Œ Œ f Œ Œ Œ Œ
f
97

f b
& f f F ff nf f f
f f f f

{
f
f f F nf
ΠΠf
? Π#fF
f F ™
Œ FF ™ ff
ff ff f Œ Œ
Πf f Ff f b
#f f nf f Œ ∑
#f f f nf f Œ
f
102

f f™ f f
& b ™™ ff ff ™™ ff ff Œ f f ™ f ff ff ™™ ff ff
f f ™ bf f
Œ f f™
nf
F f f f f™ f

{ ΠF ΠF ΠF
bF ™ b F
ΠF
f 1 1

? b ™™ F ™ F F™ F nF ™ F
F™ f Œ Œ f Œ Œ
f F™ f 4 5

54• Pianist 84

P51 SCORES SATIE-FINALish.indd 54 08/05/2015 15:40

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

108
ff ff ™™ ff ff
&b f f™ f f f™ f f f f f™ f f
Œ f f ™ f fff ff ™™ ff ff
f ™ bf f

{
f
Œ Œ FF Œ
? F ™ FF Œ Œ F™ Œ Œ F™ FF
b f F™ f F™
5 4 f f

bb
113 1. 2.
ff
& b Œ f f™ nf f f f f f f F f f f f f f ™™ f f™ f f

{ ?b f Œ Œ
f
Œ b ff Œ
bf Œ
Œ
Πn ff ff
f Œ Œ
ΠFF
f Œ Œ
f
f
Œ Œ ™™
f f™ f f
f f™ f f
f

bb

b
118

&b
3

ff ff F

{
ff ff f f F ff f f
Œ Œ Œ Œ Œ
ΠΠΠΠf f
R.H.
? bb FF f f F F™
Œ Œ Œ Œ
1 1 1

™ Œ Œ F™ F™
f f f

124
b Œ
&b F ™ F ff

{
ff ff ff ff ff ff f
F™ F Œ Œ Œ Œ Œ
Œ Œ
F™
R.H.
? bb F ™ Œ Œ F f f F
f F™ f Œ Œ F™
F™ f

b
129

&b F ff f F f F™ f Œ
ff F

{
f F Πf ΠΠff ff ff ff ff
Œ Œ Œ f Œ Œ Œ
Œ
R.H.
? bb Œ Œ F™ Œ Œ F™ Œ Œ F f
f f f F™
F™ f

55• Pianist 84

P51 SCORES SATIE-FINALish.indd 55 08/05/2015 15:40

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

b
135

&b ff f f F ff F f f F™ f f

{
ΠΠff Πf f f
Œ Œ Œ f Œ F™ f f
Œ
?b f F F™
b f Œ Œ F™ Œ Œ F™ Œ Œ F™
f f F™

b
141
Œ
&b F f f ff f F f Œf
f ŒF ff

{
Πff ΠΠΠff ΠΠf
F f f Œ
Œ
F™
R.H.
? bb Œ Œ FF f f F Œ Œ Œ Œ
f ™ f Œ Œ F™ f f
f f
147
Œ
b f b ff ff ™™ ff ff
&b F F™ f ff F
nf f f f f™ f f
Œ f f™ f

{
Œ ff f F™ f F f
ΠΠf

fF f f ΠFF
? bb Œ Œ Œ Œ F™ Œ Œ
f f F f b F™ f
f f f

152

& b fff ff ™™ ff ff
f ™ bf f
Œ f f ™ nf F f f f f™ f f f™ f f

{ ?b F™
Œ
F™
FF
f
f
ΠΠb
Πb FF
F™
ΠF
nF ™ F
ΠF
F™ F

157

& b f™ f f ff ff ™™ ff ff Œ f ™ f fff ff ™™ ff ff Œ
f f f™ f f f f ™ bf f f f™ nf

{
f
ΠFF ΠFF
?b f Œ Œ F™
f Œ Œ F™ f Œ Œ
F™ F™
f f f
56• Pianist 84

P51 SCORES SATIE-FINALish.indd 56 08/05/2015 15:40

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

retenir
162
5

&b f f f n
3

f f f F f f f- f- F ™ ff ff f

{
F f f
encore-
- Œ Œ Œ
Πb ff ΠΠn ff ff ΠFF
? bf f f
b Œ Œ f Œ Œ f Œ Œ
f ΠΠn f ΠΠf
Œ Œ
f f
f

168

& ff ff ff ff ff ff ff ff ff

{
F™
Œ F™ F™ F Œ F™
Œ Œ Œ Œ
? f Œ Œ Œ Œ f Œ Œ f f Œ Œ
f f f f ΠΠf
f f

173

& ff ff ff ff

{
f F™ f F™ f
ΠR.H.
Œ
R.H.
? f f f ΠΠf f f ΠΠf f
f f f
f ΠΠf
f ΠΠf
f Œ Œ

178

& ∑ f F™ ff ff
ff ff

{
f F™
F f f F Œ
Œ Œ Œ Œ
F™
f

ŒF™ ff ff f
? f Œ Œ Œ Œ f ff f f Œ Œ
f f
f f f ΠΠf ΠΠf

183
f
& FF ff F™ ff ff F™ ff ff F™ ff ff F ff f

{
f F™
Œ F™ F™ F f
Œ Œ Œ Œ Œ Œ
? Œ Œ f Œ Œ Œ Œ f Œ Œ Œ Œ
f f f
f f f f f
57• Pianist 84

P51 SCORES SATIE-FINALish.indd 57 08/05/2015 15:40

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

188

f f f f f f f
& F™ ff ff f f f f f f

{
F™ f f f f f f f f
Œ
? Πff ff Πff ff Πff f
ΠΠΠΠf
f f Œ Œ f Œ Œ f Œ Œ
f f f
193
#
5

f f 4 4

f f
& f F nf #f

{
f f ff
f F nf
Œ Œ Œ
Œ f f f F ff F™ f f
3
f
? #F #
2

Πf
f Ff F™ f
#f f nf f ΠΠf Πf
#f ΠΠf f nf f
f f f

#
198

& f F FF f fF F ff
F™ f f fF F

{
f f F™ f F f
Œ
ff ff FF ΠFF
?# Œ Œ Œ
p
ff ff
f ΠΠf ΠΠf f
Œ Œ f Œ Œ f f Œ Œ f Œ Œ

204
# F™ f ff f f
& F™ f f F™ f f f

{
f f f f f F™ f f
Πf
ff ff
? # ΠFF f ΠΠΠΠΠff ff
Œ Œ
f ΠΠf
f ΠΠf f ΠΠf
f

210
#
& F F f f F F™ ff ff
F fFF nf

{
F #F f # fFF F ff F™ F
Πf nf
Œ Œ
?# ŒF™ ff ff
Œ Œ #f Œ Œ f Œ Œ nf Œ f F™
f
f #f f nf f Œ Œ
f f
58• Pianist 84

P51 SCORES SATIE-FINALish.indd 58 08/05/2015 15:40

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

#
215
F F f fF F f
& f f F fF F f

{
F f
f f Œ
f f f ŒF™ ff ff f Œ F Œ F
?# f f f Ff ™ f F f F
f
f Œ Œ f Œ Œ f Œ Œ f Œ Œ f Œ Œ
f f
220
# F™ ff ff f f f
& F™

{
f f
Πf
FF Œ F™ f f f f f ŒF™ ff ff
?# Œ f Œ Œ Ff ™ f f f f f Ff ™
f Œ Œ Œ
f f f Œ f Œ Œ f Œ Œ
f
j
retenir très retenu
# F™ f ff ‰ n
225
Œ f F™ f ff f
& f f fF f F™ f F ™ nf nffJ ‰ f f

{
f Πf
f f fF f Œ Œ
ffj ‰
pp
f
?# f ΠΠΠΠΠb FF Πnff ff
f f n
Œ Œ f bf Œ Œ F™ fJ ‰
f f bf Œ Œ
f
p
230
™ f
& FF ™ ff ff F ff F™ f ff F ™ ff ff F™ f ff F ff

{
F f F™ f F™ F™ f F Œ
ΠΠΠΠΠΠΠf
? f Œ Œ Œ Œ f Œ Œ
f ΠΠf ΠΠf
f f
f f f f f f Œ Œ

236

& F ™ ff ff f F™ ff ff f F™ ff ff

{
F™ f F™ f F™
Œ Œ Œ
R.H. R.H.
f f f f
? f Œ Œ f f f Œ Œ f f f Œ Œ
f Πf
f f Πf f ΠΠf
59• Pianist 84

P51 SCORES SATIE-FINALish.indd 59 08/05/2015 15:41

 TRACK 10
Erik SATIE (1866-1925) INTERMEDIATE
Je te veux

241

& f F ff f f F ff ∑ f

{
f f
F f f F
R.H. Œ Œ Œ Œ
f ™
?
f Œ FF ™ ff ff f
f
f f f f ΠΠf ΠΠf ff f
f Œ Œ f f f Œ Œ f Œ Œ

246
F™ F f F™ f F™ f
& F ™ ff ff ff ff F ™ ff ff ff F ff f

{
F f F™ f F™ F™ f F
ΠΠΠΠΠf
Œ Œ Œ
? Œ Œ Œ Œ f Œ Œ Œ Œ f Œ Œ Œ Œ
f f f f
f f f f f f
252

f f f f f f f
& F™ ff ff f f f f f f

{
f f f f f f
F™ f f
Œ
Πff Πff ff Πff f
? ΠΠΠΠff
f f f Œ Œ f Œ Œ f Œ Œ
f f f
257

f f
& f F nf

{
f f f ff
F nf
ΠΠf
p
f
Œ f F ff ŒF™ f f
? #fF
5

ff ff
4

Œ f Ff F™ f f f
#f f f nf f f Œ Œ
#f f f nf f Œ Œ
f f
262 ralentir

& F™ f ff
F™ ff ff ffff Œ Œ

{
F™ f F™
Œ pp Œ
? ŒF ŒF™ ff ff
3

Œ
3
ff Πf FFF fff
2

Œ Œ Œ Œ
4

F™
2

Ff f f ΠΠf f ΠΠf
f ΠΠf f f f
60• Pianist 84

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 ISS
’T M
DONY
ON
PA RHAM
’S
Felix MENDELSSOHN (1809-1847)
LESS
TRACK 11 LUC
ADVANCED
IECE
HIS P
ON TPAGE
Song without Words in F sharp minor op 67 no 2
24

‘[Words] seem so ambiguous, so vague, so subject to misunderstanding when
compared with true music, which fills the soul with a thousand better things than
words,’ said Mendelssohn of his many songs without words. This piece comes from
the sixth volume of the eight volumes of Songs without Words, and dates from 1843-45.
Playing and pedal tips: The most important thing to master in this elegant piece is
the leggiero touch that is required throughout. You will also want to build on that with
the RH, by being able to master the leggiero accompaniment alongside the melody.
Some pedal markings have been written in to the score. Remember to always use your
ears, however, and find a subtle means of pedalling that suits the work.
Read Lucy Parham’s step-by-step lesson on this piece on page 24.

Allegro leggiero e. = 106

### 12 r r
& 16 ≈
2 4

f
1
f
ff≈≈≈ f
1 3 2 1
ff ≈ ≈ ≈
2 4

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

{
f. . f.
. . . f. f. . f.
. . . . .
.f f. f. f . f. f. f. f. f. f. f f. f. f.
p
? ### 12 f. f f f ‰ ≈ f. f
.
cresc.

16 ‰ ≈ f
f. f
f. f
f.
° ° °
2 2
5 1 5 2 2

3
### r r≈ ≈ ≈ j j™
≈ ≈ ≈ r ≈ ≈ f ff f f f f f
3 5 5

& f f f
2 1

f f ™ f
f. f. # ff. f f ≈ f fR ≈ ≈ ≈ f nf . f f
f. ff f f
f. . f. f f f

{
f. f. . ≈ f
. . .. . . . . .. . . .. .
3

.f . . . .
1

? ### f. f. . f ™ . f f f. . f. f R
f f . f f. .
dim.

‰ ≈f . f ‰ f.
f. ‰ ≈ .
p
f ≈≈ . f. f f
f f
f. 2 f
° ° ° °
2

6
>j
### f ™ j
3
f ™ f ff f f ff fj ff f j j j 5 1 3

f ™ f f #f ™ f f ≈ f f fR f≈ ≈f
3

& ≈ f f ff
5 4

f™ f f ff f f™

{
≈≈≈ f ≈ f R ≈≈≈f R ≈≈ ≈ .
. . .R
f . . . . . .
. . . . . . . . . . . . cresc.
4
1

. f. f.
1 1

. . . . . f. f. . ff.
? ### . f. f R ≈ ≈ f. f. f f. f.
f . . .
1 2

f
f R ≈≈ . ff R ≈≈ f f
f. f. f. f. f f≈≈
f f R
f. f.
° sim. 3
1 2
2

### fj™ j >j

9 4 4

fff
5 2 4 5
4
f f f ffff f ™ f f ff f f f f f f
5 5 5 2 4 3

f f
& ≈ f f f ≈ ≈ ≈ f nf f f f™ ff
f

{
f f
≈ f. R ≈≈≈f. ≈. .
. . .R . . . . p .
≈ f ≈f ≈ . ≈. .
. . . . .
3 4

. ff. . fff.
1

. ff.
1 1

. . . . f. . . . . . f.
1 1

f f
? ### f. f f ≈ ≈ . f. f ≈ ≈ . f f f f
f f≈≈ f . f f. f. f. f.
f f . f
1

R f R f. R .
f f .
#f
f
° °
2 1 2

61• Pianist 84

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 TRACK 11
Felix MENDELSSOHN (1809-1847) ADVANCED
Song without Words in F sharp minor op 67 no 2

### >j fj™

12 sf
f
2
2 3

& ff f
3

f ™ f f ff f f f f nf f f f # j F™ f
f ≈ f f f f f ≈ .R ≈ ≈

{
≈ f ≈f ≈ . ≈. . ‰ ≈ R≈ ≈ f f nf f f
. . . . . . p . . . . . . . .
.
f. f f. . f. f
f
. . . . .
3

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

.f f. R ≈ ≈ f #f. f. ff ≈ ≈ . f. f f f f. ff. f R ≈ ≈
1
cresc.

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

° ° ° °
2 4
3 5
4

###
15

F™ f f f n f #f f nfR ≈ ≈
j j j
& f™ nf f f f ™ f ff f f
3

f ™ f ff #f f f ™ nf ff f f

{
≈ f f . . . ≈ f . f ≈ f R≈ ≈ ≈ f R ≈ ≈ ≈ f R≈ ≈
. . . . .
. . . . . p . . cresc.
. . . . . . .
. # f. . .
1

. n .f f. fR. ≈ ≈ f. f. ff ≈ ≈
4

. . .
f
f f
? ### f. f f f. #f. f R ≈ ≈
f r . .
cresc.

f ≈ ≈ ‰ ≈ f. nf R ≈ ≈
f R
f. f f. f.
f.
° ° ° °
1 5 3 4
1

>j >j >j

18
### f™j
4

>f ™ >f™
1

j j j
5 4
f f f™
2 3 5

& f f J f f™ nf ™ nf ™
2 4

J ff f f™ ff ff f™ f ff f f

{
f ≈≈ ≈ #f f ≈ f R ≈ ≈
.R . p . . .
. . n ff f. . sf
.
1

? ### . f
f . #
≈ f f ‰ ≈ ? . f. f ffR ≈ ≈
f cresc.
f ≈
f & f f ff ≈ ff ff ≈ # ff ff ≈ nnff ff ≈ ff ff ≈ ff ff
ff ff ff ff ff ff # ff ff f
° ° °
2

>j >j >j >

### j j f ™ f f f™j #f f fj™
5 4 3
™
21
f
& f™ f ff #f f f™j nf ff nf f fff ≈ ≈ f f f ≈ f f ≈ #f f
2

™ f™
nf f
3

≈ ≈

{
≈ f R ≈≈ ≈ f . R ≈≈ R
. . . . . .
ff ff n ff ff f f n ff ff ff ff ff ff
1

ff.
2 1

. .
f .
f f
f ff
? ### f. f f ≈ ≈ f. f. f ≈ ≈ f f. . f ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
.f R #f R R
# f. f. 3 1

° ° °
3

62• Pianist 84

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 TRACK 11
Felix MENDELSSOHN (1809-1847) ADVANCED
Song without Words in F sharp minor op 67 no 2

### j j™ j j™ ffj™
sf
j j #
24
f
2

#
1 5 4 5 2

& f™ #≈f ™ # ff ff f ™ f™
f f
1

f
f fff ≈ ≈f ≈ #f f f f ≈ f f fR ≈ ≈

{
‰™ #f f ≈ f . . . . . .
. . .R . .
# f. ff.
3

# f f . f. f. # f.
sf 2

f. fff ≈ ≈ f. f. f. f.
f
f f
? ### ≈ # f f ‰ ≈ f. #f.
più f
R ≈ ≈
R f f.
2

° ° ° °
1
4

sf

### #fj™ j j™ #fj™ j j™ fj™

26 sf 5 5 4

#
3 4 2

& ≈ #f f f
f™ f f f
f™ f ff ≈ ≈
≈f #f f ffR ≈ ≈f ≈ #f f f f ≈ f f

{
f
. . . . . . . . . . . . . . . .R
# f. .
.f # f. ff # f. f.
1

f. f. f. f. f. f. f. #f. f. #f.
? ### f. f.
1 2
dim.

#f. R ≈ ≈ .
f R ≈ ≈
° ° ° °
3

j
a due (espress)

j™
2

### f ™™ j j
28 1

j
4 3 5 3

& nf f ff ff
4 5 4 2

ff ™™ ff ™™ f f
ff ff f f≈ ™ f ff ff ff ff ff ™™ f
2 1 3 1
1

≈≈ ≈ ff ff ≈ f f R ≈ ≈ f™ ff #ff ff
f™
.R

{
≈ f f f J
. . . . . . . . . . .
f. . f. f.
3

. . f. f. f. f. f. . f. . f. f. f. f.
p 1

. .
1 2 1
f
1

#
? ## #f. f R ≈≈ nf. f f. . f R
‰ ≈ . f f.
f f ≈ ≈
#f f n f. f. f.
f

° ° ° sim.

### >f ™ >j

31
j
3 3

j
5 4 4 2 3

ff nff j
f™ #f #f ff ff ff
4

& f™ ff f f
1 5 1
f f
J ff ™™ # ff ™™

{
f f f f
. f.
1

.
? ### f. f f R ≈ ≈ f . f. f.
f . ff.
f f. . R ≈ ≈
cresc.
f f. f. f. f. f R ≈ ≈
f. .f

63• Pianist 84

P61 SCORES MENDELSSOHN-FINALish.indd 63 08/05/2015 15:42

 TRACK 11
Felix MENDELSSOHN (1809-1847) ADVANCED
Song without Words in F sharp minor op 67 no 2

j
33
### j
5

j
3 2 5

ff ff ff ff ff ff ff ff
3

ff ™™
4 4

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

& ≈ nf f R ≈ ≈ f™

{
≈ f fR ≈ ≈ ‰ ≈ f™
f f™ ‰ ≈J
. . . f . . . p
J
> >
. . f. f.
3

. . . ff. . . f.
.f f. fR ≈ ≈ f. ff. . f. ff .
f f
? ### f. f. f R ≈ ≈ f.
1

R ≈≈ f f
f. f. f . f. f. f. f. f. f. f f
f f
f f #f
4
° °

### j f fj™
36
j
2 3 4 5 4

& f f nf ff
2 1 2

f™ f f f f nff f f j f™ f™

{
f™ ‰ ≈ J ™ f
J ™ f™ f f nf f f #f ™
> J J ™ f™
J f™ f f
.f . . . . f dim. . f. f. .
cresc. p

? ### f. f f. ff f. ff f. #ff f. f. f R ≈ ≈ f #f. f. fR ≈ ≈ nf. fff. ≈ ≈

cresc.

.
f f f .
f
# f. f. f. f. f. f. f. R
° ° ° ° ° °

39
j™ >j > > >
f #f f f ™ f f f™j nf f fj™ f fnfj™ fj™ f
5

### j
4 5

j
2 4

f
5 2

& ff ™™ f nff ff ff ™™
1 4 1

ff # ff ff f ™™ ff ≈ #f f ≈ f f ≈ #f f ≈ f f #f f

{
f
#f f
. ff.
f dim.
f f f f ff ff ff ff
? ### f f. fff ≈ ≈ f f. fff. ≈ ≈ f fff fff fff fff
≈ ff≈ ff≈ff≈ f f
f. R f. . R f f. . fR ≈ ≈ ≈ ≈
f. f.
° ° °

>j >j
4
5

### j #
42
j j j j ff ™™ ff f f ff ff f ™ f f
2
f ™
& #f ™ f nff ff ff ™™ f nff ff f™ ≈ ff
3

f ™ f f f ™™ ff # ff ff f ™™ f ≈

{
≈ f f #f f #f f J
#f f f f
sf
ff. .f
p f

f. fff. .
cresc.
ff
? ### ≈ ff ff ≈ f f ≈ ≈ f f. . f ≈ ≈ f. f. fff ≈ ≈
f
f f. f. fR ≈ ≈ ≈
f f ff≈ ff
f. . R f.
R f. R f.
° ° ° °
64• Pianist 84

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 TRACK 11
Felix MENDELSSOHN (1809-1847) ADVANCED
Song without Words in F sharp minor op 67 no 2

> > > > >j >j > >

5
45
### #fj™ fj™ fj™ fj™ j j ≈ ‰f™#f f
5

n
5 4

™ f ™
4

f™
& ≈ ff ff ≈ ff ff ≈ ff ff ≈ ffff f f™ f f f
≈ #ff ff ≈ ffff ≈ ff ff ≈ffff ≈ f #f f f f f f f . . .

{
. ..... . . 1

. f. f. . f. f.
più f
f f #f f f f ff
.
f f f f f f f
? ### ≈ f f ≈ f f ≈ f f ≈ ffff ≈ ffff ≈ ffff ≈ ffff ≈ffff ff f f
. . . f.
f
f. & #f f

° 1 2
4

1
f f sf sf
48
### ff
#f
>™ > >
R ≈ ≈ f f™ f™ F™ f fR ≈ ≈ F ™
3 3

& f f
J J J ≈ff≈ff
.R ≈ ≈
f

{
f . ≈ff ff ff
. . . . . . . . . . . .
. . .
sf
. f.
con forza 4

. f
4

. .f f. f R f. f. ff f. f. f.
1

#f ≈ ≈ ‰ ™ Œ ™ ? f. f. f f. f.
1
p leggiero 1

### f . f.
2

≈ ≈ f R ≈≈
& R f. f
f. f
2

° °
4

51

###sf dim p
& F™ f f f f fR ≈ ≈ f ™ f f fR ≈ ≈ # f ™ f f fR ≈ ≈ F ™
3 3 4

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 R ≈ ≈ f. f. f R ≈ ≈ f. f. f R ≈ ≈ .f f f f. f. f. f. f f. f.
4
1

f. f. f.
f
°
° °

. . . . f.
. . f. f f f
54
### j . .
f f f . .
f
f R
≈ ≈ ‰™ r ≈ ≈ fr ≈ ≈ ‰™
U™
Œ
& f ™ f f. f
1
f

{
≈ f fff fff
. . . dim.
. f . . f. f.
? ### f f. f f f R ≈ ≈ ‰™ ? r ≈ ≈ r ≈ ≈ ‰™
U
f. . & f
. f f f.
f. Ϊ
f. . f. . f f
f. f
4

° ° °
65• Pianist 84

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 P I A N I S T AT W O R K

The Accidental Genius

What do you do next after you receive a MacArthur ‘genius grant’, which gives you
$625,000 over four years, no strings attached? If you’re American pianist Jeremy Denk,
you go on tour, buy a barn, and continue playing and writing. Inge Kjemtrup meets him
eremy Denk was on a
Stairmaster at a gym in
New York City when the
MacArthur Foundation
called to let him know he’d
won one of their ‘genius
grants’. ‘I don’t normally
pick up my phone on the
Stairmaster,’ he explains,
almost apologetically. ‘I got this
mysterious phone call on 312, which
is the Chicago area [telephone] code.
I don’t know why that number seemed
important, but I picked it up, and it
was the MacArthur Foundation. I ran
back to my apartment, cut short the
workout and had the conversation with
the Foundation. After a prolonged
dance around my apartment, I realised
that was the most profitable trip to the
gym I’d ever made. ’
Every year the MacArthur
Foundation awards between 20 and
40 MacArthur Fellowships – popularly
known as ‘MacArthur Genius Grants’ – When we meet in early March through his blog. With its long musings
to artists, scientists, musicians, activists, at the bustling modern Park Plaza on the life and the musical workings-out
who must be based in the US and Westminster Bridge Hotel in London, of a pianist, Think Denk violated several
who must ‘show exceptional merit and the genius is feeling jetlagged from social media rules, notably ‘keep it
promise for continued and enhanced his transatlantic travel. Denk is due to short.’ The serious American magazines
creative work’. Like the Gilmore Award rehearse today with the Academy of spotted his talent, and soon he was
for pianists, there’s no application form St Martin in the Fields for a Cadogan writing for the likes of the New Yorker,
or audition. Unlike the Gilmore, the Hall concert in four days’ time. It’s his The New Republic and the New York
winners come from a cross-section of first appearance with the Academy and Times Book Review.
disciplines: a playwright, an organic he’s playing Bach, the Concertos Nos 2 The hotel we’re sitting in isn’t far from
physicist and a medieval historian are and 4; a 13-city US tour is scheduled the site of one of Denk’s competition
among Denk’s fellow grant winners in for later in the month. triumphs, which he wrote about in a
the Class of 2013. Past winners include memorable article in the New Yorker.
concert pianist Stephen Hough, jazz The opening two paragraphs give you
pianist Cecil Taylor and composer
Bright Sheng. ‘It’s an incredible honour
‘Never play Bach without putting a sense of his style and his humour:

and it’s still overwhelming,’ says Denk

of winning the grant.
Before the whole genius thing, which
seems to embarrass him slightly, Denk
was perhaps best known to audiences as
the musical partner of violinist Joshua
Bell (with whom he recorded several
albums) and for his blog, Think Denk.
But now Denk’s solo career is coming
into focus. Last year he won the Avery
Fisher Prize, appeared with orchestras
all over, and began a stint as artistic
partner of the Saint Paul Chamber
Orchestra. For the Nonesuch label, he’s
recorded a disc with Beethoven’s Sonata
No 32 and Ligeti Etudes and another of
Bach’s Goldberg Variations, about
which much more later.
in fingerings. You cannot make
it up on the spot. If you do and
you somehow survive, that doesn’t
mean it was good’
Despite the jetlag, Denk is thoughtful
and frequently eloquent. There’s a
self-awareness, an openness, and a
willingness to reveal the inner thoughts
of an artist; refreshing in an era when so
many performers are reined in tightly
by management or PRs, making for dull
interviews. It’s not difficult to recognise
the artist’s voice I first came to know
‘I was saved the first time from
financial ruin by a stroke of luck –
I entered a piano competition, in
London, and won third prize. Years
of grad-school indulgences (liquor,
Chinese takeout, kitchen appliances)
had left me with a Visa bill of forty-
five hundred dollars, and I was able to
erase it in a flash. All that remained of
my glorious prize, of all those months
of practicing, was a photograph of
Princess Diana handing me my award
onstage at Royal Festival Hall, which
I faxed to everyone I knew. At the
time, my hair resembled hers.
‘This close shave made me wonder:
How could I convert my high thoughts
about Mozart into hard cash?’
▲

67• Pianist 84

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 INTERVIEW
Denk tells me that he entered
competitions like that one in part
to make himself practise. His reason
for starting a blog weren’t dissimilar.
‘The writing began as an outlet. It was
almost like a vacation from practising.
In college I was always an avid reader,
I was obsessed with books, and I had
always secretly wanted to be more of a
writer than I ended up being, so it was
this release outside of myself. And very
often it would happen that I would
write something about a piece and in
the process of clarifying my thinking
about the piece, it would make me
practise the piece.’
These days, with professional writing
assignments rolling in (including a book
due out at the end of the year), Denk’s
blogging has taken a back seat. He
seems to miss it: ‘What was great about
the blog is that if I had something to
say I just wrote it. Often when you get
assignments, you’re not sure you have
something to say and you just have to
delve until you find it.’
Everyone asks him what he’s going
to do with the money: $625,000 over
five years with no strings attached. One
thing he’s done is to buy a barn in the
Hudson Valley in New York, ‘a little
retreat for myself away from the city to
practise and write. But now that I have
it, it seems like it could be a great space
to invite other people up to work on
projects and also a great place to film
or record things.’
Day into night
A few years ago, I attended a concert
Denk gave at LSO St Luke’s, the
church-turned-performance space in
‘The problem with the Goldberg Variations is it
requires so much maintenance and watering – it’s
like a plant, a very finicky plant. You think you
know it and you go out on stage, and you realise in
some ways that you don’t know it all’
London. It was a summer evening, and
through the church windows, I noticed
huge leafy trees making shadows over
the stage as Denk played the evocative
Ligeti etudes. Then as night fell, the
trees vanished, and Denk entered the
intimate world of Bach’s Goldbergs.
Denk adores Bach. He’s recorded
the Goldbergs on CD, along with an
accompanying DVD, but admits the
piece has its challenges. ‘The problem
All photos © Michael Wilson
is it requires so much maintenance and
watering – it’s like a plant, a very finicky
plant. You think you know it and you
go out on stage, and you realise in some
ways that you don’t know it all.’
p67_Pianist at work-FINAL.indd 68
He recently put some of his thoughts
about Bach in an article for the New
Republic. ‘That was something I was
really interested in writing about, the
nature of Bach; the way a sense of
morality invades our notions about
Bach in performance. All the “oughts”
and “shoulds”.’ I observe that it’s hard
not to think of Bach as that upright
figure wearing a wig above his doughy
face, but Denk gives it a try. ‘Bach’s
music is very religious and devotional
obviously, no question. But it’s also
audacious and bizarre and virtuosic.’
What should a pianist think about
when studying and playing Bach? ‘Look
for the motor, the groove that makes it
feel well oiled. Things are always coasting
to the next event; at the same time you
have to be tuned to the constant
variations, the change-ups that Bach puts
in because he’s the great master of the
unexpected change-up.’ He also advises
that pianists should not forget ‘that
Bach laughs, a great deal, at his own
inventions. There’s always this sense when
he does something audacious and rescues
68• Pianist 84
himself. You have this sense of his own glee
at the invention that he put down on the
page.’ Other things to look out for? ‘The
obvious things are articulation and putting
in your fingerings. Never play Bach without
putting in fingerings; you cannot make it
up on the spot. If you do and you somehow
survive, that doesn’t mean it was good.’
In a New Yorker essay entitled ‘Every
Good Boy Does Fine’ (the title of his
forthcoming book as well), Denk talks
about rediscovering a notebook containing
comments, encouragement and criticism
from a high school piano teacher. ‘It was
wonderful to have that notebook. Often
lessons pass into the past, they vanish.
You remember more or less the gist of the
advice.’ In the essay, Denk also wrote about
another of his teachers, György Sebők at
Indiana University. ‘The motivation behind
the New Yorker piece was really to write a
love letter to Sebők and my years with him,
and the way that a European sensibility
basically landed on top of me.’
We spend some time discussing whether
it’s possible to like a composer who has
no sense of humour, a topic Denk has
discussed in his writing more than once.
‘The Romantic generation is less funny
than the Classical generation. Mendelssohn
scherzos can be quite witty, Chopin in the
waltzes can be sparkling and effervescent,
but it’s not exactly funny, is it? Schumann
can be very funny, but he’s kind of the
exception. Liszt in rhapsodies, in the
virtuoso pieces, can be very funny. But
when he gets bombastic, it all goes...’ He
lets the thought float up into the air.
Wit and effervescence, and, yes, humour,
bubble up in Denk’s performance of Bach
at Cadogan Hall, communicating to the
audience his admiration for, and
understanding of, the great composer.
After that concert and our conversation,
I find myself a little in awe of a man who’s
not only an inspiring pianist and writer,
but also a librettist. The Classical Style: An
opera of sorts, with music by Steve Stuckey,
is based on Charles Rosen’s famous
music textbook. Mozart, Haydn and
Beethoven play leading roles. So do the
tonic, dominant and subdominant (a love
triangle, of course) and Rosen himself.
Amazingly, Denk got permission from
Rosen, who died in 2012 before the opera
was fully fleshed out and before its debut
last year at California’s Ojai Festival.
With creative, unconventional and
intriguing projects like this, it appears
that the MacArthur Foundation
demonstrated especially good sense in
identifying this particular genius. n
At this year’s BBC Proms, Jeremy Denk
plays Bartók, Scriabin and Beethoven
in recital (24 Aug) and the rarely heard
Henry Cowell Piano Concerto with the
San Francisco Symphony (30 Aug). Denk’s
recording of the Goldberg Variations is on
Nonesuch; his book Every Boy Does Fine is
out in the autumn.
15/05/2015 09:18
 PLUS FOR INSTRUMENTALISTS, PRE-INSTRUMENTAL KINDERGARTEN WORKSHOP, SUNDAY 9TH AUGUST 2015

MusicTeacherAd2015 final print.indd 6 13/04/2015 21:52

STEINWAY ARTIST
MARGARET FINGERHUT
PLAYS THE ORIGINAL LSO ST LUKE’S STEINWAY at

ST GEORGE’S HEADSTONE,
PINNER VIEW, HARROW HA1 4RJ
www.stgeorgeheadstone.org.uk
Saturday 13th June 7pm Admission £10

Margaret, whose extensive discography has received worldwide

critical acclaim, is regarded as one of the most distinguished and
poetic pianists of her generation. Her latest release, a disc of
piano encores, was Featured Album of the Week on Classic FM.
‘Songs, Stories and Interludes’, her attractive and wide-ranging
programme for St George’s, features works by Schubert, Chopin,
Liszt, Debussy, Fauré and Gershwin.

“like someone telling a story on the piano

…a gem of a piano recital”
Pianist magazine, Sept 2014

Margaret performs on the original LSO St Luke’s Model D Steinway, which has been played on by such artists as Vladimir Ashkenazy, Evgeny Kissin and Mitsuko Uchida

St George.indd 1
69• Pianist 84 14/05/2015 09:16

p69 Ads.indd 69 14/05/2015 09:55

 nt cl e fs
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Orn a E D U C AT I O N

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melo t one
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v er sio n :
in
H E O R Y
US IC T !
M ! ATE IT
OV E ILT H Music theory
causes anxiety in many
pianists, and yet getting to grips with it
will help your playing immeasurably. John Evans
tells you why you should relax and give theory a try

F
ew would deny Mozart
knew his music theory.
When, as a boy, he heard
Gregorio Allegri’s
Miserere being sung at
the Sistine Chapel in
Rome, he was so moved
by it that, perhaps not realising what
archaic rules he was breaking, he wrote
it down by ear and would play it at
the drop of a hat, even to the Pope
when he asked him to.
An everyday story of a boy genius
you might say, except that centuries
before, the Vatican had forbidden
Miserere to be performed beyond the
Sistine Chapel, threatening anyone
who did with ex-communication.
Pope Clement XIV must have approved
of Mozart’s arrangement because rather
than expelling the young genius, he
showered him with praise.
No one’s quite sure why the Vatican
had once been so touchy about
Miserere. Some say it was because the
piece contained jealously guarded
ornamentation that was never written
down but passed from generation to
generation; others say it features a
musical interval in the bass that was
once regarded as being so ugly it was
known as the diabolus in musica (the
Devil in music). Today we call that
interval an augmented fourth, or a
70• Pianist 84
tritone (an interval that spans three
whole tones).
As you can probably tell from its
nickname, the tritone was a much
loathed and feared musical device.
There really are stories of people being
ex-communicated for using it. For
these reasons, it’s unlikely Allegri used
it in his original Miserere; composers
of his time didn’t, as a rule. However,
it certainly found its way into later
versions and performances of the work.
None of this evidently bothered
young Mozart or, it seems, the Pope,
but Miserere and the rules once
surrounding it serve as a reminder to
anyone preparing for their ABRSM

p70_Theory-FINALish.indd 70 15/05/2015 09:11


or Trinity College London theory
examination that once upon a time,
music theory mattered – very much.
Music theory – in essence, the
practices and principles underpinning
music – is as old as music itself. At first,
people probably just liked the music
they heard, but it can’t have been long
before someone decided to understand
why certain things sounded better than
others in music, so that other musicians
could repeat the trick.
One such person was Johann Joseph
e
Fux (1660-1741), an Austrian composer
and teacher. He travelled extensively in
Europe throughout the Baroque period,
soaking up musical influences and
traditions. Along the way he became a
master of counterpoint, that complex
relationship between instrumental
parts and voices that characterises so
much classical music. He published
his knowledge in the form of a book
called Gradus ad Parnassum (1725). It
was in two parts; part one dealt with
the mathematical relationships between
musical tones and part two, with,
among many things, counterpoint,
fugue and sacred music.
Like most theory books it might have
sat gathering dust on a shelf somewhere
but for the fact that Bach had a copy of
it as, also, did Mozart. Haydn claimed
to have learned all he knew about
counterpoint from it and suggested his
pupil, a young chap called Beethoven,
studied it as well.
Fux wasn’t the only musical theorist
and teacher, of course. There was
also Johann Georg Albrechtsberger
(1736-1809). Like Fux, he was Austrian
and an authority on counterpoint
who taught and influenced some of
the major composers and performers
of the Classical period – big names
such as Hummel and Moscheles,
and also Beethoven, when he became
disenchanted with Haydn’s teaching.
The point is, even the great
composers had to learn their theory,
and rulebooks such as Gradus ad
Parnassum were required reading.
In a recent article for the Telegraph
explaining what makes a great composer,
music critic Ivan Hewitt wrote: ‘A great
composer must be a good one. That
means having a proper technique.’
Which means knowing your theory.
A bitter pill?
The problem is, however, that for
many of today’s aspiring musicians
who simply want to play an instrument,
knowing their music theory is like
taking medicine. You know it’s good for
you, but that doesn’t make it any better.
What makes it worse is that, as far as
the ABRSM is concerned, its Grade 5
Music Theory examination is
compulsory if you want to take its
practical Grades 6 to 8. Strangely, or
p70_Theory-FINALish.indd 71
depending on your point of view,
happily, the theory tests are not
compulsory at all other grades.
Explaining one exam board’s
thinking, Nigel Scaife, Syllabus Director
at the ABRSM, says: ‘Grade 5 Music
Theory encompasses essential aspects of
musical learning that prepare candidates
for solid, sustainable success in practical
exams at Grades 6, 7 and 8, as well as
laying lifelong foundations for their
future as musicians.’
For musicians who simply want to play an
instrument, knowing music theory is like taking
medicine. You know it’s good for you, but
that doesn’t make it any better
On this last point – that a knowledge
of music theory helps lay the
foundations of a successful musical life
– Scaife continues: ‘An understanding
of how written symbols relate to the
elements of music, and having the skills
to interpret and translate them into
sounds, empowers us to communicate
and experience music in a meaningful
way. Learning music theory helps you
unlock the inner workings of music,
and definitely makes you a better
musician.’
To support the ABRSM’s argument,
Scaife says that, like any language,
music can be learned without being
able to read or write it, but that to
know it really well, you must study its
grammar; in other words, its theory.
Having done so, he says, students will
be able to understand the conventions
surrounding different styles of music, be
able to share a common language with
other musicians, and understand how
music works.
‘The term “theory” is often used as the
opposite to “practice” but in the sense
that it applies to music, theory is in fact
a very practical subject closely linked
to performance and composition,’ he
says. ‘Without knowledge of notation
it is impossible for classical musicians
to access their repertoire with ease or to
rehearse together.’
Unfortunately, it’s an argument that
seems to be falling on deaf ears. At
online forum thestudentroom.co.uk,
Grade 5 theory candidates appeal
for help and advice: ‘I’m doing mine
tomorrow and I literally started doing
practice papers a few hours ago.’
Another writes: ‘I haven’t started
practice papers. You’re way ahead of me!’
However, the most alarming message
of all is this: ‘I’m taking my Grade 5 in
order to go to the higher grades but as
71• Pianist 84
fi
I sing I don’t really need to know what
the music means and I just learn by
listening to my teacher. I have the exam
next Saturday and don’t even know
where to start.’
Fortunately, to help students prepare
for their theory tests, the ABRSM
and Trinity College London publish
music theory guides and workbooks,
as well as a range of past exam papers.
In addition, to help students with the
composition element of the theory
B
test, the ABRSM offers the interactive
Melody Writer on its website. This
simple but effective composing tool
allows candidates to notate music and
add markings. It can also check their
work and offer guidance on improving
it and then, when they’re satisfied,
allow them to send it to their teacher or
sfz
friends for feedback.
All very useful – and essential – but
it’s no substitute for making the study
of theory part of your piano learning
from day one, says one experienced
piano teacher.
Angela Cope has been teaching
the piano in Guildford, Surrey, for
over 20 years and has guided a lot of
students through their practical and
theory exams, at all grades. Many of
them have come to her having done no
theory before and are stunned when
they realise that to progress beyond the
ABRSM’s Grade 5 practical exam, they
must pass Grade 5 Music Theory.
‘Music theory can be a huge hurdle
to pass for someone who has little or no
knowledge of it,’ she says. ‘Revising and
ff
cramming is all very well but really, you
need to have studied it from Grade 1.
Ideally, students should request separate
theory lessons to accompany their
practical ones.’
Like the exam boards, Cope is clear
about the value of learning the subject.
‘Far from being a useless academic
exercise, music theory has real practical
value. You gain a real understanding
of time and key signatures that can
aid your sight-reading. If you want to
compose, it teaches you how to craft
your melodies and arrange them for
different instruments, which may not
use the treble and bass clefs pianists
are familiar with. If you want to arrange
music for voices, it introduces you to
four-part harmony.’
▲
14/05/2015 12:36
 E D U C AT I O N
She concludes: ‘Understanding music
theory helps you to become a more
rounded and confident musician.’
Grade 5 theory: a step up
Although the music theory tests
administered by the two main
examining bodies may differ in detail,
generally speaking Grade 1 contains no
alarming terms or devices beyond what
you’ll already have experienced in your
practical lessons; among them some
simple time signatures, and dynamic
and articulation marks.
Grade 2 introduces ledger lines and
triplets, and some simple transposition
while by Grade 4 you’re working with
the alto clef, enharmonics and writing
for SATB (soprano, alto, tenor, bass),
plus understanding more complex
chord inversions.
‘I took Grade 5 theory when I was nine.
I absolutely loved it. At that age, it was like
a bit of joyful maths. The only thing I couldn’t
get into my brain were the Italian terms, as I’d
yet to visit a foreign country’
However, it’s with Grade 5 – in the
case of the ABRSM, the compulsory
gateway to Grade 8 – that the real fun
begins, and where many students come
unstuck if they haven’t learned any
theory before. If they can crack it, by
the time they arrive at Grade 8, they’ll
be truly skilled and brimming with
musical confidence.
Summarising what its Grade 5 Music
Theory syllabus teaches students,
the ABRSM’s guidance notes say: ‘A
knowledge of notation, including signs
and terminology. An understanding of
fundamental musical elements such as
intervals, keys, scales and chords. Skill
in constructing balanced rhythmic
patterns and completing melodies. An
ability to apply theoretical knowledge
and understanding to score analysis.’
That last phrase ought to be enough
to drain the blood from many a
starry-eyed pianist who has been
contemplating a life of joyful music
making. But not for the concert pianist
and all-round top musician, Joanna
MacGregor: ‘I took Grade 5 theory
when I was nine. I absolutely loved it.
At that age, it was like a bit of joyful
maths. The only thing I couldn’t get
into my brain were the Italian terms,
as I’d yet to visit a foreign country. It
was like speaking Vulcan – I needed
Mr Spock to translate.
p70_Theory-FINALish.indd 72
MacGregor continues: ‘I would
encourage all pianists, of any age, to
take up a pencil, rubber and a piece
of manuscript paper, and cover it in
chords, harmonisations, cadences,
tunes and ornaments. It’s a perfectly
natural part of being a musician; the
ability to think laterally, to create you
own chorale, to harmonise a figured
bass – to really enjoy writing music.
These exercises are not at all archaic;
it’s what jazz musicians do, and it’s
really creative.
‘Understanding music theory
definitely changes the way you play.
Suddenly you have a partnership with
the score.’
At MacGregor’s age, her fellow
pianist Jonathan Plowright was less
enthusiastic about music theory, but has
long since come around to it.
Concert pianist Joanna MacGregor
‘I hated Grade 5 Music Theory but
have since realised that a knowledge
of theory has been essential in helping
me develop as a pianist and musician.
At its simplest it can be like maths. For
example, the beginning of Beethoven’s
Piano Concerto No 3 contains
demisemiquavers. You need to be sure
you’re playing exactly the right number,
but some pianists don’t bother and
add extra beats without realising. You
have to learn to subdivide the bars and
identify the pulse – that’s music theory.
‘Theory also teaches you chord
progressions and cadences, which can
be very useful in helping you play
instinctively. If you know how chords
and keys relate to one another, you can
second-guess the composer’s next move
or the direction the music will take.
Knowing that the French Impressionist
composers wrote in whole tones, as well
as what the term means, can help your
understanding of the music so that it
becomes clearer.’
Plowright says that some of his
students who lack a knowledge of music
theory can be
misled by
72• Pianist 84
bass notes into thinking the music has
wandered into another key when in
fact, they’re playing an inverted chord
in the home key.
‘The problem is, they see a bass
note and automatically think it’s the
root, because they don’t know how
to analyse chords and they don’t
understand the relationship between
chords and keys,’ he says.
Music theory also helps in
understanding a composer’s unique
language. For example, the opening
piece in Mendelssohn’s Variations
sérieuses is a gentle work containing
accents over notes rather than giving
‘marcato’ as a specific musical
instruction. ‘Despite the gentle nature
of the piece, some pianists make the
mistake of interpreting the accent
marks as meaning Mendelssohn wants
them to “jab” the note, but in fact it
was his way of saying “marcato” or
“lean”,’ says Plowright. ‘That’s a
totally different approach and sound.
Music theory teaches you to know
these things, and to respect them.’
The same goes for ornaments, says
Plowright, except that knowledge of
them can, in turn, give the pianist a
degree of freedom.
‘I understand ornaments and the
conventions surrounding them but
there will be occasions when I take
liberties with them, but only because
I feel the music demands it, and
because I know the constraints I’m
working within.’
Who’d have thought: Plowright has
found a good reason for knowing your
appoggiatura from your acciaccatura.
Perhaps theory isn’t so bad after all. ■
MUSIC THEORY: THUMBS
UP OR THUMBS DOWN?
What are your experiences of music
theory? Do you think it’s a necessity?
Would you like to learn more through
a regular music theory column inside
Pianist? We want to hear from you!
Email editor@pianistmagazine.com
or send a letter to Erica Worth, Editor,
Pianist, 6 Warrington Crescent,
trµ
London, W9 1EL. Best response gets a
copy of The AB Guide to Music Theory!
D.C.
14/05/2015 12:36
 The Joy of Piano
A conference on creative approaches to piano teaching

Presentations by Paul Harris | Christopher Norton

Ben Andrew | Simon Dearsley

Masterclass by Joanne MacGregor OBE

This unique event is ideal for pianists and piano teachers who would like to
enhance both their teaching and playing skills, and discover new and exciting
ways to inspire and motivate their students. This is an excellent opportunity to
meet fellow piano teachers as well as observe presentations and masterclasses
by some of the foremost leaders in performance and music education. This year,
we have a particularly exciting line up of special guests that include the renowned
concert pianist and Head of Piano at the Royal Academy, Joanna MacGregor OBE,
the world’s leading authority on pedagogy, and most published author on Music
Tickets
Saturday 13 June£25.00
Teaching, composer Paul Harris and Christopher Norton composer of the leading 2015(including lunch)
To book -your
‘Microjazz’ series which has transformed learning for generations of piano
9.45am
students. There will also be presentations given by Ben Andrew, Head of Keyboard 4pm place visit
at Stowe and Simon Dearsley, Director of Music and former faculty memberwww.stowearts.co.uk or
Stowe
of The Juilliard School of Music, New York City. The conference will take place School
in the new state-of-the-art Chung Music School at Stowe School, •73 Pianist 84
Buckingham. call 0845 680 1926

p73 Ads.indd 73 14/05/2015 11:34

 A R T I S T N OT E B O O K
A journey into
BEETHOVEN’S
WORLD
Leif Ove Andsnes has focused on
Beethoven for the past four years,
taking a journey that ends at this year’s
BBC Proms. He tells Erica Worth
about his adventures and how it all
started – in a lift in São Paulo
Y
our Beethoven
journey, which has
taken you to 55 cities
in 22 countries, is
nearing its end. Has
it been worth it?  The finale is the BBC Proms residency
Yes, it really has. As
a pianist one moves between so many
composers, so it was wonderful to have
decided that for four years it would be
mostly about Beethoven. I have only
played the Beethoven concertos for four
years, and in chamber music and solo
repertoire, Beethoven has also taken up
most of my attention.  destination in our Beethoven journey,
What made you decide to embark on
such a big undertaking?
For some time I had been contemplating
how I might channel my vision of this
supremely great composer when, about
seven years ago, things crystallised in, of
all places, a hotel lift in São Paulo! The
lift’s background music was a continuous
loop of Beethoven’s first two piano
concertos and every time I used the lift
I found myself arriving at a different
point in the music. At first I thought
this might become rather irritating, yet
the opposite proved true, as I was struck
time and again by the sheer originality
and exuberance of Beethoven’s invention.
There and then I decided the time was
right to commit myself to an extensive
p74_Andsnes-FINALish.indd 74
exploration of the concertos and Choral
Fantasy, and came up with the idea of
undertaking a four-year ‘journey’ with
the Mahler Chamber Orchestra (MCO).  organised in 1808. The concert had so
this summer. How does that feel?
Well, we have been doing several
residencies this season, playing all five
Beethoven concertos. Playing them last
autumn in the glorious acoustic of the
Musikverein in Vienna, his city, was
unforgettable. But the Proms is unique,
and the fact that it will be the last
will definitely make it very emotional.
What’s it like to perform at the Royal
Albert Hall?  of Beethoven’s brotherhood-vision at the
It is quite paradoxical. At first in
rehearsal, you think the music will
get completely lost in this vast space.
Then, with the audience, the sound
changes, becomes much clearer, and the
atmosphere and the intensely listening
audience make it all possible. The
moments I remember the best at the
Proms have actually been some quiet
and intimate music. There is a glow to
the sound that can be very touching.
You are playing the rarely heard
Choral Fantasy too. How does it fit
with the five concertos?  all the time. You can’t get away from the
74• Pianist 84
The Choral Fantasy was composed as
the final piece for a specific event, the
huge Akademie-concert Beethoven
many first performances – the fifth and
sixth symphonies, the Fourth Piano
Concerto, the concert aria ‘Ah perfido!’,
three movements from the C Major Mass
and so on. Beethoven needed a piece that
could bring all forces together at the end
of the concert. The form of the Choral
Fantasy is therefore unusual: it begins with
a fantasie for solo piano, then variations
for piano and orchestra, and finally a
celebratory coda with the choir joining in.
Some of it works as pure entertainment
music, while other parts are bold and
beautiful, and there is a wonderful feeling
end. It might not be as profound as the
concertos, but I love the piece, for its
diversity of emotion and characters.
You have been conducting as well as
playing. How has that been?
It is a challenge to conduct and play
these concertos because the orchestra has
to be so strong and the soloist is a very
singular entity. We’re not talking as much
about the dialogue and chamber music
feeling of a Mozart concerto. But when it
works, it’s just so wonderful to be a part
of that flow, or a part of the storytelling
14/05/2015 12:43

fact that when you play with a
conductor, there is a little bit of an on
and off button. I’m avoiding that by also
leading the orchestra, and that’s
wonderful. But there are challenges. The
first three concertos and even the Choral
Fantasy did not pose any insurmountable
problems, but the revelation came with
the ‘Emperor’ Concerto, about which I
was initially apprehensive: there are so
many notes to play. How would I fit in
any conducting around that? That was
when working with the remarkable
musicians of the MCO really came into
its own, because I could put my
complete trust in their ability to pick up
on the slightest musical or physical
gesture. All my concerns about playing
together – about ‘vertical precision’
– simply melted away as we achieved an
amazing symbiosis: a collective sense of
knowing and feeling exactly what was
required at any given moment. Even the
notoriously tricky tempo transition in
this concerto between the dreamy slow
movement and exultant finale actually
became easier to negotiate without a
conductor. As a natural result of having
lived so intensely with this music over
such a long period, I now find that I give
fewer conducting gestures, because an
immense trust has developed between
myself and the musicians, allowing for
more vitality and spontaneity.
© Oezguer Albayrak (main image); © Holger Talinski (MCO); © Chris Christodoulou (RAH)
How did your relationship with the
Mahler Chamber Orchestra begin?
I had played one tour with the MCO
about 10 years ago, with Alan Gilbert
conducting the Mozart ‘Jeunehomme’
Concerto. Years went by and I was
looking for a partner for these Beethoven
concertos, and the MCO really wanted
to do the cycle. The MCO consists of
members from 22 countries. They have
an administration in Berlin, but they
don’t have a formal home. It has always
been a touring orchestra. Members have
to be extremely committed (and they
are) to that existence. Maybe they would
be better paid in other orchestras and
p74_Andsnes-FINALish.indd 75
would have more comfortable lives, but
they really love to play together, and
you feel it. Every member is so engaged.
They have a flexibility of sound and of
phrasing. I have learned so much from
this orchestra. I find that when I get to
work with the MCO, there are so many
places in the music where I think, ‘Oh
yes, that’s what I wanted to hear. That’s
what I had been dreaming about.’
What does Beethoven’s music mean
to you?
Beethoven’s music has an indomitable
presence – it is impossible to ignore. Yet,
for me, it was not love at first sight. As
a student I felt drawn to its energy and
the revolutionary nature of his writing,
but it wasn’t until much later that I
fully appreciated his colossal expressive
range. Since then his music has formed
an increasingly important part of my
life. He speaks with an unvarnished
directness and sincerity, free of theatrical
rhetoric and sensuality, that goes straight
from the head to the heart.
Which recordings of Beethoven’s music
have inspired you? 
Many. Schnabel, Richter, Michelangeli,
Fleisher and others. And maybe
the greatest Beethoven recording is
Rachmaninov’s version of the C minor
Variations. What a shame that he wasn’t
able to record some of the sonatas.
Since being on the cover of Pianist
No 37 in 2007, you have a wife and
three children. Does this make you
have a different view on music and life? 
For sure I have a different view on life.
Life feels more vulnerable, because there
are some human beings I love so much,
and can’t see myself being without.
Travelling is more difficult, also because I
want to be there as my children grow up.
On the other hand, the travelling life has
been part of me since I was around 18,
and that is the life I know. I am trying to
find a balance between home and
touring. From a practical point of view I
75• Pianist 84
have reduced my schedule from 110
concerts a year to 70, so I can be at home
more than half the year. The emphasis in
my life is on both my family and music –
one enriches the other.
What was it like having twins in the
middle of your Beethoven journey?
My Beethoven journey changed quite
radically because of our twins’ early
arrival (they were born 12 weeks early.)
I had to cancel a tour with the MCO and
delay our second recording.
Has becoming a father affected your
relationship to music?
It is difficult to say. But for sure I am even
more emotional about music – I cry and
laugh more easily, and I feel even more
lucky to have such a meaningful profession
and passion. It is difficult to put my finger
on exactly what has changed after
becoming a father, but I do feel freer on
stage. Maybe it’s the overwhelming
responsibility at home, which gives me the
feeling that, okay, if a concert doesn’t go
that well, it’s not the end of the world.
There are other more important things.
That doesn’t mean that a concert is not
important, but now I find myself taking
more time with certain things and being
more emotional. I think the music goes
deeper in me than it did before.
On the cover of Pianist No 37, the
strap line was ‘Inside the perfect world
of the laid-back Norwegian star’. Does
this sum you up? 
No, that doesn’t feel like me. Life is
much more complex than any way it can
be summoned up in a headline, and I
don’t think of myself as laid back. But it
is a nice headline! ■
Leif Ove Andsnes’s Beethoven journey at the BBC Proms
23 July: Concertos Nos 1 & 4
24 July: Concerto No 3 & Choral Fantasy
26 July: Concertos Nos 2 & 5 ‘Emperor’
Full details at www.bbc.co.uk/proms
The Leif Ove Andsnes recording of Beethoven’s Piano Concertos 2 and
4 with the Mahler Chamber Orchestra won the BBC Music Magazine
2015 Recording of the Year (Sony Classical 88883705482). The box set
of the complete concertos, plus Choral Fantasy is out now (Sony Classical
88843058872, 3 CDs).
14/05/2015 12:43
 MAKERS

In praise of
DIGITALS
Why a digital piano? Well, why not?
Gez Kahan looks at features that
make digitals capable of transcending
the limits of an acoustic piano

H
ow many
computers do you
own? My guess is
that you own
more than you
think. Do you
have mobile
phone? An up-to-date TV? A microwave?
A newish washing machine? A modern
car? If you do, they will all have a
computer inside, dedicated to a few main
functions in most cases (you don’t really
need a colour-fast cotton program for
your car), but a computer nonetheless.
And if you have a digital piano, there’s
one more for the list.
This page, clockwise from Like the examples I’ve just cited, digital
top left: Kawai’s CA17 pianos tend not to be sold as computers,
model showing its Ivory although they boast the kind of add-ons
Touch and volume (apps, USB connectivity and so on) that
control; Roland’s Hpi-50e; are routinely highlighted in marketing
Casio’s Celviano; Korg’s of mobile phones and TVs. With digital
LP380 in the orange-and- pianos, practically every sales pitch goes
black colour scheme little beyond stressing how close this
instrument is to ‘the real thing’. That’s
Opposite: Yamaha’s reasonable, since it’s fair to say that for
Clavinova CVP 609 many people, a digital piano is not a first
choice. It’s an alternative where certain
circumstances – space constraints, noise
restrictions or budget, for example –
mean a traditional piano won’t do.
Most digital pianos are sold as a way
round those obstacles. They’re generally
smaller, quieter (especially with
headphones) and cheaper. Digitals are
more compact and relatively portable,
and they need no tuning and little
maintenance, albeit that the more
complicated actions on some digitals
(and hybrids, which combine old and
new technology) will presumably need
regulating from time to time.  derived from, while others use
We can also take as read that digitals
might suit some modern living rooms
better than a traditional upright. And
while you can get some wacky finishes
on ‘art pianos’ from the big-name
traditional brands, you’ll pay a premium.
With digitals, though, colour variations
and streamlining to suit modern décor are
often standard. Korg, for example, offers
two-tone leatherette coverings (black with
orange, silver or cream) on some models.  Philharmoniker concert hall.
76• Pianist 84
These are fringe benefits, however.
The two questions everyone who buys
a digital piano asks are ‘Does it sound
like a real piano?’ and ‘Does it feel like
the real thing?’ And that simply invites
more questions: ‘What do you think the
real thing sounds and feels like? Which
brand, which model, which size? New
hammers or old? Grand or upright? Light
action or heavy?’ 
This is where we start to find things
a digital does that a ‘normal’ piano can’t.
Even the earliest models, 30-odd years
ago, usually offered the choice between
a mellow voice for classical repertoire
and a brighter one for jazz and rock,
while most also had buttons for other
sounds such as harpsichord, electric
piano and vibraphone. The technology
(see ‘Thinking inside the box’, page 80)
has come on in leaps and bounds since
then, so that those with house brands
– i.e. Kawai and Yamaha (which also
owns Bösendorfer) – can even specify
which flagship grand the voice was
suggestive words and phrases (they
might name a voice ‘American concert
grand’ or similar) to give a clue without
infringing proprietary rights. That
principle can also apply to the reverb
simulation, which adds room or hall
characteristics to the sound. Options on
some Casio models include accurate
re-creations of the acoustics from Notre
Dame Cathedral and the Berliner

p76_Digital Piano-FINAL.indd 76 14/05/2015 12:45


As computing power and memory
have become ever cheaper, not only
have the standard ‘concert grand’
voices become more realistic, but the
palette of sounds available has grown
to include options such as uprights
and honky-tonks. You can even delve
into piano history: Roland includes
fortepiano voices on some models
for a more authentic performance of
the Classical-era repertoire, while all
major brands incorporate a choice of
historical tuning temperaments on
their higher-priced instruments (and
some also include an Arabic scale).
How about touch? Early digitals
had a ‘springy’ action, more akin to
a synthesizer than a real piano, but
things have moved on, with various
As computing power and memory
have become ever cheaper, not
only have the standard ‘concert
grand’ voices become more
realistic, but the palette of sounds
available has grown
forms of ‘weighted hammer action’
available on the better digitals, and
several gradations of touch available
as pre-sets. What these settings are
called varies according to brand
but they could be characterised as
running from ‘light’ (which may
well suit fortepianists, as well as
being useful for young fingers),
via ‘medium/normal’ to ‘heavy’.
If you also want authenticity for
organ music (most digital pianos
having a selection of pipe/church
and jazz/rock organ voices), you’ll
probably want these to disable touch
sensitivity by default.
p76_Digital Piano-FINAL.indd 77
TRAnScRiPTionS
F o R T W o P i A n i S T S
Sound horizons
All the features I’ve just described
above will be pre-set, and selected for
the most part by pressing a button,
just as they are on your washing
machine. But what if they don’t
quite suit you? This is where some
digitals allow the user an element of
control that only a trained technician
can achieve on a traditional piano.
Kawai’s high-end models have a
feature called Virtual Technician that
allows users to adjust the voicing for
individual keys, undertake their own
tuning, set their own temperaments,
adjust the touch and a good deal
more. Many of the other makers also
allow in-depth fiddling with some
parameters, though such options
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won’t be used by most purchasers.
Launch concerts
For those with an interest in 19/05/2015 Arsenal, Metz (FR)
experimental music, however, the
ability to configure a keyboard to 26/05/2015 Showcase – Atout Livre, Paris (FR)
play microtones or to adjust the tone 13/06/2015 Wigmore Hall, London (GB)
and touch to give a ‘prepared piano’
effect may appeal.  05/09/2015 Les Solistes à Bagatelle, Paris (FR)
This gives a flavour of just how far
you can go with customising a digital
piano. The average player, though,
simply wants a few real-world
STAY IN THE KNOW
benefits to help learning or enhance
the playing experience. One New releases • Reviews • Special offers • Artist features
commonplace feature for practically
every digital, is transposition. Need www.chandos.net
to play along with a trumpet but www.theclassicalshop.net
▲
(24-bit studio masters, lossless, MP3)
14/05/2015 12:45
 MAKERS
only have the B-flat instrument’s part?
Press a few buttons, et voilà – your digital
plays a tone lower. Another is the option
of playing more than one voice at a time.
You could, assuming your digital has a
comprehensive set of alternative sounds,
layer harpsichord with Baroque strings or
use the keyboard split function to play, for
example, pizzicato double bass with your
left hand and jazz piano with your right.
Though purists may frown, these
things are fun to play with. But the
principles can be used within traditional
learning too. Via a combination of the
technology used to transpose and to
split the keyboard, many digitals can be
turned from a single seven-octave span
into a pair of identical three-and-a-half
octave instruments so that teacher and
pupil can play along together.
Education is fertile ground for
digital technology. Traditionalists Clockwise, from top: Korg’s Module app; Roland’s iPhone Air
will applaud the inclusion of Czerny, Performer; Kawai’s Virtual Technician; Yamaha’s NoteStar;
Hanon, Burgmüller and the like in the Piano Notes Pro app
‘Lesson’ features on certain Yamaha and
Kawai digitals, but there are less austere
options too. Most models from most
brands will include a library of pieces
to play along with, with the option
for learners to slow the tempo and to Apps and add-ons
practise hands separately. Some, such as
Casio’s Privia and Celviano ranges, come The app – short for ‘application software’
with music books for learners (and, for – started off as a fairly inexpensive way to
more advanced players, recordings of add functions to mobile phones and similar
famous classical pieces, complete with devices, but has now mushroomed into
full symphony orchestra, to play along the common way to add features to any
with). Roland’s HP-i50e even dispenses computer, including digital pianos. 
with the need for a book, with a large Several manufacturers have proprietary
LCD screen built in (you don’t get one apps that integrate with their digital pianos
of those on a normal piano, do you?) to either wirelessly or via a USB connection.
display digital sheet music or educational Kawai has an app to control its Virtual
games and exercises. Technician settings from an iPad’s larger
Any teacher will tell you that it’s touchscreen surface for those who find the
important to get pupils to listen properly keyboard’s LCD display a tad limiting.
to what they play, and that few do. Built- Roland has the Piano Partner learning
in recorders on digital pianos can solve app for iPad and the Air Performer play-
that problem, and some (where the pupil along app for iPad, iPhone or iPod Touch.
is playing to programmed music) even Similarly, Yamaha’s NoteStar app for iPad
have assessment features. They might not provides tracks to play along to, with pedal-
be able to correct a student’s fingering or operated page turning. Korg’s Module app,
demonstrate the use of arm-weight (yet), providing a range of keyboard sounds to be
but they can help prevent wrong notes accessed from any MIDI-equipped keyboard,
and shaky timing.  is geared more to the musician on the go
(though learners, especially those studying
Clap hands for apps music and composition at school, will find
Perhaps the best news is that you’re not it useful in conjunction with the company’s
even restricted to what’s built into your music production app).
digital piano. As long as it has a USB port There are also plenty of third-party apps.
(and practically all of them do these days) Casio freelance demonstrator Chris Stanbury,
you can connect with the wonderful who is also a piano teacher, recommends
world of apps (see ‘Apps and add-ons’, Piano Notes Pro as a notation teaching
right) and pick your own add-on features. app and Piano Maestro as a collection
So where does this leave the ‘real of interactive exercises and pieces (both
piano’? Yamaha and Kawai, who straddle available for iPad). 
both camps, are among those to make With developers constantly releasing new
models that combine digital and apps (for Android devices as well as iPads and
traditional technology, and thereby allow the like), the examples above only scratch
the traditional piano to benefit from the the surface of available add-ons. Check
new features. (Even Steinway is venturing manufacturers’ websites and the relevant app
into this territory with its new Spirio stores for more details.
player piano; see News this issue).
▲

78• Pianist 84

p76_Digital Piano-FINAL.indd 78 14/05/2015 12:45

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79• Pianist 84

Pianoforte.indd 1 10/03/2015 11:07

p79 Ads.indd 79 15/05/2015 10:52

 MAKERS

Built-in recorders might not be able

to correct a student’s fingering or
demonstrate the use of arm-weight
(yet), but they can help prevent
wrong notes and shaky timing

Thinking inside the box

The basis for sound production on a digital piano is sampling:
making a recording of an instrument using a microphone and
converting it to digital information to be embedded on a chip.
Think of it as an audio snapshot. During playback (i.e. when a
key is pressed) the process is reversed, and the digital information
is converted back to analog (computer folk use the US spelling)
and output through speakers or headphones. Left: Kawai’s ATX2 control box; above: Casio’s USB port
The realism of that snapshot will depend not just on the
quality of the original recording, but how accurately it is
converted to digital audio (audio boffins talk about sampling
rates and bit-depth). That accuracy has to be maintained at every
processing stage up to playback – at which point the quality of
the speakers or headphones also comes into play.
Such is the range of sounds available from a piano, however,
that a single sample, no matter how high the fidelity, can’t fit the
bill. Early attempts (when data storage was at a premium) would
take a series of samples across the keyboard and use a calculation
(the technical term is ‘interpolation’) to fill in the gaps. But even
a single sample of every key isn’t enough.
The beauty of a piano lies in its dynamic range, and those
dynamics affect tone as well as volume. Played pianissimo a piano
has a soft tone; played fortissimo it verges on the strident. There
are tonal variations from bass to treble too, and the resonance
changes (through sympathetic vibration) depending on which
combination of keys are pressed, and on whether the damper,
sostenuto or una corde pedals are in use. Plus, the topmost
strings don’t even have any dampers. The transducer inside Yamaha’s TransAcoustic
Makers of digital pianos therefore have to take multiple high
resolution samples to capture those differences. The best have There are two principal methods for options: it can be an ordinary piano, a
several samples per key, running from quiet to loud, and clever combining digital and acoustic. The digital piano played on a real piano’s
processing techniques and algorithms to analyse how the player most common is to add digital keyboard and action (either through
has hit the keys (and which keys) and to produce the appropriate technology (complete with headphone/ headphones, as a silent, or in the full
sounds. However, it’s beyond the capabilities of current speaker output) to a standard acoustic resonant glory of an acoustic piano’s
technology to handle every single potential sample from ppp to piano, either at the point of manufacture cabinet) or a meld of both.
fff on every key, so those algorithms also have to be able to make in the case of Yamaha’s Silent options or But do these new crossovers really tell
minute smooth adjustments to account the tonal and volume Kawai’s Anytime range, or as a post- us about the future of the ‘traditional’
nuances in between the sample points. purchase modification (see Pianist No 77 piano? I’ll stick my neck out, safe in the
The manufacturers also look at other elements that contribute for an in-depth article on this).  knowledge that I’ll be long gone before
to the sound of a piano, taking samples of subtleties such as But recently manufacturers have also anyone can prove me wrong. It was the
hammers falling back to rest after striking the strings, keys being been exploring the potential for using late 19th century before Cristofori’s early
released and damper noise and devising increasingly complex the acoustic properties of a traditional 18th-century invention, the pianoforte,
algorithms to incorporate those into the mix. piano in tandem with digital technology. reached its first peak of perfection. No
Cramming that much into a digital piano requires chips with Yamaha in particular has been working one listening to his original instruments
plenty of data storage (for all those samples) and hefty processors on a refinement that allows the digital could possibly have envisaged the sound
(for the algorithms). The progress of digital pianos from vague element to interface with the real piano’s and touch of a modern concert grand. It’s
approximation to ever more convincing replication is therefore soundboard via its TransAcoustic (TA) my guess that it will take much less than
inextricably bound up with the exponential growth in computer system. The company unveiled several 150 years for digital technology to
memory and processing power and its falling cost in real terms. new TA models at the Musikmesse trade become a standard element in what we
show in April. This offers multiple currently call the ‘acoustic’ piano. n
80• Pianist 84

p76_Digital Piano-FINAL.indd 80 14/05/2015 12:45

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81• Pianist 84

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p81 Ads.indd 81 14/05/2015 11:36

 MAKERS

Policy statement
How well protected is your piano? If it gets damaged, will your insurer pay for parts and
labour? And what if it’s an older piano? Gez Kahan reads the terms and conditions

P
iano removers rarely make
the six o’clock television
news, but I know of
one firm that did. A
momentary oversight,
that’s what it was, and
a Bösendorfer ended up
upended in a stream, to the evident mirth
of the TV crew who covered the story, if
not of the piano’s owner. The removal
company was highly embarrassed but also
fully insured – and a good job too, because
many insurance policies for individuals’
pianos don’t cover transportation.
What, though if the unthinkable
happens within your home? Is your
insurance up to snuff, and what does it
cover? Are digital pianos treated the same
way as traditional acoustics? And what
about faults in manufacture that aren’t
initially obvious?
Let’s deal with that last issue, faults in
manufacture, first. You have statutory
rights, of course, but they don’t go on
forever and certainly not as long as
you’d expect a piano to last. Different
manufacturers offer different warranties,
and the conditions may differ depending
on whether it’s a digital or acoustic.
For digitals, the longest period
covered appears to be Roland UK’s
ten-year warranty on its HP, HPi and
LX ranges (other Roland models coming
with a three-year warranty). There are
conditions, of course. It’s non-transferable, Both Korg and Casio offer a five-year on its entire range. As with digitals, there’s
the piano must have been bought new warranty for customers who register their a duty of care on the customer.
and from an authorised Roland outlet, purchases with them (with the exception ‘The buyer has a responsibility to ensure
the purchase must be registered (receipt of Casio’s entry-level model, for which that their instrument is kept and used
required) within a year of purchase and it’s two years). in a stable environment, avoiding big
the instrument used in accordance with Kawai has recently upgraded its UK fluctuations in temperature and humidity
the manufacturer’s instructions. That’s all parts and labour warranty on digitals to which can adversely affect regulation and
fair enough. Accidental (or deliberate) three years; previously parts had been tuning stability, as well as the condition
of the soundboard,’ says Kawai’s sales
manager, Neil Sale. ‘Most dealers
encourage regular tuning and a check
Different manufacturers offer different over of regulation and voicing after the
instrument’s initial 12 months of settling.
warranties, and the conditions may differ On our flagship Shigeru Kawai grand
pianos we send a Master Piano Artisan
depending on whether it’s a digital or acoustic from our own factory once the customer
has owned and used the instrument for
12 months so that those settling-in checks
and adjustments can be carried out to the
damage, including that resulting from covered for three years, but labour only very highest standards.’
Manu Boisteau for Pianist

excessive humidity or such delicacies as
‘body salts and acids of perspiration’ are
out too. So if your house is damp or you’re
sweaty, invest in a dehumidifier.
for the first year.
When it comes to traditional (acoustic,
that is) pianos, Kawai tops the league,
with a ten-year parts and labour warranty
82• Pianist 84
Steinway’s Boston and Essex pianos also
carry a ten-year warranty (plus the option
to trade in at full purchase price for a new
Steinway grand within that time). For most

p82_insurance-FINAL.indd 82 14/05/2015 12:41

 others, including Steinway’s new and
rebuilt models, a five-year warranty is
the norm.
The fine print
Warranties cover purchasers for defects
in manufacture and materials, but as
they don’t cover accidental damage,
they’re no substitute for insurance.
There are a number of options.
The first and perhaps most obvious
option is to see whether your
household and contents insurance
policy offers adequate cover, bearing
in mind that large-value items often
need to be listed separately. Also check
the fine print, though. It may have
a clause that allows loss adjusters
(known as claims adjusters in the USA)
to discount the insured value to its
second-hand market value and to
account for wear and tear, meaning
you could be seriously out of pocket if
you need to replace a piano that’s been
irretrievably damaged by fire or flood.
‘Make sure to get a quote from the
insurance company that stipulates
“Price as new”,’ advises Terry Lewis
of Jaques Samuel Pianos, London.
‘A lot of insurance companies
otherwise cough up a figure that’s
nowhere near the cost the piano was
when you bought it.’
That’s a point echoed by David
Widdicombe, technical services
manager for Steinway & Sons UK.
‘Our general advice is to insure a
piano for the cost of replacement
with new, and update the policy on
an annual basis. The price of a fully-
rebuilt Steinway purchased from our
showroom is typically between 70
per cent and 80 per cent of the cost
of new, so we recommend insuring
for at least 70 per cent of the new list
price. This figure is also likely to cover
the cost of rebuilding the piano in
the event of major damage, but it is
important to avoid the risk of being
under-insured in the event that the
piano cannot be repaired.’
If you’re in any doubt, go to one
of the insurance firms with specialist
musical equipment divisions. A partial
list of UK firms would include names
such as Allianz, Lark Insurance,
Musicguard, Robertson Taylor and (if
p82_insurance-FINAL.indd 83
you’re a fully paid-up member of the
Musicians’ Union) Hencilla Canworth.
A two-minute web trawl will throw up
several more. They will all tend to offer
the same basic cover, but premiums
and policy excesses will vary.
For acoustic pianos, Allianz says,
accidental damage, fire and theft will
normally be the basic cover. Since
they aren’t portable, cover will be for
premises only (so make sure you or
your removal company have adequate
additional insurance before you move
house). New for old cover is available,
so you can insure for the replacement
value, although for any item valued
at over £10,000 the company will
require documentation to prove
ownership and value.
If it’s not a new piano, particularly
if it’s second hand, you’ll need to get
a valuation. Although pianos tend
not to appreciate in the way that
Cremonese violins might, if yours is
a limited edition or has an interesting
provenance (John Lennon’s piano sold
at auction for over £1m), it could
rise in value and you should have it
revalued every two to three years.
For digitals, things are different.
Because they’re more portable, a
premises-only policy probably won’t
be appropriate. And because the
technology moves so fast, you can’t
always insure on a true replacement
basis, so you’d tend to go rather for
replacement specification.
Whichever insurer you go with,
you’ll need to confirm that the policy
matches your exact needs. Ask as
many questions as you need to, and
ask to see the full document – read
it thoroughly, taking expert advice
if need be – before signing on the
dotted line. Over-insurance is money
wasted, since the premiums you’ll pay
will reflect the inflated value you put
in, but the pay-out would only be for
the cost of replacement or repair.
Equally, don’t scrimp on premiums
by under-insuring – any insurance
premium, however low, is wasted
money unless you have to make
a claim. But if you should drop a
Bösendorfer into a stream, it’s nice to
know you’re covered with something
besides embarrassment. n
15/05/2015 11:28
 91• Pianist 84

p91 Ads.indd 91 14/05/2015 11:44

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 REVIEW CD
Marius Dawn is enchanted by Stephen Hough’s miniature Grieg, Louis
Lortie’s whirlwind Chopin and Donka Angatschewa’s enjoyable concertos
Pianist star ratings: ★★★★★ Essential – go get it! ★★★★ Really great ★★★ A fine release ★★ Average ★ Fair
Buy these CDs from the Pianist website.Visit http://pianistm.ag/cdreviews

DONKA ANGATSCHEWA VLADIMIR ASHKENAZY

Edit o r’s Addinsell: Warsaw Vers la flamme.

C HOI C E
Concerto; Rota:
Concerto soirée;
Piazzolla: Cuatro
estaciones porteñas
Ars Produktion
STEPHEN HOUGH ARS 38 168
Grieg: Lyric Pieces, including Arietta, Notturno,
To spring, Wedding day at Troldhaugen
Hyperion CDA68070 ★★★★★
★★★★★
Is there a pianist out there who does not own at least some of the 66 short The three composers featured on this
pieces that comprise the Grieg Lyric Pieces? These pieces lie comfortably disc were all associated with film
within the technical abilities of a pianist of an intermediate standard and music, though they also wrote for the
are charming. However, to play the notes as written is one thing, but to concert hall. Rota’s Concerto soirée is
bring the music alive is another – and that is the territory of the professional regrettably rarely heard in concert,
pianist. These Norwegian mini-dramas need a singing piano tone, clear while Addinsell’s Warsaw Concerto
phrasing and a steady forward pulse to hold the compositions together. should stay outside the concert hall in
To elevate Grieg’s tiny masterpieces, we need a craftsman like Stephen favour of the real Rachmaninov it so
Hough. Some of Hough’s first recordings were of miniatures and were blatantly copied. Piazzolla is mainly
always polished to perfection. Hough is not only a miniaturist, of course, remembered for his tangos, however
and his concerto recordings have won many well-deserved awards. However, his ‘Four Seasons’ Concerto is a real
being able to bring a short two-minute piano piece to life is a rare gift. A crowd pleaser. Donka Angatschewa
good example on this new disc is the ‘Wedding day at Troldhaugen’, a little pulls out all the stops, showing she’s
showpiece that Hough turns into a concentrated musical poem, beaming the right pianist for these works. The
with pianistic colouring and rhythm zest. ‘To spring’ simply cannot be enthusiastic Vogtland Philharmonie
played with more elegance, while the final ‘Remembrances’, harking back with Stefan Fraas supports her
to the opening ‘Arietta’, is the ultimate in tenderness. It’s refreshing that brilliantly. With the multichannel
Hough has selected a Yamaha CFX for this recording. Dare we hope recording, this is the most enjoyable
Hough will delight us with another Grieg recital on his next recording? concerto surprise of the year.
Scriabin études,
préludes, poèmes,
morceaux, etc
Decca
478 8155
★★
2015 marks 100 years since Scriabin’s
death, which is no doubt why Decca
lured Ashkenazy into the studio to
record over 40 short piano works by
Scriabin, including Vers la flamme,
plus a short prelude by Scriabin’s son
Yulian. Sadly, inspiration is lacking
and the music sounds as dead as the
composers. A lack of wonder and
dreaminess in the early pieces and
plodding in the more complex last
poèmes is bewildering, when one
knows what a fine Scriabin player
Ashkenazy once was. The faster etudes
from opus 8 (nos 7 and 10) are played
with stunning virtuosity, but that’s
not enough to save this recital from
being a disappointment that not even
a fine recording can rescue.

LOUIS LORTIE LEON MCCAWLEY KARIM SAID NICK VAN BLOSS

Chopin Vol 4:Waltzes Rachmaninov: The Echoes from an Beethoven: Diabelli
& Nocturnes Complete Preludes Empire. Works by Variations; Sonata
(selection) Somm Berg, Bartók, in F min op 57
Chandos Recordings Enescu, Janáček, ‘Appassionata’
CHAN 10852 SOMMCD 0143 Schoenberg, Nimbus
Webern Alliance
Opus Arte NI 6276
OA CD9029 D

★★★★★ ★★★★ ★★★★ ★★★★

In his fourth volume of what will
likely be Chopin’s complete works
for piano, Louis Lortie lets his hair
down, giving us a whirlwind of
waltzes, from the very early ones
attributed to Chopin to the last
great waltzes, staples of any Chopin
recital. Lortie is like Gene Kelly
on the dance floor, favouring fast
tempos and crystalline, lightweight
fingerwork. As with the previous
volumes, a few nocturnes are mixed
in with the waltzes. It is Chopin of
the modern age, helped by the bright-
sounding Fazioli and a masterly,
high-class recording. Some might
lack the warmth of a Rubinstein,
however many will admire this high-
level Chopin playing.
It’s hard to give someone five stars for
a disc of Rachmaninov preludes when
there are recordings by the likes of
Richter and Gilels. Pianistically and
musically, McCawley sails through far
ahead of many of his contemporaries.
I won’t compare the living to the
dead, but even among modern
recordings by Shelley, Osborne and
Ashkenazy, McCawley is among the
top recommendations. He thunders
through the stormy opus 23 no 2 and
creates real pianissimo intensity in the
lesser-known opus 32 Preludes that
Russian pianists reserve for themselves.
This is classic, unsentimental,
and in the best sense of the word,
straightforward, Rachmaninov that
listeners will want in their collections.
The young Jordanian pianist Karim
Said is associated with Barenboim’s
West Eastern Divan orchestra. With
this intelligently programmed CD,
however, he shows he can stand on
his own. All composers featured
here broke away from tonality, with
Schoenberg being the most radical;
his Three Piano Pieces opus 11, which
concludes the disc, closes a chapter
in history Said convincingly lays
open here. The opening Berg Sonata
opus 1 leads effortlessly into Bartók’s
Three Rondos and Schoenberg’s work.
I have heard the Berg with more élan
and the Enescu Suite No 2 with fewer
rough edges, but these are minor
complaints in a performance that few
pianists today can challenge.
On the back of Nick van Bloss’s
previous Goldberg Variations CD, a
critic praised his ‘fluidity of line and
unforced lyricism’, a description that
also matches this new Diabelli CD.
There are no extremes in tempos; each
of the 33 variations lead naturally into
the next. Van Bloss seems at ease with
the technical hurdles in the faster
variations, and his love of putting
a shine on the notes in the slower
variations never holds back the tempo.
His choice of the ‘Appassionata’ as a
generous filler is a surprise, however
his intelligent booklet notes explain
the thematic similarity between the
works. If we get a rather restrained
account of this popular sonata, it wins
us over with repeated listening.

86• Pianist 84

p86_CD Review-FINAL.indd 86 15/05/2015 09:17

 E W
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FREEDOM WALK
This piece was inspired by a wonderful trip to South Africa
and many years of listening to ‘Graceland’ (Paul Simon).

Pam Wedgwood
• Newest addition to Pam
Wedgwood’s After Hours
series for solo piano.

• Inspired by the places and

people Pam has met on her
travels.

• Evocative pieces for the

advanced player (Grades 6-8).

• Providing the perfect antidote

td.

to stress.
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by Fa
© 2015

© 2015 by Faber Music Ltd.

to find out more and to buy go to:

www.fabermusicstore.com 87• Pianist 84

Untitled-3
p87 1 87
Ads.indd 12/05/2015 14:56:58
14/05/2015 10:11
 A RANGE OF THE BOOKS REVIEWED AVAILABLE AT THE PIANIST DIGITAL STORE http://pianistm.ag/digitalshop

REVIEW SHEET MUSIC

Michael McMillan looks at likeable Debussy Préludes, Bernstein’s Anniversaries,
Kreisler’s famous melodies for duets, two very different duet volumes and more
LEONARD BERNSTEIN PIANO MOMENTS: IN THE GROOVE AND DEBUSSY
CLASSICAL MORE
Complete Bärenreiter Mike Cornick Préludes Book 1
Anniversaries for ISMN: 979-0-006- Universal Bärenreiter
Piano 53275-9 (BA 8765) Edition BA 10818 (ISMN 979-
Boosey & ISBN: 978-3-7024- 0-006-52919-3)
Hawkes 7286-3
ISBN: 978-1-4803-
9358-5

In 2011, Boosey & Hawkes published
Leonard Bernstein – Music for Piano
(reviewed in Pianist No 64) with
Anniversaries, Sonata, Touches, and
four previously unpublished pieces.
They have now made available the
complete set of Anniversaries – 28
pieces in total – for a few pounds less,
in a separate volume less than half the
size of its parent album, with stapled
(instead of glued) binding. The
Anniversaries are short, personal works
written for family and friends, and are
divided into four sets composed at
different times in Bernstein’s life. They
are about Grade 6 to 8, and dedicatees
include people close to the composer
such as Helen Coates (one of his piano
teachers), Aaron Copland, and his
sister. This is the only edition with the
complete Anniversaries under one
cover, and as such is self-recommending
for those interested in this repertoire.
ALFRED DUET SERIES
Mike Springer, Joyce
This album contains a good
selection of music by Haydn (three
pieces), Mozart (13), Beethoven
(seven), and Schubert (seven), but
none originally written for piano
solo. Instead, Christoph Ullrich
and Andreas Skipis have done an
excellent job of arranging some of
these composers’ most famous works
– e.g. Beethoven’s Symphony No 5
and Schubert’s Ave Maria – for solo
piano at around Grade 5-7 and at no
longer than four pages per piece. The
arrangements all lie well under the
hand and sound about as convincing
as they can be at this level. If
you’d like to explore music outside
the piano’s repertoire, this is a
great place to begin and if you’d
like more of the same, try the other
volumes in the series (Baroque and
Romantic) or Boosey & Hawkes’s
Solo Piano Collection.
PIANO DUETS:
AMERICAN COMPOSERS
Compiled and edited
In the Groove was an immensely I like everything about this edition. I
popular piece on the ABRSM’s 2009- like Bärenreiter’s larger-than-normal
10 Grade 5 syllabus. It was originally paper size that allows the music to be
published by Universal Edition as clearly spaced out. I like the clarity
one of 20 Piano Studies in 2004, and of the musical text, and the fact that
now reappears as the title piece in it reflects the latest research. I like
this volume alongside 13 new pieces not having a page turn in the two-
by Mike Cornick. The pieces are all page préludes or needing to turn
one or two pages long, and range two pages in the four-page preludes
in difficulty from Grade 3 to 5. As (unlike some other editions). I like
with all Cornick’s compositions, the glossary of the French terms. I
the music fits comfortably under a like the 15-pages’ worth of detailed
player’s hands, is well-thought out preface, introductory notes and
from a pedagogical perspective, and fingering studies at the front, and
is no harder than it needs to be. ‘In the critical commentary at the back.
the Groove’ is the most memorable I like the editorial fingering and
piece in the book, but all the music suggestions for distribution of the
in the collection is both melodically hands (if you prefer no fingering,
and rhythmically appealing and it go for the Durand edition edited by
would not surprise me in the least Roy Howat). I like the quality of the
if examining boards pick out a piece binding. Heck, I even like the colour
or two for their syllabuses this time of the book. It might be a little
around. costlier than some, but it’s worth it.  
MARK GODDARD FRITZ KREISLER
Mark Goddard was born in 1960, and went to school SP1304 Good Times Past; Liebesfreud; Liebeslied;
SP1304

in Oxford before going on to study at the Royal Academy of

Music from 1978 to 1982. There he received nine awards

Grill, Bernadine by Michael Aston Birthday Presents;

including the coveted “Eric Coates Prize”, the “Leverhulme

Mark Goddard
Schön Rosmarin
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by the “Countess of Munster Musical Trust” and the “Capital
Mark Goddard was born in 1960, and went to school SP1300
SP1300

Radio Prize”.
in Oxford before going on to study at the Royal Academy of
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SP1302

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Johnson Beowulf Schott

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performed, recorded, published and broadcast both at home and abroad.
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After the Academy, he married another Academy

student: the bassoonist Pat Goddard, teaching the
piano in Oxford for ten years while composing, 9 Musical Portraits for Piano
“Good Times Past”
Beowulf
student: Have you seen...
the bassoonist Pat Goddard, teaching the arranging and conducting orchestras and choirs. His music is widely

Spartan Press
piano inA Baker'
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ISBN: 978-0-19-
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performed, recorded,
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published and broadcast
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both at home SP1188
and abroad. offering value for money, playability and

a suite for piano

ISMN: 979-0-001-
Grade: Beginner -3
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Piano. Listen to the World is constant inspiration in Simplest Christmas Carols
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ISBN: 978-1-4706-1564-
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Music Teacher Magazine
fun, original pieces for pre-grade
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great charm to these approval. This collection of short
Arr: Goddard something? "barn dance" tunes are
beginners. fresh playable on piano, keyboards or
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300-2 (Good Times);

player." quirky rhythmic patterns which

2 (Village Folk Dance);

Music Teacher Magazine presents piano students with an Nadia Lasserson for Piano Journal
array of wonderful, fresh and will certainly delight every young
varied material. A wide array2014 of pianist."
musical moods, character and Nadia Lasserson for Piano Journal
quirky rhythmic patterns which 2014
Protecting Our will
Future
certainly delight every young
pianist."
At Spartan Press, Nadia situated in Journal
Lasserson for Piano the Highlands of Scotland, we are constantly Protecting
remindedOur of Future
the need to protect
2014 the environment. Our music is now printed on 100% re-cycled paper
At Spartan Press, situated in the Highlands of Scotland, we are constantly reminded of
and our covers on coated board produced under the Programme for the Endorsement the need to protect the environment. Our music is now printed on 100% re-cycled paper
ofFuture
Forest Certification (PEFC), promoting environmentally, socially beneficial and and
our covers on coated board produced under the Programme for the Endorsement
Protecting Our
of Forest Certification (PEFC), promoting environmentally, socially beneficial and
economically
At Spartan Press, situated inviable management
the Highlands of Scotland,of forests
we are for present
constantly and future
reminded of generations.
economically viable management of forests for present and future generations.
the need to protect the environment. Our music is now printed on 100% re-cycled paper
and our covers on coated board produced under the Programme for the Endorsement
of Forest Certification (PEFC), promoting environmentally, socially beneficial and
economically viable management of forests for present and future generations.

-304-0 (Birthday);
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-1563-5 (High Five);

See www.SpartanPress. co.uk for details
or ask for a full, free colour catalogue from
or ask for a full, free colour catalogue from ISMN 979-0-57998-300-2
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your local music shop or from the publishers:

your local music shop or from the publishers:

9HjaFhJkTSNKKMl
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9HjaFhJkTSNKOKl
Grades 3 — 6Grades 2 — 5
Spartan Press Music Publishers Limited
or ask for a full, free colour
Spartan catalogue
Press Music from
Publishers Limited ISMN 979-0-57998-302-6
SPARTAN PRESS

Strathmashie House, Laggan Bridge,

your local music shop or from the publishers:
Strathmashie House, Laggan Bridge, Scottish Highlands, PH20 1BU, UK

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Web-site: www.SpartanPress.co.uk

-1565-9 (Saturday) -302-6 (Beowulf)

Here are three new pieces in Alfred’s
Duet Series. They are all six pages
long (three pages per part), and the
primo/secondo parts are of equal
difficulty. Village Folk Dance (Grade 2)
is a jolly piece in A minor, marked to
be played at 208 crotchet beats per
minute – the fastest setting on a
standard metronome – which will
surely appeal to young speedsters.
High Five (Grade 3) is an effective
piece notable for its ‘high-five’, ‘slow
wave’ and ‘furious wave’ instructions
for both performers, and features
some overlapping parts for
additional interest. Sleigh bell
sounds are played throughout much
of the energetic Saturday Sleigh Ride
(Grade 4-5) which calls for some
octaves in the lower part. Repetitive
patterns make all these fun pieces
easy to grasp and learn.
This is the fifth compilation of piano Mark Goddard (b.1960) is the Fritz Kreisler, the famous Viennese
duets that Michael Aston has edited founder of Spartan Press and has virtuoso violinist, composed these
for OUP. The other volumes are over 150 publications to his name. three pieces for violin and piano. He
Baroque Composers, Classical Composers, A number of his pieces appear on the later arranged them for solo piano, but
Romantic Composers and Twentieth- ABRSM’s new brass syllabus, and the first two pieces – Liebesfreud
Century British Composers. All are although he has edited numerous (Love’s joy) and Liebeslied (Love’s
notable for Aston’s diverse selection collections of piano music for sorrow) – are better known to pianists
of repertoire and the quality of Spartan Press, these three books are through Rachmaninov’s transcriptions.
arrangements. His latest collection, his first volumes of original music This publication presents the three
focusing on American composers, is for the instrument, written for the pieces for the first time as duets, in
no different. Among the eight pieces occasion of Spartan’s 25th birthday. arrangements by Fritz Emonts. If it’s
in this book you’ll find Grade 5 to 8 Good Times Past contains nine one or further elaboration upon Kreisler’s
arrangements of Gershwin’s cheery two-page pieces (Grades 2-5), which music that you want (like
Promenade (Walking the Dog), take their starting point from flute Rachmaninov’s transcriptions), you’ll
Joplin’s Bethena Waltz, Copland’s duets that Goddard wrote in 1982. be disappointed, as these arrangements
Walk to the Bunkhouse (a piece that The nine pieces that constitute follow the originals very closely; the
will test counting skills) and a slightly Birthday Presents, and the five secondo part is essentially the same as
simplified version of Gottschalk’s that make up Beowulf are a bit Kreisler’s piano accompaniment, while
Ojos criollos. Brief introductions to harder, and although I didn’t find the primo part takes the violin melody
each piece at the front of the book the music especially memorable, mainly in octaves, but with the
round out an attractive addition to it is well written for this level and occasional added harmony. If that’s
the duet catalogue. deserves investigation. what you want, though, this is for you!

• •Pianist
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