FREE

WITH EVER
Y ISSUE
APRIL - MAY 2015

40 PAGES O
SHEET MUS F
IC
PLUS TUTOR
IAL CD &
No 83 ONLINE LESS
ONS
Helping you become a better player

SUMMER
LEARNING
Your guide to
2015 COURSES
& FESTIVALS
STEP-BY-STEP LESSONS
How to play more musically

KIRILL
Learn Tchaikovsky’s evocative May
Refine Ravel’s Menuet antique

GERSTEIN
12LEARN
Classical passion
PIECES TO with jazz roots

BEGINNER TO ADVANCED MASTERCLASS

Ready…
PLAY A SNAZZY steady…
RAGTIME PEDAL!

LEARN THE SULTRY

‘CRY ME A RIVER’

p01_pianist83.indd 1 16/03/2015 11:44

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2• Pianist 82
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p02 Ads.indd 2 11/03/2015 15:21

 Pianist 83
April-May 2015 CONTENTS
The next issue of Pianist goes on sale 30 May 2015

80

67
10

14 8
4 Editor’s Note 27 Composing Competition There’s 80 Cry Me A River When you’ve read
still time to enter our unique competition about the story of this famous song,
4 Reader Competition Win a sheet – send us your best arrangement by 4 May you’ll be dying to play it yourself (the
music book from Spartan Press Score appears on page 42)
27 The Scores A pullout section of 40
6 Readers’ Letters pages of sheet music for all levels 82 How history shaped the piano
From the Treaty of Versailles and Karl
8 News An unusual piano is unveiled 45 Beginner Keyboard Class Marx, to the transistor and Nixon, we
in Budapest, Martha Argerich comes to Hans-Günter Heumann’s Lesson No 11: look at five more important historical
London, Pianist’s first Piano Showcase Two-part writing in the right hand events that contributed to the creation of
and farewell to Aldo Ciccolini the modern piano (second of two articles)

14 Kirill Gerstein This Russian virtuoso

67 SUMMER COURSES 85 Subscribe today for just £4.50 an issue
is as comfortable with jazz as he is
& FESTIVALS 2015 by Direct Debit and receive an Encore
with classical – and right now it’s the Your 10-page guide to the best of book from ABRSM
Tchaikovsky Piano Concerto that’s on his summer courses and festivals in the UK
radar, as he tells Jessica Duchen and around the world. All with detailed 86 CD Reviews It’s a tough call between
listings, including websites and phone Grigory Sokolov’s monumental live recital
18 How to Play Masterclass 1 numbers, to help you connect with the and Christian Blackshaw’s exquisite
Mark Tanner on how to play musically perfect course or festival Mozart, but the Russian giant takes the
garland as this issue’s Editor’s Choice
20 How to Play Masterclass 2 Courses Featuring in-depth looks
Graham Fitch focuses in on the sustaining at the famed Dartington International 88 Sheet Music Review More Finger
(right) pedal. First of a three-part series Summer School in Devon and the Fitness from Schott, Beethoven from
on pedalling friendly Summer School for Pianists in Henle, Bach and Satie from Bärenreiter,
Don’t miss Graham’s online lessons! the West Midlands Moszkowski’s Spanish Dances duet from
Alfred and more
22 How to Play 1 Melanie Spanswick on Festivals A look at the Music at
Wilm’s ‘To begin with’ from his 24 Pieces Paxton festival which takes place in an 89 Classifieds
for the Young (Scores page 32) idyllic Scottish Borders setting, plus
an interview with Grafenegg Festival’s
24 How to Play 2 Lucy Parham on Artistic Director Rudolf Buchbinder
Ravel’s Menuet antique (Scores page 56)
78 Nick van Bloss He’s successfully Sign up for our FREE e-newsletter
26 How to Play 3 Janet Newman on tackled the Goldbergs, so now he’s moved Make sure you keep in touch with our
Tchaikovsky’s ‘May’ from The Seasons on to the Diabellis – and he has some editorial team and receive exclusive extra
(Scores page 49) useful practising tips too! articles and interviews.
Cover photo: © Marco Borggreve. Images this page: © Marco Borggreve (Gerstein); Zengafons Ltd (Bogányi grand) To register, visit:
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_Contents83-FINAL.indd 3 12/03/2015 11:47

 Editor’s note Pianist
S
itting in the back row during our Piano Showcase at Schott Music in
London this past January (see news story, page 10) and listening to www.pianistmagazine.com
some of our readers perform so well, I found myself thinking about
PUBLISHER
what a ‘feel-good’ moment it was. We all need moments like that when Warners Group Publications plc
we think, ‘Yes, this is what it’s all about – getting together, sharing the love of Director: Stephen Warner
the piano, playing for others and feeling elated afterwards.’ I spoke with some Publisher: Janet Davison
of the participants after they’d played, and they all said, ‘bring on the next one!’ EDITORIAL
6 Warrington Crescent,
After all, learning the piano should be fun, as Tim Stein reminds a reader in London,W9 1EL, UK
this issue’s Letters page. Sometimes we forget that fact, especially when things Tel: +44 (0)20 7266 0760
aren’t going quite our way practice-wise or we’re feeling overwhelmed by the Fax: +44 (0)20 7286 0748
Editor: Erica Worth
stresses and deadlines of our everyday lives. editor@pianistmagazine.com
If this hits a nerve with you, I’d encourage you to try a summer course. It will Deputy editor: Inge Kjemtrup
deputyeditor@pianistmagazine.com
do wonders for your playing, but the best part is that you’ll be surrounded by Designer: Nathan Ward
like-minded people. I can guarantee that you’ll come away on a high. Turn to
A DVERTISING
our 11-page guide on 2015 Courses & Festivals starting on page 67 – you will definitely find a course or Gareth Macfarlane, Advertising manager
workshop that’s perfect for you. If you’d prefer to take a back seat for now, you can always attend a music garethm@media-shed.co.uk
Lottie Day, Advertising executive
festival as part of the audience. There are some great settings, too, should you want to combine music with a lottied@media-shed.co.uk
summer holiday (imagine the hills of Tuscany or the valleys of Provence). Tel: +44 (0)845 226 0477
As always, you’ll find fun and inspiration in our Scores section. The Hummel Allegro is gripping and Fax: +44 (0)845 226 0377

gratifying, the Scarlatti Sonata elegantly heart-breaking, Tchaikovsky’s ‘May’ from The Seasons just
gorgeous, and Grieg’s Elfin Dance sheer mischievous delight. There’s one piece I’d like to home in on, READER SERVICES
though – a Pam Wedgwood arrangement for Faber Music of Cry Me A River. It’s such a great arrangement
and perfect for the intermediate player. Before you get stuck in, you have to read Inge Kjemtrup’s article UK & WORLD SUBSCRIPTIONS
about the history of this famous song on page 80. I was absolutely hooked from beginning to end! (EXCEPT USA & CANADA)
Pianist Subscriptions Department
Finally, here’s some exciting news: We’ve decided to publish an extra issue this year: ‘Great Piano Composers Warners Group Publications plc
of the Classical Era’. I don’t have much space here to talk about it, but you can turn to page 25 for more. West Street
Bourne, PE10 9PH, UK
Now’s the time to pre-order your copy! Tel: +44 (0)1778 392483
Fax: +44 (0)1778 421706
Email: subscriptions@pianistmagazine.com
P.S. There’s still time to enter our Composing Competition.
The deadline is 4 May. Turn to page 27 for details. USA & CANADA SUBSCRIPTIONS
You can subscribe online, via email,
fax or by telephone:
ERICA WORTH, EDITOR Website: www.expressmag.com
Email: expressmag@expressmag.com
Toll-free number: +1 (877) 363 1310
Tel: +1 (514) 333 3334
Fax: +1 (514) 355 3332
Make sure that you keep in touch with me – what I’ve been up to, which
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BACK ISSUES
COMPETITION ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM To purchase back issues, write to
Pianist Back Issues Department,
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WIN A COPY OF ‘GOOD TIMES PAST’ FROM SPARTAN PRESS West Street
Bourne, PE10 9PH, UK
Tel: +44 (0)1778 392483
Answer the question below correctly, and you could be one of three winners to Email: backissues@pianistmagazine.com
receive a copy of ‘Good Times Past’ – a collection of nine short and contrasting FOR ALL OTHER ENQUIRIES
piano pieces, in a light, yet essentially modern idiom. (The collection’s final piece, Contact Janet Davison, Publisher
Warners Group Publications
‘Ragtime’, appears inside this issue’s Scores, page 30.) Fifth Floor, 31-32 Park Row,
Leeds, LS1 5JD, UK
Tel: +44 (0)113 200 2929
Which famous ragtime composer wrote ‘The Entertainer’? Fax: +44 (0)113 200 2928
A: Jools Holland B: Jelly Roll Morton C: Scott Joplin
Registered Address :Warners Group Publications,West Street, Bourne,
ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM Lincs, PE10 9PH. © Warners Group Publications plc. All rights reserved.
Reproduction in whole or in part without written permission strictly
prohibited. Every care is taken in compiling the magazine and no
Postcard entries are also accepted. Please send to Erica Worth, Editor, COMP PIA0114, Pianist, responsibility can be taken for any action arising from information given
on the papers. All information, prices and telephone numbers are
6 Warrington Crescent, London W9 1EL, UK. Competition closes 30 May 2015. Quote PIA0114 and correct at the time of going to press. No responsibility can be taken for
remember to put your name, address and telephone number on the postcard as well as your answer. unsolicited manuscripts, photographs or transparencies.
Printed by Warners Group Publications plc.
© Benjamin Ealovega

Answer to the page 4 competition in Pianist No 80: A: Switzerland is where the Verbier Festival is located.
Congratulations to the winner of the Lang Lang books: Mr John Bullock (Nottingham)
Pianist ISSN 4200395 is published bi-monthly (6 times a year / February,
April, June, August, October, December) by Warners Group Publications
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4• Pianist 64 ISSN 1475 - 1348

p04-editorial83-FINALish.indd 4 12/03/2015 11:47

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

STAR LETTER suggestions as to how my confidence can be

restored and my enthusiasm rekindled? I would
Bach (and Pianist) brought me back to the piano love to get back to the standard I was years ago.
Norman Crossley, Essex
Thanks so much for Pianist, which has played an important role in my recent ‘career’ as a re-starter. I
enjoyed the article about re-starters in the last issue. I am a typical re-starter. As a child, I studied the Teacher Tim Stein, who writes our Q&A
piano for eight years, with medium talent and a lot of enthusiasm. Then I went to university, struggled column, says: This is an all-too-common problem
for adequate employment, had a family – all the typical stuff, which led to less and less time for playing among adult pianists. To re-ignite their enthusiasm
piano. Then my dexterity was gone and my frustration increased because I know I played my pieces I always advise my students to spend some time
much better once, and now I know how Brendel, Pollini, Leonskaja and so on play these pieces. away from the piano first, listening to lots of music
I contemplated giving it up, but my enthusiasm didn’t wane. Two years ago, I heard a nice piece on and going to concerts. I also suggest compiling a
the radio that seemed not too difficult and that I could learn. The piece was Prelude No 5 of Bach’s ‘48’. list of the music they have always wanted to play.
I played enthusiastically and made (slow) progress. But I felt I didn’t know how to practise effectively. It doesn’t matter if you don’t learn everything on
Last summer I came to England to attend a scientific congress. I was looking for some journals in a the list; just the act of compiling it helps to get the
WH Smith shop to read on the train and that’s when I noticed Pianist No 79. The cover mentioned enthusiasm going. Another great way to rebuild
an article about Bach’s ‘48’. So I bought it. This was best decision I made in 2014! the confidence is to sight-read duets together with a
Inside I found Graham Fitch’s article masterclass about practising techniques, which was exactly piano friend. You could also try joining a group of
what I needed now. His idea of practising bar by bar, but rhythmically and connecting it, seemed so like-minded pianists in a club and get together to
easy that I was ashamed I hadn’t it found out by myself. But if it is so obvious, Graham Fitch wouldn’t play things to one another. At the end of the day, it
have to explain it. Later at home I watched Fitch’s videos and now I am trying to apply his advice to should all be about having fun!
my practising. I also like the magazine’s sheet music (with the CD) and the wonderful mix of famous
and rather unknown but also beautiful pieces, and I became a subscriber. Recording without a buzz
I can afford only half an hour every evening for practice. I have accepted that I can play only easier I am trying to find a recording device for piano
pieces than I once did, but there is still a lot I can play. I was always good at sight-reading, but now that doesn’t buzz. Can you recommend any?
– for the first time – I am learning to play from memory, at the age of 62. As a pupil I thought I Ian Hunt, nr Montpellier, France
couldn’t do this. My 11-year-old granddaughter also plays piano and we always show each other what
we have learned in the last weeks. Thanks again to Pianist magazine – it has been so helpful. Alisdair Hogarth, who wrote the article on
Elisabeth Geiser, Salzburg, Austria recording in issue 82, replies: It depends on
what you want to use the recording for and
We are delighted that Pianist has helped you to find your way back to the piano and play better now you’re therefore how good the quality needs to be.
there. Thank you for your inspiring letter, and a surprise CD is on its way to you. If it’s for your own use – to assess your own
playing – you may find that the recorder on your
smartphone is good enough; for example, the
The Satie detective agency Well done for persevering! It paid off in the end. iPhone has a good sound recorder. If you want
The other night I had the radio on when ‘Book at And yes, we will place the lovely Gnossienne No 5 to purchase a really good, reasonably priced
Bedtime’ began at 10.45pm. As soon as I heard the inside a future issue. If you have a smartphone, and simple-to-use recorder, then the Zoom H1
music introducing the book, I realised I’d played apps such as Shazam or Soundhound can ‘listen’ to is very popular and extremely portable. If you
the piece years ago, but I couldn’t remember it. the music and (sometimes) identify it. want a more powerful recorder, the Zoom H4
I then spent two hours on the Internet trying to and Zoom H5 are terrific. Happy recording!
find either the name of the piece or a means of Get me back on track!
contacting BBC Radio 4, but without any luck. Your magazine is a constant delight, full of Arranging guitar music for piano
The next day I called two friends, and we wonderful content and interest. I read it from I was very interested to read Ruth Hughes’s
agreed it sounded like Satie, but wasn’t in any of cover to cover almost as soon as it arrives. But sad letter (Pianist 82) about using piano music
my Satie albums. Luckily, a friend of a friend who to say, these days I am more of a passive observer when playing the classical guitar. I have gone
works at Bournemouth Public Library (which has than a participant. Having reached the dizzying in the opposite direction from Ruth. I spent
an excellent music library) identified it as Satie’s heights of getting through all the Associated many years trying to learn the classical guitar
Gnossienne No 5 – one of six that he composed. Board grades shortly after retirement in a but never mastered it. But I loved the repertoire,
Several of us, including library staff, have now relatively short period of time, I have shamefully so when I started to learn the piano, I began
been so caught up in the search that we have allowed my skills to lapse over subsequent years. arranging guitar music and practised using my
planned to listen to the programme ‘together’ There doesn’t seem to be any significant reason own arrangements. This stimulated me to carry
(being on the same wavelength both musically for this, other than other interests getting in the on playing and helped me to learn. And I really
and radio-wise!), though probably not paying too way. I find that instead of sitting at the piano for enjoyed practising.
much attention to the actual story. the enjoyment it could bring, I keep putting it off, Your composing competition is a lovely idea
If any of your readers know of a telephone fearful of the mess it would all sound now that my and I will be submitting one of my arrangements.
hotline for background music information, technique has gone. On the odd occasions I do Mike Benson, Bedford
perhaps they could let us know. Meanwhile, play, I tend to go over old pieces that I used to
might you think of placing these last two play well, instead of exploring new repertoire. We look forward to receiving your entry to our
Gnossiennes in future issues?   I wonder whether this pattern is familiar competition, which closes on 4 May. Readers can
Rosemary Emmett, Dorset to other readers? If so, can Pianist make any turn to page 27 of this issue to find out how to enter.
6• Pianist 83

p06_letters83-FINAL.indd 6 11/03/2015 09:28

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 News
WHAT NOT TO MISS: FROM THE
All the latest news from the world of the piano

WEST COAST TO THE SOUTHBANK

April and May are the height of
the concert season, with artists and
audiences in top form and the summer
festival season still a distant prospect
(although our Festivals guide on page
73 has a preview). Taking a sample of
concerts from West (San Francisco) to
East (London) turns up some exciting
concerts and recitals for pianophiles.
In San Francisco, the San Francisco
Symphony hosts several pianists in
April, including Igor Levit in Mozart’s
Piano Concerto No 9 ‘Jeunehomme’ (18-19 Apr) and Sa Chen in the potentially
daunting Rachmaninov No 3 (23-24 Apr). On 19 April, Leeds winner Sunwook A new wave of piano design
Kim joins the touring Seoul Philharmonic for Beethoven’s ‘Emperor’ Concerto.
Moving further East to New York, there’s Murray Perahia in the April Fool’s slot makes a splash in Budapest
at Carnegie Hall, with a varied programme of Bach, Haydn, Beethoven, Franck and
Chopin. Also at Carnegie, Richard Goode is in recital (24 April) and joins the Boston It’s black, it’s sleek and it’s got a sinuous form that reminds
Symphony and its new music director, Andris Nelsons, in Mozart’s Piano Concerto one observer of the curvey building style favoured by famed
No 27. There’s also a recital from Evgeny Kissin (16 May). In other New York news, architect Zaha Hadid. But it’s underneath the lid that the
it has just been announced that Lincoln Center’s Avery Fisher Hall will be renamed Bogányi grand piano – named for its inventor, Hungarian
David Geffen Hall, following Geffen’s $100 million donation to the hall’s renovation. pianist Gergely Bogányi – really comes into its own.
Leaping across the Atlantic to London, the Southbank International Piano Series Central to the Bogányi grand’s internal innovations is an
continues with Stephen Hough (28 April playing Debussy plus all four Chopin enhanced soundboard, which manages a greater resonance,
ballades; he is touring extensively with this programme in the UK and the US one that can sustain a note for two minutes. Made of carbon
this spring) and Yevgeny Sudbin (13 May, including his trademark Scriabin and fibre, the soundboard boasts an unusual rippled shape ‘which
arrangement of Saint-Saëns Danse macabre based on Liszt/Horowitz transcriptions). is sprung and detached from a traditional iron and wood piano
Over at the Wigmore Hall, Khatia Buniatishvili, whose new recital disc received frame’, according to the designer. Besides being more resistant
five stars in last issue’s CD Reviews, plays Mussorgsky and Liszt on 1 April. Look also to climate variation, the new soundboard also helps the Bogányi
for Garrick Ohlsson in a talk and performance of Scriabin’s music (27 April) and grand to keep its tuning for longer.
this issue’s cover artist Kirill Gerstein in recital (14 May). Bogányi has been at work on building his eponymous piano
© Sheila Rock (Rattle and Kožená); Zengafons Ltd (Bogányi)

Buniatishvili is one of the most glamorous pianists out there, but some even more
glamorous stars are coming to Wigmore next season, as announced at the Hall’s recent
2015-16 season launch. At the top of the list is a recital from mezzo-soprano Magdalena
Kožená with her husband Simon Rattle at the piano (both pictured above). Rattle’s
recent appointment as the next principal conductor of the London Symphony Orchestra
means he’ll be spending more time in London. There’s also a much-anticipated recital
with Martha Argerich and her former partner Stephen Kovacevich.
Whether East or West, home is always the best, and we are sure that you will be
seeking out the best and brightest of the piano world, wherever you are.
For further information, go to sfsymphony.org, carnegiehall.org, southbankcentre.co.uk,
stephenhough.com and wigmore-hall.org.uk
for a decade, aided by an engineer, an industrial designer and
a piano technician, and he’s spent an estimated 1million euros
in the process. He launched the piano, which is approximately
the length of a Steinway Model D but with two extra keys, in
January in Budapest with members of the world’s press and
interested piano experts looking on.
Tom Service of the Guardian praised the instrument’s rich
tone, noting ‘the action is incredibly light, recalling older
models from the dawn of the piano, before manufacturers
began to prioritise power to appeal to romantics such as Liszt.’
See this new piano for yourself at boganyi-piano.com

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

020 7935 8682 www.marksonpianos.com

p08 news83-FINAL.indd 8 12/03/2015 11:49

 Ann_Jan 2015 BBC Anastasia Injushina_Mise en page 1 02/01/2015 13:53 Page1

New from
Happy 25th, SPARTAN PRESS
Injushina
Ondine
If you’ve ever admired the typesetting

on
in the Pianist Scores section, you are
praising the work of Scottish music
publisher Spartan Press, which typesets
all the Scores. They’re a great team to

Mozart
work with and Pianist congratulates
them on their 25 years in business.
We talked to owner Mark Goddard,
pictured kneeling surrounded by his
team (and their dogs), about the ins and outs of his business. Neglected Treasures
How and why did you start Spartan Press?
Spartan Press was originally created purely as a trade name for me as a ‘A gifted player of tremendous
composer. But it wasn’t long before other composers started sending in resourcefulness and imagination’
works that they wanted published, and 25 years ago we took the plunge to IRR
found a limited company, draw up contracts, open bank accounts and all
the other paraphernalia of publishing, and my life’s not been mine since.

Why the name ‘Spartan’?

The ancient Spartans were a people that knew exactly what they were
about. Totally committed to the job, professional in every way and never
ones to mess about with frills. It’s rumoured they often didn’t mess about
wearing clothes either, but we don’t go quite that far!

Your wife Pat is a musician too: is she involved in the business?

Yes indeed – Pat is a director and equal share holder. I’m so lucky to have
such stoic business support at every turn and a loving wife all in one!

Did you feel that teaching the piano was a good apprenticeship for
running an educational music publishing company?
Our first ten years of married life were spent teaching music in Oxford, as well
as accepting any freelance work we could muster. Little did we know then how
useful the teaching experience would be in our future careers as publishers.

How do you sell the books? 

The old way to sell involved donning a suit and tie, grabbing some sample
books, and driving 30,000 miles a year around the country, visiting music
shops (about four a day). Now it’s more about the Internet.

ODE 1250-2
Do you sell piano duets too?
We specialise in piano duets, partly because they are so much fun, but
principally because they provide the otherwise rather lonely piano student
with invaluable ensemble experience, which is critical to good musicianship. ‘I doubt that the CPE Bach concerto has ever
ALSO received a finer performance…. A most joyful
Why do you include CDs with the piano duet books? AVAILABLE release that calls out for another.’
The CDs give the pianist whose ‘duet partner has not turned up’ the ability
to carry on playing along regardless! Pianist, July 2013

Who designs the covers? ‘Of all the pianists

Initially we went for ‘jokey’ covers with the wonderful cartoons of Barry seeking to make a
Lee. Since moving to the Highlands of Scotland, and armed with a good
case for music of this
camera, we are lucky to have ready-made scenic possibilities too.
vintage on the modern
Why did you relocate the business to Scotland in 1999? instrument, I can’t think
Photo : Jukka Lehtinen

The thing about publishing is that you need more and more storage space of one who succeeds
as the years go by. We made a decision early on that we would resist at all more eloquently than
costs the ‘sensible’ course of running Spartan from a faceless industrial
estate. Instead, we chose a Victorian shooting estate, which has provided a Injushina.’
DESIGNGOMEZ.com

superb location to raise three children too. A true quality-of-life decision. IRR, May 2013
ODE 1224-2

3o
How many composers and arrangers are now on Spartan’s books?
Over the years we’ve gently acquired other publishing concerns including Distributed exclusively
European Music Archive (EMA), Phylloscopus Publications, Masterclass in the UK
Music (MCM) and Jot=a=note. But as a distributor to the trade, Spartan by Select Music
Press is still of the small and friendly variety – long may it stay so.
Erica Worth and in North America 1985-2015

‘Ragtime’ by Mark Goddard and published by Spartan, appears on page 30. by Naxos of America. ONDINE www.ondine.net

p08 news83-FINAL.indd 9 12/03/2015 11:49

 News All the latest news from the world of the piano
Jaques Samuel Pianos
celebrates 80 YEARS
London piano retailer Jaques Samuel Pianos (or JS Pianos,
as it’s often called) celebrates its 80th birthday in 2015.
It all began in 1935 when Austrian piano tuner Jaques
Samuel and his wife Erna moved to the UK and set up
their first ‘shop’ in the front room of a house in Notting
Hill. In 1965 Samuel returned to Austria due to health
reasons, and sold the shop to Edward Mandel, who was
then a manager at retailer Marks & Spencer. Fast-forward
to today and JS Pianos is thriving at its vibrant Edgware
Road location, overseen by Managing Director Terry Lewis.
JS Pianos stocks a fine range of pianos, including
Grotrian and Petrof. It is Europe’s biggest seller of Kawai
pianos (and the first UK showroom to stock Kawai’s
Shigeru range) and is the UK’s sole supplier of Faziolis
– the chosen piano for the winner of the 2014 Arthur
Rubinstein Competition, Antonii Baryshevskyi, in his
debut recital at the Wigmore Hall this past March.
This January, to celebrate its 80th birthday, JS Pianos
invited artists, makers, dealers and friends to a lavish dinner,
followed by speeches from Lewis and Sue Kegerreis, daughter
of Edward Mandel and a major shareholder. Pictured above
are some of the dinner attendees (left to right): Konrad
Blumberg (Grotrian), Zuzana Ceralová Petrofová (Petrof ),
Luca Fazioli (Fazioli), Paolo Fazioli (Fazioli), Terry Lewis,
Takuya Sekine (Kawai), Mayumi Gilmour (Kawai UK), Neil
Sale (Kawai UK), David Uzik (Petrof ).
The full story of Jaques Samuel Pianos will be told in the next
issue of the magazine.
HAPPY WINNERS!
There were thousands of entries to Pianist’s two recent ‘Win
a Piano’ competitions, and Pianist is pleased to announce the
two lucky winners. Chris Stead, who works for the Big Issue
in London, won the Roland HPi-50 (issue 80’s competition)
and Jane Ritchie, a full-time mother and carer from
Aberdeen, won the Yamaha Clavinova CLP-535 (issue 81).
‘I can happily say that this is quite simply the best
competition I have ever won and the piano is truly
incredible,’ says Chris Stead. ‘I am so, so grateful to Pianist
magazine. My piano is amazing – I can’t stop playing it!’
Jane Ritchie, who studied the piano up to ‘A’ level and
took it up again recently, says she was thrilled with the
Clavinova because she has two boys, aged seven and nine,
who are on the autistic spectrum and for whom music is
becoming important and necessary in their lives. ‘We are
starting to teach them,’ Ritchie explains. ‘This is going to
be amazing for them. It will be one of these things that will
change their lives. Music helps their concentration. I am so
excited – I just can’t stop smiling!’  West End theatres. As Simon Markson says, ‘it’s not just concert and event hire, however, it’s
Pianist is delighted these pianos have gone to good
homes, and thanks Roland and Yamaha for supplying them.
p08 news83-FINAL.indd 10
Obituary: Aldo Ciccolini
Aldo Ciccolini, the Italian-born pianist who was
particularly known for his performances of French
repertoire, died in February at the age of 89.
Ciccolini became a French citizen and taught at
the Paris Conservatoire for 30 years.
Born in Naples, Ciccolini began studying at the
Naples Conservatory at the age of nine. He made
his debut in his native city at the age of 16.
In 1948, he won the Santa Cecilia prize in
Rome and the Long-Thibaud Competition in
Paris shortly thereafter. In Paris he studied with
Marguerite Long, Alfred Cortot and Yves Nat,
which cemented his feelings for French music. His
studies with Busoni pupil Paolo Denza also gave
him a strong connection to Busoni and Liszt.
It’s difficult to imagine today, when Erik Satie’s
(or pastiches thereof ) graces every other TV
advertisement, but there was a time when his music was little known, and Ciccolini was
one of the first to record Satie – his discs are still among the best-selling Satie recordings.
He left a legacy as a teacher as well, with Jean-Yves Thibaudet, Artur Pizarro and
Nicholas Angelich among his pupils.
PIANO SHOWCASE
Pianist readers play their hearts out
This January, the pianists who took part in the first
Piano Showcase presented by Pianist and Schott
Music were vivdly reminded that performing in
front of an audience can be a thrilling, motivating
and learning experience. Those 19 Pianist readers
performed on a Steinway grand in front of a friendly
audience at the Schott Music Recital Hall in
London. The audience was treated to Chopin and
Field nocturnes, a Grieg Lyric Piece, Elton John’s
Your Song, Scriabin, Bach, Brahms, Monk and more.
Claire Nunns, who played Field’s Nocturne in D minor, told me afterwards, ‘Joy is what
I felt getting up from the piano having played my piece well. Relentless practice meant
that I knew it thoroughly, every note and nuance, but I had been worried about the non-
familiar piano – which turned out to be very good, and the audience – which turned out
to be very friendly. This was a huge step for me and I’m so glad that I took it.’
Julie Cooper, who played Chopin’s Wiosna, told us that ‘I perform regularly in
amateur groups, but found performing in the Piano Showcase challenging, in that I
only knew a couple of people. I was encouraged by the feedback I got, Erica included! It
had the right balance and I would attend again.’ Onwards to the next one, we think.
Erica Worth
Markson Pianos TAKES TWO
London-based Markson Pianos has recently added
a Yamaha CFX concert grand and a Bösendorfer 280
to its 35-strong piano hire fleet, which comprises
mainly Yamahas, both acoustic and digital.
The new Yamaha CFX has already made its public
debut, appearing at a recital at the National Gallery,
an event at the Guildhall and at the Music Education
Expo Gala at the Barbican Exhibition Centre.
Markson is exclusive piano hire suppliers to the
Royal Albert Hall, Historic Royal Palaces and many
also domestic use including clubs and restaurants’. Markson (showroom, above) is also the
main stockists in London for Bösendorfer and offers a range of new and second-hand pianos.
To find out more about Markson Pianos, go to www.marksonpianos.com
10. Pianist 83
12/03/2015 11:49
 11• Pianist 77

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13• Pianist 77

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 INTERVIEW
C
atching up with Kirill
Gerstein for a coffee in
central London, I am not
surprised to learn that he
and his young family have
settled in Berlin – these days
it’s the go-to European
capital for the younger generation of the
clever, the creative and the musical. The
Russian-born Gerstein happens to be all three.
That much is clear from some of the responses
to his recent CD Imaginary Pictures, which
offers a rare but inspired pairing of Mussorgsky’s
Pictures at an Exhibition with Schumann’s
Carnaval. ‘Mr Gerstein gets down deep,’
the New York Times enthused, praising his
‘technical assurance, characteristic subtlety and
a gift for instilling unease’.
Tall and dark, and with a self-deprecating
sense of humour and a warm, wise twinkle,
Gerstein evidently has a strong passion for
challenging expectations – something that
often seems to lead him along extraordinary
musical paths.
For a start, he could easily have become a
jazzer instead. Born in Voronezh, he is the son
of a musician mother and a mathematician
father: ‘My early education was more
concentrated on music than on piano-playing
specifically,’ he says. ‘I had a non-virtuosic
childhood: before I was ten I didn’t spend
hours playing scales or Chopin études upside
down. My mother was my first teacher in
solfège, harmony, theory and ear training –
but I didn’t have terribly good piano teachers
at first, so piano playing didn’t attract me
particularly and it didn’t go very well either.’
Instead, he was encouraged to play by ear:
‘My parents had quite a few jazz recordings,
so I heard that sound and was encouraged to
imitate it – and that’s basically how I started.’
Musical taste in the household, moreover, kept
different types of music wide open for him
to explore. At ten he changed piano teachers
and began to gravitate more strongly towards
the instrument, making up for lost time. ‘But
my jazz passion continued and for a while it
looked like I could do either.’
At the age of 14 Gerstein took up a
All photos © Marco Borggreve
scholarship at the Berklee College of Music
in Boston, after attending its summer
programme. The effect of moving to the US,
he says, was like ‘a waterfall’. In Russia he had
hungered for more access to jazz; but faced
with what was virtually a national art form
p12_interview-FINAL.indd 14
in the States, he gorged on musical treats until
he felt ‘ovefed’.
‘At that point, for philosophical and
practical reasons, I had to make a choice
because either jazz or classical could be more
than a full-time involvement, while the other
would be short-changed,’ he says. ‘At 16 or
17 years old, these decisions feel radical! So I
stopped the jazz, other than as a hobby. More
recently, though, I’ve reconnected with it.’
A further reconnection followed his time
at the Manhattan School of Music, from
which he graduated before he was 20: he
rediscovered his Russian roots when he went to
Madrid to study with Dmitri Bashkirov. ‘I left
Russia at a very good age – still young enough
to learn the new language properly, still flexible
enough to adapt without much difficulty to
the West, and at the same time old enough to
remember everything,’ he reflects. ‘I speak
Russian now as fluently as I did when I left;
it’s very much my mother tongue. And in a
weird way studying with Bashkirov was like
falling into the atmosphere of the good old
Moscow Conservatory.’
At that time, the Reina Sofia School
of Music was situated in a complex of
condominiums in the Madrid suburbs. ‘One
of the houses in this complex was where
Bashkirov lived and he taught down in the
basement,’ Gerstein recounts. ‘It was a bit
like a Moscow Conservatory class of long
ago: all of us students had lessons with him
and unlimited lessons with his assistant; we’d
be invited to tea, we’d be invited to come
and listen to a recording or watch a video all
together; he might say, “OK we’ll have a lesson
now and then we’ll go to lunch…”. It was a
very continuous contact and influence; not at
all that you come for your lessons for one or
two hours and that’s it. We’d practise in the
garage practice rooms whether it was cold or
hot until midnight – which is time for dinner
in Spain anyway! Then sleep, then get up at
9 or 10am and it’d all start again. That was a
very Russian approach.’
Out of the blue
Since launching into his career
in earnest, Gerstein has
occasionally found
life-changing
events arriving out of the blue. One such was
his first meeting with the cellist Steven Isserlis.
‘I was walking in a German forest when I
got a call on my mobile from Schloss Elmau,
asking if I’d go there to play with Steven
Isserlis,’ he says. ‘I was a little surprised, but
of course agreed. When we met there we had
dinner together, which for some reason felt a
bit strange; but then we rehearsed, everything
was fine and the concert went well. We started
working together quite often after that. It was
only two years later, when we were playing
at the BBC Proms Chamber Music series at
the Victoria and Albert Museum, that I heard
Steven being interviewed on the radio and
he was asked how we met. It turned out that
he had been expecting a completely different
person named Kirill!’
Perhaps it was fate: ‘It was through Steven
that I met my teacher, and also my wife
[Noam Gerstein-Szold],’ declares Gerstein.
The teacher in question was the great
Hungarian pedagogue Ferenc Rados,
whose former students included András
Schiff, Zoltán Kocsis and Dezsö Ránki.
Gerstein’s first encounter with Rados
proved a baptism of fire. Taking
part in the annual open chamber
music sessions at the International
Musicians Seminar Prussia Cove,
of which Isserlis is artistic director,
Gerstein played sonatas with a
violinist after dinner in front
of the entire gathering –
including Rados, who was
there to coach and advise.
Gerstein got more than he
bargained for.
‘It was like a public
execution that went on
for two or three
hours!’ he recalls.
‘Later Rados said
himself that he
really went
bloodthirsty.
▲
11/03/2015 09:25

KIRILL
GERSTEIN
Two sides of
the coin
Classical or jazz – Kirill Gerstein could
have gone either way. Tchaikovsky,
Bach and new music are this Russian
virtuoso’s focus today, but it could all
change, as Jessica Duchen finds out
p12_interview-FINAL.indd 15
KIRILL GERSTEIN
UP CLOSE
If you could play only one piece in the
entire repertoire from now on, what
would it be?
That would be a disaster! I think I’d stop
playing altogether rather than only play
one piece.
If you could play only one composer from
now on, which would it be?
If I have to choose, it would have to be
Bach.
One pianist, dead or alive, you’d travel
long and far to hear?
Busoni.
One concert hall you’d love to play in?
The Musikverein in Vienna.
Any technical struggles?
Everything is difficult! And as I’m
Russian, everything is difficult!
What would be your advice to amateur
pianists about how to improve?
Study Bach.
If you weren’t a pianist, what would
you be?
I could be a travel agent by now – but
maybe I’d be a writer.
One person you’d love to play for?
I’ve already used my Busoni card, so this
time it’s Rachmaninov. These are the two
pianistic figures I adore the most.
One composer you’re not quite ready
to tackle?
I don’t yet feel a need to play Chopin.
Also Mozart’s piano concertos; I would
like to dedicate time to those some day.
What other kind of music do you like to
listen to?
Obviously jazz, but I am also very
interested in some electronic loop music
and some hip-hop.
13/03/2015 13:01
 INTERVIEW

KIRILL GERSTEIN ON…THE REAL TCHAIKOVSKY FIRST CONCERTO

My latest recording is the Tchaikovsky Piano Concerto No 1, but as you’ve never heard it
before. The Tchaikovsky Archive at Klin, the composer’s home outside Moscow, is starting to
publish a new scholarly edition of his complete works and the first volume will be the piano
concertos. They had access to the most complete field of works that has been attempted for
the concerto in considering what is the composer’s preference and what was added after his
death by an editor. And it has been very clearly established that the version we know is from
1894 and was never authorised by Tchaikovsky.
Before that, there were two versions, the first dating from 1875. Shortly after, he heard it
in road-tested performances, some pianists made suggestions and he implemented minor
changes, not in the musical material, but in pianistic layout. This second version dates from
1879. From then until 1893, the 1879 version is what he conducted. The archive has now
established which copy was his conducting score in 1893 – and it’s a very different text.
For instance, in the posthumous edited version there is a major cut in the third movement;
and those banging opening chords are not at all by Tchaikovsky! The original version is more
compact in layout, it is marked f not ff, and each second and third chord is arpeggiated –
which makes sense. The version everyone knows was some editor’s tampering!
I was given pre-publication access to this material and with James Gaffigan conducting
the Deutsche Sinfonieorchester Berlin we have made the first recording of what’s been
established as Tchaikovsky’s intended text: much more lyrical and rather Schumannesque.
The director of the archive, the chief editor of the series, found that Tchaikovsky used to
describe this piece as ‘my lyrical concerto’ – something you wouldn’t guess half the time,
the way it is so often played! This war-horse concerto emerges as both much less of a
horse and much less of a war.

Actually, it couldn’t have gone worse, so afterwards
it had either not to continue, or could only get
better! When I’d caught my breath, after a day or
two, I thought: yes it was bruising, but this man
can do things and operate with concepts that I
have no idea about, so perhaps I should forget
my ego and ask him for more. Which I did. I
think he was a bit surprised.’
Later, Gerstein adds, ‘this became a very strong
relationship with mutual warmth. I’ve never
seen anybody for whom music is more of an
open book, somebody who makes such
interesting connections between related and
distantly related points and comes to such
interesting and original conclusions. This is
someone absolutely unusual and amazing.’
Taken by surprise
A further amazing turn of events landed on
Gerstein in 2010 – once again as a complete
surprise. He was presented with the Gilmore
Award: a prize of $300,000 given every four years
by the Gilmore Foundation in the US to a pianist
selected in secret by a network of advisers.
The stunned Gerstein had to consider how to
put the money and the associated fuss to best use.
‘I was privileged to have the chance to think and
experiment around who I want to be and how I
NEW! Kirill Gerstein’s
Tchaikovsky Piano
Concerto No 1 release,
based on the composer’s
own conducting
score, was released
this February (Myrios
Classics MYR016).
The disc also features
Prokofiev Piano Concerto No 2. You can hear
the slow movement from the Tchaikovsky on
this issue’s cover CD, plus more (see full track
listing details on CD cover).
want to define myself,’ he says. ‘I remember
having a conversation with András Schiff, who
pointed out that by a certain stage you’ll have
played with this conductor or in that hall, but
the real question is: then what? We agreed that
eventually one is seeking pleasant musical
experience in the highest sense – and that can
happen anywhere, not only on the stage in
Vienna. For a pianist it’s the communion with
the audience, the instrument and oneself that
matters. You can take that anywhere, as long as
there is a decent piano.’
Eventually Gerstein decided to spend his prize
money on commissioning new piano works, both
in the classical idiom and in jazz. First came a
piece from Oliver Knussen, a composer whose
perfectly wrought pieces are produced with
painstaking slowness; it arrived, Gerstein says,
virtually one line at a time via email and fax. The
polar opposite was a commission from the jazz
musician Brad Mehldau: ‘First he said, “Yes, but
you’ll have to wait about a year,”’ Gerstein recalls.
‘But after three weeks he called and said, “I should
be doing other things, but I’m writing your
piece.’” In the end, instead of the planned ten
minutes, Mehldau composed a major 25-minute
work simply because, Gerstein says, he didn’t
want to stop. Among those he commissioned
was the great Chick Corea [Pianist’s cover artist,
issue 81]. The Gilmore Award seems to have
brought Gerstein full circle: back to his jazz
roots, this time perfectly integrated.
The crucial question, maybe, is how the jazz
side of Gerstein’s musical self affects his classical
side. ‘It’s not a “direct translation”, he says, ‘but
it gives me a wonderful feeling that anything is
possible. It is great to have the ideas, concepts
and ideals that I think are present in jazz: for
instance, I think most people would agree that
time should feel comfortable and “groovy” in
classical music’s repertoire, but very often it
doesn’t. Also I think that harmonic sensibility is
sharpened through jazz; and above all, the feeling
that music doesn’t stop with the written note.
16• Pianist 83
The score is a symbolisation of the composer’s
sound-thoughts.’
Gerstein’s resistance to rigid thinking has led
him to some intriguing educational activities. At
his alma mater, Berklee, he is involved in a rare
joint course between the conservatory and Boston
University that aims to bend the boundaries
between classical and non-classical music, finding
new ways to open young musicians’ minds to one
another’s activities and spur them to interact more.
‘I’ve become more and more interested – much
because of the influence of Rados – in looking
at the opposite of uniform and the opposite of
systemic,’ Gerstein says. ‘I’m exploring ideas of
open quest, exploration, every-day consideration
– e.g., what happened yesterday and does it still
stand today? – versus a system of music education
that often feels flat and in some ways limited.
There are exceptions, of course. But still, people
ask why everything sounds the same and why
everything sounds a bit removed and impersonal.
We live in an age of uniformity – from phone
operating systems to the food industry – and
“unevenness” is something I’m busy with in
my playing and in some ways in my teaching.
Perhaps it’s the difference between the mass-
produced and the hand-made.’
Gerstein’s unique artistry is both a craft and an
inspiration. You can hear him at the Wigmore
Hall this spring in a programme involving the two
composers he describes as ‘the Alpha and Omega’
of the piano – respectively Bach and Liszt,
including the latter’s complete Transcendental
Etudes. That may be a startling endeavour, but so
too is his latest recording, the Tchaikovsky Piano
Concerto No 1 in a new scholarly edition that
reveals the famous and oft-played piece to be a
very different creation indeed from what we
usually hear (see ‘Kirill Gerstein On…, above’).
Watching his progress will be fascinating – and
one suspects the only way is up. ■
Kirill Gerstein is in recital at the Wigmore Hall on
14 May. For details, go to www.kirillgerstein.com.

p12_interview-FINAL.indd 16 11/03/2015 09:25

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17• Pianist 77

Pianist
p17 mag July
Ads.indd 172014 (230x300).indd 1 10/07/2014 15:02:31
11/03/2015 15:31
 play HOW TO

The insider’s guide to

PLAYING MUSICALLY
What’s the secret of playing musically? Let a composer’s style emerge with integrity, says pianist and
teacher Mark Tanner, who demonstrates with an in-depth look at two of this issue’s scores

W
hat exactly
do we mean
by ‘playing
musically’
and how
can we
incorporate
this into our study of a piece? Given all
the technical conundrums we face when
tackling a new piece, it is forgivable that
we may initially become preoccupied with
simply getting the notes under our fingers.
Ultimately, though, all this note learning
needs to be put to musical purpose. While
we may hold different opinions over
choice of speeds, dynamics and so on,
honouring the stylistic hallmarks of a
piece – what we might think of as a
composer’s ‘signature’ features – is surely
non-negotiable. After all, too much
liberty-taking may cause Mozart to sound
more like Beethoven, and Bach closer to
Stravinsky. Style and interpretation tend
to go hand in hand in books such as
Howard Ferguson’s seminal treatise Style
and Interpretation: An Anthology of
Keyboard Music (Oxford University Press),
and yet it is important to notice which
word comes first here: style, not
interpretation. In other words, playing
musically comes down to how effectively
our ideas fit within the prevailing style,
zero impact on how loud or soft a Mark Tanner is a pianist,
harpsichord note sounds. Legato phrasing, composer, writer, ABRSM
insofar as we understand it as pianists, is examiner and teacher. In 2015
not achievable on a harpsichord. his performing and academic
The duration of a harpsichord note work will take him to Australia,
is much, much shorter than a piano USA, South Africa and
note. Whereas terraced dynamics are Caribbean. This August he will
achievable on two-manual harpsichords, teach piano, composition and
the more sophisticated models can vary improvisation at the Chetham’s
both in tone and dynamics by plucking Summer School and presents
two strings simultaneously (sometimes his own popular piano summer
pitched an octave apart) instead of the school at Jackdaws. A dozen of
more usual one string. Harpsichords have his pieces feature on current
no sustain pedal, hence the luxurious exam syllabuses, including five
accompanimental figures typical of much on the new Trinity College
19th- and 20th-century piano writing piano syllabus. Spartan Press
would sound quite preposterous on it. has published 50 books of his
Indeed, so much of what pianists take compositions, arrangements
for granted in terms of note-by-note and transcriptions. Find out
dynamic shading and balancing – either more at www.marktanner.info
within chords or between melody and
accompaniment – stems from our Here comes the crunch question:
habitual use of the sustain pedal. should pianists aim to emulate a
In common with most Scarlatti harpsichord when playing this Scarlatti
sonatas, expressive markings other than piece? Views vary considerably, but
ornaments are nowhere to be found in you might ponder on the fact that
this score. No tempo indication is given ‘authenticity’ (a decidedly slippery notion
either – again, this is quite usual – and indeed) is irretrievably compromised the
even the term ‘Aria’ must surely have moment we sit down to play Scarlatti on
meant something rather different to a piano. Hence, a pianist’s performance
Scarlatti when writing a harpsichord decisions will reflect his/her individual
sonata as opposed to an opera. parameters of good taste at least as much

emphatically not the other way around.
In this article I have chosen to home in
on two pieces from this issue’s Scores in
depth, with some tips on marrying your
own musical ideas to the stylistic features
embedded into each piece.
Scarlatti Sonata L423 [p44]
Before discussing the decisions we face as
pianists with this exquisite miniature,
let’s consider briefly the instrument
Scarlatti would have used 300 years ago,
the harpsichord. The overall volume
level, though considerably louder than
one might imagine (especially from a
full-sized harpsichord, which had over
five octaves), would be no match for a
modern upright, let alone a grand. The
harpsichord possesses a much lighter
touch and shorter key travel than the
piano. It produces a more ‘brittle’, ‘edgy’
sound due to the string(s) being plucked
by a quill rather than struck by a
hammer. Hence a pianist’s carefully
honed touch control would have had
5
TOP
TIPS PLAYING MUSICALLY
1 Your first priority must be to honour the stylistic detail intrinsic to
a work; only then weigh up options for a personal interpretation.
2 Take account of the instruments of the day when deciding upon
an overall strategy in your performance, particularly in regards to
pedalling, dynamics and articulation in Baroque repertoire.
3 Notice how composers express their intentions in different ways,
even within the same era. Never assume that a lack of detail in a
score is a tacit instruction to do nothing expressively.
4 Try not to be distracted when the composer fills the page with
subtle markings. Go through the score methodically, pencil in
hand, and mark in your ‘golden’ moments for ease of navigation.
5 Experiment with radically different tempos and dynamics to
gain a clearer overview. For example, recalibrate the dynamic
parameters of a quiet piece to encourage a full, committed sound
throughout the range. Practise quiet pieces two notches louder
than marked; practise loud pieces two notches quieter.
18• Pianist 83
as the specific qualities inherent in either
instrument. The least effective solution
to the harpsichord versus piano debate is
to do nothing, i.e. to add no expressive
colour for fear of offending your
audience/teacher/examiner/adjudicator.
Having elected to play Scarlatti on a
piano, a safe middle ground may be to
use modest dynamic shape, economical
dabs of pedal to add a little warmth,
and focus on clarity of texture aided by
nimble ornaments.
Regardless of where your views
lie, I’d recommend listening to a few
harpsichordists playing Scarlatti –
preferably a mix of faster and slower
sonatas – if only to discover how
they vary their effects. My personal
preferences would be Andreas Staier,
Christophe Rousset and Gustav
Leonhardt. Contrast these approaches
with pianists Christian Zacharias and Ivo
Pogorelich – you’ll quickly discover what
pleases you!
Here are a few things you can do to

P18 HTP Tanner-FINAL.indd 18 12/03/2015 11:56


immediately bring your performance of
this sonata to life idiomatically. Notice
that the piece is written in 3/8, which
invites a gently ‘dancing’ rhythmic lilt.
I’d think in terms of a stately one-in-
a-bar feel, not unlike a minuet, say,
dotted-crotchet = 50. Many of the
left-hand chords could conceivably
work nicely arpeggiated, i.e. as ‘broken’
chords, which is just the kind of thing
harpsichordists do in order to ease the
music’s sense of progression.
The group of three fast notes with
which the sonata opens (there are in fact
a dozen recurrences of these) is a familiar
18th-century written-out ornament called
a ‘slide’. Attack the first of these more
forcibly, and quickly come off the second
and third notes in a single upwards
gesture so that the wrist ends up two or
three inches above the F. In terms of
rhythmic emphasis, think how you would
say the word ‘battery’, i.e. ‘bat-ter-y’.
Make the most of the ‘sighs’ in this
piece, which occur at bars 2, 4, 10 and
thereafter, by slightly emphasising the
second quaver and joining it smoothly
to the third, ensuring you lift the wrist
as you strike this note to make it sound
both a little quieter and shorter (like a
slower version of the slide). If you are
planning to use moments of pedal in
your performance, don’t apply it during
the execution of these lovely little details.
A harpsichordist or organist might hint
at a sigh by emphasising the long/short
articulation and fractionally overlapping
the two notes.
Though he’s writing in binary form
– two distinct sections, each repeating
– Scarlatti devotes two-thirds of this
24-bar sonata to the second section,
which perhaps tells us something about
the sense of development an ideal
performance should target. Work out
your dynamics with care, especially at
the repeats, and mark in your decisions
one under the other, for example f
over p. Phrase lengths are symmetrical
throughout, and this is something you
can pencil in straight away.
Bar 16 is arguably the sonata’s
emotional high point, so you may want
to employ a subtle crescendo to heighten
this moment before immediately
beginning your dynamic descent.
This will eventually take you back to
the level with which you started your
performance, say, mf.
Feel free to add occasional ornaments
in places other than those printed in this
edition. I found myself putting them in
at the high F sharp in bar 10 and the E
at bar 12. Above all, never allow your
trills to outstay their welcome – reduce
them to mordents if need be, with
perhaps a more extended trill for the
cadences at bars 7 and 23. The golden
rule with ornaments is that they should
draw attention to the overall musical
line, not to themselves.
P18 HTP Tanner-FINAL.indd 19
Debussy Danseuses [p54]
Danseuses de Delphes is the very first
of Debussy’s Préludes. It depicts three
dancers immortalised in stone that were
discovered in Delphi, Greece. There is
certainly a mystical quality about the
piece when it is played with suitable
élan. The main issues in playing this
piece, aside from its daringly sedate
pacing, which must never be allowed
to rush away nor grind to a halt, are
undoubtedly dynamics and touch
control. The composer is extremely
specific about dynamic shades, the
quietest marking being ppp. Notice
however that the loudest moments, at
bars 16 and 29, are marked only f.
The danger here is that the player
may produce too chaste or frail a tone in
a valiant attempt to restrain the overall
dynamic of the performance. A solution,
initially at least, is to crank up your
overall dynamic range by two notches;
in other words, promote the softest
moments to mp and the loudest to fff.
Importantly, at the same time you
should keep all of Debussy’s markings
in proportion with each other. This will
ensure your melodies always sing freely
and have shape, especially if you can
resist using the una corda pedal for the
time being. Don’t be foxed by the
plentiful staccato markings – they’re just
the composer’s way of reminding us not
to become unduly saggy with the tempo.
It is perhaps a little odd that a composer
whose music is highly dependent on pedal
appears so reluctant to include pedal
markings in his scores. Again, this is not
actually a contradiction in terms, merely
a way of conferring responsibility to the
performer to keep the harmonies
agreeably intact and to pedal ‘with the
ears’. Keep the wrists as supple as jelly and
the fingers like rods of steel throughout.
Though the melodies are frequently
doubled at the octave, you will still have
your work cut out to create the desired
contrast between these and the spine-
tingling pp effect at bars 4 and 11.
Once you’re fully on top of the notes,
an enlightening experiment to try is
to double or even triple the tempo in
order to hear the phrases and overall
architecture of the piece more clearly.
Yes, it will sound quite absurd – comical,
even – and yet you’ll learn a lot from
doing this. Pianists routinely practise fast
pieces slowly, but rarely do we try the
opposite, when in fact there are just as
many compelling reasons to do so.
Finding the right flavour
In both the Debussy and the Scarlatti,
prise out the natural stylistic flavour of
the music before wading in with your
own ideas, for example regarding rubato
and touch control. For the Scarlatti, this
does not mean pecking away at the notes
in an attempt to make the piano sound
like a harpsichord (although you might
19• Pianist 83
MASTERCLASS
MAKE MINE MUSICAL
Mark Tanner’s tips on playing 3 of this
issue’s Scores as musically as possible
1 Grieg Elfin Dance [Scores page 35]: This mischievous little piece
abounds in boisterous energy. Avoid getting too far away from the
piano keys; even the bold shifts in register are best negotiated from no
more than a couple of inches above, with really relaxed wrists in both
hands. You might be surprised just how much volume control you can
muster by executing a ‘pinching’ action with your fingers: pp to f is
perfectly manageable. Don’t be tempted to play too quickly overall, or to
accelerate through the quaver-ridden sequence starting at bar 22.
Keeping the pulse from racing away is not easy, and in the closing
stages the clipping of rests becomes a potential hazard.
2 Hummel Study [Scores page 38]: This 26-bar study, though
outwardly pattern-based, contains much musical interest and needs
an attentive ear for balance and phrase-shaping. Don’t be drawn in by
the allure of those semiquavers, but spare a thought for the amiable
left-hand crotchet line. Experiment with articulation. The triple time
needs gently coaxing out – resist making your performance overly
declamatory or dramatic; think more in terms of revealing the music’s
innate elegance, symmetry of phrases and Classical charm.
3 Cry Me A River [Scores page 42]: Playing musically in this piece
involves flexibility, thoughtful attention to pedalling and, above all, a
tender treatment of the melody. Don’t underestimate the left hand’s
moments of interest (e.g., bars 3 and 11), and think of the ‘slightly
faster’ middle-eight section as a chance to build the intensity. Bars
25-26 turn out to be an especially important area, leading nicely back to
the main tune. Take care to voice the jazzier chords effectively, bars 6-8.
Bars 13-18 is a good place to zone in on early in your practising.
want to listen to Glenn Gould playing
Bach to assess his more daring effects).
Bear in mind that rubato was just as
important in Scarlatti’s day as in
Chopin’s, albeit calibrated differently, and
that harpsichordists naturally wish to vary
the aspects over which they have control,
timing being chief among these. In the
Debussy, don’t become mesmerised by
the composer’s profligacy with dynamic
markings – he is just pointing up
landmarks and priorities in the music in
case you did not spot them for yourself.
What Debussy and Scarlatti could only
hint at, despite their different approaches
to notation, is the potential for character
in their respective pieces, and this is where
your interpretive judgements and ability
to use the modern instrument’s flexibility
will win through. As pianists we are often
required to play pieces widely contrasted
in style, all on one instrument and on the
same occasion, for we cannot realistically
sit at a harpsichord to play a Bach partita,
then shift to a fortepiano for some
Mozart and slide over to a Steinway for a
work by Prokofiev. Though your own
ideas of expression are always to be
welcomed, the real challenge in playing
musically is to encourage each composer’s
style to emerge with integrity. ■
In the next issue, Mark Tanner discusses
how to meet the challenge of playing pieces
that have many black notes.
11/03/2015 09:30
 play HOW TO

From your foot to your ear

ARTISTIC PEDALLING
There’s a world of beauty you can convey with your right foot alone, explains teacher and performer
Graham Fitch, who looks at the sustaining pedal in the first of three articles on pedalling

T
he casual observer of piano playing focuses their Sometimes the foot hovers around that area, moving a millimetre in both
attention on the pianist’s fingers and not on the feet – directions rather than changing in a more conventional way. Imagine a texture
yet fancy footwork is a vital ingredient of artistic piano where you want clarity and yet resonance, such as sections of Chopin’s
playing, and one that is often neglected. In this article Fantasie-Impromptu (below, bars 5-6). Dabs of pedal of varying length and
I will explore some of the less obvious facets of the depth give us the best of both worlds – resonance and clarity at the same time.
####c ≈ f f
f ff f
f ff f ff ff ff ff ##ff
right (sustaining) pedal, aiming to help you control and
enhance your sound. & ###c ≈ f f f ‹f
#

{
The right pedal has three main functions – joining sounds the fingers & f f f ‹f f f
alone cannot join, adding resonance and dimension to the sound, and
f f f ff
p
blending multiple layers of sound together into a unified texture. Unless
f f f f
? ####c f f f f f f
p
you are after a certain dryness of sound, or have decided to omit the
f f f f f
pedal altogether, the right foot will almost always be in contact with the
sustaining pedal. A direct line of communication from this foot to your ear
? ####c f f f f
is an absolute necessity as you judge the right amount of resonance needed
at any given moment.
## f f f f #f f f ff
& ###### ≈≈ f f f ‹f f ff f
f
Many players treat the right pedal f f f f #f f f

like a switch – it’s either on or off –
but in fact how far down we put
the right pedal is crucial
The subtleties of the right pedal are extremely hard to pin down. Many
players treat it like a switch – it’s either on or off – but how far down we put
the pedal is crucial. I like the way iconic Juilliard teacher Rosina Lhévinne
described the ten levels of pedal, from full resonance to the slightest halo of
sound. I can show a student what I am doing on the keyboard to produce
a particular sound, but when it comes to pedalling I often find myself
asking them to look not at my right foot but rather to stand up and take
a peek inside the workings of the instrument and watch the dampers as I
play. Instead of a cut-and-dried ‘up’ then ‘down’ in the manner of marching
soldiers, the dampers often seem to flicker, barely lifting away from the
strings. The pedal is neither up nor down, my foot (controlled directly by
my ear) making incredibly fine adjustments to temper the resonance. This
sort of pedalling is impossible to write in the score, there are just too many
{
& f f f ‹f f
f f f f
? #### f f ff f ff f f ff f f f ff
? #### f f f f
I would not even try marking such pedalling in the score, since it will
change from piano to piano. Simply have your foot on the pedal and allow
it to join in whenever it wants, always listening ferociously.
‘Pedalling cannot be written down. It varies from one instrument to
another, from one room, or one hall, to another,’ wrote Claude Debussy. His
Arabesque No 1 (below, bars 35-38) is another piece that calls for sensitive
fractional pedalling. When I play this work, my foot hardly ever goes all
the way down to the bottom. Try playing the rising patterns just before the
middle section using a quarter pedal, changing at the p in bar 3 to about a
half pedal. Instead of lifting the pedal abruptly on the downbeat of bar 4, lift
it gradually. Sound will blend into silence, which produces a lovely effect:
f f
####c ff ff f ff f ff f f ff f f ff f f f f f f f f
& ff f f

{
variables.
Back in the 1980s I had a few lessons with Theodore Lettvin, who wrote

f.
‘1/10,000 of a pedal’ in my score. Playing in this spirit added a fine mist of
resonance, like water droplets sprayed from an atomizer – not enough to
? ####c f. f. f. ?
drench the sound, but enough to moisten it so it could reflect the light. The
listener would not really detect the presence of my right foot but would f. & f. f. f.
certainly notice its absence. ff
To experience the effect, play a full
& ff Œ Ó F

{
F
## # w
chord with the pedal fully down and
release your hands into the air. As you # w w
lift the foot, do so extremely slowly (see & ∑

{
right). Listen acutely to the changes in
? f Œ Ó f f F
resonance as the foot gets close to the
f
p

? #### f f
f Ó
top and the dampers start to graze the

f f
strings. This is the place in the pedal gradual release
we want to bookmark. Go where you
wouldn’t normally think to dare, for the shortest of dabs, and appreciate the f
highlights this brings to your sound – and go regularly to that place.
20• Pianist 83

P18 HTP Graham2-FINAL.indd 20 11/03/2015 09:29

 MASTERCLASS

The long, thick bass strings have extra-large dampers, whereas the short The pedal must be held throughout the entire first bar, because the bass
high treble strings need none. If you look inside a grand piano, you will B flat supports everything above it, still resonating at the end of the bar. The
see the dampers getting smaller from bass to treble. The lower the note, dissonant effect of the neighbouring notes in the scale melts away because
the harder it is to damp. Try another experiment: play a low bass octave of the presence of the supporting bass note held in the pedal. No matter
rather strongly with the pedal down. Release your hand and quickly change how well we pedal, if we play all the elements on one tonal level this passage
the pedal. If you do this quickly enough, the sound will not have had the will sound a mess. Under the firmly projected legato cantabile melody line,
chance to damp completely and the octave will still be ringing. Try this we need two tonal levels in the LH – a firm tenuto bass note and pianissimo
in higher octaves and you won’t be as successful at retaining any of the Moderato
for the throbbing harmony. h = 66
b C w- -
w w- -
w
& b bModerato
sound. (In my video on the Pianist website, I show you how the dampers Now let’s look at the opening of Rachmaninov’s Second Piano Concerto:
w
w w
w w
w w
b whw= 66 n ww ww
w
react on the strings.)

{{
How long we spend at the top of the pedal before putting it down again w
b pp- - a poco cresc. - -
& b bC w w w w
is critical. Too fast a pedal change is usually a flaw (responsible for all sorts
w
w w
w
b ww w
w
n ww w
ww
? bb C w w
of unwanted muddiness) but in some circumstances it can be the pianist’s poco
best friend. Let’s suppose we have a texture where there is a bass note that
b pp w b w w nw w w
w
needs to be sustained, and notes above it that might clash (such as changing
w w a poco cresc. w w
harmonies). The skilful player knows how to adjust the pedal so as to retain the
? bb C w Ó Ó
F bww F nww F w Ó Ó F
poco
bass note while clarifying the texture above it. The terms used to describe this
b w -w w w w
w
type of pedalling are somewhat confusing – some refer to this as half pedalling,
w - w - w -
others half damping, but I often feel it as a quick vibration or fluttering of
the foot. The last two bars of the Menuet from Ravel’s Sonatine (below) can
Ó F Ó F Ó F Ó F
be done either with very quick pedal changes or a controlled fluttering of the - - - -
pedal. The idea is to keep the bass and clear the harmonies. Remember the
> >
rit.
sound effect shouldn’t be completely sanitised anyway, and by the time the
b bb w- -
w w w
& ww n w b w w w
ww
w w bw
music has reached your audience, much of what might seem offensive to the
ww ww f f

{{
player on the stage has been filtered out by the acoustic of the hall. w
> > f
rit.
U b bb w- -
w w Œw
f rall.
f & nww
? bb w
n w b
b
w
w
w w w
w
>w
w b w
w
w>w > > >
n b bw w w bŒww ff f ff
b f f f w w w
& b bbb ff ™ f f ™ f ff ™™ f nf f f fJ ffJ ff
f ™ f f f w w w w > f >
u Ó Ó >
Ó > f >f f
Œw

{
f™ f f ™ f ? bb w n w F b w
w F w F
w w w w b ww
j f fj j U bw - w - w > w >f >f >f
f
mf
ff ff ff fff fff fff fff
f Ó mayF seem,Óthis famous
F opening Ó Fcan absolutely Œ f fbe f
? j bb b ff ff ff f f f f Surprising as this
- - > > >so
played without changing the pedal at all; that is
>
eight full bars without

bf b b f Æff ff ™™ ff ff much as a flicker of the right foot! Not everyone does it this way, but it is

> J
uJ perfectly possible and this is the tradition that was passed down to me. ■
“‘ p In the next issue, Graham explores the tricky subject of how to use the pedal
in Baroque and Classical era music, investigates another form of damper control
The other side of the coin is a squeamishness about using full pedals when that relies more on the fingers than the foot, and also looks into half, flutter and
these are called for, because players pedal with their eye and not their ear. By partial pedalling.
this I mean they see something on the page that seems to preclude pedal, a
scale pattern perhaps or some dissonance or other. They either leave out the WATCH GRAHAM ONLINE
pedal or change it way too often – if only they would listen carefully to the
result, they would discover that a long pedal is often just what is called for.
But the sound has to be layered immaculately at the keyboard for this to work.
Let’s look at this brief extract from a melody line (I won’t say what piece this is
for the moment). Your first assumption will be that it doesn’t really need any
pedal, certainly you would not think to hold the pedal down for the whole bar:

9 f bf-
2

nf-
2
&8 f #f f-
2 1
2
Now look at the bar complete with its LH, and you will notice a familiar
three-layered texture – melody, bass note and a filling of harmony (it’s a
short extract from Grieg’s Nocturne):

2
f
& f #f f- nf- bf-
2
j
fF ™™ F™
2 1
nf
#f ™

{
>
Don’t miss Graham Fitch’s video lessons, which you’ll find on the Pianist
2 2 website at www.pianistmagazine.com. He demonstrates everything that he

ff fff fff
1

? bf ff ff ff ff ff ff ff ff ff ff ff ff ff # ff ff discusses on these pages – and more. His current lessons are filmed at

b
f f f f f f bf f f
Steinway Hall, London, on a Model D concert grand. Graham is a pianist,
teacher, writer and adjudicator. He gives masterclasses and workshops
internationally and writes a popular piano blog, www.practisingthepiano.com.

21• Pianist 83

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 play HOW TO
FULL SCORE ON PAGE 32
TRACK 3

{
5

& f
p
{
4

2
&c f
DON

1
’T MISS

SPAN

bf

3
NIE
MELA K’S
SWIC

LESSO
N
PIECE
ON THIS E
PAG

p
22

1
1

F
1

4
f
Peter Nicolai von WILM (1834-1911)
To begin with, No 1 from 24 Pieces for the Young op 81

Peter Nicolai von Wilm was born in Riga, which was then part of Russia but is today
the capital of Latvia. Wilm studied in Leipzig, returning to Riga to start a career as a
teacher and composer that later took him to St Petersburg and Wiesbaden. He wrote
many pieces for piano, including duos and works for four pianists.
Playing tips: This tender piece should sound seamless. The LH is the calm
accompaniment, and the RH the beautiful melody. Make the melody sing – press the

Moderato q = 100-104
3

& c f f f f f f f f f f f f f f f f f f f f f f f #f f f
1 f f f
2 1

& f f f f f nf f f f f f #f f f #f f f f nf f f f f f #f f Œ
#f
4
f 1

°
2
3
f
2

f
4
1

cresc.

2
1
f

5
5

3
1
f

1
3

3 1

nF
1

4
F
1

1
1

2
fingers deep into the keys and follow the phrasing. Try to adhere to the suggested
fingerings too, as they will help you produce a nice legato. Notice all the changes in
dynamics. The second section, which starts at bar 9, should be repeated.

2
Pedal tips: There are some suggested markings on the score. Only start adding those
small moments of pedal once the notes are secure.
Read Melanie Spanswick’s step-by-step lesson on this piece on page 22.

3
3

f
5

4
f
5

1
1
f

f
1

3
4

4
f
3

f
5

5
1

1
f
2

3
1

1
f™
1 4

F
3

4
1 2

3
fffff
5

2
4

1
3

2
BEGINNER/
INTERMEDIATE

f f

1
2

1
1

PETER NICOLAI VON WILM

nf
4
f
9 5

f f
2
f
5

f F f
3

& ™™ f f
3 1

f
4 3 2 1

{
p cresc.

& ™™ f f f f nf f f f f f f f f f #f f f f f f f f nf f
1 1 2 1 3 1 1 1 1 1 1 2 1 3 1
5 4 5 1 4 5
4 2
5

To begin with, No 1 from 24 Pieces for the Young

32• Pianist 83

P32 Scores WILM-FINAL.indd 32 10/03/2015 09:21

If you want to expand your tonal palette and improve your rhythm, give this tuneful miniature a try.
Teacher and author Melanie Spanswick has advice on what to look out for from the start
Ability rating Beginner
Info Will improve your
Key: C major 3 Legato technique
Tempo: Moderato 3 Balance of sound
Style: Romantic 3 Tenuto technique
German composer Peter Nicolai von
Wilm’s Little Piano Pieces or 24 Pieces
for the Young opus 81 was published
in 1889. ‘To begin with’, which is
essentially a prelude, opens the cycle of
24 pieces. It is ideal for honing your
legato technique and working on the
balance of sound between the hands.
Calm, serene and diatonic (C major),
the romantic, tuneful yet simplistic
melody, combined with short phrases
and a rippling bass, is a joy to play.
Those who are keen to widen their tonal
palette will appreciate the opportunities
this little work offers.
You could infer many speeds from the
Moderato tempo marking. However, a
metronome marking of crotchet equals
100, or possibly 104, feels about right
and will bestow a sense of direction
while capturing the flowing character
effectively. Fingering will be crucial,
particularly for the quaver movement in
the left hand (LH), so it’s a good idea to
write it all in your music. My suggested
fingerings are printed in the score.
An interesting feature of this piece is
its use of the top part of the keyboard.
With the exception of the final bar,
the entire piece is centred round the
treble clef, so good sound projection
and balance are vital. Practising separate
hands from the outset will prove
fruitful. Begin by working at small
sections (perhaps two bars at a time),
until you have assimilated the fingering
and securely placed the notes.
The LH line requires careful practice
due to the constant quaver movement,
with its Alberti bass feel. Ensure this
musical line is light yet supportive to the
melody. At no point must the wrist or
arm feel tired. Start by practising with a
heavy, full tone, working very slowly
with a rotating, free wrist motion (this is
crucial!), rolling the wrist from side to
© 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
and then F and E, on beats 3 and 4, is permit the second note to sound before
heavier or richer in resonance than the completely coming off the first C. This is
constant Gs, which are all played offbeat ‘overlapping technique’ and it is the best
with the thumb. In this type of way to produce endless smooth, legato
passagework the thumb should ideally lines. Team this with a wide dynamic
be substantially quieter and in the range as well for maximum effect.
background. Once the rotational
movement has been mastered and the
wrist feels flexible, lighten the tone to Learning Tip
reveal even, well-balanced quavers. Make sure the balance between
the hands is always weighted
The LH rhythm must be even and towards the right hand (melody).
consistent, so accurate counting
is essential. You may prefer to use Balance the chords judiciously at the
a metronome, but in any case sub- end of the development section. (This
dividing beats (such as counting every piece basically has an A-B-A form, with
semiquaver), will significantly help you the development starting at bar 9.) The
in creating a perfectly placed quaver RH chords in bars 15 and 16 can be
beat. Develop the habit of counting projected successfully if the top notes
aloud if possible – if you count out ring out above the lower ones. To do this,
loud, accurate rhythmic placing always practise the top parts alone (that is, the
seems to follow! A¨ and G in bar 15, and the C and B in
bar 16), only adding the lower parts once
The melodic material in the right hand you are happy with the gradation of
(RH) is the primary musical line. It sound and finger strength. The RH
must appear in the foreground in the fourth and fifth finger in bar 16 will need
overall balance of sound. Although the a very balanced hand position. Being the
notes might seem easy to play, creating a end of a phrase, and containing a slur, a
warm cantabile (a singing tone) with drop-lift motion will work well too.
copious tonal variation takes some effort. Apply these ideas to the LH at bars 22-23.
You’ll need to employ the appropriate
wrist and arm weight. In order to clarify Make a small tenuto on the unexpected
where the most sound is needed, decide accidentals in the brief key changes.
where each climax appears within every There’s an example of this in bar 12 (the
phrase, becoming either increasingly soft C© and the G©), and you will benefit by
or loud and grading notes accordingly. creating a small tenuto on those notes
(tenuto means ‘hold’) – hence, linger on
Each RH note here calls for a deep the notes a bit longer. This will add
tone – this isn’t the time to be skating colour and create a yearning emotion.
over the top of the keys! Work at using
a free arm, a rotating, flexible wrist, as Once legato and balance has been
well as the fingertip, to delve deep into mastered, and all the notes are suitably
the key bed, thus producing a constantly ‘joined’, introduce a smattering of
warmer, meaty sound. The rotating sustaining (or right) pedal. You’ll
motion can also really help with legato probably choose to do this just at
playing: for example, in the RH, as the cadential points or the ends of phrases.

side or in a circular pattern. Try to ensure first note C is played in bar 1, allow I have marked in suggestions on to the
the tone on the lower notes, for example, a circular motion in the wrist to help score. Pedal will add a rich vibrancy to
in bar 1, the E and D on beats 1 and 2, move to the second note B, and then this compelling little miniature. ■
22• Pianist 83

P22 HTP Melanie-FINALish.indd 22 11/03/2015 09:31

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p23 Ads.indd 17 13/03/2015 09:17

 play HOW TO

RAVEL
Menuet antique
When the left hand converses easily with the right, it can make a piece like Ravel’s Menuet antique
come alive. Concert pianist and teacher Lucy Parham shows you how to start the dialogue
Ability rating Advanced important note. Always think of a
Info Will improve your conversation between the two hands.
Key: F sharp minor 3 Voicing I would suggest learning the LH from
Tempo: Majestueusement 3 Interplay between hands bar 5 to bar 8 so well that you can
Style: Neo-classical 3D ynamic range play it without looking at it (or ‘blind
practice’, as it is sometimes called). The
reason that you want to memorise this
Menuet antique was written in part is because you want to concentrate
1895 for Ravel’s friend, the pianist on your RH. The RH has quite a tricky
Ricardo Viñes. Such was its enduring passage that needs to have an energy
popularity that over 30 years later Ravel and drive through the crescendo to the
orchestrated it. This was the first piece climax at bar 8. Don’t forget too, this
of Ravel I ever studied and I remember is a minuet and therefore needs to have
how much I loved it, especially the a gentle lilting feeling about it. Never
sense of pathos and whimsy that is force the sound or the tempo.
prevalent in the central section.
Lucy Parham is joined It is really worth listening to Ravel’s
The piece has an A-B-A structure, by BBC Radio 3’s Sarah own orchestration of this section.
with a lyrical central section forming Walker on 19 April for You will notice the instruments he has
a perfect contrast to the more The Fantastical World used to get specific colours on specific
energetic outer sections. What is of Robert Schumann chords. This can be used to help you
needed at the start is a crisp and steely at Kings Place, part of colour your own playing.
touch and then, later on, a more legato, Parham’s Word/Play
cantabile touch in the central section.  Coffee Concert series. There is a trick for making bar 9 more
Parham performs Rêverie manageable to play, especially for
At the start of the piece, there’s the with Simon Russell those with smaller hands. You can try
dialogue between the hands. This is a Beale at the Stratford taking the sf E quaver and following D©
prominent aspect of the piece and Festival on 25 April and semiquaver with the RH and keeping
something you need to get to grips with Odyssey of Love with the rest of the passage in the RH (i.e.
right from the outset. The right hand Juliet Stevenson and take the two-note chord of F© and A
(RH) begins with a crisp, yet not hard, Henry Goodman at the crotchets alone with the LH).
opening statement. Try to feel the Middle Temple, London,
resolutions of the opening two chords. on 5 May.  At this point the LH (and the bass
Ravel writes ‘Majestueusement’ Her latest CD, line) is leading the melody. It remains
(majestically) as a direction but it is Odyssey of Love, with in that register, so imagine the timbre
important you don’t confuse this with a Juliet Stevenson and of sound you need here compared with
brittle touch. It should always be a warm Henry Goodman, was bar 12 in the RH, where Ravel asks
forte that you lean into, yet containing a recently released on the you to use the soft pedal (‘la sourdine’)
sense of energy nonetheless. Deux-Elles label. to create a much more muted sound.
For other dates and Really try to highlight the slur in the
Notice the reply in the left hand (LH) details, please visit RH, as a small decrescendo is also
and the ‘très marqué’ instruction. lucyparham.com marked here. When the repeat of this
This is a canon and dialogue between
the two hands so you need to highlight
this entry with real definition. At bar 3,
you must have a subito p and also a
gentler sound quality as the melody
becomes imploring with an ebb and
flow. Look at the small crescendos in
the RH for the second and third beats
of bar 3 and 4 and try to create a small
swell here. Again, nothing abrupt! Some
LH-alone practice here will stand you in
very good stead.
When the LH enters on the second
beat of bar 3 (with a G©), try to show
© Sven Arnstein
phrase occurs at bar 18, you could
try to take it down to an even lower
dynamic. Use steely fingertips within a
free forearm here, even though you have
the soft pedal on.
Learning Tip
Listen to the orchestrated version
of the work and do a lot of hands
separately practice to all the
necessary voicing.
Bar 26 to 29 is the first climax of this
passage. Make sure that the top accented
D in the RH really resonates like a bell.
In the LH (bars 26-29) you need to
almost ‘throw’ the final quaver of the bar
(sf) onto the next dotted minim at the
beginning of the following bar, as if in
one hand movement. This bass C© dotted
minim in the LH represents a pedal note
and is very important as a harmonic
bass. Really sink into it and be especially
harmonically aware here. The expressive
RH needs to be played with real care. As
in the beginning, you want to play these
with melodic quality rather than hitting
them in any way or forcing the tone.
Build up the tone bar by bar, in order to
grade this climax.
The beautiful ensuing passage
(starting at bar 30) needs to be
totally magical. To achieve this, use a
lighter touch in the RH and keep the
emotional intensity of the slurs in the
LH. These RH semiquavers in bars 30-
32 also serve the purpose of keeping the
lilt of the piece, rhythmically speaking.
The dance spirit and sentiment must
survive at all costs.
Observe the contrast between p and
ff in bars 34-36. Then drop your
tone right down at the end of bar 36,
in order that you can make a huge
crescendo to the climax at bar 38.
These LH octaves are quite tricky, so it
is important they remain flexible and
not too stagnant. For good LH octave
practice here, try playing the fifth
fingers alone, followed by the thumb
alone. Also, try to keep your wrist
very supple. In the RH really grip the
chords. Note the beautiful interplay
between the hands in the next few bars

the syncopation. Really lean into and really orchestrate this in order that
this crotchet. The following quaver the hands are having a conversation
(G©) needs to be less but it is still an with each other. Drive right through
24• Pianist 83

P24 HTP Lucy-FINALish.indd 24 12/03/2015 16:34

 ’T MISS
DON PARHAM’S
N Maurice RAVEL (1875-1937)
LESSO
LUCY
TRACK 12 PIECE ADVANCED
ON THIS E
PAG
24
Menuet antique

Ravel was a 20-year-old student at the Paris Conservatoire when he wrote Menuet
antique – it typified the ‘highly audacious music’ (in the admiring words of fellow
student Alfred Cortot) of this ‘somewhat distant young man’. Menuet antique was first
performed publicly in 1898 by Ricardo Viñes and was Ravel’s first published work.
Playing and pedal tips: In order to make this piece come together, we suggest you read
through the score first, without touching the piano, in order to work out where the
high/low points are. There should be a decisiveness to the opening section. Keep in
strict time and try to sound Classical. From bar 9 we see a development with some
beautiful moments in the treble (e.g. bar 18). There’s an almost shrieking quality in the
treble at bar 26. Bar 48 sees a more tender section, marked ‘doux’ (‘soft’). Everything
needs to be calmer. Even though it is not marked, start out softly (piano). Bar 54 onwards
is even more tender and ‘sweet’. Enjoy the beautiful harmonies at bar 62 onwards – there
are some lovely suspensions. In fact, there are many gorgeous moments throughout.
Bar 77 sees the return of the opening. There is a great deal to take in throughout this
piece – hence the lesson from Lucy Parham.
Read Lucy Parham’s step-by-step lesson on this piece on page 24.

r >j
Majestueusement q = 76

FULL SCORE ON PAGE 56

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très marqué

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56• Pianist 83

P56 Scores RAVEL-FINAL.indd 56 10/03/2015 09:27

this passage to the ‘en élargissant’
(which means broaden) section
where you need to broaden and slow
down as well as crescendo, in order
to give a sense of finality.
This heavenly central section
should provide a total contrast to
the preceding section. For a start we
are now in F sharp major rather than
F sharp minor. This in itself gives
a warmer colour to the expression
of the music. Ravel marks ‘doux’
(gentle) here, and you can invoke
this by changing your touch to a
more legato and ‘into the bed of the
key’ touch. Sense the duet going on
here between the upper and lower
parts. I would suggest playing these
parts separately and omitting any
making sure all the notes are
sounding within the chord. To help
yourself here, stay very close to the
PIANIST SPECIAL ISSUE
keyboard so that the notes sound
smooth and not too detached. The
LH needs to be more prominent in GREAT PIANO
COMPOSERS OF THE
bar 56, where the pattern reverses
and the RH plays the chords. Try
to get a long line (no stopping the
phrase!) from bar 64 to the climax
at the end of bar 66.
CLASSICAL ERA
At bar 68 you will see ‘à peine
alenti’ (hardly slow down at all). Brought to you by Pianist magazine
This is a very specific marking from
Ravel. Follow this marking and ON SALE 26 JUNE 2015
resist the temptation to slow down
in any major way.

At bar 70 we arrive at the beautiful

middle lines, as that is a very good
way to practise this dialogue. Notice
the hairpin crescendo in bar 46 and
make a small swell here being careful
to grade downwards into bar 47 as
perfectly as possible.
In bar 54 you need to try and
5 how-to-play lessons from beginner to
advanced – includes first movement of
Beethoven’s ‘Moonlight’, a Clementi Sonatina and
moment when the two main
themes are intertwined. It requires Mozart’s Rondo in A minor
real care and balance to make sure
each voice can be heard properly.
Practise this section hands separately
as much as you can. You could also
2 masterclasses from the experts
Mark Tanner on perfecting your Classic playing
and Graham Fitch on improving techniques found
try singing the top line when you are in the Beethoven Sonatas
playing the LH alone. We are trying

40
capture a feeling of mystery as if to achieve the effect of layering the
playing from afar. The sound quality lines here (much harder to do than pages of sheet music plus cover CD
you are trying to achieve here is it sounds!). It is one of the most Our editor’s selection of the best Classical
almost veiled. Look at the marking exquisite moments in the work so it Scores from past issues of the magazine
of ‘avec la sourdine et sans aucune repays all the effort.
accentuation’ (with the soft pedal Top concert pianists talk about the joys (and
and without any accent). The melody What follows is a repeat of the challenges) of playing the great Classical repertoire
here needs to retain a certain opening. Make sure you really
flexibility but really show the broaden the final bar and use a
downward slur from C© to G©. The warm, strong forte for the two final John Suchet, the renowned Classic FM radio
espressivo quality comes from within chords. Pedal right through the two presenter and Beethoven author, talks about his
this slur. Meanwhile, the LH needs F© major chords for a positive, yet passion for the composer and his piano works
to ‘grip’ the chords here at bar 54 elegant finish. ■ 
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P24 HTP Lucy-FINALish.indd 25 13/03/2015 09:31

 play HOW TO
FULL SCORE ON PAGE 49
TRACK 10

{{
9
& 8 fff ™™ f fff ™™™
’T MISS S
DONNEWMAN’

LESSO
JANET N
PIECE
ON THIS E PAG
26

Spring is in the air with this April-May issue, so it seemed fitting to select ‘May’ from
Tchaikovsky’s 1875 work, The Seasons, which he was commissioned to write in
installments for Russian music magazine Nouvellist. Like other pieces in The Seasons
set, ‘May’ has a nickname: ‘Starlight Nights’. We leave it to you to interpret that!
Playing and pedal tips: We suggest that you learn this piece in sections. It’s in A-B-A
form. The B part is more hurried, passionate and turbulent, and it might be a good
idea to start with it first, as it’s more challenging that the A part. The beginning RH
melody has to really sing. Dig your fingers deeply into the keys. There are many

#Andantino j
Andantino
5
2
1
4
4
2
WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM

Pyotr Ilyich TCHAIKOVSKY (1840-1893)

ff ™ fj
5

f™ j
4
4
2

fff ™™™
1
May from The Seasons op 37a

f™ f™
4 3
5
1

nff ff ™ f ff ™
Jj f
f fj f ™ bff ™ f f f ™
1 2

f f nf
f™ fJ
4 5
2

f
f
4
1 5
3
INTERMEDIATE

magical moments on that first page, and the pauses (such as end of bar 9) should be
equally enchanging. The Allegro giocoso B section starts at bar 20. You will need to
use your ears and work on the balance of hands here, so that the LH doesn’t overpower,
even if it’s important. You will notice we have suggested some finger distribution
between the hands. When the melody returns at bar 68, try to make it even more
poignant. Make it die away lovingly at the end. There’s a lot to absorb within this
piece – that’s why we asked Janet Newman to write a lesson on it.

f fj f ™ bff ™ f f f ™
Read Janet Newman’s step-by-step lesson on this piece on page 26.

j
5
2

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4 3 2 3 2

f f b f.
# F b f f nf f f ff ™™ ‰ f. f. bf. bFFF ™™ f™
10
?nf ‰ . . f. nf. f. bf
4 2

& nbpFF ™™ ™ bf f nf f f ff ™™
4 3

ff ™
3 4 3 2

f. nf. f f f b f. . f

{
# ™ . b f. f ? nbFFF ™™ ff ™™
f. nf f .
f. nf. f .
f™
& nb° ffø ™™
™ . . bf f
1 1
pF
1 2 2 2 3
F™
1 5

. .
2

. b f. f b°
2

ffø ™™
5 4

# bF ™ . ? n F™F ™ f. nf f
ffø ™™ . . bf f
2 1 1

& n°
1 2 2

f. nf. f
1 5 3

F™
2

. b f. f ° . .
2

ø
5 4

.
1 2 2 1 1 2
2 1 5 3

° °
2

ø ø
5 4

May, No 5 from The Seasons op 37a

49• Pianist 83

P49 Scores TCHAIKOVSKY-FINAL.indd 49 10/03/2015 09:25

At first glance, this evocative piece may seem daunting, but you can conquer it just by mastering
a handful of tricky bits that come back repeatedly, says teacher and performer Janet Newman
Ability rating Intermediate your understanding intellectually as well Try playing the repeated phrases
Info Will improve your as using the physical muscle memory. more tenderly and quietly to show
Key: G major 3 Musical phrasing At the end of the opening section, let the the expressive quality with even
Tempo: Andantino 3 Memorising music die away – be sure not to reveal more poignancy. At bar 28, where
Style: Romantic 3 Voicing what is coming next. Tchaikovsky uses more complex
harmonic progressions, intensify the
The next section (marked Allegro
Tchaikovsky wrote this set of pieces,
which evoke the different characters
giocoso) has a much sprightlier
character. This is true even though the
Learning Tip
and moods of the seasons, in 1875-6. tonality is minor compared to the major if you’ve enjoyed ‘May’, listen to
The pieces in The Seasons are full of tonality in the slower introduction. the other pieces in The Seasons
imagination and sensitivity, and all Tchaikovsky also uses a different time set. There are some absolute
explore the keyboard beautifully. signature (2/4), which indicates a gems, and many are approachable
Colourful and evocative, they are a movement forward in pulse – a slight for the intermediate player.
delight to play for all ages and are also feeling of urgency creeps in.
extremely enjoyable to teach as they have tone but then really drop the dynamic
a depth of musical content despite being There are a few technically awkward at bar 34 so that you can gradually
(relatively) straightforward technically. moments here. Reading the score, you crescendo through each of the
can see that there are many different succeeding two-bar phrases. Doing this
When you first look at this piece, things going on at the same time, so it builds the excitement of the music until
you may feel that it is way beyond will really pay to do part-practising to the arrival of F sharp major at bar 45.
an intermediate standard. Don’t help make clear to your fingers what This is the climax of this section and I
despair! Upon closer inspection, you’ll needs showing more and what needs to feel there should a triumphant, almost
see that many of the ideas are repeated be kept quieter. Start by taking out the ecstatic quality in the sound, and as
throughout. The opening introduction top part (the melody), working on it Tchaikovsky marks on the music, take
can be taken at a gentle pace. Take alone to strengthen the fingers and the the tempo down slightly so that the
care to spread the arpeggiated chords voicing. Always use the same fingers – music has a chance to truly speak.
delicately from the bottom upwards be extremely consistent about this as it’s
– there is no need to rush. The time crucial – so that you become completely The long diminuendo that follows
signature of 9/8 allows the music to aware of the melodic direction and the brings us back to the main theme of
lilt but it should feel three in a bar, not ability to control it using what are the this section at bar 55. Again, listen
nine individual quavers. This will help weaker fingers in the right hand (RH). carefully for the balance within the
you to find a tempo that works. Once you feel secure, practise the left part-playing. At bar 59, this heralds the
hand (LH) alone, making sure that you gradual return to the first section theme
Always be aware of the direction of hold the bass notes for their full value and as such, there is a feeling of
the musical phrasing. There should be and try to gently ‘brush’ the thumb part unwinding within these falling phrases.
a natural ebb and flow within the music – this has a tendency to stand out Get quieter as you prepare for the
– this is, after all, a Romantic miniature (rather like a sore thumb). The thumb is ritardando so when you go back into the
– and so once the underlying pulse is such a strong digit, so listen hard to the Andantino, the tempo is already in place.
secure, the music can move flexibly sound you make and also keep your
around it. Observe Tchaikovsky’s hand relaxed and fluid as this helps to Tchaikovsky uses exactly the same
markings in terms of the dynamics by avoid bumps and harsh tone. thematic material when the Andantino
leaning into the centre of the phrase at returns. This, I hope, proves my opening
bar 3 and 7 respectively. The D major The pedal markings are clear to follow point about how this piece, which
arpeggio (bars 8-9) can ‘drift’ somewhat throughout the piece. If you have any appears quite long and complex, once
using a little ritardando but then pick problem with your pedalling, practise actually broken down and analysed, is
up the tempo again from Tchaikovsky’s the LH alone with the addition of the not such a challenge after all!
indication after the pause. Think of pedal in order to get the harmonic
the staccato in bars 11 and 13 as being changes safely in place. Remember to I encourage you to try to play this
played ‘damply’ – there should be a ‘squeeze’ into the pedal rather than piece from memory. It is ideal for
feeling of sighing as the phrase falls hit it from above with your foot – memorising due to the repetitive nature
away until the original opening melody there’s nothing more off-putting than of the music. I’m convinced that the
Janet Newman is Head
recurs in bar 14. unintended percussion effects, especially whole experience of playing without the
of Keyboard at the Royal
in such a gentle, reflective piece! score makes a performance much more
Grammar School in
Bar 14 marks the first repeat of the alive and fresh. It encourages you to
Guildford. In addition to
opening material. Now the material is Tchaikovsky repeats the phrases listen to your tone, and there is a sense
her teaching, she is in
played an octave lower than it was at the often in the Allegro giocoso section. of creativity as well which adds to the
demand as a freelance
start. Making this kind of analysis of this As he only gives one dynamic of mf spontaneity of playing, and if you play
pianist and is an examiner
piece (or any piece) can help you to play at the start, you might choose to vary it to others in performance, the listener
for the ABRSM.
from memory eventually, as it reinforces the dynamic colours accordingly. gets more from it too. ■
26• Pianist 83

P26 HTP Janet-FINALish.indd 26 11/03/2015 09:34

Pianist 83 April-May 2015

Scores
S
E TO S
IV DER ENTER Contents
CLU REA
EX NIST THE PIANIST 28 LICHNER

PIA COMPOSING On the playground op 64 no 2

COMPETITION
30 MARK GODDARD
Ragtime

32 PETER NICOLAI VON WILM

The winning arrangement will be featured inside the To begin with op 81 no 1
Pianist Scores and on the covermount CD!
34 GURLITT
In Pianist No 81 we featured an article on the art of arranging, and we included an array Little pastime from op 179
of arrangements inside the Scores section. Now it’s time for you to get creative with
your very own arrangement. Make an arrangement of a piece you love and enter it in 35 GRIEG
the Pianist Composing Competition. Elfin Dance, Lyric Piece op 12 no 4

Your arrangement can be in any style you like – from Bach to Basie to Bacharach and 38 HUMMEL
Study in A minor
more – and can be based on any music from any genre. Basically, anything goes!
40 DVOŘÁK
The winner will have their composition featured inside the Scores section in a future Minuet op 28 no 1
issue of Pianist and on the covermount CD, and will be interviewed for the magazine
by editor Erica Worth. Your piece will be seen by thousands of readers around the world! 42 HAMILTON ARR. WEDGWOOD
Cry Me A River
THE RULES Format of arrangement Deadline for entries
You can compose in any Monday 4 May 2015. Winner will
44 SCARLATTI
software program you wish be notified by Wednesday 1 July Sonata in D minor L423 (K32)
Eligibility
You can reside anywhere in (Sibelius, Finale etc), but make 2015. One entry per person please.
the world and can be any sure to convert it into a PDF 45 KEYBOARD CLASS
age, nationality, and of any file before sending it in. Or you Judges Two-part writing in the right hand
profession. However, you can compose straight on to The entries will be judged by
manuscript paper (please make
cannot derive your income from a panel of experts, including 49 TCHAIKOVSKY
composing/arranging. sure it’s legible!). Pianist Editor Erica Worth, May from The Seasons op 37a
ABRSM Syllabus Director Nigel
How to submit your entry Scaife and Ronnie Scott’s house
Style and length of 54 DEBUSSY
You can submit your entry via pianist James Pearson.
arrangement Danseuses de Delphes, No 1 from
either of these methods:
Your arrangement should be
As a PDF by email to TO ENTER BY POST
Préludes Book I
based on a piece that’s already
established – whether it be editor@pianistmagazine.com Send your entry to: Erica Worth,
classical, modern, jazz, blues, As a PDF in the post to the Pianist Composing Competition, 56 RAVEL
rock, folk, musicals, other. It can address opposite Pianist, 6 Warrington Crescent, Menuet antique
be in any style you like. It should As manuscript paper by London W9 1EL. Please include
be written for solo piano and for email scan and send to full contact details. (Please mark
any level (easy, intermediate, editor@pianistmagazine.com on the entry if you do not wish Typesetting by Spartan Press
advanced). The length should As manuscript paper by post to receive information by post, Music Publishers Ltd
not exceed 64 bars. You are to the address opposite telephone or email from Pianist.)
welcome to submit a sound file
Any queries, please contact
Quick guide to
with your own interpretation, Note: Please also make sure
to accompany the entry, if you to include a brief note about editor@pianistmagazine.com UK/North American
like, but it’s not imperative. yourself, and don’t forget to or telephone the below number note value terminology
Recordings cannot be returned. provide your contact details. +44 (0)20 7266 0760.
w = semibreve/whole note
h = minim/half note

WWW.PIANISTMAGAZINE.COM q = crotchet/quarter note

e = quaver/eighth note
For a full list of Scores from past issues, go to www.pianistmagazine.com x = semiquaver/16th note
Tel: +44 (0)1778 392 483 E: backissues@pianistmagazine.com y = demisemiquaver/32nd note

p27_Scores_Intro-FINAL.indd 23 10/03/2015 09:09

 TRACK 1
Heinrich LICHNER (1829-1898) BEGINNER
On the playground, No 2 from Little Leaves, Little Flowers op 64

The little-known 19th-century German composer, pianist, organist and teacher Playing tips: This is a lovely, sprightly little piece that requires nimble and even
Heinrich Lichner was born in Silesia. He wrote many works for the piano, and was fingerwork. We are sure that once you have mastered it, you will enjoy playing it.
especially noted for his sonatinas. Like many of his Romantic contemporaries he No pedal needed.
composed many works for children that are based on childhood games and stories. Take a look at the technical tips within the score.

Allegro q = 126

f.. f..
Allegro q =
Start off by practising
f
Try to keep rhythmically in time. Using Keep the RH wrist loose for the
126
f1 f f™q =
2Allegro f f f
q=
f™ f f f #f nf ™ f
Allegro 126 3 4
ff f
1 repeated notes.This will avoid tension. 1
very slowly, hands a metronome might help at first. 3
& 422 ff ff f™ ff ff ff.. ff.. ff
126 2

ff ™™ ff ff ff #f nnff ™™ ff
4

f™ ff
1
separately.
f

{{
& 42 f ##ff
3 2

f f f™ f
4

f f
1 1

f™ f f f nf ™ f
& 44 pp
3

&
4 2
f f
1 1
2

Key of C major (no

2 pp
sharps or flats).

& 422 ‰‰ ‰
‰‰ fff fff ‰
‰‰
‰
‰‰ fff fff ‰
‰‰
‰
‰‰ ffff ffff ffff ‰
‰‰ fff fff ‰
‰‰
& 42 ‰ fff. fff. fff. fff. fff. fff.
& 44 ‰
& ‰
ff.. ff..
‰ ‰
ff.. ff..
‰ ‰ ff.. ff ff.. ff ff.. ff ‰ ff.. ff..
‰
. . . . f.. f.. f.. . .
1 1
3
1 2
5 1
3
1 5
2
1
5
1
3 5
1
2
3
5 Ensure that the three notes within the LH chords 2
5
5 5
sound out, and that your fingers hit the keys at the
same time.The notes should be of equal weight too.

f f.. f.. f..

5
f™ ff f f™ f f f f f #f nf ™
ff..
5 4 4

& fff ™™™ ff f™ ff ff ff ff ff ##ff ff.. nnff ™™ Jff..

5 4 4

{{
& f™ JfJ
5
f f f
4 4

& f™ f f
4
f f #f f nf ™
4

& J
& ‰‰ fff fff ‰
‰‰
‰
‰‰ fff fff ‰
‰‰
‰
‰‰ ffff ffff ffff ‰
‰‰ fff fff ‰
‰‰
?
?
&
& ‰ fff. fff. fff. fff. fff. fff. ?
& ‰ ff.. ff.. ‰ ‰ ff.. ff.. ‰ ‰ ff.. ff ff.. ff ff.. ff ‰
ff.. ff.. ‰ ?
. . . . f.. f.. f.. . .
Again, keep the RH wrist loose

f.. f..
here, or it will tense up over the

f.. f.. f.. f.. f #f #f f f #f f.. f..

next seven bars. In bars 10-11, don’t miss the crescendo 3and descrescendo markings.
nf
9 5

f f #f f f #f f ff.. ff..
4

f f ff.. ff #f #f ff ff #f
1

nnff
9 5

& ff ff.. ff.. ff.. ff ff.. ff..

3

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

4

ff ff
1 5
f
9
f f

{{
&
3

f ##ff f ##ff
4
f nf
9 5

f
1 3
f f f f
4

& f f f f f
1

& mf
mf
f f ff f f f f f f f
#ff
mf
ff ff ff ff ff
? #mff ff ff ff ff ff ff ff ff ff ff ff ff
?
? ##ff f ff f ff f ff f ##ff f ff f ff f ff f
? #f 2
5
2
3
5
3
f #f f
5
2 5
3
2
5 3
5
5 The LH above has a new style.Try to make
5 the notes more legato, with
a slight emphasis on the first beat. As with the RH, the LH should build to Lower the dynamics at the end
a crescendo to the end of bar 10, then decrescendo again. of bar 16.This is the beginning

f..
of a new phrase.

f.. f.. f.. f.. f #f #f f ff.. f.. f™ nf nf

13 3 3

f #f f #f
3

f f f f ff.. ##ff #f ff f nnff

4 1 2 1

ff ff.. f™ nnff
13
& ff ff..
3

ff.. ff..
3

##ff ff ##ff
3

ff ff ff ff f™
1

#f ##ff f
4 1 2
13 3 3

{{
& nf
3
f f f™ nf
13 4 2 1
f
1 3 3

f #f f f #f
3

& f f f f f f
4 1 2 1

& p
p
f f f f f f f
? #fff
ff
#fff
ff ff ff ff ff ff ff ff ff ff ff ff p
‰
p
? # ff ff ff ##f ff ff ff
?
? ##ff
f
f
f ff f ff f
#f
f
f
f ff f ff ‰‰ &
&
‰ &
&

28• Pianist 83

P28 Scores LICHNER-FINAL.indd 28 10/03/2015 09:19

 TRACK 1
Heinrich LICHNER (1829-1898) BEGINNER
On the playground, No 2 from Little Leaves, Little Flowers op 64

ff ™™ ff ff ff... ff..
17
17
ff ™™
Below is an identical return of the opening.Try to make it a little different this time – try ff ff ff ff ff ##ff nnff ™™ ff ff
& f™ f f f.
17
17&
slightly different dynamics or a different (perhaps bolder) spirit.
f™ f f f #f nf ™ f f

{{
f f f
& f™ f.
f f f™ f f f f f #f f. nf ™ f f
&
& ‰‰ fff fff ‰‰ ‰‰ fff fff ‰‰ ‰‰ ffff ffff ffff ‰‰ fff fff ‰‰
&
& ‰ ‰ ‰ ‰ ‰ ‰ ‰
ff.. ff.. ff.. ff.. ff.. f ff.. f ff.. f ff.. ff..
& ‰ fff. fff. ‰ ‰ fff. fff. ‰ ‰ ff. f ff. f ff. f ‰ fff. fff. ‰
. . . . . . . . .

This is where the piece ends

ff..
(on the repeat).

ff...
21
ff ™™ ff ff ff ™™ ff ff ff
Fine
ff ff ##ff f. nnff ™™ bb
21
& f™
Fine
21
f f f Fine
21& f™ f f #f nf ™

{{
f f f Fine b
& f™ f f f™ f f f f. f.
&
f f #f nf ™ b
& ‰‰ fff fff ‰‰ ‰‰ fff fff ‰‰ ‰‰ ffff ffff ffff ‰‰ fff fff ?
? bb
&
& ‰ ‰ ‰ ‰ ‰ ‰ ?
ff.. ff.. ff.. ff.. ff.. f ff.. f ff.. f ff.. ff.. b
& ‰ fff. fff. ‰ ‰ fff. fff. ‰ ‰ ff. f ff. f ff. f ‰ fff. fff. ?
b
. . . . . . . . .

A new section appears here at bar 25. It is

ff..
a variation on the opening theme.

ff.. ff ™™
25 5

JfJ. ff
4

bb f ff ™™ ff ff
25 5 3

JfJ.
1 1

& ff ff ™™ ff ff ™™ f™
4
1 25 1 5 3

& Jf. f
4
f™ f

{{
f f
&b f
1 1 3

f 25 f ™ Jf. f f™ f™
5

J f
4
f™ f f
& b mf
1 1 3

f
mf f f™ J f f™
?
mf fff fff ff ffff ff ff fff fff
? ‰ ‰‰ ‰‰ fffff ‰‰ fff fff ‰‰
? bbb mf‰‰
fJff fff ffff fJff fff
‰ fJfJf JfJ &
‰ JfJ ‰ ff ‰ JfJ &
?b ‰ ff fff J fff fJf ff ff fff &
‰ J ‰ f
J
‰ f
J
‰ J &

The words ‘D.C. al Fine’ below mean to return to the

Build up a crescendo in both hands. Notice that both the hands are beginning and play through to the ‘Fine’ at bar 24.
now playing quaver staccato notes.Try to keep 100% in time, and
keep the notes even. This should sound cheeky and joyous! D. C. al Fine

ff... ff... ff.. ff.. ff.. ff.. ff ™™

D. C. al Fine
ff ff ™™
ff.. ff..
29
ff ff ##ff ff
4 D. C. al Fine
bb f. f. nn
4 3

f. f.
29 1

f™
1

&
4

f f™
4 3

f. f.
29 1

f #f
1

& f f

{{
4

29 b f f n
1 4 3
D. C. al Fine
f. f.
1

& f. f. f™
f. f. f. f. f f #f f f f™
4

&b n
1 1 4 3

& bb ff ff ff ff ff ff ff ff nn
&
&b ff. ff.. ff. ff.. ff. ff.. ff. ff.. ff ff ff ff ff ff ff n
f.. f.. f.. . f.. .
ff. ff.
f f f
&b ff f n
1 1

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

. .
1 2
f
3
1 1 3
1 1

. .
5 5
f. f. f f f
5 2
1 2
f. f.
3
1 1 3
1 2
1
5 5 2 5 2
3 3 2
1 1
5
1 5 2 29• Pianist
5 83 2
1 1
3 3 2

P28 Scores LICHNER-FINAL.indd 29 10/03/2015 09:20

 TRACK 2
MARK GODDARD BEGINNER/
INTERMEDIATE
Ragtime

This piece is the final work in a new album published by Spartan Press called
Good Times Past (SP1300), which comprises a series of nine short and contrasting
piano pieces, in a light, yet essentially modern idiom. Each piece presents a different
challenge, with the emphasis on fun. Glancing affectionately back in time, to an era
of traditional pastimes and board games, these pieces were published on the occasion
of Spartan’s 25th birthday, and are inspired by a set of flute duets written in 1982,
which eventually became Tricks and Games – Spartan’s first published book in 1990.
Playing tips: It’s all about rhythm. Don’t play too quickly and try for a bit of
humour. Think Scott Joplin! The LH has the regular pulse (with moments of fun,
such as bars 16-17) – make sure to keep it steady. Pay attention to the staccato in
both hands, and try to make each note have the same hand-weight. No pedal is
required. It’s a fun piece!

% . f. f f f f f f f.
f f f. f f
Not TOO fast 5

. .
4

4 f TOO . . # f
2

F ™
4 1 5

&4 J f1
f f f F
1
™ Œ % . f f f f f f .
J f f f f. f f
Not fast
f. f

{{
5

. #f. FF ™™
4

4 f. TOO .ffast
4 1 2 5

f f Π%f. f. f f f f f f f.
& 4 mfJ
1

. f f f. f. f
1
Not
J
5

. . FFf. ™™ bf. f. Œf. %f. ff. . .

4

4 . TOO ..fast #
2

. .
5
f f
4 1
f f f
cresc.
f f
? 44 mffJ f fJ f. #f. cresc. f. f. f ff f f f f f. f f f
1

&
1

.
Not 5

{{
4

4 Jf. f Jf.. f. #f. FFf. ™™ bf. f. Œf. ff . . . . f

. f . f ff. f
4 1 2 5

? 44 mfJf f Jf f #f cresc. . f f f
1

&
1

ff
f f f f f
. . f . . f ff.
? 44 mfJf f Jf. f. #f. cresc. f. bf f. f. . .
4 1 5

. ff ff f. ff
5
2

f . . . .
J J . . . b . f. . . f f. f f f. ff.
4f 1 5

? 44 .f f f. f f . #f f
5

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

f . ff
5

f f ff. f f .
5 3

ff ffJ ff ff J f ff F ™
3 4 3
5 4 1 5 2
f f
25 3 2 2 1
f Πf
1 2 2 1 1

5&
1

F ™ . .
ff. ff ff ff ff. F ™
f
f. f f f f f
5

{{
f f f f f f
3 45 5 3 4 1 5 3
2
f f
2 3 2 2 1
f Πf
1 2 2 1 1

5& f . . f f f..
. ff ff ff ff.. F ™ f.
5 1

. . . f f f f f ff. f
4 5 3 3

.
3

b f b f f
2
f . f f f . f
2 3 2 2 1
f f Πf
1 2 1 1

? f F ™ f f f f f
bff. ff ff.. ff ff. ff ff.. F ™ f. f. f. f. f ff. f f. f fff..
5& f f f.
1

Ff ™
5

{{
. f f. f ff. f
3 4 5 3 3
2 3 2 2 2

b b
1

. Π.
1 1 1

f
2

& f f f
1

? bf F
f ™ f f . f . f f f
b . f. . . . f. ff bf.. f
f f. f
f . . f. .
? bf . f f f . f .
f
f . . f
f
f f
f
. b f. f. .
f . f
f . f
f b .
f
f
f .
f
f
f . ff. f. ff.
9?
bf. f b f n f f f.f f. FF™™ f f. f. f. f f f f f f f. f f f. ff f f f. f. f f f #f 4 2

Πf
9& b n . ™ . f f . .
f. f f f f f f f f f f. f f f f #f
F f f f f

© 2015 Spartan Press Music Publishers Limited. From SP1300 Good Times Past, used by kind permission of the publishers.
{{
ff f f f f f F™ 4 2

Œ
f. f b ff. n f f. f ff.. FF™ . bf. . . f.. ff.. f f ff. . f ff.. f f f. f. f bf. f ff. f f. f ff. #f
9& ™ f f 4 2

f
9?& ff f b ff. n f ff f f. F ™ f Œf ff. ff. f ff f ff f f ff. f f f. ff . ff f. #f

{{
f . f. F™ . . f. Œ. . ff . . . . . . f bff. f f . f f
f f
4 2

&
? . f b f f
f . f
f f
f
f
. ff. f
. .f f. bf. f. . . ff. f. ff. . ff. f. ff. bf. ff. . ff.
f f f f
? f f. f .
f f
. . f . f . . f f.
. . f. . . f
. f. f fb Fbf f. F f. f. Fff f ffff ff. . ff f. ff bf.
14? f
f f . f
f
5 4

f #f f F f f #f .f f f #f f nF ™
4

F FF . ff
3 1 2

F
1

‰ J
Fine
14& F fff f f f. f f. f f #f f. F ™™
F™ ŒFine
f #f f b FF
5

FFF
4

{{
4

F #f nFF ™
3 1 2

F
1

& F f # f f. f #f f b F‰ J F f . .
.. f f #f f. nFF ™™ ŒFine
5

F f f
4 4
14
F f f #
1

f f
2

‰ Jf Œ f b FF ff F f. FF f f #f fff. f f. f. bf f f. ff ff nf ff. FFf. ™™

3

? #nffF
F F f f
1

& ŒŒFine
5 4

. # #
14 4

b n

{{
# n
1
f f
f . . bf f f. f f nf f. FF. ™™ . f. Œ
f f f ™
3 2

# f f # f f‰ J f f
F F f f F
1

F. . f.
? nf
& . f f f # f f f f
#nff f # f f Œ bf. f nf. f. f f #f f. . bf f f. f f nf f. . f. f Œ
1 2 1 2 1 2 1

? f. Œ bf. ff nf. . f f f . f f . Œ
# f # f . . bf f f . nf . . f.
1 2 1 1
f f f f
? nf
2 1 2

Πbf f nf f f f f # f f f f
1 2 1
f 1
f. f Œ
. .
2 1 2

1 2 1 2 1 2 1 .

30• Pianist 83

P30 Scores RAGTIME-FINAL.indd 30 10/03/2015 09:21

 TRACK 2
MARK GODDARD BEGINNER/
INTERMEDIATE
Ragtime

f f f. f.
Trio
f f f. f. . ff ff f #f.
4

f f f f f
3
19 2 3 4 5 1 1

f
4 2

& f f f#f
1 3
ff f f
1

{ ? f
.
mf
ff
f.
ff.
f.
ff
f.
ff. f. f
f.
f.

w- f nf f. f.
5

f f nf #f
3
f
22 2 4
1

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

& f f . .
.

{
.
? f. f f. f. f f. f. f f.
f. f. f.

. w
ff ##ff. ff ff nff ff
4

f f f f ff ff ff ff f f
f f nf
2 3 3 2 4
25
f f
1 1 1 2

.J ‰
1 4 2

& f
2

. .

{ ? f
.
ff.
f.
ff. f. ff.
f.
ff. f f
f
f

f f f
F- FF-
4 5

f f f f f
3 2 4
ff
28 2 3

f f ff ff f F ‰ fJ #f f nF
2 1 1 1 4 1 4 3

& f f f #F
1

f f

{ ? f
.
ff.
f.
ff.
f.
f. f.
f. f
f F f. ff
nf.
f.

.
ff f ff ff. f f f . .
4 3

ff ff ff ff ff f f
1 5 4 2 3 4 5 D. S. al Fine
32 1 1 1 3 3

Πb
1 1 2

F™
1

& f f f

{ ? f .
f. f f f . f.
f F-
F f. bf. f. f. b

31• Pianist 83

P30 Scores RAGTIME-FINAL.indd 31 10/03/2015 09:21

 S
MIS
DOMN’TANIE
E
SPAN
L
SWIC
ON
K’S
Peter Nicolai von WILM (1834-1911) BEGINNER/
LESS
TRACK 3
IECE INTERMEDIATE
HIS P
ON TPAGE To begin with, No 1 from 24 Pieces for the Young op 81
22

Peter Nicolai von Wilm was born in Riga, which was then part of Russia but is today
the capital of Latvia. Wilm studied in Leipzig, returning to Riga to start a career as a
teacher and composer that later took him to St Petersburg and Wiesbaden. He wrote
many pieces for piano, including duos and works for four pianists.
Playing tips: This tender piece should sound seamless. The LH is the calm
accompaniment, and the RH the beautiful melody. Make the melody sing – press the
fingers deep into the keys and follow the phrasing. Try to adhere to the suggested
fingerings too, as they will help you produce a nice legato. Notice all the changes in
dynamics. The second section, which starts at bar 9, should be repeated.
Pedal tips: There are some suggested markings on the score. Only start adding those
small moments of pedal once the notes are secure.
Read Melanie Spanswick’s step-by-step lesson on this piece on page 22.

Moderato q = 100-104
f
4

f f
3 5 3

f
1 3 5 2

&c f
f f f ffff
2 1 1

f f™
4 3 2 5
f F
2 1 4

J f

{ p

& c f f f f f f f f f f f f f f f f f f f f f f f f #f f f
3
1 4
1 2 f f
1 3 1
5
1 3 1 2 1
2
3 4
1 4
1

5
1

5
1

5
1 2
4
1
Œ

f
5 1 3
f
3 3 5

bf f nF
4 1 4 1 2 1

& f f F
5
f f f
1

F f

{
p cresc. f

& f f f f # f f nf f f f f f #f f f #f f f f nf f f f f f f #f f Œ
1 1 1 2 1 3 1 1 2 1 3 1 3 2

°
2 3 3 2 3 4 5 1 1
4 4
4 4 3

nf
4
f
9 5

f
2
f f
5

f F f
3

& ™™ f f
3 1

f
4 3 2 1

{
p cresc.

& ™™ f f f f nf f f f f f f f f f #f f f f f f f f nf f
1 1 2 1 3 1 1 1 1 1 1 2 1 3 1
5 4 5 1 4 5
4 2
5

32• Pianist 83

P32 Scores WILM-FINAL.indd 32 10/03/2015 09:21

 TRACK 3
Peter Nicolai von WILM (1834-1911) BEGINNER/
INTERMEDIATE
To begin with, No 1 from 24 Pieces for the Young op 81

12

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

F F

{
f mf

& f f f f f #f f ‰ nf #f f f f f ‰ nf f f
4
#f 1
5
1 1
f f f f 1 1
f 1
1 1 2 1 1 1 2 1
2 5 3 5 3
5

f. bf
5 4

f.
15 3 2

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

#FF
& ff f f f f F
1 3 2

f
f f

{ &
dim.

F
5
f
4
Œ
p

f f f
°
4
1
5
Πf f f f f f f f f f f f f f f f
3
1
4
1 2 1 3
1
5
1 3 1 2 1
3
4

19
f F F
3 5

f
5 5

F
1 1 1

& F F

{
cresc. f dim.

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

1 1. 2.
22
f f
4

f f f f f f f Œ
5 3 4
f ™™ F ™
2 2

& f
3 1 3 1 3 1
f

{
p p

Œ Œ Ó ™™ ? f Œ
& f FF ff ff f
5
F 1 1
1 5

1 3 3
2

°
5

33• Pianist 83

P32 Scores WILM-FINAL.indd 33 10/03/2015 09:21

 TRACK 4
Cornelius GURLITT (1820-1901) BEGINNER
Little pastime from Children’s Garden op 179

Cornelius Gurlitt was born in Schleswig-Holstein on the Danish-German border, and Notice that the rests are in different places in the RH and LH – this will take time to
made his career as a composer and teacher in both countries and in Italy as well. This get used to and we suggest practising hands separately. The little hairpin crescendo
piece comes from his volume of 24 pieces, Der Kindergarten (Children’s Garden). and descrescendo markings will add colour. No pedal required.
Playing tips: This piece needs to sound nice and light, with a skipping quality to it. Take a look at the technical tips within the score.

Try to find a nice calm
Allegretto tempo. Not too
slow, not too fast.
#6
Imagine that the RH is elegantly skipping. Keep the wrist supple
and lift the hand away from the keys for the quaver rest.
Allegretto q. = 104
Even though there are no phrase markings, think in long phrases.The first
phrase goes all the way through the first four bars and tails off at the end.
5 4

& 8 f ‰ f f ‰ f f ‰ f f ‰ f f ‰ f f ‰ f ff ™™ ‰
5 4 2 1 3 3 2
3

ff

{
In the key of
G major (just the
one F sharp). mf
f f f f f ‰ f f ‰ f f f f #f f nf f
? # 68 f ‰ ‰ f ‰ ‰ ‰
5 1 3 4 5 4 2 1
There should be a down/up movement with the Bring out this little bit of
LH quavers. And remember to take the hand off melody in the LH above.
the keyboard for the quaver rest.

Lift both
# j
f ‰ fj f j
hands here!
f ‰ f
& f ‰ f f ‰ f f ‰ f ‰
3 5 4 2 1 4 2 4 3

f f™ f

{
Both hands to hit the
notes simultaneously.
f f f f f ‰ f f ‰ f fff™™™ fff
?# f ‰ ‰ f ‰ fJ f J ‰
J
5 3 4 5 4 3 2 1
Round off the phrase with
a slight decrescendo.
Try to join the RH chords as much as you can.The suggested
fingering will help. It should sound smoother than the opening. Within the space of one bar you have to go from soft to loud.

#
2 3 2 2 3 2

bff ™™ f ‰ bff ™™ f ‰
1 5 5

& ff ™™
1 1 1 1 1

ff ™™ ff ™™ ff ™™

{
cresc. p f

? # ‰ #f
f f f #f f #f f f f #f f
‰ ‰ Œ™ ‰ ‰ ‰ Œ™
3 2
Start off softly, as you need to prepare for a crescendo.

We are now back at the opening theme. Come to an end smoothly, with a slight decrescendo.

# nf ‰ f f ‰ f j
f ‰ f f ‰ f f ‰ fj f j ‰
3 3 4 2 4 3

& f f™ f

{
mf
f f f f
?# f f f f f ‰ ffJ f ffJ fff™™™ fff
‰ ‰ ‰ f ‰ J ‰
5 2 1 1
4 3 2

34• Pianist 83

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 TRACK 5
Edvard GRIEG (1843-1907) INTERMEDIATE
Elfin Dance, No 4 from Lyric Pieces op 12

The 66 short piano pieces comprising Norwegian composer Edvard Grieg’s Lyric Pieces
are spread out in ten volumes, with the last one appearing in 1901. The Elfin Dance
(Alfedans in Norwegian) is in the first volume, which was published in 1867.
Playing tips: As suggested by the title, this piece should sound light and mischievous.
It’s marked ‘molto allegro’ but it must never sound hurried. Find a speed that you want
to achieve – remember, you should build the speed up gradually over time. You will
need agile RH fingers. And try to voice the chords. The music should just die away in
the end (don’t slow down though).
Pedal tips: Very little pedal is needed, as all the staccato and lightness must be heard.
Just some pedal here and there where more legato is needed (e.g. bar 29).

.
Molto allegro e sempre staccato
. . . . .
5
5 2

# 3Molto f f #f f ff ff ff
2 1 2 3 1

f efsempre
f fallegro f
1
f f f f ff ff f
& 4 fff. fff. ff. fff. fff. f f fff f fff .
staccato
ff ff
5
f

{{
f
5 2

# 3Molto ff Œ staccato f Œf # f Œf ff ff ff
2 1 2 3 1

f f ff effsempre ff f ff f ff f ff ff ff ff
1

.
allegro
& 4Molto f f f
1

ff. ffallegro
f f f f
1 2

. f. ef.sempre f. staccato
5

f f f f
pp 3
5 4 2

? # 433pp ff ff ff ff ff Œ f Œf # f
fŒ. ff ff ff
2 1 2 3 1
1
f ff f ff ff ff f
. . . . . f
5

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

ff ff
1
5 2

f Œf # f
2

f ff ff ff

{{
# 3 ff ff f ff ff Πff f
3
2 4 1 2 3 1

f f ff Πff ff ff
? # 3
1

& 44pp ff ff ff ff ff f f f
ff f f
ff ff f
1 2 1

Œ Œ Œ
3 4
3

# fff? #fff3pp #f f f f f #f f #f f f f
2 1 5
6
f f
1
ff ff
ff ff
11 2

& f f4 f ff
1 2 1

f # ff fF f fff
3

ff ff f f
4

f ff ff

{{
? #3 f f 3
f
# fff fff4 Π#f f f f f #.f f #f f f f ff ff Πf
2 1 5
6 1 1
ff f f 2
ff ff
1

& f f f f
1
f f# ff fF 2
f fff
1
3
ff ff
ff ff f
f 3
f
pp
? # ffff ffff fŒ #f f f ff f #.f f #ff f ff f ff ff Œ
fz
2 1 5
6 1 1
ff f f 2
ff ff
1

6& f #f ff ff ff ff f f
ff
23 1

# ff fff Π#f ff f ff ff #.ff f #fzFf f f f

1

{{
f ff
2 1 3
5
pp
ff ff ff ff Πf
1 2

?
&# f f f
1 1

f f# ff fF f fff ff ff
ff ff f
f f . f
1
f
Œ Œ
2 5

.
1 3
2

#
pp
f ff ff ff ff ff
fz
?# f f f f f f f f f f
11 1 2 3 1 2

fz f ff ff ff ffpp
1

f #f ff
1
f ff ##ff ff 1

.
1 2

& f
3

f f f f
5

f f

{{
?# f f f f f
2

# f fŒ # f Œf fff fff fff ff ff Œ .

11 1 2 3 1 2

f f f f ff ff f #f ff f ff ff##fff f
1 1

11& f
ff fff fff . f f f
1
2
ff 5 1

f
4 2

? # fŒ # f Œf. fff fff fff ff ff Œ ff f##.ff f

1 2 3 1 2

f f f f
f ff ff f #f ff
1 1

f
51

& fff ff ff ff ff ff f 2

#
2

f ff ff f f
1

{{
# f f f f
11 3 1
f ff ff ff Œf #f f f fff f##.ff f
4 1 2 2

f f f f f ΠΠff ff
1

? #
1

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

ΠΠΠ.
1
4
3

? # #ff f ff f ff f
16 1 1

f bf f f f f f bf f f Œ
2 1

& F
4 1

f f

{{
16? # f
3

# #f f f f f f f
1

& fzF f f f . . . . . f f f. bf f f f f bf f f Œ
pp 1

f.
ff. # ff. ff.
2

#f
5

f f
3

? # #ff f ff f ff f f f f f f ff pp f f f
2
16 1

16& fz . . f. . . fŒ f f bf f f f f f bf f f ŒŒ
1

f f.
# f. bf . . .
23
F

{{
# #f f ff f ff f f f f fff f # fff bf fff f ŒŒ
1 5

f f pp f
2

?
& # fF f
f. f. f. f. f. fΠf
1 4 3

f f
1
2 5
f 4

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

2
5

ff
.f ff. f. ff. ff. Œ
fz 2

? # fz
pp
Œ
4 3

f f.
1

# f. ff. # ff. ff.

2 2
5 4 5

f f ff f f f
2

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

35• Pianist 83

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 TRACK 5
Edvard GRIEG (1843-1907) INTERMEDIATE
Elfin Dance, No 4 from Lyric Pieces op 12

#
21

&# f ff bbff bf bf ##ff

1
21
f f f f f f
1

f f f bf f
1
f bf #f f f f

{{
&# f f f f f f
21 1

f f
21
f f bf f f f bf f bf
1

&# f f f f f
1
f f f f
1

f f
21 1

f f f bf f f f bf f f1

f. #f
bcresc.
& f .. . . . f f f f. f ff. f
1

f
pp
. f # f. f. ff. # fff.. ff. f
f.. . f.. f f. f.
f.
5 pp

f.. ff.
f.
? # <n>
ff f
# f.. f.. f.
2 cresc.
f f.
pp
# f. f. f.
5

Πf. Πff.
pp
<n> ff. ff.
2 cresc.
? # <n> ff. ff. ff. # f. # f. ff.
cresc.
f. ff.
5

Πf. f. Πff.
5 pp
<n> ff ff
2

? # <n> f.
2 cresc.
ff ff ff Π#f f ff # ff Πf
5

<n> ff ff
2

?# f <n> ff f f
3
f f
1
f f
Œ Œ
4

f f
5 5
2

<n>f f f f f
4 4 3 1
5 5
2 4 3 1
4 5 4 3 1
26 2 5 5

26 #
2 1 3 5
4 1

f ##ff
4

f f f f f f f ff f ff f f
26
#f nf
4 5

f #f nf f f
2

26& # f #f
5
f #f
2 4 4

f f f
1 3 1 2 1

f f f f f f f f f
26
nf
4 2

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

{{
4

& f #f f f f f f f f #f f f
1 3 1 2 1

f f
1

f f #f nf nff f f
2
f f f f #f f f f f
2 4 4

& # f #f f f f pp f f f f #f f f
3 1 2 1 4 4
f f
1 3 1 2 1

f f #f nf nfff. f f f f f f f f f
2

ff. ff. #ff. ff. ff.

4 4

& ff. ff. ff pp ff ff ff ff ff

3 1 2 1

? # bb ff.. f.. bfff.. ff.

ff. f..
ff f.
ff.
f.
ff.
f.
ff. f pp f f f f f
bff.
pp

? # b f. ff. Πff. ff. ff pp f f ff ff ff

? # b ff ff Πbf f f. f. f. ff fff fff ff ff ff
?# Πbf 5 2 f3 1
f f f 1 2

Œ °
4 5 5
5 2 3 1 1 2

°
4 5 5
5
5 2
2 3
3 1
1 1
1 2
2

° . . . .
4
4 5
5 5
5

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

° f.. ff.. ff.. ff..

5 4 5 2 5

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

5

#
2 1 2 3 1
31
f
5 2

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

ff ff
31 1
f
2

f
5

ff. ff
2
ff. ff. ff. ff. f f ff
5
f
1
fff fff
3 1
5
f
2

{{
ff ff ff f f
2

&
31 1 3 1
f
2 2
f
31 1
ff
2
fŒ
5

fff fff fff fff ff f ff f fΠ# f fΠff

1

&#
1
ff ff fff fff
3 1
f
2 2
f
31 1

fff fff ff fff fff fΠ1

ff f ff f ff f ff ΠΠf f f
&
1

f fΠf ΠΠf
1

f f f f f f f f
3 1

f Œ Œ Œ
1

?#
3 1
1
1

?#
1
3
3 1
1

?#
3

?#
. .
ff.. ff..
3

#
36 2 1

f f #f f #ff f f f
f ##ff
3

ff. ff. f ff ff ff
1

&#
1

ff##ff
36 2 1

f f #fFf f f f
3 1

fff fff f ff ff ff
1 3
f
1

ff###.fff

{{
&# f
2
f #f
36 2 1
1 1
36
fΠf f #fFfF f f f
1 3
f
1

ff ff f ff ff ff f
1

&#
1 2 1 1
36
f ff #.f f #ff f f f
1

ff ff fŒŒ #f f ff ff ff f
1
f
1

f# .ff . . . .
f pp
&
1

f F f . f
2

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

1

f
f5 pp
f
Πf f..
fz
2 2

.
1

?#
ff5 pp
pp
ff. ff. ff. ff. Œ
1 fz
2 2

?#
1 2
f55 pp
fz
ff. Œ
2

?# f f f f
1 fz
2 2

ff Œ
5

ff ff ff ff
fz 2

?# 2
ff Œ
f f f f
4

f
2
4
2

#
2
41 4
4

& ## f bbff f bbff

Πf ff bbff
2

f f f f f
41 1 4
f f Πf f

{{
& f bf f f f f f f f
41
41 1

f f f bf Πf f f
& # f bf f f f f bbff
1

f f f f f
41 1

f f f f f bf f f Œ
f
. . . . f
pp
f f f f
& f.
1

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

<n>f.. f.. f.. f.. f
f5 pp
#f
f..
f. f.
? # # f.. f.. f.. # f.. f..
2
ff5 pp
# f.
pp
f. Π<n> ff. ff. ff. ff. Πf.
2

? ##f ff <n>
f55 pp
ff # ff. Π<n> ff ff ff. ff ff Π# f. ff
2

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

2

# ff Π<n> ff Π#f
5

f <n>
<n>ff ff ff ff f
2

?# f f
3
f Πff Πf
4 4

f f f
1 5
2

<n>f f f f
5 4 3 4 4
1 5

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

36• Pianist 83

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 TRACK 5
Edvard GRIEG (1843-1907) INTERMEDIATE
Elfin Dance, No 4 from Lyric Pieces op 12

46
#
1
46
bf ##ff f f f f f f
bf f ##ff f #f nf nf
2

& ##
1

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

f f f f
46
f bf f bf #f f f #f nf nf f f f f f f
1 2

f f f #f

{{
f f f f
1

&#
3 1 2

f f f f
46
f bf f bf #f f #f f f #f nf nff f f f f f f
1 2

f f f f f f f #f
1

&
3 1 2

f bf f f bcresc. f f #f f f #f nf nff. f f f f f f f f
1 2

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

3 1 2

f f f ff ff ff. ff.
# fff.. ff. f ff.
f..
f f f bf f bffff.. ff. f.. f.. f.. f..
cresc.
?# #. Πf
cresc. f f bf f Πb f. ff. f. f. f. f.
?# # ff. ff. Πf
cresc. f f bf f Πb ff f f f f
?# #f Πf f f
f bf f Πbf f f f f
?# f Œ f f Œ
3 1 4 3 5 2 1
3 5
1 4 3 5 2 4
1
5 4

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

ff.. ff.. ff.. ff.. ff..

3 3

#
1 4 5 5 2 1 1
51
f
f ff f ff f f ##ff f
5 2 4

f f f
& ##
1
f
5

f f f ff ff
51 4 1
f
1 4

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

2
f f f
1
f
5

{{
f f f f f f #f f f ff ff
51 1

&#
4
f
1 4

f ff fΠf ff
2
f f f
1
f
5

f f pp f f f f #f f f ff ff ff ff ff ff
51 1

&
4
f
1 4

f ff fΠf ff
2
f f f
1

& f pp f f f f f ff ff ff ff ff f ff
1 4 4

ff pp f ff ff ff ff
1
f f ff f f fΠf 2
f f f
Œ
3
1 4
2

?# f 3
1 4
2

?# f pp f f f f f 3
1 4
2

?# ff ff ff ff ff ff 3 4

?#
1 2

°
5
1 5
2

°
5
1 5
2

° . . . . . .
5
1 5
2
5

° f.. ff.. ff.. ff.. ff.. ff..

5 2 5

f f #f
5
1 3

56 #
2 3 2 2 1
56
56 # f f f # f
f f #f f #ff f f f
5 3
f. ff. ff. ff. ff. ff. f ##ff f ff ff ff
3 1 1 1

f##ff
2 2 2 1

56& # f
f f #fFf f f f
& # fff ff Œff ## ff
5 3
f ff ff ff ff ff f ff ff ff
3 1 1 1

ff##ff
2 2

{{
2 1
f #f f f #fFf f f f
3
fΠff ff ff ff ff f ff ff ff
1 1

fΠ#f
3 1

f###..ffff
2 2 1

& ff ff ff f ff ff f f ff f #fFf f ff f ff f
1

Œ Œ fŒ
1

& ff f
1

ΠΠ1
Πf1
f f . F2
f
Œ Œ Œ
1
.
fz 2
f
?#
1
1 fz
2

?#
1
1 fz
2

?# fz
?#
.
. . . . . f..
f## ff
5

61 # f. f. f. ff.. ff.. .
2 2 3

f..
61 1
f
5 4

61 # f. f. f
f f ‰ #f f ff ff..
ff. ff..
f.
2 2 4
f ‰
1 3 1 1
f f# f
2 2

ff ff
1

61& # f
f f ff f
5

nf
4

. ff. ff. ff f f
2
f
2 4
f ‰ #f f f f. ‰
1 3 1 1
f f# f f.
2 2

{{
f ff ff f
1

& # ff ff ff f f ff f
5

nf
4
f fŒ
2
ff ff fŒ
2 4
f fŒ ‰ #f f f f ‰
1 3 1 1
f f.
2 2

ff ff ff f
1

& ff ff f f f ff nf f
4
f
2
ff ff fŒ
2 4
f Œ Œ ‰. #f f ‰
1 1 1

& pp ff ff ff f fff f fff ff fff f f f

ff ff fΠΠΠnf
1 2

ff. ff.. f
3 4

Œ Œ Œ
1 2

? #pp ff. Œ Œ
pp 3
1 4

ff. Œ Œ
2

? #pp ff. Œ Œ
3
1 4

ff. Œ Œ
2

?# ff Œ Œ
3 4

?# ff Œ Œ
Œ Œ Œ Œ
1 2
2 4
2
1

f..
2 4
2
1
2 4

f..
# f4
#
2
f.
1
67 2 2 f #f
& ## ‰ Œ Œ Œ Œ f. Œ Œ
1 2 3

f. f2##ff
67 f #f
‰ ‹f #f ##ff Œ Œ f. Œ Œ f Œ Œ
1 2 3 2

{{
f. ff ff <n> ff ff ff ff ff
67
&#
f #f
‰ ‹f Œ Œ f. Œ Œ f Œ Œ
1 2 3

#f #f
f2#f
f. ff. <n> fff. f. f
67
& ff. ff. ff. ff. f
f#f f
‰ ‹f Œ Œ Œ Œ Œ Œ
1 2 3

& #f #f f. f. f
2

ff. ff. <n> f. ff. ff. ff.

2 3
f f
#f ff. <n> fff. f. f
ff.. ‹ f f..
2

ff. ff. ff. ff.

2 3
ppp
ff.
2

ff. ff. ff. ff. ff. ff.

3

?#
2
ppp
Œ Œ Œ Œ f. Œ Œ& Œ Œ
2 3

?# ff. f
2
2
ff. Œ Œ
ppp
ff Œ Œ f. Œ Œ& ff. Œ Œ
?# f. f. fff. f. f. ff. f.
ppp
Œ Œ Œ Œ Œ Œ& Œ Œ
2
ff
2 3

ff..
2

?# ff f. f. ff. f. f. ff. f.
Œ Œ ° Œ Œ Œ Œ& Œ Œ
2 2 2 3 2

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

° ff.
5

.
2 2

. . . . . f. ° .
2 2 3 5
2

°
5
2
5

37• Pianist 83

P35 Scores GRIEG-FINAL.indd 37 10/03/2015 09:22

 TRACK 6
Johann Nepomuk Hummel (1778-1837) INTERMEDIATE
Study in A minor from Pianoforte Method S157

In an interview in Pianist No 48, pianist Howard Shelley observed that the pianist and
composer Johann Nepomak Hummel was ‘ahead of his time with his lyrical writing and
dramatic writing’. Even in something as potentially pedestrian as this etude, from a
three-volume piano tutorial published in 1838, those qualities shine through.
Playing tips: This short work might be an etude, but it can sound so much more than
that. There’s a grand Bach-like quality to it, what with the wonderful harmonic
progressions. Try to imagine that your fingertips are made of steel, but no harsh sounds
please! Practise very slowly, and keep in strict time – and build up the speed gradually.
It’s a great warm-up exercise. You will need a detached and even quality to the notes. See
the dynamics at bar 6 (p) and also at bar 11. In fact, from bar 11 you should build up a
nice crescendo through to bar 22. The ending tails off softly. Only slow down a fraction
in the last bar. No pedal needed.

Allegro q = 104

3
5 2 4 5

&4 ≈ f f f f f ≈ f ≈ f ≈
5 1 2 4 3 5 2 5
Allegro 2q = 3104 4

#f
1 1 1

f f

{{
3≈ f f f f f f f f 5 2
f f 4 5

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

4f
& Allegro #f
1 2 3 1 1

f f f f
f fq = 104 f f f f
? 43 f≈ f ≈f
5 2 4 5

f ≈f f ≈f
5 1 2 4 5 5
f
3 2 4

& f #f
1 2 3 1 1

F™ q = 104f f f f
? 43 f f f

{{
f f f f f
Allegro
f f f f
3 F™
5 5 2 4 5

& 4 f≈ f f f f f ≈ f ≈ f ≈f
5 1 2 4 2 3 5 1 2 5 4

#f
1 2 3 1 1 5

f f f f f
f f f f f
5

f
2 1

? 43 f
3 5

f
5 5
1
ΠŠffŠfŠ2

Œ
2 4 1

& F fF™ f #f F f

{{
3
F f f f
≈ f f ≈ f f f≈ f #f FF f
5 5

? 43 Œ Œ
1 2 2 4 1

& F
5 2 1

f ff f
5

F F™ f F f f ff
f f f f f
? f fffΠf
f
3
≈F ≈
5 5 5
f ff Œ f ≈
f f≈ ≈
2 1

f f
2 2 4
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 f f f f
5

f f F
3?

{{
≈F
5
ff
f f f ≈ff f 5 1 4

Œ ≈ ff≈ ≈ Œ
1 4 2 1 5 1

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

& #
4 4

F f F
5

F f f f f f F
1 4
f f f f
f f≈ f f ff ≈ f ff f ≈f f f f≈ f f ≈ f f f ≈≈ f f ≈f f ff ff ≈ f ff f
1 4 2 1 5 1

?
4 2 1 5 4 2 4 5 4
6
≈≈
5 5

f
3 5 1 3

6&
1
f f f f f f f f f f ff

{{
f f f f f f f f f fffff 5

≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ff ≈ f
5 3

f f f
3 1

?
& f f f f
1

p≈ f f f ff f ≈
1 4

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

f f f
pf
? f f≈ f f f≈ f f ≈f f f f f f f f f f #f
6 5 1 4

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

& f
1 4 2 1 5 4 4 5 4

f f
5

6?
ff f f f f f f f #f f

{{
f f ff
f f f
1 2 4

f f f
5

≈ ff ≈ff ≈ff ≈ff ≈ff ≈ff ≈fff≈fff≈fff

3 5 1 3

&
1
p
f
1 2 4

f f f #f
5
9
? f f f
3

f
p≈ ≈ #f f ≈ f f f #ff Œ Œ ≈ ≈ ≈
5 5 1 4
f f
2 3 2 4 2

9& # f f ff
1
f f f
5

f f f

{{
f f
3

f≈ f f≈ #f f ff≈ f f f f#ff
3 5

fŒ Œ p≈ ff #f f ≈#ff f f ≈f f f f
4 5 1 4

?
2 2 2

&
1

ff
1 2 4

cresc. ff f
f f f f f
5
f
? f #f f f
9 3

f #≈f #f f f ≈f f f f #≈ff f f fŒ
1 2 4
p
f
fŒ
f≈ f≈ f #f f ≈f f f f ≈f f f f
3 5 4 5 1 4
cresc. 2 2 2

&
1
f # f f
9?

{{
1 f #f f f
≈f f f f
5
3
5 4 2 1 4 3 2 1

≈ f ≈ #cresc.
f f f Šf f f #fff ΠΠpŠf #f f Šf f f Šf f f
4 3 5 4 5 1 5 2 4
2 2

&
1

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

#
4 5 5

? f f
#f cresc. f f≈
f p

f f f f f f
? f #f f f
1 2 1 4 3 2 1

#f ≈f
4

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

38• Pianist 83

P38 Scores HUMMEL-FINAL.indd 38 10/03/2015 09:23

 TRACK 6
Johann Nepomuk Hummel (1778-1837) INTERMEDIATE
Study in A minor from Pianoforte Method S157

12
≈ ≈ ≈ ≈ f ≈ f ≈ f ≈ ≈ ≈
5 2

f f f f f f
12 3 3

& f##ff
1

≈ f ≈ f ≈ f ≈ f ≈ f f ≈ f f ≈ f ≈ f ≈ f
5 2

f f f f f f
3 3

{{
& f f f f f f f f
1
12
f f f f f f f f f f f f f f f f f
≈≈ ≈≈ ≈≈ ≈≈ ff ≈≈ ff ≈≈ ff ≈≈ ≈≈ ≈≈
5 2
12
ff ff ff ff ff ff
3 3

12& ff##ff
1
ff ff ff ff ff ff
5 2

ff ff
3 3

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

f f f f f f
3 3

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

{
? f f f f f f f f f f f
? ff ff ff ff ff ff ff ff ff
?
2 3 4

f f f
2 3 4

? 2 3 f f f f
4 f f
2 3 4
15 5
f f
3 5

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

f f f
2 2 1
15
& f f f f f
f ##ff f##ff
1 5 1
f f f f f
2 3 3 4 5 2

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

f f f
2 2 1

{{
& f f f f f f f f f
1 1
f f f
2
15
f f 3 5
ff f f f ff f f
5

ff ≈ f ff f ff
≈≈ ≈≈ ≈≈ ≈≈ ≈≈ ≈≈ ≈≈ ≈≈
4 2 4 4 2 4 5 2 3
15
ff ff ff
2 5 2 1

15& ff ##ff ff ff ff ff##ff ff ff

1 3 1 5

ff ff ff
2

≈
4 2 4 4 2 4 5 2 3

ff ff ff
2 2 1

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

≈ff f≈ f≈ f≈ f #≈f f ≈f f
4 2 4 4 2 4 5 2 3

f f f
2 2 1

& f f f f f
? f #f f#f
1 1
f f f
2

f f f f f f f f f
#f

{
? f f f f f
ff ff ff ff ff ff ff ##ff
?
?
1 2 1 3
5
ff
f f f f f f
1 2 1 3

? f #f
5

18
1
1
2
2
1
1
3
3 5
5
f
≈ ≈ ≈ ≈ f bbff ≈ f ≈ ≈ ≈ f nnff ≈
5 5 4
f f f
3 2 3
18 3 3

& f
≈ f ff##ff ≈
1 1 2 4

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

≈ ≈ ≈ ≈ ≈ff ≈ ≈
5 5 4
f f f
3 2 3 3 3

{{
f f f f f
5

&
1 1 2 4
18
f f f f f f f
f f f f f f f f f
≈≈ ≈≈ ≈≈ ≈≈ ff bbff ≈≈ cresc. ≈≈ ≈≈ f #f ≈≈ ff nnff ≈≈
5
f f
18 5 4
ff ff ff
3 2 3 3 3

18& ff
1 1 2 4

ff ff ff ff ff
ff ##ff
5 5
ff
3 2 3 3 3 4

& ff ff ff#f
1 1 2 4
ff ff ff ff f ff ff
f≈ f≈ f≈ ≈ f bf ≈ cresc.f ≈ f≈ f f#f f≈ f nf f≈
5 5 4
f f f
2
f
3 3 3 3

& f
4

?
1 1 cresc. 2
f f f f f
f #f f #f f

{
? f f f f f f f f cresc. f
ff ff ff f ff #f f f f f
?
?
2 1 2
ff
5
ff cresc. ##ff 3 2
ff ff 1
ff
f
2 1 2 2 1

? f f
5 3

21
2
2
1
1
2
2 5
5f f #f 3
3
2
2
f f 1
1
f
≈ ≈ ≈ Œ ≈ f bf ≈ ≈
2 5 1 3 5
21 4 2 4

& f f ff ≈ f f##ff ≈ n f f ##ff

5 1 2
F f
2 1 2

≈ ≈ Œ ≈ f f bf ≈
5 5

f
2 4 1
5 3 2 3 2 1 4

{{
& f f
1 2
21
f f f f ≈ff
5
F f f f
≈≈ f ≈≈ ŒŒ f bf ≈ ≈≈ n f f #f
p≈
5
f F f
21 2 5 4 1
5 3 2 4

21& ff
ff ff ≈ f f##ff
1 2

fF ≈ ff bf ≈ ff
2 5 1 3 5
2
ff
4 4

& f #f
1 2

ff F p f ff
≈ nn ff f #f
ff fF ff
5

≈ f≈ ≈ f f#f f ffŒ ≈ f bf ≈f
5
FF f
2 5 4 1 3 2 4

& f
1

? f f
2

f f f≈ f f f f pf f f f

{
? f f f f f f f f f
fn f
f f≈ F f f f
f f ff f f f f f f f f
p
? ff f f≈
f ff ff ff ff ff ff ff ff
ff f
? ff ≈ ff ff p
ff
3 1 1 4 2 1 5 1
ff
4 2 5 4 2

ff f
5

ff ff
1 1
f f
1

?
3 4 2 4 2 4 2 5 1
5

≈
5

f f f f f f f f f
f
3 1 2 1 4 2 1 5 1
4 5 4 2 4
ff f f f
24 3 1 5 1 4 2 1 5 1
1 2 4 4 2 5 4 52 2 5

≈ ≈ ≈ ≈
4 5

f
2 2 4
24 2 1

& f ff ≈ f f ##ff #FF

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

≈ ≈ ≈
41 5
f
3 2 2 1 4 22 1 5 41 1

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

f f
5 4
f
24
f f f ff f f f
5
f ≈≈ f f #f
1 2 4 2

≈≈ ≈ ≈≈
4
f f ff
24 4 5
ff ##FFF
2 2 2 1

24& ff ff
1 2 4 1 2 4 1 5

ff ff ff f f f ff ff
2

p≈
2 4 2 5 2 1

& f #f
1 2 4 1

ff
f ff ff ff ff ff 4
ff
≈ ff f #f F
1 2 4 2 5

≈ f ≈ ≈f ff
4 5
f f f #FFF
2 2 2 1
p
& f f
4

?
1 2 1
f Πf f Πf f

{
? ff f f pf f f f f f
f
f
f Œ Œ pf f f f FF™
F™
?
?
2
f ŒŒ ŒŒ pf
2
ff f 3
2
ff f ff F™
3

F™
?
2

ΠΠf f
2 3

f F™
2 2 3

f
2
2 3
2

39• Pianist 83

P38 Scores HUMMEL-FINAL.indd 39 10/03/2015 09:23

 TRACK 7
Antonín DVOŘÁK (1841-1904) INTERMEDIATE
Minuet op 28 no 1

When this piece, the first of two minuets, was published 1876, Antonín Dvořák was
35 years old and on the cusp of an international breakthrough. That breakthrough
would come in 1878 with the instantly popular Slavonic Dances op 46.
Playing tips: Feel that waltz-like oom-pah pah in this piece, with its emphasis on the
first beat – even lingering on it ever so slightly (listen to the recording on the covermount
CD). The LH jumps are quite wide, so make sure to have your hand ready over the keys
on the second beat. The hardest technical challenge is the RH trills. If they are too tricky
for you, leave them out. If you do choose to play them, a good tip is to prepare your
hand for them before you start and to take time over them, as though they are part of
the melody. There’s a short middle section at bar 10 where it will help to remember to
keep the RH wrist loose for the succession of thirds. Bar 24 sees a gorgeous harmonic
change – so make sure to especially linger on that first beat.
Pedal tips: We suggest dabs at the start of each bar. You will need to work on bar 10
and onwards, to see how much/little pedal you need. Half pedalling here will help.

Moderato

b b 3Moderato f f Ff ™
3 5

&b b 4 f f f f
2

f f f
1 4 2 3

f f f f f f f

{{
b 3Moderatof f
& b bb 4Moderato f f Ff ™
3 2 5

f f f
1 4 2 3

f ff f f f f f
b b 3
p
f f ff f ff f Ff ™
3 5
ff fff ff
& bbbbb 4433 p f f f f f
2

? f f
1 4 2 3

ff F™ f ff f
3 5

ff
2

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

? bb b 43 pf
ff f ff ff ff f ff f ff ff f
f f f ff f f
b pf ff ff ff ff ff ff ffsim.
? bb b 43 ° f ff ff ° ff ff ° ff ff ff
? bbbb 43 f f f ff f m f f f
b ° ff ° ° ff ™
2 4 2

b ff
5

& b bb
sim.
Ff ™ f° f
4
f f m f f f° f
2

f f ° fbf ÆJ f f nfsim. f
2 4 2

f™

{{
° f f° fm f f °
bb b
5

Ff ™ f f f
4 2

4& b bf ÆJ ff f nf f
sim.
ff f
2 4 2

b f f ff m f™
5

? bbbbb Ff ™ f f f f f ff f
2 4 2

bfbf f
ff f ÆfJ ffff ™
2

& nff f
5
4
Ff ™ ff f ff ff f f f
&b b
2

{
f
f f bff f Æf f ff f nff f
? bb b f f ff ff bff ffff J f
ff
f f
b ff ff ff f ff ff
? bb b ff ff ff bffff ffff ff
f ff ff
7 ? bbb ff f f bfff fff ff f f
bb 5
™
2 3 2
m ff
fff
4

b f™ f
& b bb
3

f f
1 2

f
1
7
ÆfJ ff mf f f ÆfJ F ™ f F Œ ™™
f™
5

{{
2 3 2 4

bb f™
3

f f
1 1 2

7& b b Œ
7
ÆfJ f mf f f ÆfJ ppF ™ f F ™™
f™
5 2 3 2 4

b ff mf ff f™
? bbbbb
fff f fff
3

ff
1 1 2

f™ ŒŒŒ
5 2 3 2
™™
4

& ÆfJ f f ÆfJ ppfF ™™ F

3

f f f f f
1 1 2

&b b

{
ÆfJ f
f f f ff f ÆfJ Ff ™ fff fff f Ff ff ™™
? bb b ff ff ff
b f f f
fff
f
fff f
f Œ ™™
ff
pp
? bb b ff ff ff f ff ff ff Œ ™™
pp
? bbb ff ff f
10 b b ff f f f f f f Œ ™™
ff f ff
4 5

ff ff
3
ff ff ff
4 4 4

bb ff ff ff
3 3 2

™™ fff ff ff ff nnff ff <b>ff

2 2 2

10& b b
ff
1 1

f
1 5
4

ff ff

{{
f
3
ff ff ff ff
4 4 4

bb ff ff ff
3 3 2

™™ ff ff ff ff nnff ff ff <b>ff
2 2 2

10& b b
ff
1 1
1 5
4

pf ff ff
3

ff ff ff ffff fff ff ff
4 4 4

bbbbbb
3 3 2

™™ ff ff ff ff nnff <b>fff
5

ff ff
2 2 2 4

ff ff ff
1 1 3
ff ff
4 4 4

& ff ff ff ? ff f
10 1 3 3 2

? ™™ pff ff ff ff nnff ff ff
2 2 2
ff <b>f
& bbbbbb
1 1

{
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

1 4

f
1 2 3 1

f & f f ff fF f f
? bb b F ? ff f
4
™™ p & f ff
1 2 1

b
3
p
f f
1 2 3

ff fF f
3
f f
? bb b F ? f f
5 4 5

™™ f
1 2 1

? bbbb f
3

™™ f & f
∏∏∏∏∏∏

f
1 2 3

f ?
4

fF f
1 1
f
2 3

b
3

f & fF f f
5 5

5 F f fF f 1
3
1
5
2
2
3
3
3
5 5

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 TRACK 7
Antonín DVOŘÁK (1841-1904) INTERMEDIATE
Minuet op 28 no 1

4 4 5

bb ff ff
13
ff ff FF
2 2

ff ff ff
3

&b b ff nff ff ff f

{ ? bb
bb
f
j
f f f f
Œ
°
F™ ff

ø
f
ff
f
p

f
f
ø
ff
f
ff
f

b
16 1. 2.

& b bb fF ff f F ™™ fF f
f bF ff bff f nff

{
pp
ff fff ff ff ff ff
? bb b bf f f f f ™™ bf f f
b bf f bf

4 3
5

b
1 1
17

& b bb ff
Ff ™
3 3

ff f f f f f f f f
f

{
f f f f f

ff ff ff ff ff
? bb b Πf f f f
b f f f
f f

b
20

& b bb f f Ff ™ f f f f
f f f f f f bf

{
f f f
ff ff ff ff bffff ffff
? bb b f f f f
b f f f
f f f

f™ f™ m f™
b
23

& b bb j f f Œ
j f nf f f f™ f f f j
f f F

{
f

bbnffff b fff
mf
ff ff ffff fff
pp
ff
? bb b f f f f f f Œ
b bf f f
f
bf f
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 TRACK 8
HAMILTON arr. WEDGWOOD INTERMEDIATE
Cry Me A River

Though it is a languid song – especially as sung by Julie London – Cry Me A River was
written in a hurry. Songwriter Arthur Hamilton was asked for three ‘blues songs’ for a
radio series and later a film; Cry Me A River was the only one of the three that wasn’t
used. Hamilton, though, knew it was a winner, as the article on page 80 explains.
Playing tips: We think this is a great arrangement of this classic song, and it’s perfect
for the intermediate player. The hands fit very well over the notes, and because of the
ample pedalling, we have offered very little fingering. You can basically move the hands
without worrying about keeping the fingering legato.
Pedal tips: As you will notice, there are mainly two pedal changes per bar – sometimes
one bar can have just one pedal and sometimes you need to change four times when the
harmonies change a lot (e.g. bar 6).
Read Inge Kjemtrup’s article on ‘Cry Me A River’ on page 80.

Slowly, with a relaxed feeling q = 76

Slowly, with a relaxed feeling q = 76
f f
ff f fajj relaxed
fFF f with
poco rit. a tempo
b 4 f
poco rit. q = 76 a tempo
1

f
& bbbbSlowly, f f ffF qnn=ff 76™™ bbaFFF tempo fff
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

ff f fjj f ™ F
Slowly, feeling
4 Ff with ff ™™ poco
f nfFa relaxedf fffeeling ff
1 2
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

& b4 n
2
F ™

{{
FfF f f f fjf rit. F
f
Fpoco f F F
FF tempo ff f f f™ F
b4 rit.f F
1

j f fff
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

& bbbb 44 FF f f nFf f ™ ffF f f f Ff f ™ f f n f ™ b F f j

a 2
™™ FFmpmp
fff
1
f
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

fF j ff FF nf ™ bFFF f ff ff ff ff f fFj ff ™™ FF
f
mp
& bb 4 nFF F f
2
mp
‰‰ ffj ff FF f
& bbbbb 44 mp FF ? F
? F b ™™ mp fmp f f f ff FfFf ff ff
& 4 FF F F
bF j f F F ™ f
w f f
f f f F f ff f f f f
b4 ‰
mp

& bbbb 44 ° F ? F
øø fj f Føø
f f f F ™ w f f f
™™ føø f f f f ff FfFFøø f føø f f ff
° ? Føø b ‰
F
& b4 F bF F ™ fw f ff fff
° F ø ø ø wø 3 ø f fø
° ø ø ø ø 3 jj øj ø
4

b
5
b

© 2011 Chappell & Co Inc and Harmony Grace Publishing, USA Warner/Chappell North America Ltd, London W8 5DA. Reproduced by permission of Faber Music Ltd.All Rights Reserved.
3
4

bbbbb ‰‰ jj ff ff bff nF f f
ff ™™ ff ##ff ™™ ff nnffFFF ff bf3 ff nff bbfff ™™™™ ‰‰ bffj ff ff f ff ff ff
5 1 3

5&
3
1 3
& b n

{{
f f f F nffj f nnbffj ff f3 ff f f f
bb ‰ ffj f f ff ff nn ff ™™ ff ff nn ff ff FF ™
4

Cry Me A River.Words and Music by Arthur Hamilton.Arranged by Pam Wedgwood © 1953 (renewed) Chappell & Co Inc and Harmony Grace Publishing, USA.This arrangement
b
3

b f f f f
f f #f ™ f nfFF f bf f nff bff ™™™ ‰ bffj ff ff3 ff ff ff ff
F f j f ™ ‰
1

& bb ‰ f f f ff bff nF f 3
4
5 3 3

& b j f ff bff n Ff ™ f 3n f f Ff ™ fmf bff ™™

1

f f mf#f ™ f n F f n f
F nbff ff ff ff ff ff ff
?
? bbbbb FF
F
FF n ff ™ f 3 f n f f F f
f ff f F ‰
‰ nbf ™ f FF
f f f ™ F
F bf ™
b F F f
f fff 3 f mf f f ™ f
mf
F F ™ ff
? bb FFø F
øø føø føø ™ f f Føø
F‰ ™ bf ™ Fø
? bbb Fø Føø øø føø øø
ff f f f F ‰
Føø ™ bf ™ Fø f
bF F
fø fø fø ø fø ™ Fø ™ f
ø ø ø ø ø
9
b ø j ø ø ø ø ø ø ø ø ø ø
‰
bbbbb ‰ bfj f fÓ Œ
ΠbbFFF F f
fff f ff f jj
9
9&
f
& b

{{
F f f f f F f f f f ff ff ™™ FF
b bb F‰F j f fÓ f f f nn Fff ff ff ff bb fff f f nn Œff ™™ f FF
f f f f ff
& bbbb ‰F bfj f f ffÓ f f f F f ™ bmp FFF fff f f j
f
9
3f f Œ
& b bpFF bf f f ffFÓ f f f n Ff f 3f f b f 3f f n ff ™™ f FF ff f ffff ff f f ffj ff ™™ FF
p 3 f f bmp F
?
? bbbbb bpFF FF n f f ff 3f f bnff 3 nbfff ™™ mp f ff f f ff f FFf
f F ff ff
b F F ™
ff ™ 3 f nf 3 bf f f f f f f
? bb pFFø w fsim.f ff f ff f f FF f ff ff f f
mp
F f w
? bbb FFø Føø øø ™ f f nføø bføø føø fsim. f f fFFf f f f ff f
b F F f nf bf w
f
ø ø fø ™ f ø ø w ø f f ff f
ø33 sim. jj
sim.
13
b ø ø ø ø ø j
bb ‰ b f f ‰ j
3
13
13& b b ‰ j f f b f n f F f f f f ™
bf3 f nf ff ™™ ‰ bff ff f3 f f ff ff
& b j f f f
ff f ff bff nnFff f fFF f #f ™ f n F F f F f #f ™ f n f F f

{{
f f nffj f ™ bffj ff ff3 ff ff f f
b b n
n
13
& bbbb ‰‰ fj f ff fff bfff nnfFf f fF f #f ™ f nfmf f FF f bf f nffj fff ™™™ ‰ bffj ff f3 f f ff ff
f 3

& b j f Fff bff n fFf ff fFF f #f ™ f nmfFF ff f nfFf ff ™™™ ‰ nbff ff fff ff fff ff ff
f
?
? bbbbb FF f FF n f ff FFF ff f FF ‰‰ nbbff ™™ f f FF
bF FF ff f F f ™
fmf™ f
mf F FF ™™ ff
? bb FF F ‰
ff ff FFF ff F b f ™ F
? bbb F F f ™ f F‰ ™ bf ™ F f
bF F ff ff F f™ F
F™ f
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 TRACK 8
HAMILTON arr. WEDGWOOD INTERMEDIATE
Cry Me A River

slightly faster
b j ‰ ™ fr nf ™ f
17

& b b ‰F bf f f fF f f f F Œ
3 1

nf ™ f f ™ f f
2
f # f f™ f
n f ™

{
f f f
bF nf f f f f f # ff ™™ f f
3 3 mf

?b F
p
F f ff ff ff bf ™ f f ™
bb F F f nf bf f f f f
f™ f
° ø ø sim.

b n f f ™ #f f ™ f f ™
f ‰™ fr
21
3
f
&b b f f f f ™ f f
f f ff ™™
bf
™ nf ™ f f nf #f ™ f nf™ f f ™ f F

{
ff ff Πf f w
3 R
f nf nf f f bf
? bb f bf f f f bf f
b nf f f nf

4 Tempo I
b
25

& b b ‰F nf f f™ f nFf™
‰ nf f f ™ f f ™ f #fj nf f ™ bFF
2

f nf f ™
4 1

FF fff f f j
ff f

{
nF F Œ nf Œ f f f f™ F
mp
p
f f
? bb #f Πnf ΠΠΠf f f f f FF
b f f f f f f f f ff
f w f f
° ø ø

b
3
j
‰ bffj ff f f f ff ff
29

& b b ‰ fj f f fff bfff nFf f fF™ f #f ™ f nfFF f bf f ff ff ™™ 3

nf f ™

{
nf f F nf fff f
mf
? bb F F f F ‰ bf ™
ff ff FF F
bF F f ™f F
F™ f
ø ø ø ø ø ø ø ø ø ø ø
U
FF
bb ‰ fj
33 1. 2. poco rit.

b
& F bf f f f ff bf nff ™™ w
4
F

{
bF F f f FFFF nf f Πf bf f F
pp U
? bb F F f™
b F F f f FF ™™ Œ ff f f
f f
FF & F
F
f™ F
ø ø ø ø
Pianist
43•
ø83
ø ø ø ø ø

P42 Scores CRY ME A RIVER-FINAL.indd 43 10/03/2015 09:24

 TRACK 9
Domenico SCARLATTI (1685-1757) INTERMEDIATE
Sonata in D minor L423 (K32)

The Naples-born composer and keyboard player Domenico Scarlatti is best known for
his 555 (at least) keyboard sonatas, most of which were not published in his lifetime.
Playing tips: This is a very moving piece. We think it’s a real find! It is extremely slow,
but one always has to feel the pulse. You will notice when listening to the CD that our
pianist Chenyin Li adds extra ornaments. She also chooses to roll some of the LH chords.
That’s absolutely in keeping with music of Scarlatti’s period. On the repeat (bars 9-24),
she plays quieter too. This makes it even more moving. The piece is marked ‘Aria’, so
remember to make it ‘sing’.
Pedal tips: The pedal markings in this score are there just for help when you need
legato. Try not to over-pedal.

Ÿ
Aria
f f f f #f f f f f f f f
3232

3
5

f f # f f f f f f f
& b8
2 1 3 1 3
f
1 1

#f f
2 1 2 2

{ b
f™
? 38 ff ™™
1
2
ff ™™
1
2
f™ # ffff™™™™
1
2
ff ™™
f™
#nfff ™™™
f ™
f
f
f f
° ° ° ° ° ø ø
3 4 5

ø
5 5

Ÿ #f f
32
7
b ™ ™
1

f f f f
1

f f f 4 1

& f f f f f™
4

™ ™ f f f f f f f f f f f f

{ ?b
f
j
f f™
3
™
™ ™
™
ff ™™
f ™
2
ff ™™
f nf
J
ff ™™
f f
J
f f
ped. sim.
f
ff ™™
1
2
3
4 1 1
2

f f f f #Ÿf f
14
b f J
1 5 2

f f f f f f
1

&
2 1

f f f f

{
f #f f
f # ff f f nf f f fff ™™™
? b ff J f f f™
f™
J
3 3 1 4 1
5 1 2
4

Ÿ f f f f f f f f f f #Ÿf
3232
19 2

# f f™
1
f f f f
&b
1 2 3
f ™™
2 2 2 1

{
#f f #f f

? b # ff ™
™ f f f ff ™™ fffj f f f f f™ ™™
f™ #f™ f
1 1
1 1
3 3
5 5

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

KEYBOARD CLASS
LESSON 11: RIGHT HAND TWO-PART WRITING

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 11 takes a close look at two-part writing in the right hand (RH). You will find a lot of this in piano
music – all the way through from Baroque to present day. On pages 47 and 48 there are two short pieces for you to try your hand at,
in order to improve this skill.

Playing tips
• In some pieces, the RH plays two parts, in different rhythms,
at the same time. Both parts are written on the same stave.
The melody (i.e., the upper part) has stems going upwards ( q )
and the counter melody (i.e., the lower part) has stems going
q
downwards ( ).
• In the piece below, Come together, the RH first presents the
melody alone (Part 1), played forte ( f ). The accompaniment
then follows in the LH, played mezzoforte (mf )(Part 2).
• The LH and RH then coincide (Part 3), each playing at the
same dynamic as before. This means that the melody stands out
in relation to the accompaniment.
• In Part 5, the melody is added in the RH, with the stems
going upwards. So now we have both the melody and an
accompaniment in the RH and an additional accompaniment in
the LH. Pay particular attention to the different dynamic levels
of the three parts. It is not easy to make this differentiation and
requires practice. It is also important to play the RH melody
legato, in contrast to the lower part, which is detached.
• Part 6 is like Part 5, but here the two parts are played
alternately without any gaps.
• Using the approach outlined above, and working slowly and
carefully through the short piece below, you will progress steadily.

• In Part 4 the preparation for the two-part playing in the

RH begins by introducing the lower RH part over the bass.
As mentioned before, the lower part can be identified by the
downward direction of the stems.

Come together

Come together continues overleaf...

45• Pianist 83

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 HANS-GÜNTER HEUMANN KEYBOARD CLASS

Come together continues A Z E R T Y

PLAGE XXXX (XXXXX)
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.

Adagio = slowly, unhurried An Adagio is a piece of music with a slow tempo.

46• Pianist 83

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 HANS-GÜNTER HEUMANN KEYBOARD CLASS

Humming Song A Z E R T Y
XXXX (XXXXX) PLAGE
zerty
No 3 from Album for the Young op 68 by Robert Schumann (1810-1856)

47• Pianist 83

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 HANS-GÜNTER HEUMANN KEYBOARD CLASS

The Little Pianist A Z E R T Y

PLAGE XXXX (XXXXX)
Op 823 no 43 by Carl Czerny (1791-1857)
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 83

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 MIS
S WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
DOT N’TWMAN’S
ON
NE
TRACK 10 JANE
LESS
HIS P
IECE Pyotr Ilyich TCHAIKOVSKY (1840-1893) INTERMEDIATE
ON T GE PA 6
2 May from The Seasons op 37a
Spring is in the air with this April-May issue, so it seemed fitting to select ‘May’ from magical moments on that first page, and the pauses (such as end of bar 9) should be
Tchaikovsky’s 1875 work, The Seasons, which he was commissioned to write in equally enchanging. The Allegro giocoso B section starts at bar 20. You will need to
installments for Russian music magazine Nouvellist. Like other pieces in The Seasons use your ears and work on the balance of hands here, so that the LH doesn’t overpower,
set, ‘May’ has a nickname: ‘Starlight Nights’. We leave it to you to interpret that! even if it’s important. You will notice we have suggested some finger distribution
Playing and pedal tips: We suggest that you learn this piece in sections. It’s in A-B-A between the hands. When the melody returns at bar 68, try to make it even more
form. The B part is more hurried, passionate and turbulent, and it might be a good poignant. Make it die away lovingly at the end. There’s a lot to absorb within this
idea to start with it first, as it’s more challenging that the A part. The beginning RH piece – that’s why we asked Janet Newman to write a lesson on it.
melody has to really sing. Dig your fingers deeply into the keys. There are many Read Janet Newman’s step-by-step lesson on this piece on page 26.

Andantino

9 f fj f ™
#Andantino j fj f ™ f f nf f nfj f™
5 4 5 4

f
5

bf ™ f f f ™
4 5 4 1 2 4 5 5

ff ™™ ff ™
2 4 4 2 3 1 2 1

ff ™
1 2 3 2

& 8 ff™™ f
1

ff™™ f™ f™ f fJ f f f™

{{
f™ f™ j f f
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

9 pf fj f ™
#Andantino j j J
5 4 5 4
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏∏∏∏∏∏
f f
5

f
4 5 4 1 2 4 5 5

ff ™™ ff ™ f f™
bf ™ f ff ™
2 1 1

f f nf f nf f™
4 4 2 3 2
ff ™
1 2 3 2

& 8 ff™™ f
1

ff™™ f™ f fJ f f f f f™
f™™ ff ™™ f ™™ ff ™™ f f ™ f f f ™™
j ff nf #ff nffj ‰ ‰f fj nff Jfj
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

#
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

#9 f ™ j j f™
5 5 4
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏∏∏∏∏∏

4 5

f ff ™
4 4 5 5

? ff ™
& # 8 pfff™™™ f ff™
5 4 1 2
f f
2 2 3 1 1

f™ f ™
4 4 2

b
2 3 2

f fJ #f™
1
f f f
1

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

{
f
#f ™ f j j f
ff ff ‰ ‰f f nff Jfj
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

ff ™™ ff ™ ™ ff ™™ f ™
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏∏∏∏∏∏

? #98 pff ™™ ff™™ ff ™™ ff ™

# Jj #fø ™ j ™ °j
2 1 3 2 1 2 1 2 1 2 2

ffø ™ f f ø ™
1 5 4 3 4 4 2 1

° ø °
4 3 1 5

ø ø fø ™ ø™ ffø ™™
5 5 4

# f
4

? #98 ff ™™ ff™™ ff ™™ ff ™™ f ™ f ™ ff ™ ff ff ‰ ‰ f nff f

#
3 2 1 2 1 2 1 2

J #fø ™
2 1 2

™ ™°
1 5 4 3 4 4 2 1

° ø °
4 3 1 5

ø ø ø ø ø ø ø
5 5 4 4

poco rit. “” U
2 1 3 2 1 2 1 2 1 2 2
1 5 4 3 4 4 2 1

° °ø ff °
3 1 5

ø j f ø f ø j f øf f ™
4

ø ø ø ø
5 5 4 4

# f fj f ™ f fj j U
5 5 3

f f f f f f
4 3

f f f ™ ”
5
“f f U
2
f f
4 1 4

f f f ™ #f ™f f ™ #f ™
4 3 2 1

ff ™™ f ™ f ™ ‰ f ‰
5&
poco rit.
ff ™™ ff™™ ff™™ f™ f ™ j j f

{{
f™ j f ™ f f f f f f ff f f f fpoco f f f ™ uf
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

f f
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

# f fj f ™ f fj ff U
5 5 3

™ rit. “” f f f f U
4 3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏

1 4 2
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

4
f #
4 3 2 1

& ff ™™ ff™™ ff™™ ff ™™ f f ™ #ff ™™ f ™™ j f ™™ f f ™ ™ ™ ‰ f ‰

f™ f™™ cresc. j f
pp
f f ™ fffu U f
ff ™ fj fff ™™ # f ™f f ff ™ f f f f ff f f f f ™
poco
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

## f ™™ fj fff™™ ff ™™ fj
5

ff U
5 4 3 3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏

ff™™™
5 4 2
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

?
4

#
3
™
4 2 1

f ™ ™ ™ f f ‰FF ™™f
F f ff ‰
& fff ™™ ff™™ ff™™ ff ™ f™™ ff ™™ #ff ™™™ fff ™™™ ff ™™ & ff ™™ pp ff ™™ f ™ f U

{
f™ u
poco cresc.
ff ™ f ™ # f
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

U
∏∏∏∏∏∏∏∏∏∏∏∏∏∏

? # ff ™™ ff™™ ff ™™ ff™™
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

f f F ™™ f
f ‰
5 2 1 2

f ™ f ™ f F f
5 4 3 4

øf ™™ ffø ™™ # ffø ™™ ffø ™™ ffø ™™ & fø ™ fø ™ f ™ F™ U

1 2 1
pp
ø™ ø ø™ ø™
poco cresc. 3 4 5

? # f ™ ff™™ ff ™
f ff™ f f f F ™™ f U
f ‰
5 2 1 2

f ™ f ™ f F f
5 4 3 4

ø & fø ™ fø ™ f ™ F™
1 2 1

ø ø ø ø ø ø ø ø
3 4 5
a tempo 5 2 1 2
5 4 3 4 3 4
2 1 2 1

fø ø ø ø ø ø ø ø ø ø ø
# F ™ b f f nf f f ff ™™
3 4 5

.f f. .
10 a tempo 4 2

‰ bf f bf f f f ‰ . .
4 3

10& a tempo
3 4

nf
4 3 2 3 2

ff ™™ f f b f.

{{
f
# F ™ b f f nf f f ff ™™ .f f. .
4 2 F™
‰ bf f bf f f f ‰ . .
4 3

& pf
3 4

nf
4 3 2 3 2

ff ™™ f f b f.
# F ™ b f f nf f f ff ™™ .f f. . b FF ™™
F ™ bf f f f ff ™™
10
?nf ‰ . . f. nf. f. bf
4 2

& nbpFF ™ ‰ bf f nf
4 3

ff™
3 4

nf
3 2

. . f. b f f bFF ™™ ff ™™ f f b f. . f.

{
# bF ™ ff™™ . . ? n F™ ff ™
™ f. nf f
. . bf f
1 1

& n°
1 2

f. nf. f
2 2 3
F™
1

. .
2 5

. b f. f. b°
p 2

ø ffø ™
5 4

# bF ™ ff™™ ? n F™
F™
™ f. nf f
. . bf f
2 1 1

& n°
1 2 2

f. nf. f
1 5 3

F™
2

° . .
2

ø . b f. f. ø
5 4

1 2 2 1 1 2
2 1 5 3

° °
2

ø ø
5 4

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TRACK 10 Pyotr Ilyich TCHAIKOVSKY (1840-1893) INTERMEDIATE

May from The Seasons op 37a

#
14

& f j ff fj f™ f fj f ™ b ff ™ f f ™ j
5 4 3 1 2 3 2 1

{
f ™ n f f™
f™ ™ f™ f™ f™ f™ fJ n ‰f n ‰f f f F™
ff ™ f f ffj ‰ ‰ Œ ™ #fff ™™™ ff ‰ ‰
p
?# F™ f™ f™ ff ™™ ff ™™ #ff ™™
#f ™ f™ f™ f™ J J
2 1 2 3 2 5 4

° °
1 4 5 4 4
4

Allegro giocoso
# ## 2
18 5 3 2

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

{
f f F™ f f f f™
pp Ϊ mf
f f
? # Œ™ #fff ™™™ nff ‰ ‰ Œ™ bf ™ f™ ## 42 ≈ ff™ ≈ fJ ™
J F™ J
° °
1 1 4
5
2
5
5
4

j
2 4 5

#
4 5 2
21
f
f ™ f #f ™ f Œ f ff nf #ff f f ™
1 2

& # f‰ ‰
3 2 3
f ff f #f™
f
ffJ f

{
fJ
≈ f f nf Œ
? ## f f #f #f f f f f f f n f f #f f
3

≈ f™ ≈ fJ ™ J ‰ ≈ f™
f ≈ fJ ™
J J
1 3 2
J 1 2

° ° ° °
2 4 5 1 5 - 4 5
5

j
5

## f
25 5
f ff nf #ff
2

‰ f
3

& ‰ f ff f™ nf #f ™
ffJ f Πf

{
fJ
≈ f f nf Œ
f f f f f nf
? ## f f #f #f f f
3

≈ f™ ≈ fJ ™ J ‰
J ‰ J
°
2 4 2 5 - 4 5

## f #f #f nf
28 4 3

f f
5 5
2

& ‰ f f ‰ f ff ff f f
f ‰ J ‰ f ‰ f f

{ ? ## ≈ f f

°
f
≈ nf
f f
≈ f
f #f
≈ f f f
≈ f f f
≈ nf f
ø
nf

ø 5
1 2 5 2

° ø 5 3 1

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TRACK 10 Pyotr Ilyich TCHAIKOVSKY (1840-1893) INTERMEDIATE

May from The Seasons op 37a

## #f ff
31 3

nf
4

f f nfff
2 4 5 3 2

& ‰ fJ ff f ff f
f ‰ f f ‰ f ‰ f

{
≈ fR ‰ ≈ fR f fJ ‰
f f f f b f f f
p
bf
? ## ≈ f f ≈ f ≈ f f ≈ bf f ≈f ff ≈ ≈ f™
fJ ≈ ff™
f
J
° °
2

ø ø ø
# j
35 5

f
& # ‰f
4 5

ff f ‰ f f f
5 4 3 5 4 - 2
f
1 2 1 3 2

f
≈ #f ‰ ≈ fR ‰ ff Œ
≈ f ‰f ≈ f ‰f

{
fJ Œ ‰ J
R R R
f ff
f ff nf f b f f ≈ bf f
? ## ≈ f f ≈ ≈ ≈f ff ≈
f 3
fJ
f™
2
ff™
J 3 2
fJ
f™ 4 2
ff™
J 1 5

° °
2 1

ø ø
5

4 5
2

# j j
1
39
‰ ‰
5 4
f
& # f‰
f
5 4 2

ff f
1 2 1

f f f ff
≈ #fR ‰ ≈ fR ‰ Œ

{
fJ Œ ‰ J
f f f f bf
f nf
? ## ≈ f f f ≈ ≈
f
≈ f f f bf
f ff™
J ff™
J
° °
3 2 3 2 4 2 2

ø 2

poco ritard. poco meno mosso

## nf
42
#f f
3

n‰f f
5 4 5 4 2 4 3

ff f f #FF f
& ‰ ff ff ‰ #ffJ ff
1 1

ff ‰ ‰ ‰

{
J J J J J
cresc. f

? ## ≈ f f ≈ f nf ≈ #f f ≈ f ≈ #f ≈ f
f f f f
≈ f ≈ f
f f f f #f f ff f
ø ø ø ø ø ø
1 1 2 2 2 5 3
2 2 1 1 1

3
>
## fF #f f j ‰ j
2 5
46 4
f # ‰
1 4

f
3 3 4

#FF f f f #f
2

& #F F f f
#F f fJ ™ f ≈

{
>
2 1

dim.

? ## ≈ f #f ≈ f f f ≈ f f ≈ f f f ≈ f #f ≈ f f f ≈ f f ≈ f f f
f f f f
ø ø ø ø
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TRACK 10 Pyotr Ilyich TCHAIKOVSKY (1840-1893) INTERMEDIATE

May from The Seasons op 37a

## ‰ fj ‰ #ffj j j ‰ #ffj j
50 5

‰ ff ≈ ‰ #ff ‰
4
4 2

& #f ff f ff f ff ≈
f #f f #f

{
f fJ ™ f fJ ™
> >
2
1 2 1 2

f f f f
? ## ≈ f #f ≈ f f ≈ ff ≈f f ≈ f #f ≈ f f ≈ ff ≈f f
f f f f
ø ø ø 4
ø

## ‰ fj
Tempo I

‰ fj f ™ j
54 5

f ‰
3 3

& f #f f #f™
f f ff f™ f #f™
f
fJ ™ f ≈ f ‰ ffJ f

{
fJ
> mf
f f f f
? ## ≈ f f ≈ f f ≈ f™
f ≈ fJ ™ f #f #f f f f ≈ ff™ f ≈ fJ ™
f
f J fJ ‰ J
°
2 4
ø ø
4

4 4
4 5

# f f
2 5

ff nf #ff f
58 5

f f‰ f f‰
2 4

f f f
&#Œ
3
1
f
ff‰ ≈ fR ‰
3

f ‰ ≈R ≈R f
≈R ‰ ≈ fR

{ ≈ f f nf Œ
L.H. 1 R.H.

n
? ## f f
J ‰ ≈ ≈ ≈ ≈ ≈ f ≈ ?
& fJ ™ f nff™ f n fJ ™f fJ f n fJ ™ f
5 J f™ ff™
J
° ° °
2 2
3 4 4
5 4

# f
62 5 2

&#‰ nf f f
3 3 3 4

f f
≈ # f #‰f
1 1

‰ ≈ ff f f≈ f

{
f
R ‰ ‰ ≈ f ‰ ≈ f
R R R R
dim.

? ## ≈ f ™ f ≈ nfJ ™ f f f
≈ f™ ≈ bff™ f ≈ f™ f ≈ f™ f
J J J J J
° ° °
ritard.
## > #9
#f f #f f
65
j ‰ bf ™ ‰
4
?
2 1 2 3 4 2 3

& bf ™ nf fJ 8
3

& f f

{
> nf f

? ## ≈ ff™ f f f f f f # 98
J ≈ ≈
fJ ™ f ≈ f Œ
f f
° °
3 4 2 2 1
3 4

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TRACK 10 Pyotr Ilyich TCHAIKOVSKY (1840-1893) INTERMEDIATE

May from The Seasons op 37a

Andantino
#9 f j ™ f j ™ f fj f ™ f f nf f nffj f ™
5 4

f f
5
68 4 1 2 4 5 5

bf ™ f f ™
4 3 1 2 1
3 2

& 8 ff™™ f fff ™™ ff ™™ f fff ™™ f ™ f ™ f™ f J f f ff ™ f

{
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

J
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏∏∏∏∏∏
f
p
# ff ™™ ff ™ f f j ‰ ‰ fj f j
? #98 ff ™™ ff ™™ ff ™™ ff ™™ ff ™™ ff ™™ ff ™ f f
™ #f f #f ™ nf ™ f
1 3 2 1 2 1 2 1
J 2 2
1 2 4 2 1
5 3 4 4

° °ø °
4 3 1 5

ø ø ø ø ø ø ø ø
5 5 4 4

poco rit.
j f f f™
f f f f fj #ff ™ f f ff f f f f ™
5

# f j ™ f j ™ f fj f ™
5 4 3 2
72 4 4 3 4 2

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

{
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏∏∏∏∏∏

# ff ™™
poco cresc.
ff ™™ ff ™™
ff ™™ ff ™™ ff ™™
pp

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

ø ø ø ø ø ø ø ø ø ø ø
3 4 5

U “” 4 3 2

ff U f bf f f f ™
.
3

# f f nf
‰ f f. bf.
76
ff ™
2 1 4 2

f f f ‰ F™ f bf
& ‰ f
4 3
3

f
F ™ f nf f ff ™™

{
u
UU
? nbF
p
# F™ ff ‰ F ™™ ff ™
& FF ™™ f nbFF ™™ ff ™™ f. nf. f ™
2 1 . b f. f.
2 2

° °
1 5

ø ø
5 2
4

#
80

& ‰ f. f. . j
ff n fj ff ™™ ff fj ff ™™ f f ff ™™
1 5 4 3 1 - 2 3

f f

{
bf ™ ™ f™ b f ™ f f ™™ fJ n f‰ n ‰f

ff f f ffj ‰ ‰
p espress.
?# f. nf f
. . bf. f #Ff ™™ f™ ff ™ ff ™™ ff ™™ #ff ™™ ™
1 . 1 2
f™ f™ ™ 2 1
J
° °
3 2 3 2
5 4 4
4 4

# U
84 5

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

{
f f F™ f f F™ f f n f f
F
™ f f FF ™™ f™
f™ FF ™™ ff ™™
Œ™ ™
U
pp
™
? # Œ™ #fff ™™ ff ‰ ‰ Œ ™ #fff ™™™ nff ‰ ‰ Œ ™ bF ™
2 1

J F™ f™ F™ f™
J Œ™ f ™ f™ f™ f™ F™ f™
5 4
5

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 TRACK 11
Claude DEBUSSY (1862-1918) INTERMEDIATE/
ADVANCED
Danseuses de Delphes, No 1 from Préludes Book I

‘Danseuses de Delphes’ (Dancing women of Delphi), which opens Debussy’s first
volume of préludes, is said to have been inspired by a bas-relief scupture in the Louvre
of three Delphic dancers. Decide for yourself if this image is helpful and remember that
Debussy always had the title printed at the end of the score rather than at the top!
Playing tips: If you love Debussy, you will love playing this piece. It’s all about creating
an atmosphere. Voice the chords, always aiming to bring out the top line, and then
make them ‘float’. With such a slow piece, it is important to always try to feel the pulse
and not adhere to too much rubato.
Pedal tips: Debussy didn’t like to write pedalling into his scores, so we haven’t added
any. You will definitely need ample pedal here though to give it that dreamy, lush feeling.

Lent et grave q = 44
doux et soutenu
. . . . - . - . - .
b3 . .
4 5
5 4

f 44
2

b
& 4 ff ff ff f ff ff f ff™ f f™ f f™

{
f 4 n f™ f # f bff n f™ n f # f™ f f
3
p 2 p p p
? bb 43 f f f 4
2

f f f ff ff fff
nf 4
1

f f f f f f f
f f f f f f f nf f
. . . . . . . .
.
ff. f. . . .j
4
b4 - ™ f ff ff. ff. 3 nf f f
ff. ff- fff j nbfff r #ff f
4

b j ‰
3

& 4 nff f f ff 4 ff ff ff ff 5 4
f ff nf. f. f. ff f f f

{
ff nf ™ f #f
. f
.j
. .
ff. f. ff. f. . .
pp p
ff n fff f
? bb 44 #fff ff f.
F ™ &ff fff. ?ff ff f 43 nff ff ff ff. f ‰ f f ™ f #f # ff
f ff f nf
#f F™ f f - f f
f
. . . f
. . .j . . .
. . .j ‰ f
r f r f r ‰j f r j ff. f. .
b ff r j #ff f r j ff j ff j ff 4 ™ fff f ff ff ff. ff.
7
f
f j
&b ‰ bff nff
1

f f ff ™™ f ff ™™ f ff ™™ f 4 nff ™ f f ff ff

{
bf nf ™ n f # f ™
. . .j
.
# fff f ff ™ f ff ™ f ff ™ f f ff. fff.
mf

? bb b‰f b fff n fff f

4 #fff ™™ f ffF ™ ff. f. ? ff ff
nff™ nf #f™ bf ™ nf ™ nf ™ 4 &f
f f
f bf nf nf #f F ™ f fff
. f . . . . .
. .
-doux mais en dehors
f f™ f f™ f
5
4

f ™ ff f Fff nfff fff bffff

5

b nf FF- f ™ f f bf
10 4

ff ff 3 f f
& b nfff ff ff ff FF 4 ‰ bffff fff f ™ ff f fff ™ ff f ff f f
bfJ

{
. . . ff f F
. . . . . . .. .. ..
. . . .
. .j
pp

ff. . n fff b fff

? bb nf ff. ff. ff. F 3 fff f f
ff ff f f
f
f f
f
f
4 ‰F ™ bff
f ff
f FF F™
-
F™ F™

54• Pianist 83

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 Claude DEBUSSY (1862-1918)
TRACK 11 -- Danseuses de Delphes, No 1 from Préludes Book. I
INTERMEDIATE/

ff- ..j
ADVANCED
ff ™™ ff .. ..
ff- ff ™™™
ff ™™ff f ™™ f nn ff # f. n## ff.jj
ff ff ™™ f f F f f ‰ n f # f n
bbbbb ff ffff ™™™bbbfff ff FFfff fff nnnnfff bbbbfff ‰f‰ nnff. ##ff. f #f ™n##fff.j nnff 44
13
13
f f f f f f
13
& b
bf f f ™ ff f f ™™ fff fff ™bbbbff f Ff f nnf bbf f f nn ff ™™ #f f #f ™n# ff n f 4
13& b f‰‰‰

{{
& b bbfff f ™ fff f f ™ .fJJf ff b.ff F.ff .f .f .f f‰f nf n f ™ f f # f ™™ n f 4
&b b ..f
f ..ff f
..Jff ..ff. bb..fff. f F..ff ..ff. nn..fff.. bb..ff.. f
. f ™ nn ff ™™ #f ff ## ff ™™ #f n f 44
‰ .ff. f.. .. .. f.. . f. mff
b.ff. fJ.
n . b . n
™
# nf
. .f.. .f..jj . fff. bbbfff. . f . .
f
ff. fff. nnn ff. bbb ff. n f b f f ™ f f ™
bb ‰‰ b.fff. f f f mf
? ffj ff f n f b ff mff ff ™ ff f #f ™ nnff ff 444
2 1 2
mf
?
3

b ff
2

b
1 2

b
3 2

? bbb ‰FF ™™ bf. f

2

fff. ff. fFFf ™™ b f

1 2

n fff bb ff ff ff nn ff ™™ f ff ##ff ™™ n f f 4
3 2

fffj
2

b f b f f n nn JfJf
? bb ‰F ™™ ff F ™ F ™
fFff ™ b ff f ff f f ‰‰ ..f n f .ff 4
1 2
fff
3 2

. 4
2

F ™ bf F ™™ f‰ . n f ™ . f #f ™ ..J f
F™ F™ f .f n fJ
.. pp -
‰ . .j .
..j - j più pp - ppp -
ff ™™ ..j ff. .. ppb ff-jj FF più pp f-jj F ppp f--jj F U -
.j b
pp pp
n b
ppp
j
più
‰
‰ n
n
f
nn fj
f ‰
‰ ‰
ffff ™™nf ‰ fj f . ‰
‰ .
ff.ff nf f ‰ ‰ppbbbb fff- FFF più
f ‰ ‰ ‰‰ fff- FFF f ‰‰ fffj FFF U ,,
b - U
16
4 ‰ n . ‰ ‰
bbbb 4 f ™ nnffj nf ff ™ ffff ™™nnff f ™ f.j f 43 ff ™ffff nnff f f.f f f ™ b f F f f f ™f F f f F ™fj F ,
f n ™ 3 ‰ ™ ‰ ‰ j f ‰ f j F ‰
5

f f ™ f f f f f
16
f f ™ f f f ™ f f f ™ f pp
f ™ f F f F ™ f F
5

&
16
4
ppp
16& b 4 f ‰ ™™n f nn ff ffff‰ ™™™ ff.fff ™™™nnff f‰ff ™™ffffJ ff 443 ffff‰ ™™™ff.fff nnff fff fffff ff ‰ f‰f ™™™bb fff FFF ff fJJf f‰f ™™™fff FFF ff fJJf F‰F ™™™ff FF U,
4
5

{{
& b 4 f™
4

ff™
4 nf n f ff ™™ ..f ™ ffff ™™f..fJfJ f 3 ff ™™ ..f ffff f..fff f-- f ™ f J f ™ f J F- ™f F
5

& b 4 f™ f ™ n f fff ™ f ™nf f ™f.f f 4 ff ™f nf f f.f f- f --

1 4

fJ f fJ pp
1

™ ™ ™ f -- ™ f
dim.
j ™ f j -- ™
F
. f™ J .
1

f™ f f j j
pp
dim.
4 3
f
? b f ™ nf . f ™ nf . - f™ bf F ffdim. ffj f™ f ffj F™ pp
-
dim.

? bbbbb 444 ff‰ ™™ f nnnfff nnffFfFfff ™™™ nnff n ffff™™ fff 44433 fffff ™™™ nnff n ffff fffŒ- ‰f™
?
2 f 1

f
2

bbbf F f j f™ f f™ f F f F™
- ff FF
‰ f j F™ ‰
pp
n n f F
2

f f f™ b
? bb 44 ‰‰ JfJf nf nFff ™™ nf n f f 43 fff ™™ nf n f fŒŒ ‰‰f™bbb JfJf FF f f f™
f ™ f ™ f f F ‰‰ fJ F f f ‰‰ ff FF
f F
F™JJf- F
-
2

f‰ ™ J nF n fff™ f n fff b J- JfJ-- F

fJ Œ ‰ pp ppb f
f- F piùF ‰ pp f- F
f F ‰ Jff-- FF
ppp
pp J J-
pp
J- .
più ppp
- più pp ppp
pp# f ppppp .jj
# f nn ff n f # f n ff ŒŒ
più pp
ŒŒ b f n ‰‰f pp # ff.j
21
bb n # f f n f #
ff f ff bbbff nn ff fff ##ff nnff n ff n ff ## ff nn.fJfJ Œ bfff bbnnnnŒfff ™™™ nnbbnnfff nn##f‰ff pp
f f n #
nn# ffff.j
pp
b
21
&b
21& bb f
f f bbf nf Jf #f‰ n.f n f n..f .Jf ‰Œ bbff bnnnŒff ™ nbnf n#f‰ # ff
21
f ff f ff

{{
F b .f nf ..JJf ‰‰ .f .f # f n.f ‰‰ .f nf ™™ b f n ff n ff
& b ff ff fff FF f ff‰ .fff ff
& b ppf f f F ‰‰ ..fp b dim. f b .
f
.
f n f .f #f n.f f pp .J bp.f
p.f .
bn ff ™™ nbnfff n#pff
nf ™
f più f ff dim. J ‰ . . ‰ p.f p
b f f
bbbff ™™ nf f f bb f nf nn f ‰
più
.
p
b .
f .f
f
p
f . b
‰‰ bbpf nnbnff ™nnbn ff ##npfff
. f ™
™ n f p
b b
più p
p
f n
dim.
? f f
3-5

. nbnnff ™™nbbn ff #nnff

3

b pf f f bb f f F bbf ™ nf f più f fpf bbdim. f nf nnff #f nnnf ? f ? ‰ bf

? bbbbb ‰‰ff fff ff bbbff fff bbffJ FF‰‰ bbbff ™™ n‰‰f .fJfJ f‰f fff ff bbbff nf n.fJfJ &
4 4 4 3 4

?
3 3-5 3 3
p
f
4
f
3

n
4 4 4 3 4

n ŒŒf ™ n f ‰‰f ff
3 3-5 3

& # f n f f n f #f n Jf
3 3 4

f f f ? f b
4 3 4 4 3 4

n
3

. . ‰ . n # n # ‰ n f#f
4

.
3

. b J
f ™ f . J
? bb ‰f ..ff f bb..ff f ...Jf F‰ bb..ff ™™ n‰f ..Jf ‰f ..ff f bb..ff nf .f & # f‰‰ nnn.ff f n..f #f nn..fJfJ ? ff f nŒff ™™ b f n‰f ffJ
f & f f f f b f
f n
3-5 3
4 3 4 4 3 4 3
3 4

J # f‰ n..f f n.ff .f f
3 4

bfJ ‰
4 3

‰ ‰ .J ‰ Œ ‰ ppJfJ
4 4

.
3

n J
4

. . . . . f
4

. f .
‰ . . . ppf
3

. . ppJ
4

pp .j ppp . . f
4

ŒŒ ŒŒ ‰f‰ pp # ff.jj ŒŒ ŒŒ pppff. ŒŒ

ppp ŒŒ ff. - -- ™ U
b n n ΠΠΠΠ- U
pp
f # f f F f F F ™ F F
pp

bbbbb Œ‰ bbffffnnbbbfffŒ ™™™ bbbnnnffff nnn##f‰fff nnpp# fff.j Œ‰ ffff FFFŒF pppff. ‰Œ ffff FFFŒF ff. ?
f ™ f f F ™ F ™ F
FF- ™™™ FF- ™™™ U
26

? F FF ŒŒ
26
&
26
26& b Œ Œ # ‰ ‰ ‰ - F - U F

{{
b f n
& b ‰‰ .f bff ™™ bnff n ff n# fff ‰ ffJJ-- FF f ‰ ffJJ-- FF f F ™™™
f ™ fJ F f J F ? F ™ F
F
™
™™™ F
F Œ
& b ‰ pppb..fff..n ff ™™ b ff n#pppff - ? F ™ FF ™ FF Œ
‰ fpp f -- j F F ‰ f f
pp
- j F F fF
fJf--jj FF fJf--jj FF
pp pp pp

‰‰ pbb.ff. nn fff ™™™nnbnn fff ##npfff

pp pp f pp
‰‰ ##pp ‰
‰ #
#
f pp
U
U
?
? b b
b f .
‰f b f n Œf ™nb ff #n‰f
f ™ bn f n f ‰F # fj Ff
f - F
F ‰F # fj F
pp f
f- F
F F ™ F ™ U FF ŒŒ
? bbb ff ff Œf ™ n f ‰f ff FF f F ff FF f F ff FF ™™
f pp

‰f b f n Œff ™™nb ff #n‰ff f ‰F # ff FF f ‰F # ff FF f F ™ F

FF ™™ ™ U FF Œ ŒŒ
? bb f f Fff ŒŒ ŒŒŒ
Œ ‰pp JfJfJ F ff F
.
..
ff F ™
FF ™™
F™
FF ™™ FfF
f pp f
pp F ppp
ppp
pppf
F f -
- .
. Œ Œ
J .
. (...Danseuses -
(...Danseuses de f Delphes)
(...Danseuses - . Delphes)
pp ppp de Delphes)
de
55• Pianist 83
(...Danseuses de Delphes)

P54 Scores DEBUSSY-FINAL.indd 55 10/03/2015 09:26

 ISS
’T M ’S
DON HAM
Y PA R
ON Maurice RAVEL (1875-1937)
LESS
LUC
TRACK 12 IECE ADVANCED
HIS P
ON TPAGE
24
Menuet antique

Ravel was a 20-year-old student at the Paris Conservatoire when he wrote Menuet
antique – it typified the ‘highly audacious music’ (in the admiring words of fellow
student Alfred Cortot) of this ‘somewhat distant young man’. Menuet antique was first
performed publicly in 1898 by Ricardo Viñes and was Ravel’s first published work.
Playing and pedal tips: In order to make this piece come together, we suggest you read
through the score first, without touching the piano, in order to work out where the
high/low points are. There should be a decisiveness to the opening section. Keep in
strict time and try to sound Classical. From bar 9 we see a development with some
beautiful moments in the treble (e.g. bar 18). There’s an almost shrieking quality in the
treble at bar 26. Bar 48 sees a more tender section, marked ‘doux’ (‘soft’). Everything
needs to be calmer. Even though it is not marked, start out softly (piano). Bar 54 onwards
is even more tender and ‘sweet’. Enjoy the beautiful harmonies at bar 62 onwards – there
are some lovely suspensions. In fact, there are many gorgeous moments throughout.
Bar 77 sees the return of the opening. There is a great deal to take in throughout this
piece – hence the lesson from Lucy Parham.
Read Lucy Parham’s step-by-step lesson on this piece on page 24.

r >j
Majestueusement q = 76
> > sf j
### 3 <n>#ffff ™ ff ≈ fff ff ≈ f ff f ffnf ff f f f ≈ f
f f ff
f f f fffffff
& 4 ™ f f ff f f f ‰
J

{
> >
p >. .j
f
>f j
sf r
>f >f
f f f f nf f f f f
>f # fff ff fff
f f f ff
? ### 43 ‰ ™™ Œ ff ≈ ‰ ff ff ≈ f
≈ R ‰
très marqué

> >
> > > ff f ff f f f
### f ff r f f
4
ff f f ff f f f f
& f f ff f ff f f f ≈ f f ≈ f f ‰
f f ‰

{
> . .
. . f . .
f f f f ffr f f fj ff f f f ffr f
? ### ff f≈
R ‰ f f f≈f f ‰ ≈ff
f f ff ff ≈ ff f ‰
R &
f >
f

>
f f f ff f ≈ j
### >f >f > >f > >f
‰ n#fff ™™ ff
7 1. 2.
f
& ≈ f Œ
#ffJ ff #ff #ff J #f #ff

{ &
>f f
≈
ff
> >
### ≈ f f ff ff ? fj f
#ff
-.
>
ff #f ‰
f fJ
-.
ffΩ
ffΩ ≈ ‰
>
f
f fJ
-.
ff
Ω
f >
™™ f #f ‰ Ω f ≈ #ff
ff

56• Pianist 83

P56 Scores RAVEL-FINAL.indd 56 10/03/2015 09:27

 TRACK 12
Maurice RAVEL (1875-1937) ADVANCED
Menuet antique

### Π.
f f # ff f f #f ff f f
f #f f #f f f ff. ff f
9
f f f f f
f f
& Œ ‰ ? ≈ #f ™
J

{
f f
très décidé
> >j
sf

? ### f ≈ f f ≈ fj f #f f nf f ‰ f
ff # fff ff ff f- f. f. >f f f f
f fJ f

Ω Ω Ω
# f j # ff # ff ff
? ### f & ‰ ‰ ff ##fff ≈ ‰
12
‰ f #ff ≈ ‰ ‰ ff ##fff ≈ ‰ Œ Œ Œ Œ ‰ ? f#ff
J f f ff f ff ##fff f f #ff

{ > sf .j
pp
>
? ### j ##ff ##ff ‰
mf
ff ff Œ
Œ ‰ #f f ‹#fff #ff ≈ #ff ff ≈ f‰ ff#f f#f
##ff - - - #f f f f # ff # ff f
avec la sourdine - -

Ω
n fbf f nf f f f nf j n ff
. b f
bf bf bf b
? ### #ff #ff ff ff ff #ff. ff f b f ‰ ‰ bbff n bnfff
16
≈ nfJ ™ J & bf bf bnff ≈ ‰

{
f f
pp
>j nnf ff
? ### f ‰ bf f bf nnff f Œ
#f. f. >f ‰ bf bf -
f- b fJ J - avec la sourdine

Ω Ω
n f f
### bbbfffn bnfff ≈ ‰ ‰ fff n n bfff≈ ‰ Œ
19
mp
& bf bf b nff f f b n ff Œ Œ Œ ‰

{
bf bf
> > j
sf

? ### ff Œ
ff
ff- ‰bnbnffff bnfff ≈ bbbnffff ff ≈ bf ff ™ bf f bf
mf
‰ ‰ -
- nnff nff f™ f

57• Pianist 83

P56 Scores RAVEL-FINAL.indd 57 10/03/2015 09:27

 TRACK 12
Maurice RAVEL (1875-1937) ADVANCED
Menuet antique

.
R.H.

. .
L.H.

### . . bf bf #f #f f f ff nf f #f ?
22 f

& b b nf bf nf f bfbbff ff b ff f #f n f f f

{
f f
nb fF b f f
f f ff f f f bf f fb f f f
J >
mf

? ### bF bf ™ #f #f nf
b f™ nfJ bnff bf bf nf b f ™ bf nf
bf nf
f #f ™
#f #f
f #f ™
>

> > > >

fff fff ff ff f f f f fff ff ff f f f f
? ### ≈ ff™ f f<n>fff f f f ff f f ff ≈
25
≈ f ff
f f≈ f≈ f ff ≈ ff
J R & f

{ fff
ff
p
fff
? ### ‰ ? nf
f f
nf &nf f F™ J F™ J
nf > f nf F™ F™
-. -.
sf sf

> >
m ff fff
### ff ≈ fff fff ≈ ff ff f f f f f f f f f f
28
f f ≈ ff f ≈ f f ff ff f f f f ≈ ffff ff
& f f

{
f f
R pp
>j
fff f f ff ff f fff
? ### F ™ f F™ F™ &
f ff f ? fJ
J f
F™ F ™ F ™
-. .- .-
sf sf

f f fff f ff
ff f ≈ f f f f ff ff mf f f
31
### f ≈ f f f f fff fff f
f f
f f ≈ f f
& f ff f ff f

{
f
f >j
ff ff f
f ff f f
ff f f ff
#
? ## F ™ & F ™ & nf ff ff ? fJ
ff f ? Jf
f F™
F™ F™ F™
-. -. -.
sf sf

58• Pianist 83

P56 Scores RAVEL-FINAL.indd 58 10/03/2015 09:28

 TRACK 12
Maurice RAVEL (1875-1937) ADVANCED
Menuet antique

. >f >
>
. . . . >
### Ω Ω Ω Ω ≈ ? fff nfff f fff f #fff ≈ >
#
34
f f f
nff f fff #ff ≈ f f
& ff ≈ ? ff ff nnfff ≈f ffff f ffff ≈
& f ffnnffff ≈fffff f ffff ≈ fff
& ff
≈

{
.R
ff.
p p
ff ff p
? ### R≈ f≈f ≈ f nf ≈ f ff ≈ f nf ≈ f ff ≈ f f
f f f f≈f f≈
f f f. f.
“‘

> >
sff
j >
sf
>
37
### >
cresc.
ff ff f ff nf ff f f nf f R fJ f f f f
ff ff f f
& f ≈ ff ff ≈ fff nfff ≈ f f ≈ nff
ff ≈ f f ≈

{
# ff f f
> > sf .
ff
> j
>
>f f > # ffff fff nfff fff f
très marqué

# n f f f fff
? ## f f f f
f f ff f
f f f. f f f ≈ f f≈
f. f. f. nf. f f f. f. f. f. f. . . . . ff
f f f f f f
<“> . .

40

### f f f
f f f #f
f f
&
f f f f f f f f f

{ r p. . . .j
ff # f f n f fff f f fj ff f f f ffr f f f
? ### f R ≈ f f f
R ≈ f

“”
en élargissant

> > > >

f f f f f ff f ≈ >ff >f
### f ffff
42
f f f f f f f f f f f f
& f f ff ff
≈‰ ≈ f ff ff
≈ ≈‰ ≈ ffJ fff
R

{ ff f f f ffr f
? ### f f≈f
J
f
f ‰ &
f
≈ ff ff ff ff ≈ f f
f
‰ ≈
ff ff f f
ff
≈?
ff

>f
fJ
>f
ff
ff
-
59• Pianist 83

P56 Scores RAVEL-FINAL.indd 59 10/03/2015 09:28

 TRACK 12
Maurice RAVEL (1875-1937) ADVANCED
Menuet antique

doux q = 80
45
### >f >f U # ## # f - - -
ff #fff Œ # # ™™ f ™ f f f
& f f f f f f ff ™ f f ff f ff f f f f™ f™

{
f #f f f ff f
. . . . . . . . . . . .
> > U
. . . .
? ### fff fff ff 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 fu
- -
-
> >

49
#### # 3 3 > >
& # f f f f™ f Œ f ™
n fff ™ f f™ f ffF f f f
ff f f ff ff f f

{
nf f f f
- - - . . . . . . . . . -
p
3
- f f f
? #### # f f f ff f ‰ f f f fF f f f f
f f ff f ff f ff f
# f ff ff f
- -
-.

1. 2. 3
f™ f f™ f f f f f™ f F
#### #
53

& # j ‰ Œ ™™ j ‰ Œ f f f f f f f f f f f f
f f

{
ff f f ff f f . . . . . . . . . . . .
. . . . . . -
-
ppp avec la sourdine et sans aucune accentuation

- - -
? #### # f ™ f- f- f ™™ ff ™™
f ff ff ff ff ff ff ff ff ff ff ff ?
# f™ & f f f fff ff ff ff ff ff ff ff ff ff ff ff
f
-. . . . . . . . . . . . .

3
f™ f f™ f f f f f™ f F
#### # fff. fff. fff. fff. . . . . . . . .
56

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

{
f f f f . . . . . . . . . . . .
ff
? #### # ‰ ff ‰ ∑ nff ff fff fff ff ff fff fff nff ff fff fff ?
# ff & nff ff f f ff ff f f nff ff f f
-. . . . . . . . . . . . .
60• Pianist 83

P56 Scores RAVEL-FINAL.indd 60 10/03/2015 09:28

 TRACK 12
Maurice RAVEL (1875-1937) ADVANCED
Menuet Antique

60
#### # . . . . . . . . -. -. -
nfff fff fff fff fff fff fff fff ff ff f. f. - - - -
doux (sans sourdine)
- - -
& # n f f f #
nf f f f f f f f f fnff ff #ff ™ f f ™ f fff ff ™ f f™ f fff
f f f

{
f f
3

f f-.
3
f
f
f n f-. R.H.
? #### # ‰ f ‰
f J J ff f f f f f
f
f f f f f f
f f
# ff f f f f f f
f f
- - - - - -
-.

. . . . . . . . . . -. -.
fff ff
#### # . . . . . . ffff fff ff ff ff ff
64
f fff ff ff ff ff f ff ≈
& # fff fff fff fff ffff ffff ffff ffff fff f f

{
f f f f
.
f

.f f. f. f f f F f f.
? #### # ff f ff f f ≈
# f™ ‰
f™

-. -. -. -.
à peine alenti

#### # fj j
67
j f f f
& # ‰ f ff f ff ™ f f ff fff ff f f ff f ‰ f ™ f f

{
ff ff f f f f f f f f f f ff
>j
p
doux. . . . . . . . . . . . . . . . > >
fff f ff ff f ff f f f
>f
? #### # f f f fj ‰
-. -.
f #f f-. f-. ff ff f ff ≈ ff ff
≈
f
# f J
marqué

71
#### # f ™ m 3

& # f f f- f f f ff ™ f ff ™ f f f f ff ™ f f Œ n ff ™ f ™
-

{
>j nf f ff f
ff™ f f ‰ f ff f f f ff #f . . - - - -
#
? ## # # ff f f f f f f f f f f f ‰ f f f f f f
# f fff f f f ΠF
f
-.
61• Pianist 83

P56 Scores RAVEL-FINAL.indd 61 10/03/2015 09:28

 TRACK 12
Maurice RAVEL (1875-1937) ADVANCED
Menuet antique

en ralentissant - - -
> >j
#### # #
f # f f f fff
‰n#fff # ff ≈ fff
75
ff
≈ ff ff f
3
& # f f fF ™ f ff f f f ff f ff

{
f f f f f ff ff fff ff sf
>f
>f >f
ff

? #### # f f f f f f f f f nff #f f f f f f ‰ ### Œ

# f F f f f fJ
f très marqué

>
f f ≈ f f f
### ff f f R J f f f f ffff fff f
79

& f ‰ f ffff fff

J

{
> > sf j
f
p
f f f nf r f. .j r >.
ff f f f ff f f fj
.
# f
ff f f
f f f ff f f
? ### >f f f ≈ ff ff ≈ ‰ f
f f f f f
R≈ f R≈ f

> >
> > > f ff f f f
### f f
82
f
f f f f f f f
& f f ff f ff f f f ≈ ≈ f f ‰
R ‰

{
f f . .
. .
ff f f f ffr
f
f
? ### f f ≈ f f ‰ & ≈ ff ff ff f ≈ f ‰
R f f
f > f
f

>
f f f ff f
84
### ≈ j
& ≈ f
f ff f f Œ Œ Œ ‰ ? f #ff
#>f #>ff #>ff

{
>f
>f >
très décidé
>
ff
### ≈ f f ff ff ? fj
f
f #f ff #f Æ j
& ≈ ‰ fÆ ff ≈ #fff ff ≈ ff ≈
ff ‰ ff #f f f
f
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62• Pianist 83

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63• Pianist 83

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64• Pianist 83

P56 Scores RAVEL-FINAL.indd 64 10/03/2015 09:28

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65• Pianist 83

P56 Scores RAVEL-FINAL.indd 65 10/03/2015 09:28

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SUMMER COURSES
& WORKSHOPS 2015
From week-long piano workshops to one-day tasters, from courses just round the corner to courses
up in the high mountains of Colorado or France, a world of possibilities is open to you this year
UK
Artpeggios Summer Holiday
Camps
July & August
Location: London
Tel: 020 7244 4570
www.artpeggios.com
A fun and productive way for
children to spend their holidays with
programmes focused on band and
ensemble playing. Activities: music
(piano, drums, guitar, DJing, cello,
singing, saxophone), drawing,
drama. Learn how to play, interact
with fellow musicians and make new
friends. Half-day (3 hours) sessions.
Benslow Music Trust
Various dates throughout 2015
Location: Hitchin, Herts
Tel: 01462 459446
www.benslowmusic.org
Residential and short courses
throughout the year for all levels.
Piano courses include Intermediate
Piano (2-22 April), The Art of
Chopin (18-20 May), Advanced
Piano (17-19 June), International
Piano Summer School (27-31 July),
The Romantic Keyboard (7-9 Sep),
Ragtime Piano (13-15 Nov).
Cadenza International
Summer Music School
12-19 July
Location: Purcell School, London
Tel: 0121 446 4836
www.cadenzasummerschool.org.uk
For professionals, students (from
age 11) and amateurs. Solo and
chamber. Faculty includes Pascal
Nemirovski, Fali Pavri, Julian
Jacobson and John Thwaites.
Cambridge Suzuki Young
Musicians, Summer School
27-31 July
Location: Cambridge
Tel: 01223 264408
www.suzukipianocambridge.org.uk
Introductory workshop on the Piano
Suzuki Approach for piano teachers
and students. This short course is led
by Stephen Power, European Suzuki
Association teacher-trainer, and can
also act as the start of a longer-term
Listings COURSES 2015-FINALish.indd 67
teacher-training programme leading
to qualified Suzuki teacher status.
Chetham’s International
Festival and Summer School
for Pianists
14-20 & 20-26 August
Location: Chetham’s School of
Music, Manchester
Tel: 01625 266899
www.pianosummerschool.com
Courses for professionals, adult
amateurs and young players of all
abilities. Murray McLachlan, artistic
director. Faculty includes Philip
Fowke, Peter Donohoe, Paul Badura-
Skoda, Leslie Howard, Nikki Iles,
Mark Tanner and Niel Immelman.
City Lit
Various dates throughout 2015
Location: London
Tel: 020 7492 2630
www.citylit.ac.uk
Ongoing courses for all grades, ages
and abilities such as Jazz, Keyboard
Harmony, Latin, Popular. Summer,
weekends, weekdays and weeknights.
 
CSSM at Sherborne Summer
School of Music
25 July-1 August
Location: Sherborne, Dorset
Tel: 01286 673401
www.cssm.org.uk
Ages 18 and over. For both
professionals and amateurs wishing
to improve their playing in a
supportive environment. Includes
courses such as Masterclass for
Accompanists (and Accompanists’
Repertoire), Alexander Technique
and Play More Notes!
Dartington International
Summer School
1-29 August
Location: Dartington, Devon
Tel: 01803 847080
www.dartington.org/summer-school
The well-established Dartington
Summer School offers one month of
courses for all types of musicians and
genres. This year sees masterclasses
from Joanna MacGregor and Steven
Osborne, a talk by Alfred Brendel,
and lots more. Read the feature on
page 68.
67• Pianist 83
Students at Piano Week in Bangor, Wales
Encore Music Projects Second
International Summer School
20 July-1 August
Location: Somerset
Tel: 07886 355952
www.encoremusic.com
Courses for students, children and
young adults in the beautiful historic
setting of Wells Cathedral School.
One-to-one lessons, masterclasses
and opportunities to perform. Piano
accompaniment classes are offered
as well. Piano tutors include Olena
Shvetsova, Vadim Gladkov and
Barbara Murray. Accommodation
and food provided.
Fantasia Music School
Summer Courses for Young
Musicians
Middle to end of August
Location: Chichester
Tel: 01243 586 068
www.fantasiamusicschool.co.uk
For all levels – beginners to Grade 8
– and for ages 6-18. Four one-week
courses for all instrumentalists,
focusing on ensemble playing.
Farncombe Estate Weekend
Courses & Events
Throughout the year
Location: Cotswolds
Tel: 0333 4568580
www.farncombecourses.co.uk
Various courses on music and music
appreciation. To highlight two of
SUMMER COURSES
& WORKSHOPS 2015
the courses this year: Berlioz - Life
and Music of an Underrated Genius
(April); Film Music – An Unusual
Angle of Creativity (November).
Higham Hall College Piano
Workshop Weekends
March to September
Location: Lake District, Cumbria
Tel: 01768 776276
www.highamhall.com
Various courses on an array of
subjects. Those with a musical
theme include Alexander Technique
(March), Piano Workshop (March),
Romantic Music and Literature
(March), The Miracle of the Mozart
Piano Concerto (April), The Great
American Song Book (June) and
more. Course fee includes meals and
accommodation.
Hindhead Music Centre
July & August
Location: Hindhead, Surrey
Tel: 01428 604941
www.hindheadmusiccentre.co.uk
Piano courses, especially for adult
amateurs, throughout the year, set
in a Victorian country house with six
acres of private gardens surrounded
by hundreds of acres of National
Trust land. Summer piano course
Grade 7 plus (28 July-1 August) with
workshops, masterclasses and more.
Piano faculty: James Lisney and
Simon Nicholls.
▲
12/03/2015 12:21
 SUMMER COURSES
& WORKSHOPS 2015

Holiday Music at the Menuhin
School
30 March-2 April; 27-30 August
Location: Yehudi Menuhin School,
Cobham, Surrey
Tel: 020 8947 5538
www.holidaymusiccourses.com  International Musicians
All ages from 15 to 90. Now
celebrating its 25th anniversary year,
the Holiday Music at the Menuhin
School offers residential courses for
pianists (solo and ensemble) and
other musicians, making music
in any combination. Workshops
in ensemble playing, creativity,
improvisation, Alexander Technique
A bucolic view at the Dartington Summer School in Devon
and jazz. Piano tutors: Muriel Levin,
Danielle Salamon, Robyn Koh.
Meals, accommodation, tuition and
use of swimming pool included. Early
booking reduction.
Seminar (IMS) Prussia Cove
30 March-20 April
Location: Cornwall
Tel: 020 7921 0064
www.i-m-s.org.uk
Chamber music classes and
workshops for advanced pianists,
ages 16-30. Faculty includes Thomas
Adès, Ferenc Rados and Rita Wagner.
Jackdaws Music Education
Trust
Various dates throughout 2015
Location: Somerset
Tel: 01373 812383
www.jackdaws.org.uk
All types of courses to cater to all
levels and tastes. Courses include
Women Composers, The Complete
Pianist, The Pianist Within. Tutors
include Elena Riu, Julian Jacobson,
Mark Tanner, Philip Fowke, Graham
Fitch and Margaret Fingerhut.
 
Kenneth van Barthold
Edinburgh Piano Workshop
10-30 August
Location: Edinburgh
Tel: 01747 838318
www.kennethvanbarthold.com
Workshop designed for advanced
players and aspiring professionals.
Masterclasses, lessons and
performance opportunities. Two
tutors for 12 pupils. Faculty: Kenneth
van Barthold and Nicholas Pope.
 
Lake District Summer Music  Accommodation provided.
International Summer
Academy
3-14 August
Location: Cumbria
Tel: 01539 742620
www.ldsm.org.uk
Conservatoire students and young
Tel: 01923 822268
www.pianocourseswithalexander
technique.com
Individual sessions at the piano and
daily sessions in Alexander Technique.
New ways of learning to memorise
and develop physical freedom at the
piano. Grade 8 plus, all ages. For
performers, students and teachers.
Teacher: Nelly Ben-Or.
 
Oxenfoord International
Summer School
25 July-2 August
Location: Outskirts of Edinburgh
Tel: 07720 773910
www.oxenfoordinternational.co.uk
If you want to master the art of
accompanying, this is the course
for you! Malcolm Martineau
heads the team of tutors for the
piano accompaniment classes. A
rare opportunity for singers and
accompanists to learn together at
this all-Steinway summer school.
Open to amateurs as well as
professionals and students.
Oxford Philomusica
International Piano Festival
and Summer Academy 2015
26 July-2 August
Location: Oxford
Tel: 01865 987 222

Dartington professionals (not for amateurs).

Residential. Coaching with
international artists and tutors.
The famed summer school offers 24/7 musical Piano faculty: Rena Kellaway, Emiko
inspiration for all kinds of players and listeners Tadenuma, Andrew Brownell.
MusicFest Aberystwyth
If you’ve ever felt that you would love to be fully immersed in music and International Festival and
nothing but for a week, why not head for the Dartington International Summer School
Summer School in Devon this August? No matter if you’re an adult 25 July-1 August
amateur or a young professional, a pianist or a fan of contemporary Location: Aberystwyth, Ceredigion,
music, you’ll find something in the month-long summer course, which is West Wales
divided into four week-long sessions, each with its own focus. Tel: 01970 623232
While this may sound an overwhelming number of choices, it is in www.abermusicfest.org
fact easy to get stuck in, especially as a recent re-design of the website has Chamber music course for Grade
made it easier to plan your time at Dartington. 8 and above, age 13 and older.
Pianists often head straight for Week 3 with its piano strand featuring Bursaries available. Masterclasses,
three lectures by Alfred Brendel, and masterclasses from the likes of coaching by the artists in residence
Steven Osborne, Florian Mitrea and Dartington Summer School’s new and concerts by tutors. Tom Poster,
Artistic Director, Joanna MacGregor, who presents a Mozart Piano John Flinders, Guy Johnston and
Concerto class. You can take a daily piano workshop, of course, as well Simon Lane are among the pianists
as sing in the post-breakfast ‘Big Choir’ and watch young singers and performing.
conductors at work. But you can also choose Week 1, with its early music
focus; Week 2, with its opera emphasis, or the free-for-all that is Week 4 Music Makers  Trinity College of Music. The
‘a celebration of creativity in all its forms’. Various dates, July and August
The School’s activities all take place in the lovely setting of Dartington Locations: Fordingbridge,
Hall. A variety of accommodation (including camping for the hardy Salisbury and Wimbledon
types) can be booked, and bursaries are available as well. Tel: 01425 654819
As Joanna MacGregor says of the place, ‘Dartington is a place of www.musicmakers.co.uk
extraordinary beauty and creativity, and its ancient buildings and dream- Five-day courses for ages 5-18;
like gardens resonate and shimmer with generations of musicians and residential option for senior (ages
composers, artists and dancers, poets and writers.’ 8-18) course.
 
For full details and to apply, go to www.dartington.org/summer-school and Nelly Ben-Or Piano Courses
see listing with further information on page 67. 21-26 July
Location: London
68• Pianist 83
www.oxfordphil.com
Faculty includes Alfred Brendel,
Barry Douglas, Byron Janis,
Yocheved Kaplinsky, Leon
McCawley. Grade 8 plus. Public
masterclasses, concerts, lectures
and pedagogy classes. Concerts by
professional pianists also held during
the Piano Festival.
Penelope Roskell’s Advanced
London Piano Courses
25-27 April; 10-12 October
Location: London
Tel: 020 8802 6258
www.peneloperoskell.co.uk
Three-day intensive courses that
include technique, repertoire and
yoga. Nine students maximum per
course. Ideal for preparation for
performances and exams. All courses
by Penelope Roskell, international
pianist and Professor of Piano,
courses are open to all advanced
pianists (amateur, student or
professional).
Piano Duet Courses
27-29 March (Sedbergh); 10-12 July
(Wells); 2-5 Nov (Benslow)
Tel: 01223 240418
www.piano-duet.co.uk
Short courses, weekend and one-
day courses; include repertoire
performance, discussion, individual

Listings COURSES 2015-FINALish.indd 68 12/03/2015 12:21


Carlo Grante teaching at Chetham’s Summer School
tuition, tutor recitals/concerts.
Grade 5 plus and age 18 plus. Tutors
are piano duettists Anne Applin and
Geoffrey Pratley. Individuals willing
to pair up at the time of the course
are welcome.
Piano Week
31 July-5 August
Bangor University, north Wales
Tel: 07775 207066
www.pianoweek.com
Recitals, masterclasses, talks and
discussions by acclaimed pianists
and tutors. All levels, beginner
to advanced. One-to-one lessons
and performance opportunities.
Faculty: Samantha Ward, Vesselina
Tchakarova, Maciej Raginia, Niel du
Preez, Sachika Taniyama, Alexander
Karpeyev, Warren Mailley-Smith and
Yuki Negishi.
Sherborne Summer School of
Music
2-9 August; 9-16 August
Location: Sherborne, Dorset
Tel: 01342 893963
www.sherbornemusicsummerschool.
co.uk
Age 18 plus; students and good
amateurs. Two courses – piano
and piano accompaniment. Solo
and duets covered. Jazz course also
available. Faculty: Andrew Ball for
piano, and Nigel Hitchson for piano
© Kate Mount (Dartington); © Stephanie Mickler (page 70, Summer School for Pianists)
accompaniment. Plus course on
score learning/musicianship skills.
Summer School for Pianists
16-22 August
Location: University of
Wolverhampton
Tel: 0117 9852 726
www.pianosummerschool.co.uk
18 plus and Grade 5 plus. Mature
students encouraged. Tutors: Karl
Lutchmayer, James Lisney, Christine
Stevenson, Laurette Bloomer, and
Pianist Masterclass writer Graham
Fitch. Lessons, masterclasses, student
and faculty concerts. Read a feature
about this school on page 70.
Listings COURSES 2015-FINALish.indd 69
SUMMER COURSES
& WORKSHOPS 2015
SUMMER SCHOOL
FOR PIANISTS
Wolverhampton University, Walsall Campus
Ulverston International Music
Festival 16 August - 22 August 2015
Year round 2015
Location: Lake District TUTORS: James Lisney, Christine Stevenson,
Tel: 07840 293448 Karl Lutchmayer, Graham Fitch, Lauretta Bloomer
www.ulverstonmusicfestival.co.uk
Recital day with Anthony Hewitt (6 An exciting week of masterclasses, tutor recitals, presentations
June), Piano and Strings Masterclass and student concerts. The only United Kingdom piano summer
with the Primrose Piano Quartet school that is held at an All Steinway Institution. Ample practice
(19, 20 Sep), Piano Masterclass with facilities. Accommodation in single en-suite bedrooms on site.
Martin Roscoe and Anthony Hewitt
(21 Nov, 22 Nov). (See Festival For further details contact:
listings for the June festival.)
Gina Biggs: Tel : +44 (0)117 985 2726
XIX International Summer Email: info@pianosummerschool.co.uk
Website: www.pianosummerschool.co.uk
Music Course
14-26 July SS 2015 140x105 Pianist:Layout 1 20/12/2014 13:13 Page 1
Location: Carmarthenshire, Wales
Tel: 01454 419504
www.lmfl.org.uk
Intensive course for young musicians
preparing for exams, auditions and
competitions with some of the
world’s leading tutors.
CANADA
Chetham’s International
Calgary Piano Camp
Location: Calgary, Alberta Summer School &
Tel: +1 (403) 271-0418
www.calgaryartssummer.com
Festival for Pianists
Ages 10 to adult. Explore the Artistic Director: Murray McLachlan
many facets of piano playing in a
supportive, fun atmosphere that
Part One: 14–20 August 2015
promotes a positive attitude towards
Part Two: 20–26 August 2015
practising and performing. Students
are coached in prepared solo
repertoire and new ensemble pieces. The Friendliest Piano Summer School
Students attend classes in musical in the World!
style, interpretation, memorisation,
Faculty includes: Dmitri Alexeev, Paul Badura-Skoda,
technique and performance anxiety.
Philippe Cassard, Peter Donohoe, Carlo Grante, Harry Harris,
Nikki Iles, Eugen Indjic, Matthias Kirschnereit, Murray McLachlan,
 
FRANCE Noriko Ogawa, Artur Pizarro, Vladimir Tropp, Nelita True
With daily concerts, lectures, improvisation, jazz, composition,
LMFL Summer Course intensive one-to-one coaching, duets, organ and harpsichord.
4-17 August
Location: Valbonne, Provence For further information call +44 (0)1625 266899
www.lmfl.org.uk or email info@pianosummerschool.com
Specialist course given by well- www.pianosummerschool.com
known faculty for advanced students
(17+) or professionals.
▲
69• Pianist 83
12/03/2015 12:21
 SUMMER COURSES
& WORKSHOPS 2015
Lot Music
11-18 July; 18-25 July
Location: Prayssac, Lot Valley
www.pianolotmusic.com
Intensive piano study in a beautiful
setting. About nine pianists per course.
First week tutor: Simon Nichols;
second week tutor: James Lisney.
Music at Albignac
1-9, 11-19, and 21-29 August
Location: Tarn, Southwest France
www.albignacmusic.com
This summer school, formerly
known as Music at Ambialet, offers
two streams: amateur and advanced.
Intense eight-day programme
of masterclasses, private tuition,
concerts and lectures in a magnificent
rural setting. Faculty: Harold Gray,
Paul Roberts (Director), Martin
Sturfalt and Charles Owen.
Summer Piano School at
La Balie
July & August
Location: South West France
www.labalie.com
For intermediate to advanced
pianists. Takes part in beautiful
stone farm buildings with wonderful
accommodation. Three one-week
piano courses: Piano Foundation
(3-10 July), Advanced Piano
Master Classes I (10-17 July) and
Advanced Piano Master Classes II
(1-8 August). Class numbers limited
to ten.
GERMANY
Schleswig-Holstein Music
Festival & Masterclasses
11 July-30 August
Location: Lübeck
Tel: +49 451 389 570
www.shmf.de
Masterclasses take place at the
Musikhochschule Lübeck, with each
course ending with concerts given
by the participants. For advanced
students and young professionals.
Elisabeth Leonskaja gives the piano
masterclasses this year, 3-8 August.
ITALY
Music Holiday Italy
March through to October
Location: Appenine mountains
www.musicholidayitaly.com
Fourteen one-week courses
throughout the year. Run by
teacher and performer Gil Jetley.
Masterclasses and performance
opportunities. Maximum eight per
course, for intermediate/advanced
amateurs (around Grade 8 – but no
fixed standard).
Listings COURSES 2015-FINALish.indd 70
Summer School for Pianists
This friendly one-week-long summer school offers lessons,
masterclasses, wide-ranging talks – and Steinways for all
The Summer School for Pianists in the West Midlands has
become a much talked-about course. It is known for combining
an atmosphere of friendliness and non-competitiveness with
musical expertise from some excellent pianist/teachers. The
one-week course (16-22 Aug) is on the Walsall campus of
the University of Wolverhampton, and is centred on the
Performance Hub, a state-of-the-art building. All the facilities,
including the canteen and living accommodations, are not more
than 100 metres away from each other.
When I speak to James Lisney, one of its directors, he tells
me proudly that ‘it’s an all-Steinway course. Participants can’t
believe they’re playing on new Steinway Bs and Cs. It’s also all
about friendliness. And I’ve found that there are so many people A class at the Summer School for Pianists
turning to music in the middle part of their lives. They want to
do it at quite a high level too. They learned when they were young. They’re returners.’
If you want to take part, you’ll need to be Grade 5 (intermediate standard) or above. Participants range
in age from 18 to 88, and teachers and performers are known to come along as well. I ask Lisney what
participants will need to prepare in advance. ‘Three pieces that can be dealt with in a workshop setting and
that will be beneficial for all within the masterclass,’ Lisney replies. ‘The pieces should be a maximum of seven
or eight minutes each, but they can of course be shorter.’
At this summer school, there are 18 hours of masterclasses, with each participant allotted three half-hour
slots during the week (12 students approximately in each class). All are welcome to visit other classes to
observe. There are 60 participants (plus observers) and five tutors – James Lisney, Christine Stevenson, Karl
Lutchmayer, Lauretta Bloomer and Graham Fitch, Pianist Masterclass writer.
All the tutors give recitals, which is surely an inspiration. And what about that question that participants
always ask: will they have to perform? ‘It’s not imperative,’ explains Lisney. ‘There are two forms of recitals:
informal concerts organised by the students themselves, which take part in a studio. The more formal end-of-
week recitals take part in the Black Box Theatre, on a stunning brand-new Steinway C.’
There’s a wealth of talks and performances throughout the week, some given by course tutors. This year’s
Piano Matters tutor talks include A Passion for Liszt (Christine Stevenson), Perspectives on Piano Now
(Carl Lutchmayer), A User’s Guide to Ornamentation (Graham Fitch) and The Metronome – friend or foe?
(James Lisney). I am definitely interested in the verdict on that last one!
Other new elements include ‘Aperitif ’ (brief pre-concert talks that will provide ‘tasting notes’ for the
tutor recitals), Words and Music (this time featuring a late-evening performance of Tennyson’s melodrama
Enoch Arden, with solo piano music by Richard Strauss) and Piano Now (an evening’s event/discussion
exploring 21st-century piano music for two to eight hands).
Another highlight comes from guest lecturer Ruth Waterman, a dance expert and the niece of Leeds Piano
Competition founder Dame Fanny, who will give a presentation on the subject of Baroque Dance, covering
the dances styles found in Bach suites. There will also be classes for piano accompaniment with Lauretta
Bloomer and baritone Brian White, and for piano duet.
Erica Worth
The Summer School for Pianists runs from 16 to 22 August. Full information, including booking details, is
available online at www.pianosummerschool.co.uk. See listing on page 69
  Aspen Music Festival and
JERSEY USA School
2 July-23 August
Jersey International Festival ArtsAhimsa Music Festival at Location: Colorado
for Amateur Pianists Belvoir Terrace Tel: +1 (970) 925-3254
24-31 May 23-30 August www.aspenmusicfestival.com
Location: Jersey Academy of Music Location: Lenox, Massachusetts Masterclasses, workshops, private
www.normandypianocourses.com www.artsahimsa.org instruction, and performance
Residential course for serious www.belvoirterrace.com opportunities for advanced students
amateur pianists, aged 18 plus. Located at a beautiful 19th-century and young musicians.
Introduction to Alfred Cortot estate in a leafy area, ArtsAhimsa  
method; raising level of playing promotes non-violence throughout Golandsky Institute Summer
and gaining freedom at the piano. the arts. Chamber music classes for Symposium
There are ample practice facilities pianists and string players. For adults 11-19 July
at this school with one piano per with a good playing level. Audition Location: Princeton University,
person. Performance possibilities. required. Performance opportunities. New Jersey
Masterclasses are given this year by Faculty includes Paul Epstein, Rui Tel: +1 (877) 343-3434
Idil Biret. Shi, So Hee Kwon, Donna Gill. www.golandskyinstitute.org
▲
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p71 Ads.indd 71 12/03/2015 16:31

 SUMMER COURSES
& WORKSHOPS 2014
TRANSACOUSTIC
The new Yamaha U1 Transacoustic In stock now!
Please call us for a VIP appointment to listen and to
experience this amazing new concept in pianos.
We also stock a wide range of new and expertly restored
pianos, both grands and uprights from the finest piano makers.
Alexander Kobrin teaching at the IKIF in New York City (see listing this page)
Week-long immersion in the
Taubman Approach to piano
playing. Lectures, masterclasses,
technique clinics and private lessons.
International Keyboard
Institute and Festival
18 July-2 August
Location: Hunter College,
New York City, New York
Tel: +1 (212) 665 2446
www.ikif.org
Ages 14-30; intermediate to
professional (audition required).
Scholarships available. Two weeks of
concerts, masterclasses and lectures.
Faculty this year includes David
Dubal, Jean-Efflam Bavouzet, Alessio
Bax, Nina Lelchuk, Stuart Isacoff,
Yamaha Hybrid Piano Specialists Marc-André Hamelin, Steven Mayer.
for the South East of England
International Music Camp
Piano Program
Throughout the year
Location: Near Dunseith, North
Dakota
Tel: +1 (701) 838-8472 (Sep-May);
+1 (701) 263-4211 (June-July)
www.internationalmusiccamp.com
Ages 11 to adult, with at least two
years’ piano experience. Daily classes
in technique, literature, keyboard
harmony, theory and more. Jazz
piano and organ as well.
VERVE HOUSE, LONDON ROAD (A30),
SUNNINGDALE, SL5 0DJ
SALES@HANDELPIANOS.CO.UK
TEL 01344 873645 Fou Ts’ong and pupil at Oxford Philomusica
WWW.HANDELPIANOS.CO.UK 72 • Pianist 83
WWW.FACEBOOK.COM/HANDELPIANOSLTD
Listings COURSES 2015-FINALish.indd 72
Kinhaven Adult Piano
Workshop
2-7 June
Location: Kinhaven, Vermont
Tel: +1 (973) 378-5854
www.kinhaven.org
Study four-hand and solo repertoire
workshop in a non-competitive,
supportive environment. Also
Alexander Technique.
Rocky Ridge Music Center
End of May to end August
Location: Estes Park, Colorado
Tel: +1 (970) 586-4031
www.rockyridge.org
Two adult piano seminars (30 May-
3 June; 3-7 June) in the inspiring
setting of the Rocky Mountains.
Faculty includes SoYoung Lee, Lori
Sims, Lei Weng, Sergio Gallo.
WEBSITES
Hot Courses
www.hotcourses.com
Searchable databases of UK courses
available throughout the year.
 
Music Workshop Guide
www.acmp.net/workshops
Searchable database of chamber
music courses around the world.
12/03/2015 12:22

MUSIC FESTIVALS 2015
From the small but exquisite to the thrillingly huge and star-studded, this year’s spring
and summer festival offerings are more exciting, colourful and varied than ever – don’t miss out
UK
Aberystwyth MusicFest
International Festival
25 July-1 August
Location: Aberystwyth, Wales
Tel: 01970 62 32 32
www.abermusicfest.org
The spectacular coastline of Cardigan
Bay in West Wales provides a
dramatic backdrop for this fusion of
music festival and summer school.
Full programme details in late April.
Aldeburgh Festival
12-28 June
Location: Suffolk
Tel: 01728 6871100
www.aldeburgh.co.uk
The festival founded by Benjamin
Britten and Peter Pears serves up
two weeks of recitals, concerts,
masterclasses and events at Snape
Maltings Concert Hall and other
venues on the Suffolk coast. Artistic
Director Pierre-Laurent Aimard
makes several appearances, joining in
Messiaen’s Quartet for the End of the
Time and tributes to Pierre Boulez in
his 90th year.
Bath International Music
Festival
15-26 May
Location: Bath
Tel: 01225 463362
www.bathmusicfest.org.uk
The Bath Festival presents joyous
innovation across multiple artistic
disciplines. This year Steven Osborne
gives two recitals, including one
devoted to Messiaen’s Vingt regards.
Bath Mozartfest
13-21 November
Location: Bath
Tel: 01225 463362
www.bathmozartfest.org.uk
A popular festival set in venues in
the beautiful and historic city.
BBC Proms
17 July-12 September
Location: London
Tel: 0845 401 5040
www.bbc.co.uk/proms
This extraordinary festival, based
at the Royal Albert Hall, features
the best national and international
concert artists. Full programme
details announced in April.
Listings FESTIVALS 2015-FINALish.indd 73
MUSIC FESTIVALS 2015
Brighton Festival Full details about the programme on City of London Festival
2-24 May the website in early spring. 22 June-10 July
Location: Brighton Location: London
Tel: 01273 709 709 Cheltenham Music Festival Tel: 0845 120 7502
www.brightonfestival.org 30 June-11 July www.colf.org
Stephen Hough makes his way to the Location: Cheltenham Churches and historic buildings in
annual festival of arts and music in Tel: 0844 880 8094 the City of London are the setting
the seaside city; he’s playing Debussy www.cheltenhamfestivals.com for this popular festival, which this
and all four Chopin Ballades. This well-established festival features year takes Singapore as its theme.
Marc-André Hamelin in a recital Melvyn Tan and the T’ang Quartet
Cambridge Summer Music including UK premieres of two of play chamber music in Merchant
Festival his own works. Other keyboard Taylor’s Hall, Judy Carmichael
17 July-13 August highlights include Gabriela Montero serve up an evening of swing music
Location: Cambridge Mahan Esfahani (harpsichord), while jazz pianist Jeremy Monteiro
Tel: 01223 894161 and recent Pianist cover artist Boris performs in the Sky Garden, at the
www.cambridgesummermusic.com Giltburg in chamber music. top of London’s ‘Walkie Talkie.’
▲
Music at Paxton
Summer music in an idyllic and cosy Scottish Borders setting
A stately home, excellent music making and stunning surroundings
– just three reasons why the small Music at Paxton festival has
developed a big reputation in its ten years. The festival is centred
on Paxton House, a mid-18th-century Palladian stately home on
the banks of the River Tweed in the Scottish Borders region.
This region has its own cachet as a place of pilgrimage for fans
of Sir Walter Scott, the author of Ivanhoe and The Lady of the Lake.
The Romantic era poet, author and playwright was enchanted by
the Scottish Borders area, and brought its beauty and legend to life
in many of his writings.
Had Sir Walter Scott visited Paxton House, he would no doubt
have been as captivated as modern visitors are. ‘It’s an idyllic setting,’ says Marianne Butler, a long-time
festival attendee and volunteer who recently joined the festival’s board. Built for Patrick Home in 1758-66
by architect John Adams (brother of the more famous Robert), Paxton House was later extended in the
Regency era by architect Robert Reid to include a library and a picture gallery, the largest private gallery in
Great Britain at the time of its completion.
The concerts of this ten-day festival are held in the Picture Gallery, an oval room with 140 seats and a small
stage with a Steinway piano. The Gallery boasts good acoustics, a fortunate element ‘considering it wasn’t built
as a hall,’ says Butler. ‘The room is wonderful in its original Regency decoration and it’s full of pictures from
National Galleries of Scotland.’
Indeed, it seems that musical splendour must vie with visual splendour at this festival, but the high-calibre
performers and diverse programming are up to the challenge. Butler has fond recollections of performances
in past years by violinist Alina Ibragimova and Cédric Tiberghien, harpsichordist Mahan Esfahani and pianist
Alasdair Beatson. Highlights of this year’s Music at Paxton festival include cellist Natalie Clein and pianist
Håvard Gimse, pianist Steven Osborne and his clarinettist wife Jean Johnson, and pianist Benjamin Grosvenor
(in a solo recital).
When Butler tells me about the appealing-sounding dinners that one can book before a concert, I’m
suddenly reminded of the formal dress code at Glyndebourne. She assures me that dinner suits or kilts are
not required at Paxton. You can even take your meal outside, and, as the festival is in July, you may well be
lucky with the weather. ‘We are on the dry side of Scotland and we have some lovely evenings. The whole
▲
atmosphere is really lovely,’ says Butler.
When not attending the evening concerts, festival visitors can visit the many stately homes and open
countryside nearby. They can even add Sir Walter Scott to their itineraries – his home, Abbotsford, has been
recently restored and is just 15 miles away from Paxton House.
Inge Kjemtrup
Music at Paxton is from 17-26 July. Full concert details will be available online in mid-April at the festival’s website,
www.musicatpaxton.co.uk. See listing on page 74.
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 MUSIC FESTIVALS 2015
Britten Studio, one of the venues at the Aldeburgh Festival
East Neuk Festival
27 June-5 July
Location: East Neuk
Tel: 0131 473 2000
www.eastneukfestival.com
A festival that really knows how
to take advantage of beautiful
surroundings, East Neuk features
Ashley Wass playing chamber music
and jazz pianist Gwilym Simcock.
Edinburgh International
Festival
7-31 August
Location: Edinburgh
Tel: 0131 473 2000
www.eif.co.uk
The distinguished Edinburgh
International Festival’s offerings this
year include recitals from Lang Lang,
Angela Hewitt, Mitsuko Uchida
and a Beethoven sonata cycle from
Rudolf Buchbinder.
English Music Festival
22-25 May
Location: Dorchester-on-Thames
www.englishmusicfestival.org.uk
Set against splendid backdrops such
as Dorchester Abbey and Radley
College, the festival highlights
English music by the likes of Delius,
Butterworth, Stanford and Britten,
plus Lionel Sainsbury plays his own
piano compositions.
Finchcocks Museum
Year-round
Location: Goudhurst, Kent
Tel: 01580 211702
www.finchcocks.co.uk
The Finchcocks Musical Museum
boasts a remarkable collection of
over 100 keyboards and you can hear
them in action at the museum’s many
concert series. Don’t miss a late May
bank holiday ‘Weekend of English
Musical Humour’.
Hebden Bridge Piano Festival
12-25 July
Location: Hebden Bridge, Yorkshire
www.hebdenbridgepianofestival.com
Listings FESTIVALS 2015-FINALish.indd 74
Concerts and masterclasses from a
diverse group of pianists including
Ashley Wass, Clare Hammond,
Gordon Fergus-Thompson and
Zoe Rahman.
King’s Lynn Festival
12-25 July
Location: King’s Lynn
Tel: 01553 764864
www.kingslynnfestival.org.uk
Classical, chorale and chamber
music. Freddy Kempf plays with the
Flanders Symphony Orchestra in the
final evening concert of this festival,
which celebrates its 65th season.
Lake District Summer Music
International Festival
1-14 August
Location: Lake District
Tel: 01539 742 621
www.ldsm.org.uk
Cumbria’s stunning Lake District
is the backdrop for this festival
featuring young stars of tomorrow.
Details online in the spring.
Manchester International
Festival
2-19 July
Location: Manchester
Tel: 0844 871 76543
www.mif.co.uk
The city-wide festival looks for the
exciting and innovative in a multi-
disciplinary way. Exhibit A: Neck of
the Woods with Turner Prize-winning
artist Douglas Gordon and pianist
Hélène Grimaud creating a portrait
of the wolf using visual art, music
and theatre.
Midsummer Music
19-21 June
Location: Latimer, Bucks
Tel: 01494 783643
www.midsummermusic.org.uk
Pianist Paul Lewis and his cellist
wife, Bjørg Lewis, are joint artistic
directors of this small but potent
chamber music festival based at St
Mary Magdalene in Latimer.
74• Pianist 83
Music at Paxton
18-27 July
Location: Paxton, Scottish Borders
Tel: 07752 570389
www.musicatpaxton.co.uk
The genial surroundings of at Paxton
House, a historic estate on the
Scottish borders, provide a gorgeous
setting for this intimate but engaging
festival. See feature on page 73.
Newbury Spring Festival
9-23 May
Location: Newbury, Berks
Tel: 0845 5218 218
www.newburyspringfestival.org.uk
This year’s festival features a recital
from Mikhail Kazakevich, one of
the judges of the Sheepdrove Piano
Competition for young pianists that
takes place during the festival. Other
pianists include Peter Donohoe and
Harry the Piano.
Norfolk and Norwich Festival
8-24 May
Location: Norfolk
Tel: 01603 766 400
www.nnfestival.org.uk
Pianists, classical and jazz, take
pride of place, among them Ingolf
Wunder, Francesco Piemontesi and
a special concert from South African
piano legend Abdullah Ibrahim
celebrating his 80th year.
Oxford Philomusica Festival
and Summer Academy
26 July-3 August
Location: Oxford
Tel: 01865 987 222
www.oxfordphil.com/piano
The university town is the setting for
a powerhouse piano festival featuring
masterclasses and performances by
top pianists, this year including Barry
Douglas, András Schiff, Menahem
Pressler and Ivo Pogorelich.
Proms at St Jude’s
20-28 June
Location: London
Tel: 020 3322 8123
A crowd gathers at the Oxford Philomusica Festival
www.promsatstjudes.org.uk
With free lunchtime concerts and a
range of other events, this is one of
London’s liveliest summer festivals.
Ribble Valley International
Piano Week
15-18 July
Location: Ribble Valley, Lancs
Tel: 01229 861325
www.rvipw.org.uk
Lancashire’s always-intriguing piano
festival includes a line-up of top
keyboard talent such as Alexandra
Dariescu, Paul Lewis and jazz star
Gwilym Simcock.
Ryedale Festival
17 July-2 August
Location: Ryedale, North Yorkshire
Tel: 01751 475777
www.ryedalefestival.com
Well-loved regional festival that
attracts international artists. Full
details available online in April.
Spitalfields Festival
2-16 June
Location: London
Tel: 020 7377 1362
www.spitalfieldsmusic.org.uk
‘Quirky’ is the byword for this
festival, both in repertoire and
venues. There’s a strong period
performance stress this year.
Swaledale Festival
23 May-6 June
Location: Yorkshire Dales
Tel: 01748 880019
www.swaledale-festival.org.uk
This year’s festival features Michael
Brough in selected Rachmaninov
Etudes-Tableaux and the world
premiere of his own 25 preludes.
Thaxted Festival
19 June-12 July
Location: Thaxted, East Anglia
Tel: 01371 831 421
www.thaxtedfestival.org.uk
Composer Gustav Holst organised
the first festival, centred on the East
12/03/2015 12:23

A lovely day at the Newbury Spring Festival
Anglian town of Thaxted and its
600-year-old church. Full season
details online in the spring.
The Two Moors Festival
15-24 October
Location: Devon
Tel: 01643 831006
www.thetwomoorsfestival.com
There’s always much to like in the
concerts as well as the convivial
atmosphere at this Devon festival,
which started in 2001. Full
programme details in June.
Ulverston International
Festival
12-20 June
Location: Lake District
Tel: 01229 587140
www.ulverstonmusicfestival.co.uk
Hike around the lovely Lake District
when you aren’t attending concerts
by festival founder and pianist
Anthony Hewitt and friends.
AUSTRIA
Grafenegg
14 August-6 September
Location: Grafenegg Castle
Tel: +43 (0)2735 5500
www.grafenegg.com
The magical setting for this festival
is Grafenegg castle, and this year the
Berlin Philharmonic is an honoured
guest. See feature on page 76.
Schubertiade Schwarzenberg
Hohenems
1-31 May; 16-19 July; 11-
13 September; 1-6 October
(Hohenems); 20-28 June; 22-30
August (Schwarzenberg)
Location: Schwarzenberg,
Hohenems
Tel: +43 (0)5576 72091
www.schubertiade.at
One festival in two towns draws top
pianists such as Igor Levit, David
Fray, Ingolf Wunder and Lars Vogt
in recitals and chamber music.
Listings FESTIVALS 2015-FINALish.indd 75
MUSIC FESTIVALS 2015
Many words
are used to describe
pianos
FRANCE
En Blanc et Noir
25-29 July
Location: Lagrasse
Tel: +33 4 6843 1240
www.enblancetnoir.com
The medieval village of Lagrasse,
voted one of the most beautiful
villages in France, hosts this new
piano festival. There’s a focus on
Scriabin and the French premiere
of Holst’s recently discovered
arrangement for four hands of his
own Planets Suite. Ivan Illic, Bobby
Mitchell and Guillaume Sigier are
among the youthful performers.
Orpheus & Bacchus Piano
Festival
13-19 June
Location: Near Bordeaux
Tel: +49 (0)30 2759 4175
www.orpheusandbacchus.com
Enjoy a residential holiday at the
piano-focused offshoot of this
festival, which launches its first
season with a bang with Stephen
Kovacevich, Frederico Colli, Danny
Driver and other top pianists.
Roque D’Antheron
24 July-23 August
Location: Aix en Provence
Tel: +33 (0)4 42 50 51 15
www.festival-piano.com
One of world’s powerhouse piano
festivals. If you’re looking for a place
to gain encyclopaedic knowledge
of today’s pianists, Roque and the
Klavier Festival Ruhr are your best
bets. Full programme available
online in late spring.
GERMANY
Klavier Festival Ruhr
17 April-4 July
Location: Cities in the Ruhr Valley
Tel: +49 (0)1806 500 806
www.klavierfestival.de
▲
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 MUSIC FESTIVALS 2015
Grafenegg Festival
Rudolf Buchbinder, Artistic Director of this nine-year-old Austrian
festival located on the grounds of a castle, talks to Erica Worth
What’s special about Grafenegg?
First of all, there is something so magical and
fascinating about the location that inspires new ideas
and encourages one to explore new paths. With our
unique open-air ‘Wolkenturm’ stage, we can offer
music on the highest level in the extraordinary setting
of the Grafenegg castle grounds. Grafenegg is now
one of the world’s most important orchestra festivals:
besides our great Festival Orchestra, the Tonkünstler
Orchestra, we welcome the best orchestras, conductors
and soloists. All of them not only appreciate the
excellent acoustic but also this wonderful location,
the exchange with other musicians and the special
atmosphere between audiences and artists.
What can a music-loving visitor expect?
For the ninth year running, we will once again offer
an attractive and diverse program, ranging from
family concerts to matinees, ‘preludes’ and top-
class evening concerts. This will include the Vienna
Philharmonic and Semyon Bychkov, the Boston
Symphony Orchestra with Andris Nelsons, the Israel
Philharmonic Orchestra under Zubin Mehta, the
Berlin Philharmonic with Simon Rattle, Matthias
Pintscher as our composer in residence – as well as
internationally renowned soloists such as Anne-Sophie
Mutter, Alisa Weilerstein and Julia Fischer.
 
Tell us about the concert venues.
Our different concert stages are all within the castle
grounds. The main concert venue is the famous
‘Wolkenturm’, built in 2007 in the style of a futuristic
amphitheatre. The Auditorium is used for matinees
and evening concerts in case of bad weather. The
Courtyard is a venue for prelude concerts by chamber
music ensembles and the Old Riding School is where
our pre-concert talks take place. You’ll also notice
orchestra players and soloists warming up before a
concert in the shadow of trees on the castle grounds.
  
You are a performer as well as Artistic Director.
Actually, when the festival was founded in 2007
I decided not to perform. But I’ve been asked so
many times by colleagues and the audience that I’m
now doing both [Buchbinder plays the Schumann
Concerto on 20 Aug and the Brahms First Concerto
on 23 Aug.]
What activities can visitors take part in beyond the
concerts of the festival?
A visit of the festival can be easily combined with a
trip to the idyllic countryside around the Grafenegg
castle. The Wachau region, a UNESCO World
Heritage site, is one of the most beautiful river valleys
in Europe and offers a wide range of important works
of art and cultural activities. This wine-growing region
offers culinary specialities and great opportunities
for excursions like walking or cycling trips along the
famous Danube Cycle Path or a boat trip.
 
How easy is it to get to Grafenegg?
It is fairly close to Vienna and we have bus shuttles
to every concert from Vienna. Of course it’s a nice
Listings FESTIVALS 2015-FINALish.indd 76
Rivalled only by Roque D’Antheron
in size, this huge festival presents
piano recitals and concerts in cities
throughout Germany’s industrial
heartland. Just a random handful of
this year’s performers to whet your
appetite: Lang Lang, Arcadi Volodos,
Grigory Sokolov, Alice Sara Ott and
Martha Argerich joined by cellist
Misha Maisky.
Mozart@Augsburg
28 August-18 September
Location: Augsburg
Tel: +49 (0)821 777 3410
www.mozartaugsburg.com
Set in the charming Bavarian city
of Augsburg, this festival boasts
some creative programming; festival
director Sebastian Knauer joins actor
Katja Riemann in a Gershwin recital.
Rarities of Piano Music
21-29 August
Location: Husum
opportunity to stay in the region around Grafenegg Tel: +49 (0)4841 89 73 130
as well. There are a number of hotels to choose from, www.piano-festival-husum.de
ranging from cosy guest houses to luxury hotels. Truly the festival for the piano
cognoscenti – the likes of Joseph
Tell us about the final concert on 6 September. Moog, Jorge Luis Prats and Luiza
For the very first time we welcome the Berlin Borac bring magic to rare and (often
Philharmonic with Simon Rattle. They will offer an unjustly) neglected piano repertoire.
‘imaginary orchestral journey’ from Haydn’s music, Book early, it’s very popular!
put together by Sir Simon. It will be a complete
Berlin Philharmonic day on 6 September, including Schleswig-Holstein Music
a morning performance by the Scharoun Ensemble, Festival
which was founded over 30 years ago by members of 7 July-30 August
the orchestra, and the wind section will perform in Location: Schleswig-Holstein
the Prélude concert in the afternoon before the whole Tel: +49 (0)431 23 70 70
orchestra closes the festival with the evening concert. www.shmf.de
   Now in its 30th year, this festival
You’ll be playing all of the Beethoven sonatas at the varies location. Treats this year
Edinburgh Festival this August. include recitals by Pollini and
I’m very much looking forward to performing the Trifonov, plus a Tchaikovsky focus
cycle. Beethoven has always played an important role with performances of all the piano
for me. I’ve played a lot of concerts and recorded concertos, the symphonies and more.
the sonatas twice. The more I’ve engaged myself with
the music, Beethoven as a person and the different
editions, the freer I become and I continue to discover IRELAND
something new.
Dublin International Piano
How will you manage to divide your time between Festival & Summer Academy
Edinburgh and Grafenegg? 25 July-2 August
I’ve organised it in a way that one doesn’t collide with Location: Ireland
the other, so I can focus on both equally. I’m very Tel: +353 1 5555000
much looking forward to Edinburgh and Grafenegg! www.pianofestival.ie
  The third year of this academy and
And over these past nine years has the Festival festival, founded by pianists Archie
grown to be what you expected? Chen and Rhona Gouldson, sees 16
In retrospect, nobody could have predicted the success young stars tutored by the pros, who
of Grafenegg and today the vision we had seems very also give recitals. Full programme
brave and ambitious to me. We are very happy and details online in the spring.
proud that within only a few years Grafenegg has
become an internationally renowned festival location New Ross Piano Festival
and is now Austria’s hotspot for many of the world’s TBC September
leading orchestras, conductors and soloists. Location: Ireland
Tel: +353 (0)51 421766
For full details about this year’s Grafenegg Festival, which www.newrosspianofestival.com
runs from 14 August-6 September, go to the festival’s With Finghin Collins as its artistic
website www.grafenegg.com and see the listing page 75. director, this is a short but potent
festival of pianism.
76• Pianist 83
12/03/2015 12:25

ITALY
Spoleto Festival
26 June-12 July
Location: Spoleto, Italy
Tel: +39 0743 77 64 44
www.festivaldispoleto.com
Founded by composer Gian Carlo
Menotti, this ‘Festival of Two
Worlds’ continues in Spoleto, near
Rome, and Charleston, South
Carolina in the USA. Full details
online in the spring.
Trasimeno Music Festival
4-10 July
Location: Near Lake Trasimeno
www.trasimenomusicfestival.com
In her Italian hill town festival,
Angela Hewitt gives a recital featuring
Bach and Beethoven and another
with an all-Spanish theme, and is
joined by friends in Poulenc’s Babar
and Stravinsky’s The Soldier’s Tale.
NORWAY
Bergen International Festival
27 May-10 June
Location: Bergen
Tel: + 47 (0)55 21 61 50
www.fib.no
At this year’s festival, the Bergen
Philharmonic Orchestra celebrates
its 250th year. Star turns from
Igudesmann and Joo, Ronald
Brautigam in the Grieg Concerto
and Leif Ove Andnes almost
everywhere.
International Music Festival
Stavanger
TBC August
Location: Stavanger
Tel: +47 (0)913 98 640
www.icmf.no
Top chamber music festival founded
by clarinettist Martin Fröst and
pianist Christian Ihle Hadlandt.
Details available in May.
© Alexander Haiden (Grafenegg); © Thomas Lorenzen (Husum)
Luiz Borac takes a bow at the Husum Festival in Germany
Listings FESTIVALS 2015-FINALish.indd 77
Lofoten Festival
6-12 July
Location: Lofoten
Tel: + 47 (0)9139 4673
www.lofotenfestival.com
This festival alternates years between
being a piano and a chamber music
festival. This year, chamber music
comes to the forefront, but with the
likes of András Schiff among the
players, it’s worth the trip.
SWITZERLAND
Lucerne Festival
21-29 March (Easter Festival);
14 August-13 September (Summer);
21-29 November (Piano Festival)
Location: Lucerne
Tel: +41 (0)41 226 44 80
www.lucernefestival.ch
The three seasonal festivals attract top
international stars to play in the Jean
Nouvel-designed concert hall on Lake
Lucerne. Humour is the theme of the
summer festival this year.
Menuhin Gstaad Festival
16 July-5 September
Location: Gstaad
Tel: +41 (0)33 748 83 38
www.menuhinfestivalgstaad.ch
Menuhin’s vision endures with this
festival, this year including artist-
in-residence Jean-Yves Thibaudet in
Ravel’s Concerto in G.
Project Martha Argerich
Lugano
10-29 June
Location: Lugano
Tel: +41 (0)58 866 82 40
www.luganofestival.ch
Martha Argerich takes the helm in a
festival featuring some of her friends
such as Nicholas Angelich, Lars Vogt
and Gabriela Montero.
Verbier Festival
17 July-2 August
Location: Verbier
77• Pianist 83
Angela Hewitt at her Trasimeno Music Festival in Italy
Tel: +41 (0)848 771 882
www.verbierfestival.com
Highlights at this Swiss mountain
festival include Schiff in Bartók’s
Third Concerto, and recitals
from Grigory Sokolov and Khatia
Buniatishvili.
TURKEY
Istanbul Music Festival
31 May-29 June
Location: Istanbul
Tel: +90 212 334 07 00
www.iksv.org/en
Launched in 1973, the Istanbul
Music Festival features Turkish
musicians alongside musicians
from around the globe – this year
including Angela Hewitt and Lars
Vogt. This year’s festival theme is
‘Cultural Landscapes’.
USA
Aspen Music Festival
2 July-23 August
Location: Aspen, Colorado
Tel: +1 (970) 925-9042
www.aspenmusicfestival.com
You’ll have a Colorado Mountains
high at this venerable and prestigious
festival; pianists include Ingrid Fliter,
Yuja Wang and Vladimir Feltsman.
International Keyboard
Institute and Festival
18 July-2 August
Location: New York City
Tel: +1 (212) 772 4448
www.ikif.org
Piano-intensive concerts, recitals,
lectures and masterclasses in this
annual event organised by American
pianist Jerome Rose. Marc-André
Hamelin and Alessio Bax are among
the performers.
Marlboro Music Festival
18 July-16 August
Location: Marlboro, Vermont
Tel: +1 (215) 569-4690
www.marlboromusic.org
MUSIC FESTIVALS 2015
Artistic directors Mitsuko Uchida
and Richard Goode maintain the
Marlboro mystique. Programmes
are not set until a week before
each concert, but there are always
discoveries in the mix of established
stars and up-and-coming youngsters.
Miami International Piano
Festival
Year-round
Location: Miami, Florida
Tel: +1 (305) 935-5115
www.miamipianofest.com
This year-long festival prides itself in
spotting keyboard stars of the future.
Music@Menlo
17 July-8 August
Location: Menlo Park, California
Tel: +1 (650) 330-2030
www.musicatmenlo.org
Well-chosen programming,
interesting lectures and dynamic
performers explain this Bay Area
festival’s huge success.
Spoleto Festival USA
22 May-7 June
Location: Charleston, SC
Tel: +1 (843) 579-3100
www.spoletousa.org
Founded by composer Gian Carlo
Menotti, this ‘Festival of Two
Worlds’ continues in Charleston,
South Carolina and Spoleto, Italy.
The wide-ranging opera and concert
festival includes Conor Hanick in
Ives’s Piano Sonata No 2.
Tanglewood Festival
28 June-30 August
Location: Lenox, Massachusetts
Tel: +1 (888) 266-1200
www.bso.org
Top keyboard names from around
the world join the Boston Symphony
at their Tanglewood summer home,
marking its 75th year this season.
Look for Leon Fleisher in a duo
recital with his wife Katherine
Jacobson, Paul Lewis in recital and
in Schumann Piano Concerto, and
Garrick Ohlsson in Beethoven’s
‘Emperor’ Concerto.
12/03/2015 12:25
 P I A N I S T AT W O R K
THEME WITH
VARIATIONS
After successfully tackling the Goldberg
Variations, Nick van Bloss has taken on
the Diabelli Variations for his brand-new disc.
Is this is the start of a trend?
Why did you decide to record the Diabelli Variations?
The Diabelli Variations has always been one of those works spoken about in
hallowed tones, alongside Bach’s Goldberg Variations – it’s one of those pieces
that everyone knows is a monumental, almost sacred work. But, much as I
adore Bach’s Goldbergs, I’d never felt drawn to the Diabellis. I once heard
a well-known pianist play it, and I admit I actually dozed off, so dull and
uninspiring was the performance. I think that left me with the impression
that the work was somehow as dull as the performance, so I never really
imagined I’d ever play it. Big mistake! It was only when I picked up the score
and started looking at it (not playing it) that I thought ‘hang on, this looks
fabulous!’ And so it is. It’s totally different from the Goldbergs, but it’s equally
inventive and crafted with that same level of genius. It is like a blueprint of
all of Beethoven’s styles and emotions and, at the same time, is an incredibly
warm and fresh work. Having previously recorded the Goldbergs, it was then
a completely natural progression for me to put the Diabellis on CD, too.
And why pair the Diabelli Variations with the ‘Appassionata’ Sonata?
I’d always wanted to record the ‘Appassionata’. I absolutely hate the many
heavy, lumbering, agonisingly over-emotional performances of it. I see it as
a powerful, yet bubbling and forward-moving work. There’s no time to sit
and labour over every single phrase; it’s got to move. The title ‘Appassionata’
(not a title given by Beethoven) hasn’t helped this – people feel they have
to inject passion and agony. It’s actually a fresh and creamy work that just
needs to be played honestly.
© Sussie Ahlburg
What’s it like to perform the Diabellis live?
Scary! Apart from the sheer length of it, and the fact you know there’s a
78• Pianist 83
p67 Van Bloss-FINAL.indd 78
heck of a journey ahead, it’s difficult and elusive in that the variations are
so contrasting (and often so short) that you have to be very on the ball
and able to impart Beethoven’s ‘message’ intensely and often very quickly,
yet always aware that the big message is from the cumulative effect of each
variation. Diabelli has that in common with the Goldbergs, and at times
you feel like an athlete, pacing yourself, and trying to keep the focus and
intensity for the long journey. Heaven help you if you suddenly ‘relax’ and
allow your energy or focus to flag!
Learning the score first away from the
piano really helps memory – it gives
a security that can never be achieved
by the drilling of fingers alone
How did you go about learning these two gigantic pieces?
In both cases I primarily learned them from the score first, without touching
the piano. For me, learning without the score is the only and best way to
fully ‘feel’ and understand what I’m eventually going to hear and play.
Remember, the fingers alone don’t play the piano – it’s the brain that sends
the commands and fires the various memories. The fingers are merely
servants of the brain. So, once the score is pretty much memorised, only
then do I go to the piano and see if what I’ve heard and imagined in my
head actually works in real time. Often it doesn’t! So that’s where more work
starts: the cleaning of any technically hard parts, the reinforcing of memory,
adjusting dynamics and, above all, making the music ‘live’ in a real sense of
a giving performance. Plus, with variations, there’s always that little thought
in the back of the head that says, I wonder what the next variation is. I mean,
in both Goldberg and Diabelli, there are so many!
How do you go about memorising?
Again, learning the score first away from the piano really helps memory – it
gives a security that can never be achieved by the drilling of fingers alone.
I live with the works, hear them in my head, walk to the tempos, feel my
fingers playing even when not near a piano. The works then become a part
of me and, hopefully, stay a part of me.
 
Do you have any technical issues in your playing?
One of my biggest issues, something I fret about obsessively, is that I have
really small hands. I can only comfortably stretch an octave. So, in big chord
playing, for example, I have to work to make sure that I’m not tensing, and
also watch for accuracy. Leaps sometimes worry me – again, with small hands,
I have further to leap. So I often resort to a trusty blindfold, and play literally
in the dark for several hours. It’s often amazing that when I finally take the
blindfold off, the leap problems all seem to vanish. But, thankfully, I never
really suffer angst about technical things. I might have small hands, but I have
incredibly strong and flexible fingers, so I don’t have to sit ‘drilling’ the fingers
and making them play accurately – luckily, they just do it. I’m also aware
that we should never over-focus on one tiny detail – pianists often do this to
the detriment of the work as a whole. This applies to anything from a Bach
minuet to a massive sonata by Beethoven.
What’s your practising regime like?
I never sit and practise for 12 hours! Four is the maximum, and that can
be punishing enough. Any more than that and you get to the point of
diminishing returns. The key is being organised and not just playing or
enjoying what you’re hearing. I like to start with the beginnings and endings
of pieces or movements. Let’s face it, audiences always remember those!
Then I fill in the outer sandwich, as it were. And, again, this applies to
any piece, irrespective of the length. My ethos is ‘keep it simple’ –work to
make it sound effortless, and always remember that audiences want to enjoy
the work. Making pieces appeal and giving as a performer are the most
important aims in all of my work. n
Nick van Bloss spoke to Erica Worth.
Nick van Bloss’s new CD, Beethoven Diabelli Variations, is out now. It also
features Beethoven’s ‘Appassionata’ Sonata. Nimbus Records NI6276.
11/03/2015 09:35
 Summer Piano Courses
in South West France
with JAMES LISNEY

La Balie
Three, one week piano courses in July and August
A combination of morning master classes, evening recitals, superb accommodation,
gourmet food and time to explore in the sunshine of the Lot-et-Garonne
Open to pianists of all levels

79• Pianist 77

p79 Ads.indd 5
La Balie.indd 79 11/03/2015
10/03/2015 15:44
10:31
 POPULAR PIANO

Cry Me
A River
This song about a jilted lover
poised for revenge has fascinated
singers ever since sultry vocalist
Julie London recorded it in 1955.
Inge Kjemtrup traces the
source of ‘Cry Me A River’

PLAY
CRY ME
A RIVER
TURN TO
PAGE 42

S
ome time after big band’s rule of popular music ended
but before rock ‘n’ roll ascended the throne, songs by male
crooners and their female counterparts – Tony Bennett, Perry
Como, Jo Stafford, Bing Crosby and Peggy Lee, to name just
a handful – topped the charts. Half a century on, we may
think that rock ‘n’ roll’s triumph is complete, but many of the
tunes sung by the suave vocalists of the 1950s and ’60s have
endured. Indeed, performers like Lady Gaga, who recently made an entire
album with Tony Bennett, have come to appreciate the appeal of these
songs and the way they tap into the deepest human emotions.
One of the most durable songs of the crooner era is ‘Cry Me A River’,
which appears in this issue’s Scores (courtesy of Faber Music) and on the
CD. ‘Cry Me A River’ has been interpreted by very different singers and
yet it retains its power and emotional pull. Julie London (pictured), Barbra
Streisand, Dinah Washington, Ella Fitzgerald, Aerosmith, Joe Cocker,
Britain’s Got Talent star Susan Boyle and modern-day crooner Michel Bublé
are just some of the singers who have made it their own.
Yet had not it been for the perseverance of its composer and lyricist,
Arthur Hamilton, in making sure it was recorded, ‘Cry Me A River’ might
well have ended up as a bit of Hollywood trivia, given its complicated
origins as a song initially written for a film and subsequently dropped.
80• Pianist 83
Born in Seattle, Washington, in 1926, Hamilton was the son of two
vaudeville performers. His father, Jack Stern, was a songwriter who had
sometimes worked for Irving Berlin. Hamilton started writing songs in his
teen years, by which time the family had moved to southern California. In
high school, he went to the senior prom with Julie London, the singer who
would make ‘Cry Me A River’ famous. ‘I didn’t know it at the time but she
was going to be my “luck”,’ Hamilton told an interviewer years afterwards.
His lucky star was born Gayle Peck in Santa Rosa, California, and, like
Hamilton, she moved with her family to Hollywood in her teens. She was
already singing in public by then (first under her given name), but her first
real foray into show business, age 18, was in films. In her first major film,
Nabonga or The Jungle Woman, her co-star was a gorilla (or rather a man in
a gorilla suit!). Her stunning blonde good looks attracted a following, and
she was even a pin-up girl in World War II. But Julie London put her career
to one side in 1947 when she married actor Jack Webb, best known as the
hard-bitten cop on the Dragnet TV show.
In 1953, Webb was producing a 1920s-themed radio show called Pete
Kelly’s Blues. London got in touch with her old high school beau to ask him
if he had any ‘blues songs’ to offer. ‘Of course I didn’t have anything, but I
immediately sat down and wrote three of them, took them to him and he
liked them all,’ said Hamilton. One of the songs was ‘Cry Me A River’.

p80 Cry me a river-FINAL.indd 80 12/03/2015 11:53

 The radio project became a film featuring some of the best singers
of the age, including Peggy Lee and Ella Fitzgerald, the latter who was
scheduled to sing ‘Cry Me A River’ in the film. But then there was a snag:
the studio (or possibly Jack Webb; sources differ on this point) didn’t
Recent piano releases
like the lyrics. More specifically, the studio objected to Hamilton’s use of The finest pianists playing great composers
the word ‘plebeian’ in the ‘bridge’ section of the song (bars 19-26 in the
Pianist score): ‘Remember, remember, all that you said/Told me love was
too plebeian/Told me you were through with me and.’ They insisted that
Hamilton re-write it. He refused.
‘The song was thrown out of the picture because I wouldn’t change the
lyric,’ Hamilton recalled later. ‘I thought it was pretty clever, the manner in
which I used the word plebeian. In fact it was probably one of the smartest Jean-Efflam Bavouzet
things I’ve ever done. I left it the way I wrote it!’
Hamilton had confidence in his song, but for a while it seemed like he Stravinsky: Works for
was the only one. He offered ‘Cry Me A River’ to other singers, including Piano & Orchestra
Peggy King on Columbia Records, whose A&R boss, Mitch Miller, also CHSA 5147
disliked ‘plebeian’. (It’s claimed that Miller said, ‘No song with the word
“plebeian” in it will ever be released on the Columbia Records label.’)
While Hamilton was shopping his song around, Julie London, having
gone through a painful divorce from Webb, was finding herself at a low ebb
in her self-confidence. Then a performer and producer (and later London’s
second husband) named Bobby Troup coaxed her back into the studio to
record for Liberty Records. The song that Troup chose? ‘Cry Me A River’.
The song was a major hit for London in 1955, and its fame was further
assured when she appeared in the 1956 film The Girl Can’t Help It, singing
it in a dream sequence. She included it on her first album Julie is Her Name.
London was voted Billboard’s most popular female vocalist in 1955-57, Imogen Cooper
enjoyed a vocal career that saw her record 31 further albums, and later Robert & Clara
became a film and television actress, most memorably as Nurse Dixie
McCall in the American television series Emergency! Schumann
CHAN 10841
The river of no return
What is it about this song that makes it so compelling? The catalogue of
20th-century popular song is bursting with songs about yearning for love,
looking for love, love lost, love betrayed and love achieved, but there are
few examples of the revenge song, which can be summed up thusly: you did APRIL 2015
me wrong, and now I want revenge. The protagonist of ‘Cry Me A River’ is
addressing a faithless lover. The lover now feels lonely and sorry, and wants
to take her back, but she’s having none of it. ‘Come on and cry me a river,’
she taunts him, because, after all, ‘I cried a river over you.’
In 2010, Hamilton told a Wall Street Journal interviewer that the title of Louis Lortie
the song was entirely original: ‘I had never heard the phrase. I just liked the
combination of words... Instead of “Eat your heart out” or “I’ll get even
Chopin: Complete
with you”, it sounded like a good, smart retort to somebody who had hurt Works for Solo Piano,
your feelings or broken your heart.’ Vol. 4
In her version of ‘Cry Me A River’, Julie London sings the song simply CHAN 10852
yet effectively, with only a guitar (Barney Kessel) and a bass player to
accompany her. In a 1957 interview in Life magazine, she talked about the
quality of her voice and its emotional power: ‘It is only a thimbleful of a
voice and I have to use it close to a microphone. But it is a kind of over- M AY 2 0 1 5
smoked voice and it automatically sounds intimate.’
Having listened to several of the hundreds of recordings of this song, I’ve
observed that some singers, London among them, stress the passive/aggressive
nature of the song – you don’t really believe they’re out for revenge. Others
are more assertive. Listen to Barbra Streisand’s version on her first album –
Streisand is contemptuous of her former lover, spitting out ‘you say you’re Barry Douglas
sorry’, making it very clear that the river he needs cry would have to equal Brahms: Complete
the volume of the Amazon for her to even think about taking him back. Then Works for Solo
there’s Canadian singer Michael Bublé’s take-no-prisoners 2009 version. He
sounds as if he’s marshalling an entire army to drive his ex to the river of tears
Piano, Vol. 4
(Bublé has said that he’s attracted to the ‘darkness’ of the song). CHAN 10857
Other singers have tapped into the song’s blues origins, among them
pianist/singer Diana Krall and the rock band Aerosmith. The raw-voiced
Joe Cocker deconstructs the song and makes it into a cry of bleeding agony
– Hamilton admitted it took him some time to appreciate Cocker’s version,
but he’s philosophical about how the song has been his calling card and has
taken on a life of its own.
As Hamilton told the author Michael Whorf, ‘It’s marvellous when you
STAY IN THE KNOW
get a tune that moves outside of you. It’s like a child that grows up; it’s
doing well, but it doesn’t want to write home anymore. That’s how I feel New releases • Reviews • Special offers • Artist features
about “Cry Me A River”.’ n
www.chandos.net
81• Pianist 83
www.theclassicalshop.net
(24-bit studio masters, lossless, MP3)

p80 Cry me a river-FINAL.indd 81 12/03/2015 11:53

 MAKERS
10 EVENTS
that shaped the
modern piano
Continuing his survey of events that brought the modern piano into being, Gez Kahan looks at
Das Kapital, the Versailles Treaty, the transistor, the opening of Japan and Nixon’s China trip
L
ast issue I looked at five
political and economic
factors that influenced
the piano’s early
development. I began
with the Seven Years’
War, which hastened the
spread of piano-building expertise and
led to the predominance of the English
action and the Industrial Revolution,
which not only introduced mass
manufacture but new metallurgical
techniques that gave the piano its iron
frame. I looked at democratic movements
inspired by works such as Jean-Jacques
Rousseau’s Social Contract that ushered in
revolutions, such that of 1848, and
allowed the new world to prosper while
the old was riven by conflict. This in turn
created the perfect conditions for
Steinway to gain its foothold in the
luxury market and then, with the help of
the railways, to cement its place as the
paradigm of the modern concert grand.
1
1853: Perry’s expedition to
Japan
In terms of its effect on the
modern market for pianos, possibly
the most significant event of 1853
wasn’t the establishment of three big
top-end makers – Bechstein, Blüthner
and Steinway – but the apparently
unrelated arrival of the Perry Expedition
in Japanese waters. For more than 200
years, Japan had been operating as a
‘closed country’ to prevent the spread of
imported ideologies such as Christianity.
International trade was (with minor
exceptions) prohibited, overseas visitors
were banned and foreign travel by the
Japanese was forbidden.
The Americans and others had
previously tried and failed to re-open
diplomatic relations with Japan. This
time, they combined diplomacy with
the threat of force. A top naval officer,
Commodore Matthew Calbraith Perry,
was sent with a letter to the Japanese
emperor from the US president proposing
peace and friendship, backed up by
warships in case the offer was refused.
82• Pianist 83
p82 Makers83-FINAL.indd 82
Part 2
That was the trigger movement for the
opening of Japan and wholesale changes
in its political and economic system.
Despite often-violent resistance, from the
old guard, within 15 years the country
began its transformation from a closed
feudal society to an industrial trading
nation, and by the beginning of the 20th
century, Japanese products – including
Yamaha pianos – were beginning to win
international awards.
The process was rapid but not
instantaneous, and it took time for
internal prosperity to filter into its
changing society. But after World War II,
despite having been on the losing side,
Japan was in pole position to become
an economic and manufacturing
powerhouse, and its pianos (particularly
Yamaha) would dominate, not only on
home turf but in the domestic markets of
the UK and the United States.
2
1867: Das Kapital
It’s one of the great ironies that
to promote its name in its home
market of the United States (let alone
overseas), Steinway had to import
performing talent, in the form of Anton
Rubinstein and Ignaz Jan Paderewski,
both from the Russian empire. The US,
at the time, was better at producing
pianos than pianists. For Russia (think
also of Rachmaninov, Horowitz, Richter
and Arthur Rubinstein), the reverse was
the case. Sadly, it still is.
Could that have been different?
Perhaps – had Russia gradually moved
from a feudal to an industrial economy
in the same way as Western Europe
ended up doing. Russia didn’t, partly
because of inept and often intransigent
rule by the Romanovs, and largely
because when change did happen, there
was nothing gradual about it.
The widespread revolutions of 1848
didn’t affect Russia, or possibly its rulers
wouldn’t have adopted such a laissez-faire
attitude to Karl Marx’s 1867 work, Das
Kapital. Marx (and his co-author, Engels)
had already managed to ruffle feathers in
the West with The Communist Manifesto,
written but unpublished at the time of
11/03/2015 09:36

the 1848 uprisings. Those uprisings were
quickly quashed by monarchist rulers
almost everywhere (though they did
usher in the Second French Republic),
and during the course of re-establishing
their authority many of the countries
involved kicked out undesirables, such as
Marx, and banned subversive literature.
Marx went to London (which
had avoided revolution and hadn’t
therefore blacklisted him) to work on
his definitive economic and political
philosophy. This was a theoretical
treatise so dry that Imperial Russia didn’t
object to its translation into Russian,
arguing that Das Kapital was a purely
academic work which furthermore had
no relevance to a non-capitalist country.
That turned out to be what the youth of
today would call a ‘massive fail’.
The role of Marxism in ensuring
the non-emergence of a Russian-
manufactured premier piano brand
hardly qualifies as a defining moment in
the development of the modern piano,
of course. More relevant is how, once
Europe had been effectively partitioned
after World War I, premier brands
such as Blüthner and Petrov struggled
for nearly a half a century to continue
making top-quality pianos under a
doctrine that frowned on effete Western
luxury. Ironically, the Communist
regime also failed to produce the perfect
utilitarian upright. At least music-lovers
p82 Makers83-FINAL.indd 83
Opposite page: US
Commodore Matthew that several commentators (notably the
Perry and a postage stamp economist John Maynard Keynes,
immortalising his epoch- especially in his 1919 book The Economic
making trip to Japan
Consequences of the Peace) felt it made
Left: Karl Marx, author of another war practically inevitable.
Das Kapital Among other things the treaty, signed
in 1919, ensured that Germany, already
Below: Economist John bankrupt to all intents and purposes, was
Maynard Keynes (right in kept in penury. The resultant discontent
photo) who foresaw the
devastating effects the
made a fertile breeding ground for
Treaty of Versailles extreme nationalism, and 20 years later
(pictured) would cause – following a long period of ultimately
futile diplomatic manoeuvring and
posturing – the world was at war again.
The effect on the piano trade was
immediate. From 1939 to 1945 virtually
no pianos were made, as factories
throughout the world were diverted into
munitions work. Many makers, already
weakened by the Great Depression, a
ten-year global slump that preceded the
war, never recovered.
After 1945, with the victorious allies
electing not to repeat the mistakes of
1919 but concentrating instead on
aiding recovery, companies lucky enough
to be in what became West Germany
were able to prosper. Those behind the
Iron Curtain found things harder. Even
those with strengthening economies,
however, found that the glory days of
Western piano manufacture were over.
Not so in the East. One crucial
consequence of the war in the Pacific
was to hasten Japan’s move to western
economic and manufacturing methods,
can comfort themselves with reflecting aided by international investment and
that Marxism failed to extinguish the an enlightened domestic economic
spark of creativity among Eastern Bloc policy. Japan, with low wages relative
pianists and composers. (And, as a to the quality of its output, had a
final irony, the BBC has adopted that competitive edge that increasingly
most Communist-sounding work – (except possibly in the luxury market)
Prokofiev’s Dance of the Knights – as put European and American brands
the theme to what is possibly its most on the back foot, particularly as
unashamedly capitalist TV programme, it became an early adopter of new
The Apprentice.) technological aids to manufacture.
▲
3
1914-1919: World War I
and the Treaty of
Versailles
It is estimated that in the decade before
World War I, there had been more than
130 firms making pianos in the UK,
and many more than that in Germany.
The United States, too, had hundreds of
home-produced brands with annual sales
of new instruments topping 300,000
units. That, it turns out, was to be the
high-water mark for piano manufacture
in those places.
War hit hard, but – as if the 1914-18
conflict hadn’t been a cataclysmic
enough event – the victors made certain
of a return match by overplaying their
hand in the peace negotiations that
followed. Ask any historian to
enumerate the causes of World War II
and you’ll get a mention of the Treaty of
Versailles, which formally ended World
War I. This treaty imposed such strict
conditions and reparations on Germany
83• Pianist 83
11/03/2015 09:36
 MAKERS
4
1947: The point-contact
transistor
It is almost impossible to
overestimate the importance of the
point-contact transistor in shaping
the modern world. It wasn’t the first
component to allow electric control
of mechanical devices, but earlier
technologies had been less efficient,
less reliable and prohibitively costly.
Suddenly, with John Bardeen, Walter
Brattain and William Shockley’s 1947
invention, the entire electronics industry,
and computing in particular, became
economically viable.
The transistor, and the technological
developments that followed it, changed
the world dramatically, even before the
emergence of digital technology. Craft
industries, such as piano building, could
suddenly take advantage of computer-
controlled manufacture. While hand-
assembly and hand-finishing are still
essential elements in piano manufacture
(especially in high-end models), several
parts of the process – from wood-
working and drilling to ‘bedding in’,
using a mechanized system to play each
key in a rapid sequence to ensure even
preparation of hammer felts – could
now be automated. That revolutionised
the industry, especially in the mid-
market, helping to keep costs down and
standardising output quality.
As the technology shifted from
analogue electronics to digital, even more
applications became possible, and not
only on the production line. Schimmel,
for instance, uses digital analysis of
waveforms in designing its soundboards.
It also gave rise to a new instrument: the
digital piano. This has already found a
niche as a low-maintenance, portable and
volume-controllable alternative to the
traditional upright, and not only at entry
level – plenty of teachers and performers
use them for note-learning, late-night
practice and (connected to a computer)
for composing and arranging. And it’s
p82 Makers83-FINAL.indd 84
Above: American president
Richard Nixon, whose 1972
China trip altered China’s
destiny and the world’s
Below: Transistor pioneers,
from left to right, John
Bardeen, William Shockley
and Walter Brattain
still in relative infancy. Sacrilegious
though it may sound, one day perhaps
the digital piano could replace the
traditional upright in the same way
as the domestic piano supplanted the
harpsichord.
Speculation aside, digital technology
has brought fundamental changes to the
way we learn about, buy and maintain
pianos. Every manufacturer and retailer
(and piano-related magazine) has a
website. Every technician and tuner has
email. There’s a financial angle, too. In
real terms, pianos are more affordable
than ever. That’s the result of the
globalisation of manufacture, facilitated
in large part by information technology
– but getting there also required a shift
in attitude on the part of the west.
5
1972: Nixon goes to China
The US president Richard Nixon
called his visit to China in
February 1972 ‘the week that changed
the world’. Although its main objectives
were political – partly to gain leverage
in negotiations with Soviet Russia and
partly to move to a resolution of the
Vietnam War, or at least America’s
involvement in it – the most obvious
long-term effects have been economic.
It’s no exaggeration to say that
it changed the world of piano
manufacture. It took time and more
diplomatic missions before China’s mass
manufacturing and trading relationships
were established, but Nixon’s talks with
Chairman Mao and Zhou Enlai were the
initial steps in what became a headlong
rush. There are few manufacturers,
even at the top end, who haven’t at
the minimum undertaken feasibility
studies to assess the viability of Chinese
manufacture, and many famous names
have subbed out some of their lower-end
output to Chinese factories.
Not all the outcome has been good.
Much of the US and Western Europe’s
manufacturing base (and not only
for pianos) has disappeared, unable
84• Pianist 83
to compete. Meanwhile, musical
instrument trade fairs are swamped with
cheap Chinese pianos of dubious quality,
ready to be badged with whatever faux-
German brand name their purchaser
can come up with. But that’s not an
exclusively Chinese problem – there
have always been cheap pianos, better
for buying and selling than playing
music, there have always been dealers
whose prime interest is in turning a
quick buck, and there have always
been customers who fail to distinguish
between cost and value.
Equally, it’s not all bad. Reputable
Chinese factories with proper quality
control systems can (and do) turn out
some very good instruments. They may
not yet represent competition for the
luxury brands – neither did Japanese
pianos in their early days – but they’re
improving all the time, and the best-
known Chinese marque, Pearl River, is
coming up on its 60th anniversary.
One thing Chinese manufacture
has done is to make pianos (and
everything else that is made there) more
affordable to UK and US customers –
and it’s opened the Chinese domestic
market to imported luxury goods,
including pianos. That phase might
have peaked, however. China’s success
is already causing wages and therefore
prices to rise, and brand owners are
already looking for the next low-cost
manufacturing centre.
On a sombre note, every one of these
five milestone events made it harder
for the old European and American
manufacturers to compete in a world
where the piano was already past its
mass market heyday. The consequence is
that many brands and associated trades
have disappeared, many factories have
closed and many skilled craftsman and
technicians have lost their jobs. One
can’t get too sentimental, however – this
article would be about harpsichords
made in Saxony had it not been for
political and economic change. n
11/03/2015 09:36
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92• Pianist 82
73

p92 Ads.indd 92 11/03/2015

09/07/2013 15:51
10:05
 REVIEW CD
Marius Dawn is thunderstruck by Sokolov’s recital CD, transfixed by
Blackshaw’s Mozart and intrigued by Clare Hammond’s offbeat etude disc
Pianist star ratings: ★★★★★ Essential – go get it! ★★★★ Really great ★★★ A fine release ★★ Average ★ Fair
Buy these CDs from the Pianist website.Visit http://pianistmag/cdreviews

Edit o r’s JEAN-EFFLAM BAVOUZET CHRISTIAN BLACKSHAW

C HOI C E
Stravinsky works
for piano and
orchestra
São Paolo SO/
GRIGORY SOKOLOV Yan Pascal Tortelier
The Salzburg Recital: Chopin Préludes; Chandos
Two Mozart Sonatas; plus encores CHSA 5147
Deutsche Grammophon 479 4342
(2 discs) ★★★★★ ★★★★
The Russian pianist Grigory Sokolov has been hailed as the greatest Jean-Efflam Bavouzet and Chandos
living pianists. Yet he gives fewer performances per year than most other have been exploring the concertante
top pianists, and he’s a rare visitor to some of the world’s biggest concert works from early Haydn up to
halls – he has not performed in the UK since 2007. Years ago he stopped Prokofiev, and they’ve now arrived at
playing concertos in public, blaming lack of rehearsal time and intractable Stravinsky. The three works for piano
conductors. His first recordings appeared on the Russian state label and orchestra on this disc are not
Melodiya and later on a small French label, Opus 111 – they came from live exactly crowd-pleasers. The eccentric
concerts because of his steadfast aversion to entering recording studios. Movement not something one wants
But Sokolov is far from a recluse. He is easy-going, approachable and loves to hear often and the Concerto for
giving encores (his encores can match the length of his main programme). Piano and Wind Instruments is best
This 2-CD set, his first with DG, comes from a 2008 Salzburg recital. So heard once. The 17-minute long
how does he fare? The word ‘divinely’ sums it up best. Most surprising is his Capriccio is the closest to a piano
dynamic range, which runs from a tender whisper to a thundering fortissimo, concerto, yet the piano is never given
albeit never hard or banging, and always with a glorious singing tone. His a chance to show off. Tortelier is a
Mozart looks towards Beethoven and his Chopin to Brahms. It is full of fine partner to Bavouzet, and they
taste – original without ever being idiosyncratic, and always totally musically cut through the rhythmic challenges
convincing. The many encores encompass everything from a euphoric like a knife through butter. There are
Scriabin to a Bach best described by the German word ‘innigkeit’. Sokolov’s many other versions in the market,
is truly an art of piano playing no other living pianist could ever imitate. but this should be a secure first choice.
Mozart Piano
Sonatas Vol 2:
K281, K282, K283,
K330, K333
Wigmore Hall
Live
WHLive0069/2
(2 discs)
★★★★★
It is too easy to say that Christian
Blackshaw offers everything one could
wish for in Mozart, but I do marvel at
the way he plays this repertoire
in this live recital release. Nothing
escapes his fingers, and you can only
nod and agree with his phrasings,
tempos and dynamic gradations. The
C major K330 Sonata, so hard to get
flowing, is like a dance on velvet
feathers, while the great B flat major
K333 is a monument not only to fine
interpretation but also to the pianistic
control a performer can achieve in
concert. Every bar of the E flat major
K282’s opening is chiselled perfectly;
the last movement is a whirlwind of
sparkling stars. Wonderful! Blackshaw’s
first Mozart CD is equally impressive.

CLARE HAMMOND MARC-ANDRÉ HAMELIN CLAIRE-MARIE LE GUAY PAUL LEWIS

Etude: Etudes by
Lyapunov, Unsuk
Chin, Szymanowski
and Kapustin
BIS Records
BIS-2004
★★★★
Clare Hammond’s inventive selection
of etudes on this new disc includes no
Chopin or Liszt, the composers of
undoubtedly the most original piano
etudes. Hammond, however, shows
us that other composers had
something interesting to say, even
though not quite on the Chopin or
Liszt level. The three Lyapunov
etudes, surely inspired by Liszt,
receive a barnstorming performance,
and lead, surprisingly, into six etudes
by Unsuk Chin. Here the technical
challenges also face the listener, as
they do in the 12 harmonically tricky
Szymanowski etudes. The last five
jazzy etudes by Kapustin come as a
relief and are presented with tongue-
in-cheek elegance. Sound is clear and
transparent, just as the performance.
Mozart Piano
Sonatas K282, K283,
K330, K332, K333,
K545, K570, K576
plus smaller works
Hyperion
CDA68029
(2 discs)
★★★★
If, like Marc-André Hamelin, you
have the ability to play Alberti basses
to perfection and you can make a
run up and down the keyboard as
smooth as silk, you can concentrate
on bringing the music out in Mozart.
Hamelin plays, what is to my ears, the
technically most brilliant and perfect
Mozart committed to disc. Musically
too he doesn’t make a single mistake
and he doesn’t tinker with the Mozart
style by sneaking in Romantic touches
or overly dramatic dynamics. Rarely
have I heard the Mozart sonatas
played with such élan and forward
drive. Yet while it is piano playing
on an Olympian level, it misses the
earthy side of this genius composer,
that naughty young pool player from
Salzburg who chased the girls.
Bach. Italian
Concerto BWV 971,
Chromatic Fantasy
and Fugue BWV
903, Partita No 1
and more
Mirare
MIR 264
★★★★
Claire-Marie Le Guay serves up a
clever selection of Bach for solo piano
– or, for solo harpsichord, as originally
intended. Le Guay doesn’t imitate the
crispness of the early instrument, but
uses the full potential of a modern
concert grand. This approach
perfectly suits the opening ‘Italian’
Concerto and the closing Chromatic
Fantasy. The First Partita has never
lacked for brilliant performers, but Le
Guay need not fear her performance
will be overlooked. Just listen to her
energetic opening and tonal control
in the slower sections. Less impressive
is the late Capriccio, where a more
light-handed approach was needed.
A small quibble in an otherwise
totally satisfactory Bach recital that is
captured in perfect sound.
Mussorgsky:
Pictures at an
Exhibition;
Schumann:
Fantasie in C
Harmonia
Mundi
HMC 902096
★★★★
It is a pleasant surprise to hear Paul
Lewis tackle the granite Mussorgsky.
Lewis thunders through the last pages
with muscular force and gives the
chicken-inspired moment a run for its
money. I liked his fearless approach –
it is like a young gazelle outrunning
its competitors. The Mussorgsky is
oddly coupled with Schumann’s
Fantasie, a harder piece to bring off.
Lewis makes the wild range of
emotions of the Schumann first
movement completely enthralling,
however, I missed the expression of
the longing and inwardness that is
such a part of Schumann’s music. The
rhythmic second movement is a little
aloof for my taste, but Lewis brings
his beautiful singing tone to the
tender last movement.

86• Pianist 83

p86_CD Review-FINAL.indd 86 11/03/2015 09:37

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87• Pianist 83

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

p87 Ads.indd 87 12/03/2015 12:32

 REVIEW SHEET MUSIC
New editions of Beethoven and Bach, Moszkowski’s Spanish Dances duets, Satie’s
surprising Morceaux and more in Michael McMillan’s round-up this issue
FINGER FITNESS 3
Hans-Günter
Heumann
Schott
ISMN: 979-0-2201-
3460-9
In Pianist No 75 I looked at the first
two books of Finger Fitness, which
supplemented the excellent series of
method books that Hans-Günter
Heumann brought out in 2012
(reviewed in issue 69; [Heumann
writes Pianist’s current Keyboard
Class]). Since then, a third level has
been added to the series, including this
volume of exercises, Finger Fitness 3.
The book contains 44 pieces in total,
comprising finger exercises, such as
those by Hanon and Berens, and
studies by composers such as Gurlitt,
Burgmüller and Czerny. Most of
these are one or two pages long, and
difficulty is appropriate for those
working towards or having just taken
their Grade 3. In keeping with all the
other volumes in the Classical Piano
Method series, the material is well
thought out and clearly presented.
One of the best of its kind.
BEETHOVEN
Sonata in F minor
op 57 ‘Appassionata’
Bärenreiter
ISMN: 979-0-006-
52816-5
Bärenreiter’s catalogue currently
includes just two piano sonatas by
Beethoven. Their edition of the
‘Pathétique’ Sonata op 13 was
published in 2012, and is now joined
by this edition of the ‘Appassionata’,
also prepared by Jonathan Del Mar.
The book begins with six pages of
informative introductory notes by
Misha Donat that outline the work’s
genesis and performance practice.
The music is then presented with
Bärenreiter’s characteristic clarity, with
no fingering or pedalling indications.
Four pictures of Beethoven’s messy
autographs are included, extensive
sources are cited and the book is
completed with a detailed critical
commentary. If you’re searching for
the most scholarly edition and need no
editorial fingering suggestions, look no
further. What’s more, it’s available for
less than the price of a typical novel.
p88_Sheet Review-FINALish.indd 88
PODGORNOV’S ROMANTIC
PIANO ALBUM VOL 3
Nicolai Podgornov
Universal
Edition
ISBN: 978-3-7024-
7188-0
Ten of the 13 pieces in this book are
original works by Nicolai Podgornov,
a Russian composer born in 1950.
The remaining three pieces include
Podgornov’s arrangements of ‘In
Dreams’ from the film Lord of the
Rings, ‘Over the Rainbow’ from The
Wizard of Oz and a rather saccharine
piece by Cornelia Sigmund, about
whom no information is provided.
In some of his other published work
(such as his Graded Pieces for Piano,
and The Seasons), Podgornov has
shown admirable craft in writing
music that is appropriate for learners,
so it is puzzling to find some rather
unwieldy writing here. The book may
be marked as ‘middle-grade’, but I
suspect students around that level will
find the left-hand accompaniments
tough to master, and there isn’t
enough inspiration in the music to
compensate for this drawback.
J S BACH
Goldberg Variations
Bärenreiter
ISMN: 979-0-006-
54317-5
Bärenreiter’s monumental New Bach
Edition, comprising 104 volumes, was
completed in 2007. About halfway
through the project, in 1977, the
Goldberg Variations, edited by
Christoph Wolff, was published.
Readers who prefer their music
without editorial fingering can still
buy that version (ISMN: 979-0-006-
46617-7/BA 5162). Those who want
some fingering help, however, should
look to this new publication, which
has the same musical text as the
aforementioned book, but has
fingerings by Ragna Schirmer, who
stresses that her fingerings and hand
positionings are suggestions only and
that each player should find their own
way. The only thing this volume lacks
is a discussion on the realisation of
ornaments (of which there are plenty),
and – for those that are interested in
one – a critical commentary.
• •Pianist
8888
Pianist 83
THE MOST BEAUTIFUL
RAVEL
Ravel
PWM Edition
ISMN: 979-0-2740-
0525-2
The most beautiful Ravel, according
to this collection, comprises Pavane
pour une infante défunte, Menuet
antique, Prelude in A minor (1913),
‘La vallée des cloches’ from Miroirs,
Menuet from Le tombeau de Couperin,
an 11-page piano solo arrangement
of Boléro, and the entire Valses nobles
et sentimentales. No introductory
notes or commentaries are printed –
all that we know is that the music has
been edited by Bartłomiej Kominek,
a Polish pianist. Someone looking for
an introduction to Ravel’s works may
find the variety of works appealing,
but such a person would surely
benefit from editorial guidance on
matters of fingering and pedalling
(none are given). If you’re looking for
a solo version of the Boléro around
Grade 7, this is worth investigating,
but more attractive editions of the
other works are available.
MOSZKOWSKI
Spanish Dances op 12
Alfred
ISBN:978-0-7390-
9947-6
The five pieces that make up
Moszkowski’s Spanish Dances are
some of the most popular works in
the piano duet literature, so it’s
amazing to think that Moszkowski
was just 17 years old when he wrote
them. They sound more difficult than
they are (Grade 5-7) and the young
composer’s understanding of how to
write for the instrument was already
evident in how effectively the music
lies under the hands. This edition is
based on one by Carl Simon, the
original publisher, and has the primo
and secondo parts on facing pages (as
do all the other editions I have seen).
Editorial fingering is provided. If you
prefer your duet books in horizontal
format, look to the Peters edition,
but this Alfred edition is warmly
recommended due to its clear
musical text and helpful fingering
suggestions for students.
83
BEETHOVEN
Sonata No 14
‘Moonlight’; Sonata
No 21 ‘Waldstein’
Henle
ISMN: 979-0-2018-
1062-1; -0946-5
(HN1062; HN946)
Over the last few years, Henle has been
publishing Beethoven’s individual
piano sonatas in a new edition by
Norbert Gertsch and Murray Perahia.
The older Henle editions of these
pieces, prepared by Bertha Antonia
Wallner and Conrad Hansen, are still
available for the same price (ISMN:
979-0-2018-0049-3/HN49 [op 27
no 2]; -0057-8/HN57[op 53]). The
layout of the music in the two editions
is exactly the same, with page turns in
identical places. The most obvious
change is the fingering, with at least a
dozen differences on the first page of
the ‘Waldstein’ alone. Bar numbers
are no longer circled, giving the page a
sleeker look, and there are minute
differences such as stems pointing the
other way. The new editions are
further improved by a short preface,
critical commentary, and personal
thoughts on the works by Perahia.
SATIE
Morceaux en forme de
Poire (duet)
Bärenreiter
ISMN: 979-0-006-
54118-8
When Satie jokingly wrote to Debussy
in 1903 that he was working on a piece
that ‘is superior to everything that has
been written’, he was referring to this
set of piano duets which includes
three numbered Morceaux (I, II and
III), with two short pieces on each
side – a total of seven pieces. There
are harmonic surprises and sudden
dynamic changes that bemuse and
delight in equal measure, and the
whole work takes about 14 minutes
to play. This most desirable edition
contains a detailed history of the
work, notes on performance practice,
and a glossary of the French terms
used in the music. The music itself is
presented without fingering in score
format, i.e. with the parts placed in
vertical alignment, rather than on
facing pages, allowing swift reference
to your playing partner’s part.
11/03/2015 09:28
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R E TA I L E R S
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Our family run business established in
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Offering a huge selection of new,
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52 Winchcombe Street, Cheltenham
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Stephen Brandon Pianos
23B Whitby Avenue, York, North
Yorkshire, YO311EU
01904 430270 / 01904430270
stephen@stephenbrandonpianos.co.uk
www.stephenbrandonpianos.co.uk
We have been selling high quality
pianos for over 30 years. We stock a
large selection of new, second hand
and restored upright and grand pianos
.Our showroom is open every Saturday
10.30am to 5.00pm. An appointment is
advisable on weekdays.
Yorkshire Pianos
Anvil Works, Harrogate Road,
Beamsley, BD23 6HZ 01756 711712
www.Yorkshirepianos.com
One of the country’s largest selection
of quality pianos. Appointed agents for
all major brands. New, used, upright,
grand, acoustic, digital. “The piano shop
in the Yorkshire Dales National Park”
T
N AT I O N W I D E
Tony Bowden, Bethany Music
Learn music theory by post.
Grades 1 to 6. Beginners,
improvers and returnees, all
welcome. Reasonable charges.
01295 277 989.
Practice
research
Sponsor research in effective piano
practice: Help millions of children
practicing piano daily to NOT
WASTE THEIR TIME.
Write piano@avabiz.com
FOR SALE
Steinway Model S baby grand
piano c1971 in a mahogany finish,
London N12 £31,000. Please
telephone Bradley for further
information 07961 199 640
Knight Upright Piano

HEREFORD
and used pianos agents for Sunningdale, Berkshire, SL5 0DJ
TUITION Rebuilt 2004 by 1066 Pianos,
Bösendorfer, Bechstein, Kawai, 01344 873645 Cambridge (certificate of work
Cheltenham Piano Centre Kemble, May-Berlin, Schimmel, sales@handelpianos.co.uk ESSEX available). Lacquer gloss cabinet
52 Winchcombe Street, Vogel & Yamaha www.handelpianos.co.uk Pianists Together finish, re-tuned Oct. 2014 to
Cheltenham Rebuilt & Pre-owned by Bechstein, Complete range of new and restored Weekly workshop near concert pitch.
Gloucestershire, Bluthner, Fazioli, Ibach & Steinway upright and grand pianos, for the Brentwood/Chelmsford: duets, Contact 01799 522 858 to view
GL52 2HP beginner through to the professional. accompaniment, musicianship, (Saffron Walden, Essex). Price
01242517635 OX O N Appointed Bosendorfer and Kemble solo performance, kindred spirits £3,250.
01242 250794 agents. As new, restored pianos and friendly atmosphere! Free
www.cheltenham-piano-centre.co.uk Cheltenham Piano Centre from Bluthner & Bechstein taster session. Individual tuition
Bluthner, Yamaha, Bechstein, Kemble, 52 Winchcombe Street, also offered. www.cagmus.org.uk/
Dale Forty Restorations and repairs Cheltenham, Gloucestershire, piano.html 07801 258261
undertaken in our workshops GL52 2HP
01242517635 01242 250794
LONDON www.cheltenham-piano-centre.co.uk
Peregrine’s Pianos Bluthner, Yamaha, Bechstein,
137A Grays Inn Road . London Kemble, Dale Forty

PIANO WORKSHOP
WC1X 8TU Restorations and repairs undertaken
Tel: 020 7242 9865 in our workshops Est. 1982
E: info@peregrines-pianos.com
W: www.peregrines-pianos.com
We are here to sell and hire out fine,
SURREY
modern upright and grand pianos, Piano Warehouse
and to provide a unique working 111-113 Ewell Road, Surbiton,
environment for the music profession. Surrey, KT6 6AL
0208 399 4110
NW L O N D O N www.piano-warehouse.co.uk
Piano Warehouse Specialists in sales and rentals.
291-295 Willesden Lane
W Hoffmann T177
London Piano Workshop of Reigate
Bright Walnut
NW2 5HY Sales-Rental-Restoration
Restoration specialists - pianos purchased. Over 90 pianos on display.
0207 267 7671 Practice and teaching rooms for hire
www.pianoworkshop.co.uk Tel: 01737 242174
www.piano-warehouse.co.uk ABRSM exam centre
46b Albert Road North, Reigate, Surrey RH2 9EL
Specialists in sales and rentals www.pianoworkshop.co.uk

p89 class Ads.indd 89 13/03/2015 10:45

 CL ASSIFIEDS
Swanton Design & Marketing ©
Tel: 0771-855-2390 | Email: studio@swantondesign.co.uk

Piano specialists for over four generations

We have over
70 pianos on offer from
Bosendorfer | Bluthner
Bechstein | Kemble
Yamaha | Kawai

With many other new and

quality pre loved pianos.
With delivery arranged countrywide

www.handelpianos.co.uk
Tel: 01344 873645 Email: sales@handelpianos.co.uk
Verve House | London Road | Sunningdale | Berkshire | SL5 0DJ

For Sale: Schimmel

Upright Piano122KE
1990, black ebony
polish, 1 owner,
domestic use, very
good condition, last
tuned in February
2015, last regulated
in 2010, located in
Bath, UK. Buyer to collect (professional insured
remover only please).58cm deep, 122cm high,
150cm wide. Private sale.

£5,950 ono.
jakelarkhall@yahoo.co.uk

Heskia.indd 1 THE UK’S CENTRAL PIANO AUCTION HOUSE

10/03/2015 16:05

APRIL 9TH 2015 AUCTION

Be part of our piano auction in Manchester this April and take home that piano
you have been promising yourself. Instruments for beginners to professionals
all at excellent prices. Prices from £400.00 up to £40,000
Three examples of lots in the April auction:
VIEWING TIMES STEINWAY
Tuesday 7th April 15:00 20:00h A beautiful 1968 Model B in an ebonised case raised
on square tapered legs together with a button down
Wednesday 8th April 12:00 20:00h concert stool and cover.
Thursday 9th 09:00 - 11:45h Est. £14,000 – 18,000
auction opens at 12:00 noon YAMAHA
A 1986 Model C3 grand piano in a mahogany polyester
case raised on square tapered legs.
The Engine Room Est. £3,000 – £5,000
Peoples History Museum Complex
ZENDER
Left Bank, Spinningfields, A C.1972 modern upright piano in a shadowed walnut
Manchester M3 3ER polyester case
Est. £400 - 700

For a free catalogue for this auction or a valuation of your piano for future sales
please call (+44) 0161 977 0075 or visit www.britanniapianoauctions.com
Don’t miss out on buying your dream piano at the right price...
Britannia.indd 1 12/03/2015 16:54

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 91• Pianist 83

p91 Ads.indd 91 11/03/2015 15:50