APRIL - MAY 2016

WIN!

A RECORDING STUDIO RETREAT IN WALES WORTH 550

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No 89

Helping you become a better player

Your guide to
2016 SUMMER
COURSES &
FESTIVALS
THE LIGHT TOUCH
AWA
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DIGITATAIOLN

TH

PUBLIC E
OF TH

YEAR
finalist

2 01 6

E AC E

SS
E
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DS

How to improve your

leggiero playing

13 LEARN
PIECES TO

BEGINNER TO ADVANCED
3 STEP-BY-STEP LESSONS
Schumann Melodie
Chopin Waltz in A minor
Liszt Impromptu in F sharp

LarsVOGT
On Bach, football and
becoming a conductor

MASTERCLASS

Deciphering
polyrhythms
THE LEGACY OF

EMIL GILELS

17185 Steinway Pianist Magazine (Issue89)_Layout 1 04/03/2016 14:48 Page 1

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2 Pianist 82

09/03/2016 10:09

Pianist 89

CONTENTS

April-May 2016

The next issue of Pianist goes on sale 27 May 2016

80

WIN!
A recording

studio retreat
in Wales

WORTH
550

67

84

12
4

Editors Note

Readers Letters

Reader Competition WIN a

27 The Scores A pull-out section of 40

pages of sheet music for all levels

45 Beginner Keyboard Class

Hans-Gnter Heumanns Lesson No 17:

The D major scale

recording studio retreat in Wales

worth 550!

News Lang Lang teaches the young,

a Grade 1 challenge at Aldeburgh and

Finchcocks Museum closes its doors

12 Lars Vogt Hes taken to conducting

and loves football but the German

pianists heart still belongs to the piano,
as Jessica Duchen finds out

16 How to Play Masterclass 1

Mark Tanner on leggiero touch

18 How to Play Masterclass 2

Graham Fitch on polyrhythms

Dont miss Grahams online lessons!

20 How to Play 1 Melanie Spanswick on

Schumanns Melodie (Scores page 31)

22 How to Play 2 Janet Newman on

Chopins Waltz in A minor B150 (Scores

page 49)

24 How to Play 3 Lucy Parham on Liszts

Impromptu in F sharp (Scores page 60)

67

SUMMER COURSES
& FESTIVALS 2016
Your 9-page guide to the best of
summer courses and festivals in the UK
and worldwide. All with detailed listings to
help you find the perfect course or festival
Courses Pages of courses for all

tastes and levels, including an interview

with pianist Jerome Rose, founder of
New Yorks long-established Keyboard
Institute and Festival

Festivals Listings plus an interview

with Newbury Spring Festivals artistic
director Mark Eynon about its Sheepdrove
Piano Competition, and a visit to the
En Blanc et Noir festival set in a
picturesque French village
78 Understanding Theory The second
in a new series to help you build your
knowledge of theory. This issue: More
on scales and a look at modes

Cover image: Giorgia Bertazzi. Clockwise from top left: Emil Gilels Foundation (Gilels); Andy Griffin Photography (Lang Lang); Giorgia Bertazzi (Vogt).
Notice: Every effort has been made to secure permission for copyrighted material in this magazine, however, should copyrighted material inadvertently have been
used, copyright acknowledgement will be made in a later issue of the magazine.

p03_Contents89-FINAL.indd 3

8
80 Emil Gilels To mark the centenary

of the birth of this Russian piano legend,

Maria Razumovskaya focuses on his
piano studies to find out what made him
such a phenomenon

84 Subscribe today for just 4.50 an

issue by Direct Debit and choose two

books from the ABRSM Signature
series for free!

86 CD Reviews Acclaim for Schubert

and Beethoven from Grigory Sokolov

and praise for Khatia Buniatishvilis
passionate recital, Artur Pizarros complete
Rachmaninov solo music and Nadejda
Vlaevas persuasive Bortkiewicz, a
little-known Russian Romantic composer

88 Sheet Music Review Atmospheric

Einaudi, elegant Ravel, French-style Bach,

Eastern Preludes from Christopher Norton
and more

89 Classifieds

Sign up for our FREE e-newsletter

Make sure you keep in touch with our
editorial team and receive exclusive extra
articles and interviews.
To register, visit:

www.pianistmagazine.com

10/03/2016 13:19

DONT MISS OUR FREE

ONLINE VIDEO LESSONS

TAP HERE TO WATCH

www.youtube.com/user/PianistMagazine

A WELCOME FROM THE EDITIOR

Editors note

f I could play like any pianist in the world, I would choose to play like
Emil Gilels. He had everything: technique, tenderness, poise, drama,
depth of feeling it goes on and on. The Russian legend would have
been 100 years old this year, and on page 80, Maria Razumovskaya
explores the background of this great artist. As a further tribute, Ive placed
one of his most famous encore pieces inside the Scores the Bach arr. Siloti
Prelude in B minor. Ive played through it myself over the years (though it
needs serious practice!). Its irresistible. You can hear Gilels play it on
YouTube, but I urge you also to listen to our wonderful pianist Chenyin Li
play it on this issues covermount CD. Youll be in heaven.
For more inspiration, turn our annual Summer Courses and Festivals 2016
Guide, which you will find directly after the Scores. I know that many readers
enjoy delving into these pages to look for a new course, aiming to find the
perfect one that will get them motivated and raring to go for the rest of the
year. Flying off to attend a festival is popular too there are some enticing ones where you can attend
concerts, masterclasses and talks, with a backdrop of breath-taking scenery. On page 12, cover artist Lars
Vogt talks about his own festival, Spannungen, and its unusual venue: a disused power station in Germany.
Speaking of unusual places, we have a fantastic reader competition for you this issue: you can win
a two-night stay in a romantic cottage in Wales. Its not a typical weekend break were offering, rest
assured the cottage is just around the corner from a professional recording studio. The winner of the
competition will be able to record a piano piece of their choice, have it edited by the onsite sound
engineer, and take it away on a CD. Turn to page 7 to enter.
Finally, have you visited the new Pianist website yet? Its all moving and shaking! Youll find up-to-theminute news, reviews, features and more, plus you can watch over 60 piano lessons (continually being
added to, of course). Pianist favourite Graham Fitch offers up over 31 lessons for the intermediate to
advanced player, and there are many beginner lessons as well. Watch Chenyin Li play a variety of pieces
that have appeared in the Scores in past issues, direct from the Royal College of Music recording studios.
What with all these summer courses, online piano lessons not forgetting our How to Play lessons
and masterclasses that appear inside this issue and every issue youll be well on your way to playing
like Emil Gilels in no time!
P.S. North America readers have often expressed concern as to how long it takes to receive their
subscription copy of the magazine. Take a look at the below. The wait is over!
ERICA WORTH, EDITOR

Live in the USA or Canada?

Pianist

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4 Pianist 64

Registered Address :Warners Group Publications,West Street, Bourne,

Lincs, PE10 9PH. Warners Group Publications plc. All rights reserved.
Reproduction in whole or in part without written permission strictly
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ISSN 1475 - 1348

14/03/2016 11:24

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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
Getting in gear

The other day I was just finishing a lesson

with my young pupil, and as I was writing in
her notebook, she said, Can I ask you
something? Yes, I said, wondering what she
was going to say. When do I start using the
clutch? I looked up, realised what she meant,
and said, Do you mean those down there?
pointing to the pedals. To which she
responded, Yes. I was trying not to laugh and
explained theyre called pedals, and we will use
them soon. I did add we could try and drive
the piano but may not get very far!
It was a funny momentfor both of us but
I didnt want to laugh too much as I didnt
want to embarrass her.
Joscelin Watt, Essex
Your letter really made us smile. Learning to
pedal does require a shift up! Thanks for sharing
your story. A surprise CD is on its way to you.

Centring on the keys

As I am mainly self-taught, I find Graham Fitchs

articles and videos to be useful and informative. I
thought Id share a personal discovery that I dont
recall reading or hearing anywhere, although Im
sure most people are aware of it subconsciously.
We are advised, when practising, to aim for the
centre of the keys. I try to practise scales or pieces
(particularly the white not scales and arpeggios)
while trying not to let my fingers (or thumbs)
touch the side of the keys. It obviously only
applies to the wider section of the white keys,
where there is for most normal-sized fingers a
good clearance. For the black keys you can feel
with your fingers when you are centred on the key.
This sounds kind of obvious but the point is to
do it consciously. It not only improves accuracy,
preventing smudged notes, but also makes playing
feel more comfortable. I also find it seems to speed
up the physical memory when learning a piece. So
I recommend to anyone who doesnt do this
already to give it a try. It works a treat for me.
Steve Langford, Essex
Thanks for your thoughts. You and other interested
readers might want to read Mark Tanners article in
issue 84 on black keys, as it explored similar ideas.

Collaborative music-making

Thank you for this wonderful magazine. I am an

amateur pianist, and even though I chose a career
in nursing to pay the bills, my passion and love is
very much the piano. Your magazine inspires me
to keep reaching for my potential, through your

educational articles, tutorials and interviews with

professional pianists.
Over the past couple of years, I have been
delving into chamber music, specifically piano
trio music. While I find it quite technically
challenging, the joy of playing music with others
is incredible. I spend one week of every summer
attending Summertrios, a chamber music
workshop located in Pennsylvania, not far from
New York City, for amateur musicians. The
programme is for pianists, strings and winds, but
the bonus for pianists is that we get to choose our
own repertoire, and then other instrumentalists are
placed in groups with us. The coaching staff, all
world-class professionals, meet us at our level, and
inspire us to reach within ourselves to bring our
music to the next level.
I would love to see you devote a future issue to
piano-centred chamber music.
Mary Ann Rose, Ottawa, Canada

Many thanks for your letter. You will find our annual
guide to summer courses and festivals in this issue
after Scores, including chamber music courses such as
Summertrios (www.summertrios.org).

More than one right way

I wanted to take a moment to tell you how

much I enjoy and learn from Graham Fitchs
videos, gaining a wealth of both specific and
general information. Often when I am working
on a particular technical problem, I find that
Graham has a video discussing it and he invariably
introduces ideas I have not thought of at all that
turn out to be very practical and helpful. Even
if I already understand a concept, I enjoy his
perspective. Other times I simply enjoy hearing
him play and watching his technical execution.
One of the concepts I have learned from
Graham is the idea that there is often more than
one valid technical approach to a specific problem,
or to playing in general. I have struggled with
technique so much that I felt if I could just find
the right way to play, I could get to work on it
and be all set. But, everywhere I looked I found
people who all believe they have the only right
way and adamantly disagree with each other!
Then I learned from Graham that there is often
more than one right, or best, approach and it is
alright and maybe even desirable to explore various
approaches and see what works for you. It relieved
a lot of pressure and taught me that I have hope
of learning to play even if I cannot find the elusive
one-and-only perfect technique.
I very much hope you and he will continue
to produce these videos. I think his videos are a
valuable contribution to the world of music and
music education.
David Wilson, Arizona, USA

We have passed your comments on to Graham. Hed

like to assure readers that he has no intention to stop
producing these video lessons for Pianist!

Theory booster

I have taken Grades 1-8 in practical piano as well

as recently passing Grade 8 in theory with
ABRSM. Now I want to further my studies in
connection to composing/theory. I noticed theres
a diploma in theory syllabus offered by Trinity,
though it bears a striking resemblance to the
Grade 8 Theory offered by ABRSM, which I have
already done. ABRSM does not offer anything
higher than Grade 8 theory. Hence my dilemma!
Are you aware of any place that I can go to
further my studies, or of any self-study books that
I can purchase that might help?
P. A. Marston, Warwick
ABRSM Syllabus Director Nigel Scaife, who writes
our new Theory column, responds: Your request is a
fairly unusual one as there are relatively few people
who wish to continue with their study of
composing/theory beyond the Grade 8 level.
Among the various books available are two that
supplement a textbook with useful workbook
materials that you might find of interest.
First, theres Steven Laitzs The Complete
Musician: An Integrated Approach to Tonal Theory,
Analysis, and Listening. It covers the music
fundamentals and, as the publisher writes, it covers
all the topics necessary for a thorough
understanding of undergraduate music theory by
focusing on music in context. The text links each of
the tasks that comprise a tonal theory curriculum,
explicitly connecting written theory (writing and
analysis), skills (singing, playing, and dictation),
and music-making outside the theory class.
Then theres Robert Gauldins Harmonic Practice
in Tonal Music. The publisher writes of this book,
Taking a linear functional approach, Professor
Gauldin uses clear explanations and outstanding
musical examples to show students how individual
chords function in the overall structure of a piece,
explaining how both harmonic and melodic forces
contribute to the development of musical ideas.
I would also recommend buying a copy of the
classic Riemenschneider edition of Bachs 371
Harmonized Chorales, playing through them,
memorising passages, then writing out some of the
melodies and trying to harmonize them yourself.
There is a lifetimes work there! Arranging music is
very helpful for learning compositional techniques,
which is something best done with the help of a
teacher. Perhaps a suitable teacher can be found
at a nearby university or college? Your local music
hub may also be a good point of contact.
I hope this is helpful in giving you some
possible lines of enquiry!

6 Pianist 89

p06_letters89-FINAL.indd 6

09/03/2016 10:49

TAP
HERE
TO ENTER

WIN!
A TWO-NIGHT
GETAWAY
& RECORDING
SESSION

WORTH
550

Pianist magazine is delighted

to offer one lucky reader the
chance to win a two-night
stay for two people in a 5 star
holiday cottage in Wales. The
prize includes a recording
session at the nearby
recording studio.

About the 5 star holiday cottage

Rhyd y Gorlan5 star holiday cottageis converted from an 18th century
stone barn and retains many original features. The ground floor is tiled
in slate and has a beautiful, fully equipped oak kitchen with all the
appliances one could wish for. Theres a spacious dining area, a lounge,
a games room and utility room. Upstairs there are three spacious
bedrooms. Theres a garden, complete with garden furniture, overlooking
the tranquil landscape. Here you can relax to the sound of a little stream passing by below,
enchanted by the chatter of birds harmonising all day long.
Rhyd y Gorlan cottage is located in the county of Powys, one mile above Cemaes village, and
seven miles from Machynlleth (the Ancient Capital of Wales). It offers a great base to explore
Mid Wales, the golden sandy beaches of Aberdyfi and Ynys Las, southern Snowdonia and
Cardigan Bay. The nearest shop and post office are two miles away, the nearest garage five miles,
and many highly recommended restaurants nearby. Theres even a traditional village pub within
walking distance!
More at www.bestofwales.co.uk

About Stiwdio Bing Studio

This beautifully located studio, just around the corner from Rhyd y
Gorlancottage, offers audio recording and audio post production. You
will have your own sound engineer at hand, and you will be able to
record a piano piece of your choice on the Bechstein W. Hoffmann
piano which will be edited on to CD to take away with you.
The studio is built around an impressive GSR-24 Allen and Heath 24
track console, including professionally acoustically treated vocal booth, a control room, and a
live room. There is also a chill-out room if you need somewhere quiet to relax before or during
the session. The view from the studio is just breathtaking too.
More at www.saindyfisound.co.uk
The winner will be notified by Friday 10 June. The winner will be able to arrange dates of stay
direct with the organisers. Partners can come too. Travel is not included.

p07_Competition-FINAL.indd 7

Answer the question below

correctly and you could be the
lucky winner!
Who is the famous opera singer
from North Wales who recently
celebrated his 50th birthday in
the Albert Hall, London?
A: Placido Domingo
B. Bryn Terfel
C: Jonas Kauffman

...and if you dont win:

If you dont end up being the winner,
but you like the sound of this
wonderful getaway of a 5 star holiday
cottage with recording studio, the
organisers are offering a similar package
exclusive to Pianist readers for a
discounted price of 495. Just email
info@saindyfisound.co.uk or call 01650
511600 and quote Pianist magazine.

14/03/2016 11:28

News

All the latest news from the world of the piano

FINCHCOCKS
MUSICAL MUSEUM
CLOSES ITS DOORS
70 historic keyboards go to
auction on 11 May

Andy Griffin Photography (Lang Lang)

Finchcocks Musical Museum in Kent, which

housed a remarkable collection of historic keyboard
instruments, has closed its doors forever, leaving
the Georgian manor house where it was based
for the past 45 years. Some 70 instruments from
the collection will be auctioned on 11 May, with
proceeds to go to the Finchcocks Charity. Just last
year, Pianist wrote about the wonderful collection
in its Great Piano Composers of the Classical Era
special issue (still available).
The collection of harpsichords, clavichords,
fortepianos, square pianos, organs and other
instruments was launched some 50 years ago and
the museums owners, Katrina and Richard Burnett,
now in their seventies, were finding the upkeep
to be difficult. Katrina Burnett told the Kent and
Sussex Courier, We no longer have a workshop of
full-time staff to keep all the instruments tuned.
If we cant keep the instruments up properly we
thought it was better to have a smaller collection
somewhere else where we can keep them up.
The Burnetts will keep a core of instruments in
a new location, but 70 of the instruments will be
auctioned by Dreweatts & Bloomsbury in London.
The auctioneers highlight a chamber organ by
John Byfield, 1766; a single-manual harpsichord by
J.J. Antunes, 1785; a grand piano by Conrad Graf,
c. 1820 and instruments by John Broadwood &
Sons, Muzio Clementi and Sebastien Erard
To find out more about the Finchcocks auction, go to
www.dreweatts.com

LANG LANG LAUNCHES PIANO METHOD

FOR YOUNG PLAYERS
A globe-trotting piano superstar he may be, but Lang Lang is
also eager to share his passion for the piano with a younger
generation of players through both education and inspiration.
The energetic Chinese-born concert pianist (pictured here with
local London schoolchildren) has just released, through Faber
Music, the latest instalment of his piano method, which is
aimed at ages 5-10. Hes also hosting a day at the Royal Albert
Hall in London to inspire youngsters to play.
The Lang Lang Piano Method, part of Faber Musics new
Lang Lang Piano Academy, takes the very youngest keyboard
players from total novice to around Grade 1 level in a series of
five books. The learning process is enlivened by the cartoon
figure of Lang Lang guiding the player around the keyboard
and through the earliest stages of musicianship. Alongside the
series are online audio tracks, featuring performances by Lang
Lang of the pieces in the book. Lang Lang said, Learning an
instrument can be a really important part of a childs
development and a great way to improve many things like
concentration and focus.
We know that Lang Lang can hold an adult audience in the
palm of his hand, but can he also mesmerise an enormous
concert hall full of excitable young children (and their
parents)? On 17 April at the Royal Albert Hall in London,
children 16 and under will find out. This event is being
organised by the Lang Lang Foundation, which previously
presented the 101 Pianists Project at Southbank Centre,
which brought 100 young pianists together to perform.
Go to www.langlangpianoacademy.com to find out more about
the new Lang Lang tutorials, and visit www.royalalberthall.com
for tickets and information about Exploring the Piano with
Lang Lang and friends.

WINNER OF CLAVINOVA COMPETITION ANNOUNCED

Congratulations to Susan James from Essex, winner of the Win a
Clavinova competition in Pianist No 87. Pianist Editor Erica Worth
phoned Susan to let her know shed won Susan was surprised and
delighted: I was thrilled to receive the exciting news. My sons are both
musical and my grandsons show early signs of interest. This wonderful
prize will be appreciated by many. Thank you! Susan will soon be the
proud owner of a Yamaha Clavinova CLP-545, worth between 1,714 and

2,027, depending on the finish. As we go to press, we have just heard

from Yamaha that Susan decided on the Polished Ebony finish, which will
be delivered to her mid March.
The competition attracted an impressive 1,355 entries. It was an
amazing response, says Worth. We were delighted that Yamaha offered us
another Clavinova to give away this winter. It just shows how popular these
instruments are, and Im so glad its gone to a good home.

8. Pianist 89

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News

All the latest news from the world of the piano

SCHIMMEL SHIMMERS IN NEW ALLIANCE

German maker links up with Chinas Pearl River pianos
One of the worlds oldest piano
manufacturers, Schimmel, has joined with
one of the worlds largest, Pearl River, in
whats being described as a strategic alliance
to cooperate in terms of capital, brand,
technology and marketing to achieve better
development in the future.
Based in China, the Pearl River Piano
Group oversees an enormous factory in
Guangzhou that produces some 100,000
instruments a year under its own brands
as well as for overseas manufacturers. The
130-year-old family-run Schimmel has been
making instruments in Braunschweig and Kalisz in Germany.
The new alliance provides financial stability for Schimmel, as Pearl River will take a reported 90
per cent share of Schimmels share (Schimmel family members will still hold shares), along with
access to the burgeoning Chinese market. For Pearl River, the addition of such a prestigious brand
to its portfolio is an affirmation of its reputation for quality and efficiency.
Meanwhile, there are still places available for the day trip to the Schimmel factory in Braunschweig
on 21 April. If you are interested, contact Schimmels London dealer, Peregrines Pianos, as soon as
possible on +44 20 7242 9865 or info@peregrines-pianos.com.

ic!

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Francesco Tirimo (Tirimo); Matt Jolly (Snape Maltings)

TAKE THE GRADE ONE CHALLENGE!

Aldeburgh project puts beginning pianists in the spotlight
If youre still at the early stages of your piano playing
or you know someone else who is just beginning
or is only thinking about playing the piano then
consider taking Aldeburgh Musics Grade 1
Challenge. Aldeburgh, Suffolk-based music festival
founded by Benjamin Britten and Peter Pears, is
reaching out to novice pianists in a challenge that
culminates with a performance on 26 June.
Should you sign up for the challenge online, you
will get updates and learning tips from Aldeburgh Music, and be able to book practice space at
Snape Maltings or the Red House in Aldeburgh. Buying the ABRSM or Trinity syllabus, and
finding a teacher and a piano remains your lookout, though!
On the evening of 26 June, the final day of the Aldeburgh Festival, some Grade 1 challengers
will be able to play their pieces on the stage of Snape Maltings Concert Hall (pictured), while
others will play selections from Bartks Mikrokosmos, a featured work at the festival.
Find out more about the Grade 1 challenge at blog.aldeburgh.co.uk/grade-1-challenge

Est

FIVE A SIDE
Martino Tirimo plays the
famous piano quintets
Piano plus string players: its a
frequently encountered
combination in chamber
music, primarily in the form
of duos, piano trios and piano
quartets. But what happens
when a pianist joins forces
with a string quartet to make a
piano quintet? Does the
pianist stand a fighting chance? Composers
including Brahms, Schumann, Elgar and Dvok
took on the challenge of writing for the piano
quintet, showing how the combination can be
huge and orchestral and also intimate and tender.
Concert pianist Martino Tirimo is in the
middle of a series at St Johns, Smith Square
devoted to the great piano quintets. Tirimos
project began in 2014 with a concert he gave with
the Henschel Quartet to mark their 20th
anniversary in which they played the Brahms
Piano Quintet. Out of this a series was born,
which comprises piano quintets by, among others,
Brahms, Schnittke, Rihm, Schumann, Dvok,
Franck and Schuberts Trout Quintet, which sees
a change of personnel as violin, viola, cello and
double bass take their seats next to the pianist.
On 13 April, Tirimo joins the Minguet Quartet
in the Dvok and Schnittke piano quintets, and
on 22 June, he plays the Franck piano quintet and
the Schubert Trout Quintet with the Rosamunde
Trio and others. On 21 September, with the
Fitzwilliam Quartet, he plays with Shostakovichs
Piano Quintet and an arrangement of Chopins
Piano Concerto No 2. On 16 November,
collaborating with the Carducci Quartet, he plays
the Faur and Dvok piano quintets.
Tirimo is amazed that no one seems to have
thought of the piano quintet series idea before:
As far as I am aware, no such series has ever taken
place in London or elsewhere.
For tickets and further information about the series
go to www.sjss.org.uk

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INTERVIEW

atching someone standing on

a podium and conducting an
orchestra when youre more
accustomed to seeing them at
a piano playing a concerto
can be rather bewildering.
But thats what I experienced
recently when I saw Lars Vogt
in concert. The celebrated German pianist has recently taken up
the post of music director of the Royal Northern Sinfonia
(RNS) and Ive come to their home base at the Sage, Gateshead,
to see how hes getting on.
Rather well, from the look of it. While the concert contains
an outstanding performance (conducted by Vogt from the
keyboard) of the Mozart D minor Piano Concerto lit from
within by a light-footed approach to tempo and a gorgeously
tender, singing tone it also held a special treat in the form of
Haydns Symphony No 103, the Drumroll.
Its a work requiring, like so much of Haydns music, a special
mix of intelligence, freshness, clarity and wit. Early in his career
Vogt showed a strong affinity with Haydn in his recordings of
some of the piano sonatas (for EMI) and you can hear the same
qualities in his conducting of this symphony. Vogts personality,
indeed, has more than a little in common with the famous

The Sage, with its enviable location on the riverside and its
unmistakable multi-bubblish design, makes a splendid home:
Its one of the best halls a wonderful performance and
rehearsal space, Vogt says. But its so funny that for me the
life-changing moments always happen in the north of England.
The first instance of that was, of course, the Leeds
International Piano Competition in 1990, when Vogt won
second prize. Artur Pizarro won first prize Hes a
wonderful artist and a hilarious guy and weve been
great friends ever since, Vogt enthuses.
Vogt was very young at the time of that Leeds:
19 when the competition started, 20 when it
finished. But a prize in itself is useless without
follow-up and it was a particularly special friendship
which began there that helped to propel the young
star into the limelight: Simon Rattle was conducting
the competition final and soon musical sparks were
flying between them.
It was one of the first times in my life that I
felt such a total, immediate click, Vogt
remembers. There was complete
understanding. I was so young, but I sensed
Simon felt this too and that he knew he
could go quite far in the Schumann

Classical composer. Everything, for Vogt, is about friendship,

humanity and sparkle and his music making is filled with
affectionate, genuine joie de vivre.
How did he come to have the RNS job? I sometimes wonder
about that too, Vogt laughs. In the last five years Ive been
conducting much more and I had a few experiences where I
understood I love it so much that I just want to try, explore it
and see what I can do with it. I remember calling my agent at
Askonas Holt and saying that Im happy to go anywhere to get
the experience. After that, one of my first high-profile gigs was
here at the Sage.
Vogt had appeared previously as soloist with the RNS:
I knew how good they are and I was a bit nervous, but I
thought that hopefully they might invite me again. But my
agent came to the concert, went backstage and later told me,
They like you. They like you a lot. They want you to be their
music director! A life-changing moment.
Taking over the RNS from the previous incumbent, the
violinist Thomas Zehetmair, was a tall order, Vogt adds. He did
a fantastic job here its very hard to follow. His admiration
and fondness for the orchestra knows no bounds. What makes
them so special is their total openness, an incredible stylistic
awareness and real emotional involvement. Ive come across so
many world-class orchestras where everyone can play
wonderfully, but which of them really feels the drama and joy of
the music? Here its everybody. Literally everybody.

p12_interview-FINAL.indd 12

Concerto with me, suggesting

quite radical things for instance,
staying in tempo in the
appassionato part of the first
movement, rather than dropping the
tempo as is usually done. I told him I could
do that, I absolutely love it, but I might not be able
to play all the right notes and he said, Im so sick of all
the right notes! He was incredibly sweet and supportive; after
the rehearsal, not even the performance, he said: Were going to
do a lot of concerts together. How lovely is that?
Footie fan
By the time he reached the Leeds, Vogt had had to sacrifice
another passion second only to music: football. He was born in
Dren in Germanys Rhineland area (not far from Beethoven,
he says). His father was an engineer who as a youngster had
funded his studies by playing football for the local Dren team,
which reached the second division while he was there.
My elder brother and sister and I all did both sports and
music, Vogt remembers. My father took me to football matches
and my mother took me to music. I loved playing football and it
was really difficult to give it up. The issue, he adds, was not only
that he had to be careful with his hands; also, when he became a
student of the famous professor Karl-Heinz Kmmerling in
Hanover, he would have a three-and-a-half-hour train

Giorgia Bertazzi

My approach to the keys is quite

loving, trying to be in tender contact
with them, definitely not vertical
and even when it is vertical, I try to
get the sound out of the keyboard
rather than into it

09/03/2016 09:37

LISTEN

Tap the play buttons below to hear

our bonus tracks

BACH GOLDBERG
VARIATIONS BWV
988, ARIA
BACH GOLDBERG
VARIATIONS BWV
988, VAR. 20
BACH GOLDBERG
VARIATIONS BWV
988, VAR. 21
BACH GOLDBERG
VARIATIONS BWV
988, VAR. 25
BACH GOLDBERG
VARIATIONS BWV
988, VAR. 30
BACH GOLDBERG
VARIATIONS BWV
988, ARIA DA CAPO

BUILDING
BRIDGES

LARSVOGT

The north of England, where he won the Leeds and now he conducts the Royal
Northern Sinfonia, has been transformative for Lars Vogt though his love of
humanity, joy and football travels everywhere,
13 Pianist 88as Jessica Duchen nds out

p12_interview-FINAL.indd 13

14/03/2016 11:34

INTERVIEW

UP CLOSE
If you could only play one piece from
now on, what would it be?
Bachs Goldberg Variations.
If you could only play one composer
from now on, who would it be?
Mozart.
One pianist, dead or alive, whom
youd travel long and far to hear?
Martha Argerich.
One concert hall youd love to play in?
I love the Sage!
Any technical struggles?
Loads. My hands are small, so anything by
Rachmaninov is a major workout its not
written for my kind of hand. Which is a
shame, because I LOVE Rachmaninov.
What would be your advice to
amateurs on how to improve?
Learn to listen properly to yourself and
others.
If you werent a pianist, what would
you be?
A football coach.
One person youd love to play for?
Carlos Kleiber.
One composer youre not quite ready
to tackle?
Ready or not, Im doing them!
What other kind of music do you like
to listen to?
Jazz, and some pop music of the 1980s.

journey in each direction on a Saturday, which

meant he could not commit to football practice.
Kmmerling, who died in 2012, was a
towering presence among pianists and often
served as a jury member in international
competitions. He made a powerful impact on
Vogt, though the course of his studies was far
from easy. I loved him, Vogt says. We had a
very close connection, even though he could
sometimes give me a hard time and always really
challenged me.
My first teacher was very artistic, but gave
me less technical grounding, so when I went to
Kmmerling he wanted me to develop that.
He started giving me more challenging pieces,
like the Schumann Abegg Variations. I
remember coming to my second or third
lesson on that piece, and he said to me: This
hasnt developed very much and I dont want to
waste my time here. That was grim! I couldnt
say that to a student. But you always knew he
was really involved and eventually this became
not only a very strong artistic relationship but
also a real friendship.
I had my last lesson with him only a few
months before he died. Wed kept the working
relationship and if anything he became even
more strict towards me. He once said, You
have to excuse me, but when youre getting older
things become more urgent. As so often, you
only realise later how much youve learned.
Today Vogt himself has a post in Hanovers
Hochschule fr Musik, Theater und Medien,
and teaches in the same room that Kmmerling
formerly used.
One day when he was 18 and on his way to
Hanover for his lesson with Kmmerling, Vogt
found a seat on the train. He then noticed that
the young man beside him had a violin case.
After a few minutes of chatting, he realised that
his travelling companion was no ordinary violin
player. It was, indeed, Christian Tetzlaff. Four
years Vogts senior, Tetzlaff was already
established as an exceptionally exciting young
artist. A few years later they worked together for
the first time and they have been regular
chamber music partners and friends ever since.
We did a couple of recitals for the first time
around 1996, says Vogt. I learned the Bartk
Violin Sonata No 1 for that. This piece has one
of the most notoriously difficult piano parts in
the entire violin sonata repertoire: It kept me
busy for weeks and I still find it hard after all
those years! But I love it. Christian has opened
several musical worlds for me and Bartk was
one of them.
The next thing was the start of my festival in
1998: he was the first person I called up and
asked if hed play there. He said, in the spirit of
adventure, Sure, Ill be there. And hes been
there every year since.
Musical power station
Vogts Spannungen (excitements) Festival takes
place annually inside a power station that was
built in 1904. At that time people wanted to
make even very functional buildings look
beautiful, says Vogt, and you can feel their pride
in having something as radically new as electricity!
Its an amazing place. There are still two old

turbines that are there for museum purposes and

we have the stage between them, so it creates a
strong image of energy. Spannungen takes place
every June and consists mostly of chamber music
played by a glowing array of top-level artists.
Vogt may credit Tetzlaff with opening new
worlds to him, but together they found an
unexpected open door last year when a video of
them went viral on the Internet not so much
because of the music, but because of their
page-turner. A draught during a concert in
Bremen blew pages off both their stands, but the
violinist Anna Reszniak, who was on turning
duty, retrieved them with such calm aplomb that
the video proved irresistible and has had
thousands upon thousands of views.
Still, Vogts playing remains irresistible in its
own right. The podium may beckon, but his first
love remains the piano; he says he still divvies up
his time 3-1 in favour of the instrument. And
each art can help the other. One of my big
quests on the piano is to avoid too much that is
vertical, because piano is so vertical, with the
hammer going bang onto the string, he says.
The key transfer, for pianists, is to sing, to sound
like a singer or string or wind player. My
approach to the keys is anyway quite loving,
trying to be in tender contact with them,
definitely not vertical and even when it is
vertical, trying to get the sound out of the
keyboard rather than into it. All of this, he says,
benefits his conducting while also benefitting
from it. It also describes the qualities that shine
out of his recent recording of the Bach Goldberg
Variations; released last year, it was a runaway
hit, rather to Vogts own surprise.
Aside from his recordings, there are plenty
of opportunities to hear Vogt performing in
person around the UK this season. His series
conducting the RNS at the Sage continues with a
concert entitled Mozart in Prague on
29 April and culminates on 10 June with his first
performance of the Mozart Requiem; and as
pianist he will be giving two recitals at the
Wigmore Hall with the tenor Ian Bostridge
(7 July), as well as performing the Goldberg
Variations for a BBC Lunchtime Concert
(broadcast live on BBC Radio 3, 6 June).
Its a busy year. But however packed his
schedule, Vogt remains deliciously irrepressible:
he somehow manages never to lose his fresh and
passionate approach to the piano and to music.
Catch him whenever you can.
LARS ON THE GOLDBERGS
Hear what Lars Vogt has to say about playing
the Goldberg Variations by going to
pianistm.ag/larsvogtgoldberg
LISTEN TO LARS
Hear Lars Vogt play excerpts from Bachs
Goldberg Variations on this issues covermount
CD. The tracks come from his Goldberg
Variations CD on Ondine (ODE 1273-2).
For further details about what Lars Vogt is up
to, go to www.larsvogt.com

14 Pianist 89

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09/03/2016 09:37

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play

HOW TO

A light touch

LEGGIERO PLAYING
The great pianists understood the beauty and power of soft playing, says pianist and teacher
Mark Tanner, who offers a gentle guide to improving your light touch and quiet inflection

ranz Reizenstein
(1911-1968), the
formidable GermanBritish composer, pianist
and teacher, considered
technique to be merely
another word for
control. We would do well to keep
Reizensteins observation in mind when
gearing up to do our daily practice.
Pianists tend to esteem the acquisition
of speed more highly than the
cultivation of dependable touch control;
moreover, as a facet of technique, quiet
playing usually ranks pretty low down
the priority list. The fact that pianists
have so many more notes to play surely
does not exempt us from working to
improve the quality of sound we make.
Whereas the crafting of a mellifluous,
softer tone is seen as vital to the
learning of the violin or clarinet, it all
too often slips under the radar with
those who are learning the piano.
Among the hardest facets of piano
playing is controlling a lightness of
attack, and when coupled with playing
at a faster speed, a reliable leggiero
touch must rank as among the most
prized piano skills. Yet when preparing
students for diplomas and recitals, Ive
often heard statements along the lines
of, Id love to include that little piece
by X, but Im worried its too easy. Just
because a composer or examination
board chooses to label a piece as
intermediate doesnt really tell us much
about its potential attractiveness when
performed by an expert pianist who has
mastered touch control. For this reason,
Schumanns Trumerei might just as
easily be considered an advanced
FRSM-standard piano piece as a Grade
6 piece, dependent entirely on how
sophisticated and artistic a performance
is. Indeed, in times past, pianists such as
Sviatoslav Richter thought nothing of
threading short, poetic pieces into
recitals they certainly had no fear of
being criticised for including something
that was too easy.
So, what can you do to improve this
elusive perfumed quality of sound on
the piano? A good initial approach
would be to take stock of what is
currently happening when you attempt
to play at a dynamic quieter than mf. If

you tickle the keys, you will invariably

produce a pallid, frail sound. In my
experience the cause of this can to an
extent be environmental. Pianists who
regularly practise on a piano possessing
a shallow action often relax into a
default flat-fingered attack; in other
words, they permit the limitations of
the instrument to skew their technique,
which can be hard to rectify later.
This type of compromise may come off
acceptably well on that particular
instrument, but does not anticipate the
requirement for a firmer approach when
tackling pianos with a heavier action.
Aim, in general, to play more decisively
than instinct might suggest when
playing an excessively light piano, even
when practising pieces like Debussys
Doctor Gradus ad Parnassum (No 1,
Childrens Suite).
Those who play on digital pianos
even those models that possess a
well-designed weighted action are at
risk of falling into a false sense of
security when it comes to playing at a
more daringly quiet dynamic level. You
may have overlooked an opportunity to
adjust the touch setting built into the
keyboard itself (Id advise playing at the
keyboards heaviest setting). Following a
protracted period of playing on a
keyboard with a flimsy action, you may
find it necessary to have a wholesale

TOP
TIPS

1
2

PERFECTING THAT GENTLE TOUCH

Controlling your quieter playing warrants as much attention as
any other element of your technique.
Rethink your dynamic range to permit a decisive, solid tone at
the softer extreme, avoiding an over-reliance on the una corda
pedal.

Whether playing at speed or not, aim to be tension-free and

responsive; your softer moments playing should be just as
authoritative as your tempestuous explosions.

Dont tickle attack! Aim to play crisply when practising on

light-actioned pianos or digital keyboards, and keep in mind
how your lighter touch will project in a larger performing space.

Take written descriptions of technical matters with a pinch of

salt trust your ears and fingers to convey quieter leggiero
passages effectively.

Mark Tanner is a pianist,

composer and writer. In 2016
he will adjudicate festivals and
competitions in Chichester,
Cardiff and Singapore, and will
undertake examining and
presenting tours for ABRSM to
Japan, Korea, China and the
USA. He performs on the
Queen Elizabeth and Queen
Mary 2, and judges the annual
EPTA Composition Competition.
Mark was recently guest editor
of Piano Professional Magazine
and is co-author of Teaching
Notes, a book to accompany
the upcoming ABRSM piano
syllabus for 2017-18.

rethink of approach to graduating your

touch control, so that your playing will
translate effectively when you find
yourself seated at an acoustic piano.
Aim to play really crisply, whatever
the dynamic or mood of the music,
maintaining curved, active fingers, and
in general expect to hear yourself
produce a much greater volume of
sound when playing quietly. This tactic
will help prepare you for playing in a
larger performing space with greater
bloom to the acoustic, where you can
usually expect to be playing on a much
larger, louder instrument. Headphone
practice is particularly prone to giving a
false reading on the dynamic level you
are really producing, so it may be good
to turn the volume down a notch or two
to encourage you to project more clearly.
Small in a big way
There is a critical difference between
playing quietly and making a small
sound. A soloists piano by which I
mean that a soloist must always project,
even when operating within the
confines of a score which happens to
state p still implies a degree of
projection and intensity. A divinely
nuanced sound is the opposite of one
lacking control and decisiveness; alas,
the latter will cause your audiences
attention to evaporate within seconds.
Good piano playing has a tendency to
appear overly projected in a small room
its in the very nature of the
instruments percussive attack but on

16 Pianist 89

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MASTERCLASS
no account should you shrink back and
resort to making a feeble, vapid sound.
A more projected sound is not an
option but a prerequisite in a larger
performing space. Indeed, effective
piano playing needs to be assertive and
committed at all times, even when
playing at a level of pp, which arises
surprisingly commonly in music
composed in the past hundred years or
so. No composer ever wanted you to
produce a wispy, thin sound, as distinct
from the veiled or distant effects
required by the so-called Impressionist
composers. Take Canope (No 10 from
Debussys Prludes Book 2), which
features on the current ABRSM Grade 7
syllabus [the piece appeared in Pianist
No 67]. Remarkably, within the works
33 bars Debussy includes no fewer than
26 indications to play at either p or pp;
moreover, nothing louder is marked in
anywhere. From the opening static
crotchet chords it is vital to sink to the
bottom of the keys in a series of
progressive, caressing downward
actions, allowing the wrist to return
upwards unhurriedly after each, and
resist the urge to stab sharply as though
the keys were red hot. Only then will
you be able to link up the chords
warmly and persuasively, aided of course
by deft touches of pedal.
As with all aspects of piano playing,
listening is the key to success if we are
to enter the composers soundworld and
not become intimidated by the score
markings we must be our most critical
audience if we are to monitor and
respond to what is actually emanating
from the instrument. Debussy does
hint, albeit obliquely, at places where
hed like a firmer attack (p marqu) to
balance off the translucent effect hes
after elsewhere in Canope, so be bold
with these, or you will flatten out the
composers carefully constructed
tapestry of effects.
Another splendid example is
Cancin para dormir una mueca by
Antonio Estvez, on the current
ABRSM Grade 4 syllabus. Not unlike
the aforementioned Debussy piece,
this lullaby inhabits a rather narrow
dynamic range: pp-p throughout. The
songlike mood nonetheless presupposes
a clear contrast between tune and
accompaniment (think along the lines
of mp for the right hand and pp for the
left) and a brave shaping of the right
hand quavers to counter any possibility
of non-speaking notes. An effective way
to practise both the above examples
would be to imagine they were marked
f-ff, so that you overcome tension and
frailty simultaneously. Once under
control, you can gradually ease off the
downward exertion from your upper
body you should be left with a
beautifully radiant effect; soft, but still
colourful. Bear in mind that, on the

whole, we are not practising to match

the space we are currently in, but in
anticipation of the one in which we
may ultimately find ourselves
performing, be it a concert venue,
church hall or examination room.
Quietly speedy
Let us take a brief look at so-called
leggiero touch (Liszts Concert Etude
Gnomenreigen is a splendid example),
which to all intents and purposes can
be interchanged with legero and
leggeramente, all of which crop up
frequently in 19th-century piano
scores. If you read the rather wordy
descriptions of leggiero, alongside
other facets of touch control (such as
staccato, legato, non-legato, portato)
by Walter Gieseking, Tobias Matthay
or Denes Agay, you will doubtless find
yourself reeling at the subtle variants
in terminology, the sum of which may
serve to confuse rather than clarify
matters. The precise point at which,
for example, legato turns into nonlegato is terribly hard to describe in
words but comparatively easy to hear
or demonstrate. Then we have jeu
perl, a form of touch control sported
magnificently by the likes of Alfred
Cortot, and which remains the envy
of many modern pianists. It involves
playing lightly at high speed, but with
an effect that sounds closer to nonlegato than legato.
Some pedagogues, notably Agay,
emphasise the concept of weightless
arms (i.e., arm weight is accommodated
by the shoulders and not permitted to
transfer through to the fingers). This
approach has a certain allure in that it
can be applied, at will, to either a legato
or a staccato touch as a requisite for
attaining velocity with a leggiero touch.
Tension quickly becomes an unintended
consequence of attempting to play
leggiero, so the importance of learning
to relax can hardly be overstated. It is
possible to play very fast and very loudly,
especially if you have massive hands,
but unless you happen to be Sergei
Rachmaninov or John Ogdon, it is
more pragmatic to accept a trade-off
between speed and power. Paradoxically,
when we practise fast running passages
at a slower tempo, we may inadvertently
adopt an inappropriate technique. Its a
bit like trying to practise sprinting but
at a walking pace!
Practising high finger action is
definitely beneficial, whether to
strengthen individuality and a more
assertive attack for deployment in
Baroque or Classical repertoire, or as a
precursor to playing with hardly any
visible finger movement, which is
invaluable when playing filigree passages
in Romantic or contemporary pieces.
When practising scales, why not
experiment more adventurously with

LIGHTER AND FLIGHTIER

Mark Tanners advice for improving your leggiero

in 3 of the pieces in this issues Scores

Telemann Minuet [Scores page 29]: Theres a lot going on in this

minuet. Straight away you will spot how the emphasis is
different in the hands: a fatter sound, involving the wrist for the
second chord in the RH and the opposite in the left surely a case
for independent work to ensure the all-important rhythmic patterns
do not become unduly distorted while finessing the articulation. The
LH has a very melodic-sounding line in the second half not a mere
accompaniment so let it dance in a courtly, graceful manner.

Mozart Adagio [Scores page 32]: This piece requires your

subtlest shaping and just the right amount of weight in the
fingers and wrists. Though its marked Adagio, dont be lured into
taking it too slowly on the basis of the opening two bars. The RH
sighs, which heavily populate the piece (bar 2 presents the first
clear example), involve applying more firmness to the first chord in
each pair and an upward motion of the wrist to ensure the lightest
possible placing of the second. The LH also has sighs, e.g. bars 8, 9
and 10, where you might imagine a violinist lifting the bow on each
of the second, lighter notes.

Chopin Waltz [Scores page 49]: Bring your most poetic touch,
systematic fingering and persuasive legato line to this charming
miniature waltz. Though dynamics are conspicuously inconspicuous
throughout, you have choices to make with regard to shaping the
phrases and holding musical interest, especially during the more
expansive-sounding second half, where the RH becomes rather
more florid. Practise the LH on its own, keeping the wrist nicely light
on the second and third crotchets of each bar and getting to the
bottom of the bass notes with a fraction more solidity of tone. Its
easy-going nature needs an unflustered, flexible view throughout.

aspects of touch control at all dynamic

levels: gauge for yourself the optimum
speed at which you can produce a forte
dynamic, then piano, then combined
with legato or non-legato. You might
ultimately see if you can achieve
something akin to Cortots dazzling
leggiero effect, to really impress in an
exam! A deft lateral movement of the
hand and arm will, by necessity, prove
critical in faster-moving music, which is
immediately apparent if you watch
videos of Horowitz, who seems to glide
effortlessly up and down the keyboard,
avoiding jerks and jolts.
Finally, abstinence from una corda
pedal is a good idea, at least while you
recalibrate your dynamic palette in
favour of a more focused and robust soft
sound. Over-reliance on the una corda is
a crutch, which can unfavourably affect
the tone in many circumstances, though
it does admittedly make quiet playing
a whole lot easier as a quick fix. Aim to
trust in the flexibility of your fingers
and wrists, whether playing quickly or
slowly at a quieter dynamic, and you
will find yourself nearer to possessing
Reizensteins cherished control.
In the next issue, Mark Tanner talks
about how to achieve a musical overview
in the pieces you learn.

17 Pianist 89

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play

HOW TO

Against all odds

MASTERING POLYRHYTHMS
Two beats in one hand, three in the other how can you bring it all together? Dont panic, just let
teacher and performer Graham Fitch count the many ways you can polish your polyrhythms

hat are polyrhythms, and why do they scare us?

A polyrhythm (sometimes referred to as a cross
rhythm) is the effect produced when two
conflicting rhythms are played together. The
music requires one hand to divide the beat into
two, for example, while the other hand has to
divide the beat into three simultaneously. There
are all sorts of possible ratios that a pianist might have to deal with, and
(depending on the context) they can prove very challenging indeed! In this
article, I will look at solutions for handling two of the most common
polyrhythms two against three, and three against four.
Before you can hope to manage a polyrhythm, we need to be very adept
at keeping a steady beat and subdividing it equally into twos, threes and
fours (and so on). Clapping the beat (with or without a metronome) while
counting out the various subdivisions is a very good way to develop the
skill away from the piano. Be able to switch with no hesitation from one
subdivision to another at will, or on command. I recommend using this
kind of scale practice to hone the skill (there are many ways to do it; take a
look my video demonstration on the Pianist website for some suggestions).
If youve studied Debussys Clair de lune, you may well have struggled to
feel the changes from the default triplet subdivisions of the main beat (the
time signature is 9/8) to the sneaky duplets that oppose the natural flow,
especially the tied pairs:
2

Fff f f f
f
b
f
b
f
ff f f f f
&b b b
fff fffj
b
f
? bb b f

b b F
f

2
& 4 ff

f f f

ff

f f f

not

di - i - cult

di - i - cult

not

the other; when the LH plays in threes remember to start with the hands
two octaves apart, to avoid the inevitable collision.
Even though the two-against-three polyrhythm is simple to figure out,
there are many passages with this kind of polyrhythm in the repertoire
that cause a problem because of their speed. This example, from the
development section of the first movement of Beethovens Sonata No 10
opus 14 no 2 springs immediately to mind:

# bf f
&

? # bf
bf

f f f f f f bf f
ff
bf
f
f
f
bf
f
f f bf
nf
f

f f bf .

I recommend that when you begin to put this passage together at the
correct tempo (Allegro), first block the RH as chords to come on the quaver
beats, or just play the RH fifth finger notes together with the LH. The next
stage involves shaping finger movements into bigger arm gestures (using
rotary and/or sculpted movements); this makes it very much easier for the
two hands to work together interdependently (for a demonstration, please
see my video on the Pianist website).

f ff f fF f f 2f
f F
2
ff fF f f
F f F
2

More often than not the second note of the duplet comes early,
destabilising the pulse. A very good way to correct this kind of error is to
count out loud as you practise. In the case of this Debussy work, I would
suggest firstly speaking out loud words with three then two syllables, such
as trip-o-let, dup-let, dup-let, etc., as you practise the opening section,
ensuring the underlying dotted crotchet pulse remains absolutely steady.
Next, count only the three main beats in each bar.
Two Against Three
The simplest polyrhythm we have to deal with in piano playing is the two
against three, or duplet against triplet (and vice versa). One hand plays in
beat divisions of two while the other hand plays against it in divisions of
three. Since the way the two rhythms fit together is precise the second
note of the duplet falls exactly halfway between the second and third notes
of the triplet it is not that difficult to master this skill.
The first thing for any polyrhythm is to drum it out on a table or on
your knees, saying or thinking the words not diff-i-cult rhythmically (i.e.
crotchet quaver-quaver crotchet). If the triplet is in the RH, it fits together
thus: together-right, left, right; together-right, left, right (or together-left,
right, left if the triplet is in the LH [see example at top of next column].
Practising scales two against three is also a great way to develop this
necessary skill. You will cover two octaves in one hand and three octaves in

Three Against Four

We are often called upon to play a three-against-four (or four-against-three)
polyrhythm, which is more of a challenge. Lets look at the coda of the second
movement of Beethovens Pathtique Sonata (last beat of the first bar):
Adagio cantabile

T
f bf f. f. f. . f f
f f f f f fj
..
...
? bb b ff ff ff ff ff ff ff ff ff ff ff ff fff
fff
b f f f f f f f f f f f f ff
b f
& b bb J

A quick fix is to map the hands in a similar way to the two-against-three

example earlier in this case together, right, left, right, left, right but
the group of three will not be even. To do the job properly you need to feel
precisely where each note comes in one hand in relation to the other. There
is an easy way to work out the mathematics so you can see at a glance the
rhythmic placement of each note: multiply the two numbers together to
find the lowest common multiple (this works for any polyrhythm). In a 3:4
polyrhythm, we multiply 3 by 4 and can then write out 12 numbers in two
rows, as 3 groups of 4 (RH) and 4 groups of 3 (LH):

18 Pianist 89

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MASTERCLASS
123412341234
123123123123
When we apply this at the piano, first do it slowly using a phrase such
as pass the gold-en butt-er to help fit the hands together. This phrase puts
the emphasis on the threes, whereas a phrase such as where do you work
today? stresses the fours:

bb
&b b f

Pass

? b b ff
bb f

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

but - ter

ff
f

ff
f

Practising the polyrhythm slowly is only somewhat useful. Its a good

first step, but it wont necessarily enable you to play it in context at speed.
As is always the case with rhythmic matters, it is essential to feel rhythm
in your physical body, not just to know in your head the mathematics of a
particular pattern. Clapping and counting aloud is excellent practice try
clapping in threes while counting in fours, making sure to do it the other
way around too.
Here is an exercise for three against four and four against three. For it to
work, it is important to maintain a rock-steady pulse and to feel this pulse
in your body rather than just drilling the fingers. Do the repeats as often as
necessary to anchor the triplet versus the semiquaver divisions of the main
beat, and dont expect it to work perfectly first time. Needless to say, it can
be played
in any key (major or minor):
Rhythmically

2
& 42
&4
?2
? 42
4

{{

&
&

{{

?
?

3
3
Rhythmically

f3
3
f> f ff >f ff f
f
f
>fj >f.
f. j Jf.
f. J

j fJ..
f. j f
J
f
>. f f >f f f
>f f f f >f f f f
f
ff

.
>
>>f f f ff >ff ff f f f. ffJ.
f f fJ. J
f f f
J
.
>f
f
>
j
f
.
fj fJ >f f >f f f
f. J f3f f 3f f
.
3

f 3
3
f> f ff >f ff f
f
f
>f f >>f f
>f f ff f >f f ff f
f
ff
3

>f f f f >f f f f
>f f f f >f f f f
> f >>f f
>f ff f f f ff
f
3

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

the gol - den

hands together. Eventually, after many attempts, you will be able to play the
polyrhythm successfully. This may not happen the first day, but persist and
eventually you will be able to do it without thinking.
This process will work beautifully with another famous example of a 3:4
cross rhythm the Fantasie-Impromptu by Chopin opus 66:

We know that Chopin began his piano practice every day with preludes and
fugues from Bachs Well-Tempered Clavier. It is said this was the only score
he took with him in 1838 to Majorca, where he completed his own set of 24
Prludes opus 28. I cant help but wonder if the inspiration for the FantasieImpromptu might have come from the D major Prlude from Book 1:

# fff fff f fff fff ffffffffffff fff

f
f
& #c f
f
f
f
? ##c f J f J f J fJ fJ
J
J
J

j
f. j
f.
j
f. j
f.

I strongly suggest practising a skeleton version of the Fantasie-Impromptu,

like this:

f.
fJ.
J
j
f. j
f.

If you do this with no pedal and strictly in time, you will be

synchronising the notes in the LH that fall on the beats with Bachian
precision and clarity. Master it and make it sound great at a variety of
speeds and dynamic levels you will be laying a very firm foundation
indeed for when you add the missing LH notes.
These processes will work for any polyrhythm you might come across in
piano music. Even though the difficulty lies in coordinating both hands
together, there is no substitute for regular practice with each hand alone.
If you want to build up your level of skill, you can practise exercises away
from the piano based on the principles of mile Jaques-Dalcroze, a Swiss
pianist who invented a method of learning and experiencing music through
movement. When you are next out for a stroll, use your footsteps as a sort
of metronome and make a cross rhythm against them either by clapping,
snapping your fingers or using your voice. Walk (or run) the fours and clap
(or speak) the threes, and make sure to do it the other way around too. n

##4
f
f f
& # # 4 f f f f f f f f f f #f f
f
f
? #### 44 fj
J f
J
J

I would like to share a process that will help you play any polyrhythm
smoothly, accurately and without the need for conscious thought in
performance but it might take a little time to acquire the knack. Think
back to when you learned to ride a bicycle; you probably wobbled around
and fell off quite a number of times before you learned to ride easily and
automatically. Mastering a tricky skill such as a polyrhythm relies on
perseverance but after you acquire it, it remains with you. Here is the
exercise applied to the Pathtique example:
Set the metronome to pulse in quavers (eighth notes) at the performance
tempo you have chosen. We are going to confine ourselves only to the notes
of the polyrhythm, stopping on the downbeat over the next bar line (the
downbeat stop is most important as it gives us an end point to aim for).
Play one hand and then the other hand in alternation many times in a row,
listening carefully that you are playing evenly, and synchronising precisely
with the metronome. Do this without stopping the rhythmic flow literally
without skipping a beat.
After several repetitions, without thinking too much, attempt to play
hands together (it is important not to stop or pause beforehand keep with
the metronome and with the beat!).
The chances are you will be unsuccessful on your first attempt; this is
normal. The temptation is to try it again immediately with both hands
together, but go back to a few separate-hand alternations before trying again

In the next issue, Graham discusses the subject of the thumb.

WATCH GRAHAM ONLINE

19 Pianist 89

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TO WATCH GRAHAMS TUTORIAL VIDEO

THAT ACCOMPANIES THIS ARTICLE

PLAY VIDEO

play

T MISS
NIE
DON
MELA KS
SWIC
SPAN
PIECE
ON THIS E

Robert SCHUMANN (1810-1856)

N
LESSO

TRACK 4

HOW TO

Playing and pedal tips: This piece is extremely tender, and therefore demands
a warm tone and good phrasing. Each note needs to mean something even
in the accompaniment part, which also needs to be phrased beautifully.
Read Melanie Spanswicks lesson on this piece on page 20.

q = 96

Nicht schnell

SCHUMANN

&
6
&
6&
&
&
&
&
11&
11&
11
&
11&
&
&
&
&
16
&
16
&
16
&
16
&
&
&
&
&
&

{{
{{
{{
{{
{{
{{

{{
{{

3
4
1 2 1

1 2 1

2
2

5 5

5 5

1 2 1

1
2

1 2 1

4
4

3
5

4 5

4
1

3
5

4 5

4
1

3
2

4
1

4 5

4
1

5
1 44 5
4

5
1 44 5
4
4 5
2 1
4

1
3

2
4 5 5

3
1

4 5 2
4 5 2

1
1

Melodie, No 1 from Album for the Young op 68

4
2
1

4
2

4
2

4
2

2
2

4 5

4 5

4
2

2
5

3
1

2
5

4
2

2
4 5 5

3
3

5
5

4
4

2
4

4
2

4
2

1
1

3
2
3
2

1
1

1
2

3
2

4 5

4 5

1
3

3
2

3
3

2
2

3
2

1 2
1 2

1 2

3
2

4 3
2
1 2

4 3

4 3

5
5

4 3

3
2

f f f
Nicht
f fschnell
f f q =f96f f f f f
f f #ff f f f f
& cNicht schnell
f f f
f f f f q = 96f f f f
p
f
& cNicht
f f f f f f #ff f f f f
f f q = 96f f f f
f f
c f fschnell
f f f
&
& c pf f f f f f f f ff f f f f f ff f f f f f f f f f f f#fff f f f nf f f f f f #f f
f f f f f
ffff
f f
cp f f f
&
& c f f f f f f ff f f f f f ff f f f f f f f f f f#ff f f f nf f f f f f #f f
f
f
f
f f f
& c pf f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f
f f f nf f f #f
& 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 ff nf f f f f f #f f
j
f f f f f f f f f
f f

f f ff

f nf f f ff f f f f f f f f f
f f f f f f f f f f f f nf f fj ff f f f
f
fffff f
f f f f
f f f
f f f f ff nf f fj ff f f f f f f f f f

f f f f f f #f f nf f f f f f f f f ff f # f f nf f fj ff f ff f ff f f f f ff f ff ff f f f

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

f ff f
f f f f f f f ff f f f f f f f f f f f f #f f f f f f f #f f nf f f f f f f f
f ff f f ffff ffffff f f fff f f f f f
f f f f f f f f f f
f f f f f f #f f f f #f nf f f f
f f
f f f f f f f f f f f f f f f f f f f f #f f f f f f f f #f f nf f f f f f f f

f f f f f f f f f f f f f f f f f f f f #f f fff fff f #f f nf f f f f f f f
ff ff f f f f
f f f f ff nff f fj ff f f f f f f f f f
f

f
f f

f f f ff ff
f f f f ff nf f fj ff f f f f f f f f f
f

f f ff ff
f
f f f f ff nf f fj ff f f f f f f f f
f f f f f f ff f ff ff f f
f
f
fff f
f ff ff
f f f # ff ff nf f fj ff f ff ff f f ff f f ff f f f f f f ff ff f f f f ff f
f
f
f
fff
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f #f
f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f #f

f f
f
f
fff
f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f #f

FULL SCORE ON PAGE 31

BEGINNER/
INTERMEDIATE

Melodie, No 1 from Album for the Young op 68

PAG
20

Dedicated to Schumanns young daughters, and evidently meant for their

small hands to play at the keyboard, the Album for the Young op 68 dates from
1848. Though meant for beginners, it presents challenges for pianists of all
levels and ages, not least in keeping a simple and clear style.

3 5

4 5

4
1

3 5

4 5

4
1

4 5

4
1

3
2

4 5

4
1

3
2

2
2

4
4

1
3

2
2

2
4

3
3

2
2

1
1

1
2

1
1

3
2

3
2

5
5

31 Pianist 89

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08/03/2016 12:55

With a tender melody and simple harmonies, this Romantic miniature nonetheless requires careful use
of tonal control, wrist flexibility and cantabile, as teacher and author Melanie Spanswick reveals
Ability rating Beginner/ Intermediate
Info
Key: C major
Tempo: Nicht schnell
Style: Romantic

3 Even left-hand playing

3 Legato playing
3 Ability to listen

Melodie is an exquisite miniature

with an endearing melody and simple
harmonies. Its the first of the 43
short pieces in Schumanns Album for
the Young, a collection intended for
children (and for beginners of any age).
The tempo marking, Nicht schnell (not
fast), indicates a flowing, song-like
character. A metronome marking of
crotchet equals 96 beats per minute
would be optimal. The texture consists
of a melody in the right hand (RH),
and accompaniment in the left hand
(LH). The piece is formed mainly of
short, two-bar phrases.
At first glance, Melodie seems fairly
simple. Yet to be able play it with
effective tonal control and nuance will
take practice. Start by playing through
the LH bass line slowly. Then secure the
fingering (Ive written some into the
score) and locate all the notes. The LH
line is stylistically similar to an Alberti
bass (a repeated broken chord or
arpeggiated accompaniment) in the way
it meanders around various chord
progressions. To play these progressions
with ease, try to assimilate each pattern
by blocking out or playing the notes all
together. In bar 1, for example, practise
by playing beats 1 and 2 at the same time
(a C, G, & F), then repeat this with
beats 3 and 4 (a C major triad: C-E-G),
which will establish the necessary hand
position, fingering and movement
required to play each bar accurately.

Fabrice Rizaato

Melanie Spanswick is a pianist, author and music educator. Her

piano guidebook, So You Want To Play The Piano? has recently been
revised, expanded and republished in a second edition by Alfred
Music. Melanie regularly conducts masterclasses and workshops
in Germany as well as for EPTA, and she is a tutor at Jackdaws
Music Education Trust. She adjudicates for the British and
International Federation of Festivals and has curated the Classical
Conversations Series, where she interviewed many eminent
classical pianists on camera (published on YouTube).
Find out more about Melanie at www.melaniespanswick.com

Will improve your

Once you have digested the patterns,

make your quaver movement accurate
by using your wrist flexibly and in a
rotational motion. As discussed, the
LH line consists almost entirely of
quavers. These should be 100 per cent
rhythmical as well as tonally even. Use a
degree of wrist rotation to give the
bottom notes (which often provide a
countermelody) in each bar greater
colour and timbre than the repeated top
notes. For practising purposes only, play
each quaver heavily, freeing and rotating
your wrist between every note, and, as
always, ensuring fingers play into the

key bed (the use of finger tips will help).

When you have worked thoroughly in
this way and can play through producing
a big sound without tiring, particularly
on the weaker fingers (generally the
fourth and fifth), then lighten the touch.
Your aim is to play lightly throughout,
skimming the keys. Playing lightly will
enable you to attain a rhythmic and
even LH (it also helps to count aloud).
The thumb must be light at all times,
allowing the bass parts to sing out (for
instance, notes C, F, E and C in bar 1
should be illuminated with a sonorous
tone). You are essentially balancing the
sound using the same hand. Some parts
of the LH line (at bar 10 and 11, for
example), will need a little more practice,
requiring lots of flexible motion, in order
to reach notes comfortably while still
providing accuracy and colour.
The RH will benefit from a clear, deep
cantabile (or a singing style) in
keeping with the song character. It
must effortlessly soar above the
accompaniment. Rather as you did in
your LH practice, work by playing all
notes into the key bed, using plenty of
wrist motion and added arm weight to
produce a warm, rich sound. Learn
fingering and note patterns, and then
determine the depth of key needed to
really sing. Taking the first phrase, as
you play the first note (bar 1), listen
to the sound at the end of the first
crotchet beat (an E) as it dies away,
before playing the next note and match
that sound. Try with a slower speed at
first, as this will help hone legato and
sense of phrase structure.
The part-playing and chordal patterns
at bars 8, 11, 16 and 19 will need
complete legato. Keep the top line to
the forefront of the overall sound by
turning the wrist and hand slightly away
from the body (to the right), thereby

supporting the outer parts of the hand,

especially the fourth and fifth fingers,
giving them extra strength to produce
the sonority. Small hairpin crescendo/
decrescendo markings over various notes

Learning Tip

The RH melody must reign at all

times, so balancing the sound
judiciously between the hands
will be the deciding factor in the
success of any performance.

(i.e., bars 5, 6, and 7) are akin to tenuto

(held or slightly emphasised) marks.
Experiment with sound here, leaning
a little on the first note of each phrase,
ensuring a Romantic flavour. The odd
accidental at bars 5 and 6 in the LH,
for example needs this approach too,
colouring each note with a deeper
sound, adding expressivity.
Ive put a few pedal markings into the
score (the sustained right pedal is
required). These markings are the
minimum needed for a convincing
interpretation. However, its possible to
pedal on virtually every beat. To do this,
practise taking your foot up and down
very quickly between beats, certainly
between every crotchet beat, and
occasionally on quaver beats too (i.e.,
bar 8, beat 2, taking the C and C into
account). Listening is vital. If pedalling
proves tricky (smudging can cause
issues), you can get a beautiful legato
by joining the fingers. This will produce
the desired (although less resonant)
effect without using too much pedal.
Rubato (borrowing time) can be
employed tastefully at the end of
sections. Once example is the end of
bar 8; another is right at the end of the
piece. Producing complete legato
throughout is the goal when practising
this Romantic jewel.

20 Pianist 89

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play

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

T MISS S
DONNEWMAN
JANET
PIECE
ON THIS E

N
LESSO

TRACK 10

Frdric CHOPIN (1810-1849)

HOW TO

(even if the fingers are secure), so the hand doesnt freeze. Phrasing and rubato
are everything always think where the melody is leading. The RH filigree
passagework between bars 21-23 is tricky and should be taken out of context,
RH alone, with slow practice. Listen to Chenyin Li play this piece on the CD
and notice her dynamics; even if not marked on the score (Chopin is known
not to include dynamics) its necessary to incorporate them into your playing.
Pedal tips: All pedal markings are on the score.
Read Janet Newmans step-by-step lesson on this piece on page 22.

Allegretto

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FULL SCORE ON PAGE 49

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Waltz in A minor B150

2
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CHOPIN

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INTERMEDIATE

Waltz in A minor B150

PAG
22

Chopin wrote many waltzes, all of which had a charm and vigour making
them suitable for the concert hall rather than the dance floor. This waltz was
composed ca. 1847 but not published until 1955.
Playing tips: While the LH plays an accompanimental role in this piece, it
is still the foundation and it needs to be 100 per cent secure. We therefore
advise you to study the LH first, practising it on its own. Also try blind
practice (not looking at the keyboard), as that should really secure those LH
jumps. The apoggiaturas in the RH should be light, keeping the wrist flexible

f
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49 Pianist 89

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This modest little waltz offers technical challenges in the left hand but the greatest trick is bringing
variety to the repeating phrases. Teacher and performer Janet Newman helps you out
Ability rating Intermediate
Info
Key: A minor
Tempo: Allegretto
Style: Romantic

Will improve your

3 Pedalling for waltz style

3 Security of LH chord placement
3 Variety with repetitions

This elegant and melancholy little

waltz was written around 1843, and
was one of many of Chopins works
published posthumously. Chopin
composed 36 waltzes over the course of
his lifetime, the first when he was just
14 and the final just before his death in
1849. Many of his compositions pose
enormous challenges technically even
among some of the shorter works from
the sets of Mazurkas, Waltzes and
Nocturnes but this particular waltz,
with its unassuming and almost modest
melody and repetitious nature, offers
the less-confident pianist a chance to
explore the nuances of Chopin without
placing too many obstacles in the way!

To ensure the security of the chord

placement, practise moving to the
chords by building them up from the
bottom of the chord, adding a note
each time. Lets use the first bar of the
piece as an example of how to do this.
Start by playing the bass A on the first
beat and then the A only of the chord
on the second beat, followed by the bass
A again; then the A and C of the
second-beat chord and finally, the bass
A followed by the complete chord, A, C
and E. As you do this, youll probably
discover that there will be an
uncertainty within the fingers in finding
the chord shape which this method of
practice will help to eliminate. When
I watch my students playing this kind of
piece, I often notice how their LH
hovers uncertainly over the keys.
Employing this technique really does
help to strengthen the overall sense of
geography and resulting tone control. If
you still find that there is vulnerability
in the LH part, then make it even more
challenging for yourself by moving the
second- and third-beat chords up a
further octave this is another
incredibly helpful tool to getting
accuracy and freedom of movement in
chord work, as well as making you
grateful for small mercies!

Structurally, there are two main ideas.

First, theres the theme in A minor and
then a smaller eight-bar idea at bar 17,
which, when repeated in bar 33, has a
slight variation to it, both melodically
and harmonically, as it moves into the
tonic major. When a piece that
essentially lasts a little over two minutes
has as much repetition within it as this
waltz does, one of the first things to
consider is how you decide to vary the
material so that the performance steers
clear of dullness. If you choose to play
the repeats as well, then you must use
a variety of dynamics and potentially
articulation too, in order to keep the
music buoyant and meaningful.
Start your work with the left hand
(LH) part. In my experience of
teaching Chopins waltzes, the LH
usually is the hardest thing to master.
The difficulty of keeping the LH chords
balanced and sensitively placed, while at
the same time making sure that every
note sounds (especially the first-beat
bass note) takes quite a lot of intelligent
practice. Firstly and most importantly,
make sure that when you play the
first-beat note that you keep your hand
open over the keys with your thumb
placed on the octave above the actual
note played i.e., you must ghost the
octave. This helps you to find the bass
note without looking as you can see the

thumb in the octave shape in your

peripheral vision, and it also helps you
when you move to the second-beat
chord as by having the hand over the
keys in the first place, the jump upwards
to the chord is effectively reduced. The
thumb acts as a marker and makes the
accuracy of the bass part much more
reliable. When you have the notes
securely in your memory, practise this
with your eyes closed this helps your
muscle memory to develop too.

Janet Newman is Head

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

One final word of advice on the LH is

to keep your fingers very gripped (or
braced) when playing the chords. Try
to shape the chord within the fingers
but at the same time, relax within the
wrist and pull down into the keys using
your arm weight. I know that this
sounds like a contradiction in terms,
but being able to keep relaxed, soft
arms while at the same time having very
strong, almost steely fingers is one of the
key skills that makes for good piano
playing (and one of the things that
makes learning piano so demanding)!

The RH in this piece should prove less

involved to learn. Always remember to
adhere to the chosen fingering so that
the best phrasing and melodic shaping
can be consistently played. There should
be a flowing movement throughout the
line but try to avoid overdoing the
rubato. Because of the repetition within
the piece, if you employ too much
rubato, it can feel sentimental rather
than touching, and queasy rather than
moving. Keep it simple! Start the piece
quite matter-of-factly, using a positive
dynamic and just allow the music to
speak for itself. Use a little rit in bars
7-8 and perhaps a little more in the
corresponding bars 15-16 so that you

Learning Tip

Practise adding the pedal alone to

the LH, taking great care to catch
the first beat in the pedal. Dont
move to the second beat too soon!

enter the next section with a renewed

sense of momentum and energy.
There is a different quality in the
new section at bar 17. I would allow
the music to move ahead slightly now,
as there is a feeling of trying to break
free of the rather restrained and
reined-in nature established within
the first section. Consider adding a little
more warmth to your dynamic too
especially in the repeat. There is an
impassioned quality here which,
although it doesnt last for long, needs
to be shown. However, die away at
bars 23-24 and when you play the
section for the second time, let the rit
be quite a generous one. At bar 25, the
returning theme could be played very
quietly almost hesitantly as this will
make the change of key at bar 33 much
more contrasting and surprising. This is
the point where you can let the music
move as freely as you feel; all restraint
is gone and the joyous quality which
was hinted at in the earlier section can
now come to the fore.
Stay quite bold dynamically at bar 41
but gradually let the music subside.
By the time you arrive at the codetta
(bar 49), there should be a complete
unwinding of the music, both in tempo
and dynamic, so that it ends as it began,
unassuming and with great simplicity.

22 Pianist 89

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23 Pianist 89
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09/03/2016 13:00

play

HOW TO

LISZT

Impromptu in F sharp S191

Concert pianist and teacher Lucy Parham shares a gem from her treasure trove of forgotten
Liszt and tells how to master its tremendous power, fierce passion and undeniable lyricism
Ability rating
Info
Key: F sharp
Tempo: Animato, con passione
Style: Romantic

Advanced

Will improve your

3 Forearm freedom
3 Rallentando
3F
 luid LH playing

I discovered this Impromptu when I

was researching my Liszt words-andmusic programme, Odyssey of Love.
This Impromptu was written later in
Liszts life and encapsulates a romantic
freedom within a new style of piano
writing. It was at this time in his life
that Liszt was striving to bring new
sounds out of the piano, and some of
the music from this period can be said
to look forward to Debussy. This
charming Impromptu is rarely played,
and for that reason it is a forgotten gem
in Liszts vast solo piano repertoire.
There is an inherent lyricism in this
piece that a player should be careful
not overlook. In some editions, this
Impromptu is given the subtitle
Nocturne, but for me the tempo of the
piece is too flowing to be nocturnal.
Liszt marks the piece Animato, con
passione and this underlying passion is
always at the heart of the work.

Sven Arnstein

Begin by looking at the left hand

(LH). It is interesting how Liszt
begins on the second beat of the bar,
with a silent upbeat. It is almost a
Schumannesque cross rhythm, which
will definitely throw the listener off
guard. It can throw a player off guard
too, as our instinct is always taking us
to the first beat of the bar. Note how
Liszt highlights the first quaver, then the
sixth quaver on to the seventh quaver
(which is also a crotchet). This forms a
rocking style (almost like a barcarolle)
and you need to try and point this out;
highlight it so that we have a sense of
fluidity and elasticity.

On 10 April Lucy Parham

gives the first London
performance of her new
composer portrait, Elgie:
Rachmaninoff A Heart
in Exile, with narrator
Henry Goodman. This
coffee concert version of
the new show will be at
Kings Place, London.
Parham also presents
Rverie at the Ryedale
Festival with Simon
Russell Beale (3 April),
and Nocturne at the
Chipping Campden
Festival with Alex
Jennings and Harriet
Walter (8 May) and at
the Rose Theatre,
Kingston, with Goodman
and Walter (15 May).
Her recording of
Strausss melodrama,
Enoch Arden, with actor
Henry Goodman, was
recently released.
For more info, go to
www.lucyparham.com

in both hands should be very pianistic

and comfortable for the performer.
Notice Liszts marking of dolcissimo
(very gentle) here. The RH really
needs to grip this chord as it has to
project over the bass while never being
too loud. Voice your top finger almost
with a steely fingertip. You also need to
remember that this chord is repeated
five times! Observe the different accents
and portamento markings on each
chord and try to make a difference in
each one. The luxurious spread chord at
the beginning of bar 6 should sound
almost harp-like and slightly ethereal.
The LH at bar 6 has a slightly larger
stretch. You need to prepare for this
bottom D and not a grab at it. Just sit
on it and take an extra moment if
needed. Sometimes giving yourself this
space can get you over a tricky problem.
The RH G minim in bar 8 needs to
really ring out. I would suggest playing
this with a third finger and then
changing it to a fifth. The following
notes in bar 9 are portato and need to
be weighted accordingly. They should
melt into the generous trill at bar 10.
Keep your forearm free while you are
trilling and try not to seize up. Start the
trill a little slower and ease into it. Make
sure there is a little bit of a rallentando
at the end of the bar when you need to
gently melt out of this trill into the
pause on the A. It is a good idea to
change the pedal on this note too.
When the theme returns at bar 14,
notice how it is more embellished this
time. You will need to spread all of

these chords here unless you have a very

large hand (which Liszt did). Make sure
the chords are really luscious and try
not to grab them. Also, it is vital to give
them a sense of direction in order that
they dont all sound the same. Keep the
LH wrist supple here; you want to have
a sense you are travelling and you must
try not to get jammed.

Learning Tip

The most challenging part of the

piece is the cadenza (from bar 61).
It needs to shimmer! Learn it first,
and build it up note by note.

Crescendo through bars 18 and 19.

There is a long line that runs from bar
18 to bar 25; try to keep a sense of
unity and direction, and avoid stopping
at the bar lines. We are looking for a
flowing line here. Ease into the trill at
bar 21 and let the cadenza run smoothly
from the end of the trill so that there are
no bumps. The cadenza at bar 22 lies
well under the hand if you stick to the
5-4-3-2-1 pattern of fingering. Think of
it in groups almost like a bunch of
fingers, although retaining a clarity
within each semiquaver. A small rit
should ease you into bar 25.
Bar 25 marks the start of the central
section. This section has a short
development of the themes we have
already heard. The next few bars form a
duet: the lower part (played by the RH
and marked espressivo) is in bars 26-29
and is then gently answered by the
higher register (from bars 30-34),
marked languendo (languidly). The
LH remains constant while the RH
should seamlessly float over the top of
it, trying to avoid bumps at all costs.
In this passage you will notice how
Liszt has marked certain notes in the
LH to be held or leaned into. These
notes, seen in bar 27 to 32 and then
continuing until bar 59, form an inner
melody. This second melody is crucial
and I would suggest practising it by
playing it alone and omitting all the
triplet figuration around it. Meanwhile,
the RH needs to have two different
qualities one for the higher soprano
voice and one for the tenor voice. Try
projecting your fifth finger in the higher
register and give it a steely quality.

Leave the pedal down from the

beginning until bar 6. You want to be
bathed in the key of F sharp. I always
think there is something a very soothing
about the key of F sharp major; just
think about Chopins famous Nocturne
and Beethovens Sonata opus 78 that
is also in this key to see exactly what
I mean. F sharp major fits very well
under the hand, so that when the right
hand (RH) enters in bar 3, the feeling
24 Pianist 89

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T MISS
DON PARHAMS
LUCY
PIECE
ON THIS E

Franz LISZT (1811-1886)

N
LESSO

TRACK 13

FULL SCORE ON PAGE 60

## #
& # ## c

of power, passion and lyricism in order to master such a work. As Lucy points
out in her lesson, start off by mastering the cadenza first, which starts at bar
61. It really needs to shimmer. Once you have this under your fingers, youll
be extra motivated to tackle the rest of the piece. This gorgeous work is one
of Liszts lesser-known works, but it is well worth the effort!
Read Lucy Parhams lesson on this piece on page 24.

dolcissimo

Animato, con passione

ADVANCED

Impromptu in F sharp S191

PAG
24

In the later part of his long life, the Hungarian composer Franz Liszt led a
threefold life, dividing his time between Rome, Weimar and Budapest. While
teaching became more important, he continued to experiment with form and
colour in his compositions, as in this Impromptu, which dates from 1872.
Pedal and playing tips: Listen to Lucy Parhams recording of this work on
our covermount CD and you will immediately realise that one needs playing

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60 Pianist 89

P60 SCORES Liszt-FINAL.indd 60

08/03/2016 13:01

I always think there is something

very soothing about the key of
F sharp major it fits very well
under the hand, so when the right
hand enters in bar 3, the feeling
in both hands should be very
pianistic and comfortable
From bar 42 you need to move
forward, as the directions indicate
(poco a poco accel). Feel the
momentum that pushes towards the
big climax at bars 57-59. Each bar
is more passionate and powerful than
the preceding one.

forearm free. Trill for a generous

bar and then melt into the cadenza.
This should start strongly and
gradually diminuendo as you
descend. Note the instruction to put
on the una corda as you merge and
melt beautifully into the ppp.

Notice where the LH has accents

and crotchets within the triplet
figuration. This predominates at
bars 42, 44 and 45 and then continues
in the same pattern. It should always
be your aim to let the whole section
flow in one long line. You can also
practise the LH in block chords
rather than in the triplets that they
are written in. Block chords are
always a good practice method for
this type of figuration. This will be
an advantageous way to learn this
section as well, as you will get a good
sense of the hand placement, which
can be a little awkward here.

Tempo 1 at the end of bar 62 is like

a recalling of the main theme. You
must, however, try to keep the tone
dolce, always moulded and warm.
I always like to think this is a voice
from afar, as if you were recalling
something beautiful. Try to capture
this sense of retrospective and change
the mood from all the appassionata
that has preceded it.

By the time you reach bar 55, both

hands should be at equal strength
and power. The three repeats of this
RH phrase (C, B, C) increase in
intensity each time. Again, when you
reach the trill in bar 60, keep your

Many words
are used to describe
pianos

Ensure that all the spread chords

are beautifully rolled. Imagine the
sound of a harp and try to imitate
that. Sink into the beautiful deep
bass F. From bar 77, the piece
unwinds emotionally. In the final
seven bars make sure you pedal with
care. You dont want too much
overlap. Keep the pedal down for the
last two chords and lift it up slowly
before you lift your hands off calmly
to keep a sense of repose.

More Liszt gems to try

If you enjoyed learning this piece, and want to uncover more Liszt hidden
gems, Lucy Parham suggests his Valse oublie No 1, which appeared in issue
73 and on which Lucy also gave a lesson. Lucy also gave a lesson in issue 81
on Liszts arrangement of Schuberts song Der Mller und der Bach. Other
pieces to try are the Petrach Sonnet No 123, Au lac de Wallenstadt (this piece
appeared in issue 58) and Les cloches de Genve the latter two come from
the Premire anne of his Annes de plerinage. These pieces are of the same
level, if not slightly easier, than the Impromptu featured here.
Liszt wrote copious amounts of piano music 99 CDs worth, in fact! If you
are willing to invest in a set of all his piano music, we recommend Hyperions
Liszt: Complete Piano Music a 99-CD box set played by Leslie Howard
(catalogue no CDS44501/98).

P24 HTP Lucy-FINALish.indd 25

09/03/2016 12:57

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Also Available With
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What if you could always practice

in a structured and efficient way?

Piano Streets Instructive Editions are designed to support in the beginning stages of the learning process. Try a sample now at:

www.pianostreet.com/instructive
7 Pianist 77

p26 Ads.indd 7

09/03/2016 10:22

Pianist 89
April-May 2016

Scores
Contents

EXCITING NEWS!

Pianist has a new look website

www.pianistmagazine.com

28

SCHUBERT
Ecossaise D977 no 5

29

TELEMANN
Minuet from Overture in G

30

TRK
Little Rondo in F

31

SCHUMANN
Melodie, No 1 from Album for the
Young op 68

32

MOZART
Adagio in C for Glass Harmonica
K356/617A

34

HUMMEL
Gigue in D

36

SPANSWICK
Karma

38

HENSELT
Romance in B flat minor op 10

42

HANDEL
Allemande from Suite No 8 in
F minor HWV 433

45

KEYBOARD CLASS
D major scale

49

CHOPIN
Waltz in A minor B150

52

BACH ARR. SILOTI

Prelude in B minor

54

GRIEG
Prelude from Holberg Suite

60

LISZT
Impromptu in F sharp S191

Dear Reader
I am thrilled to announce the launch of our brand-new website.
Our new look site features a completely updated design that improves the usability, navigation and
overall customer experience. Now you can also enjoy browsing our site much more comfortably from
your tablet or mobile, as it has been designed to be fully responsive.
You will be able to watch our exclusive online piano lessons in a much more user-friendly way. The lessons
are mapped out into clear sections, which means you will know exactly where to look for the lesson you
want. There are some 60 lessons to date (and forever growing) from Graham Fitch, Tim Stein and John
Maul from the most simple of topics as how to sit at the piano and easy scales to more advanced subjects
such as voicing and ornaments.
You can also delve into our Pianist Digital Store which features hundreds of scores that have appeared in
past issues. A score can cost you as little as 1!
The Pianist site still contains all the great content you are accustomed to, such as breaking piano news,
enticing competitions, features on the makers, CD reviews, star interviews and more.
Enjoy the new experience!
Erica Worth, Editor

Scores from past issues of Pianist are available at the Pianist Digital Store:
http://pianistm.ag/digitalshop
For back issues of the magazine, go to www.pianistmagazine.com
p27_Scores Intro 89-EW.indd 23

Typesetting by Spartan Press

Music Publishers Ltd

Quick guide to
UK/North American
note value terminology

w = semibreve/whole note
h = minim/half note
q = crotchet/quarter note
e = quaver/eighth note
x = semiquaver/16th note
y = demisemiquaver/32nd note
14/03/2016 11:52

Franz SCHUBERT (1797-1828)

TRACK 1

BEGINNER

Ecossaise D977 no 5

keyboard and try to stay in strict time. Remember to lean into the notes with
the accents (e.g. the first RH notes in bars 2 and 4). Notice all the changes of
dynamics as well. No need for pedal.
Take a look at the technical tips within the score.

Like Beethoven, Schubert wrote many sets of cossaises the name means
Scottish and that may be where this quick dance originated. This cossaise,
comes from a set of eight, that was not published until 1889.
Playing tips: This needs to sound energetic. Keep the fingers close to the

The RH has its work cut out! The thumb has to move under the hand a lot, and there are also
places with a wide-open hand position (e.g. bar 2). Be prepared. Also, take note of the accents.

>f

Non allegro

## 2 f
& 4
3

This is in the key

of D major.
However, in the
second section,
it reverts to the
relative minor
of D major
B minor.

f
? ## 42 fff

f
? ## fff

ff
ff

Be prepared for
the wide RH
jump between
bars 5 and 6.

f
2

f
1

Change to forte dynamic now.

ff
ff

f
## fff
&

j
f

ff
ff

>f
5

# FFF
F

ff
ff

ff
ff

Now the RH takes over again.

mf Observe the mf dynamic.

? ## fff

ff
f

j
f

fff

>f

>f

j
f

FFFF

fff

n FFF
F
f

#f

>
## f
&

ff
ff

nfff

Bring out the LH here. It now faces a lot

of the challenges the RH had at the start.

ff
ff

FFFF

Start out forte.

? ## f
#f

13

#FFF
F

The RH chords need to be firm, with

all the notes depressing at once!

p Start off relatively quietly.

#
&# f

f
J

Again, bring out the LH line.

f
J

f
5

ff
f

FF
F

#f

f
ff
f

ff

28 Pianist 89

P28 SCORES Schubert-FINAL.indd 28

08/03/2016 12:54

Georg Philipp TELEMANN (1681-1767)

TRACK 2

that you silently count in the 3/4 pulse before you begin, for a couple of bars
at the very least. There should be a feeling of elegance and poise imagine
courtiers dancing in their elegant and elaborate costumes. No need for pedal.
Take a look at the technical tips within the score.

The German composer Georg Philipp Telemann was prolific in many genres
and wrote many works for the harpischord, including this seven-movement
suite. This minuet is the last movement of the suite.
Playing tips: Its really important to feel the pulse of this piece. We suggest
The notes need a detached
quality in both hands.

Allegretto

# 3 f. F& 4

In the RH, always lean onto the accented minim. It will

make for a syncopated feeling, as the usual accent is
on the first beat of the bar, not the second.

f. F

Key of G major
(F sharp in key
signature).

? # 43 F

f f f. f.
f
4

f f

?# f

f f

1.

2.

F
-

F-

f
f f
F
3

f. F

On the repeat, play

Now return to the opening this last bar marked
and repeat the first 8 bars. 2. (not the 1. bar)

& f f f. f.

F.
f
f. f f f f
1

The thumb should be prepared to

move under the B (to the C) here.
1

In the LH, emphasis should be on the first beat

of the bar (the minim)to achieve a down/up feel.

BEGINNER

Minuet from Ouverture in G TWV 32:13

Move the hand

position quickly,
below, for the top G.

f f f f f f F.
.
F

f. f f f f F

f f

mf

Keep the LH fingers close to the

keyboard, always ready above the notes.

13

&

.
# f F-

?# F

20

f.
4

Ff

F
4

f. f f f f f. F

f f f

f f f
3

nf

?# F

f. F

f. F

f f

Return to bar 9 and repeat

the last 16 bars.

f ffff

This is the only phrase, below (starting end

of last bar), with quavers from beginning to
end. Keep the line smooth and even.

& f f f f f f

f f #f

1.

f
4

2.

f f f. f.

F-

F
-

f f f

f f

2
3

Finish boldly!

29 Pianist 89

P29 SCORES Telemann-FINAL.indd 29

08/03/2016 12:55

Daniel Gottlob TRK (1756-1813)

TRACK 3

BEGINNER

Little Rondo in F, No 22 from 120 Pieces for Aspiring Pianists

come to life if you remember to take note of the dynamics. The last eight bars
present the biggest challenges due to the ornaments. Practise these extremely
slowly, hands separately. Pedal is not required.
Take a look at the technical tips within the score.

This lively piece was written by German composer, theorist and pedagogue
Daniel Gottlob Trk around 1792.
Playing tips: The RH has the melody, the LH the calm accompaniment.
Make sure to tail off nicely at the end of every four-bar phrase. The music will
Though marked Poco presto (a little quick), this should not
sound rushed at all. Listen to Chenyin Li play it on our CD.

Notice the four-bar phrase markings.Think

in long question-and-answer phrases.

Poco presto

2
& b4 f
3

Key of
F major
(note B flat
in key
signature).

2
f
f
& b4 f
f
f
f
f f f f f f f
f
f f f f f
f
f
f f f
2

The LH should be even and subdued, with the emphasis always on the first beat of the bar.

&b f f f f

&b

The first four bars are repeated, but you must

play forte this time instead of piano.
3

Tail off gently to the

end of the bar.

f
3

nf

f f f f

f f f f

f f f f

f f f f

&b f

?b f f f f

f
f

f f f

& b #f f f nf
3

f
f

f f m
f f

Fine

m
f f f
f

#f
2

f f f f
3

Start out softly.

&

Observe the fingering for the turn

below and you wont go wrong!

f f f f

For the mordent, on the

D below, play D-E-D.
The beat should fall on
the last D.

D.C. al Fine means

return to the beginning
and end at the Fine.

34321

Now play a resolute forte to the end.

19

f f f f

Something tricky for the LH,

above.The fingers need to be
prepared for the stretches.

A tricky bar below for

the RH because of
the accidentals. Learn
the notes well!

&b

This is where the piece ends

(bar 16), when it is repeated.

13

f f f
f

D.C. al Fine

f f

30 Pianist 89

P30 SCORES Turk-FINAL.indd 30

08/03/2016 12:55

S
MIS
NTANIE
DOM
EL ICKS
SW
SPAN
IECE
HIS PE
T
N
O PAG

Robert SCHUMANN (1810-1856)

ON
LESS

TRACK 4

Melodie, No 1 from Album for the Young op 68

20

Playing and pedal tips: This piece is extremely tender, and therefore demands
a warm tone and good phrasing. Each note needs to mean something even
in the accompaniment part, which also needs to be phrased beautifully.
Read Melanie Spanswicks lesson on this piece on page 20.

Dedicated to Schumanns young daughters, and evidently meant for their

small hands to play at the keyboard, the Album for the Young op 68 dates from
1848. Though meant for beginners, it presents challenges for pianists of all
levels and ages, not least in keeping a simple and clear style.
q = 96

Nicht schnell

f f f f
Nicht
q = 96
f fschnell
f
f
f
f
c
f
f
f #ff f f f f
f
& Nicht schnell q = 96
f
f f f
f f f f
f
f
f
f f #ff f f f f
p
c
f
f
& Nicht
f
f
f
f f f
f f q =f96f f f f f
cc pf fschnell
f f f
f
&
f
#
f
& ffffffff ffffffff ffffffff ffff f
nff f f f f f #f f
f
f
f
f
f
f
f

f f
cp
f
f
f
f
&
& c f f f f f f ff f f f f f ff f f f f f f f f f f#ff f f f nf f f f f f #f f
f
f
f
f f f
& c p f f f f f f f f f f f f f f f f f f f f f f f f
f f f f
f
f
f
f f f f nf f f #f
& 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 ff nf f f f f f #f f
f f f f
f f
f f f
f f f f ff nf f fj ff f f

f fffff f
j f f
f f f f f f f f f
f f f
f
n
f
f f fffff f
f f
f f
f f f
f f f f f f ff nf fj ff f f
ffff f

f
f
f
f
f f f f f f #f f nf f f f f f f f f ff f # f f nf f fj ff f ff f ff f f f f ff f ff ff f f f
f f f f f f
f f ff
f ff
f
f
f
f
f
f
f
#
f
n
f
f
f
f

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

f
f

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

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

f
f
f
f
f
f
f
f
f
f
f
f
f
f f ff f jf
f
f f f f f f #f ff ff fff #f f nf ff f f f f f f
f
f
f f f nf f f ff f f f f f f f f f
f ff f f f f

f f f f ff f
f f f f ff nf f fj ff f f f f f f f f
f f
f f f ff ff
j
f

f
f
f
f
f
f
ff
nf f f f f
f ff
f f
ff f # ff ff ff j f f f f f f ff f ff f ff f f f ff f f f f f ff f f f f ff ff f f f f
f
f fffff
nf f f f f f f f f f f f f
f
f
f
f
f
fff
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f #f
f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f #f
f f f f f f f f f
f f #f
f
f
f
f
f
f
f
f
f
f
f ff f
f ff
f f f
f f
f f

&
6
&
6&
&
&
&
&
11&
11&
11
&
11&
&
&
&
&
16
&
16
&
16
&
16
&
&
&
&
&
&

{{
{{
{{
{{
{{
{{
6

3
2

{{
{{

3
4
1 2 1

1 2 1
1 2 1

1 2 1

5 5

5 5

1
2

4
4

3
3

4
1

4 5

3
5

3
2

2
2

4 5

3
2

1
2

4 5

4
1

3
2

4
1

4 5

3
3

2
4
2
2

2
4 5 5

4 5 2

4
2

4
2

4
2

3
3

4 5

4 5

4
2
1
4
2

4
2

3
1

3 5

3 5

2
5

2
5

4
2

1
1

4
1

3
2

4 5

4
1

3
2

1
2

4 5

4
1

3
2

4 5

4 5

4
1

1
1

1
3

3
2

2
5
4 5 5

4 5 2

3
1

1
3

3
2

4
2

5
1 44 5
4
4 5
2 1
4

5
1 44 5
4

4
1

3
5

4 5

1 2

3
2

1 2

3
2

1 2

3
2

2
1 2

4 3

1
3

4 3

4 3

4 3

BEGINNER/
INTERMEDIATE

3
3

2
2

2
4

5
5

31 Pianist 89

P31 SCORES Schumann-FINAL.indd 31

08/03/2016 12:55

Wolfgang Amadeus MOZART (1756-1791)

TRACK 5

Have you ever tried to play a drinking glass by moistening the rim and moving
the finger rapidly around it? Using this idea, the glass harmonica (or armonica)
is made up of multiple concentric glasses; its design was refined by American
polymath and politician Benjamin Franklin. This is an arrangement of a piece
Mozart likely wrote after hearing the glass harmonica played in 1773.
Playing tips: Notice the Adagio tempo. When you listen to Chenyin Li play
this piece on the CD, you may well be shocked about the slow tempo, which
means it may be a challenge to shape the phrases. You dont want it to sound

Adagio
5
Adagio

F
ff
& C F
ff
&
F
ff
mp
F
C
& mp
& CC mp
f f #f
f
& f f f #f

& C f f f #f

{{

3
5
3

Adagio
C F
F
5
3

FF
& FF
5&
FF
&
& f f
& f f
& f f

nff
nff
nff

FF
FF
FF

f #f
f #f
f #f

F
F
F

5
5

{{
9
9

&
&
&
&
&
&

{{
9

INTERMEDIATE

Adagio in C for Glass Harmonica K356/617A

4
2
4
2

FFF
F
FF
F
F
F
4
2

2
2

FF
FF
FF
F
F
F
1
1

ff
ff
ff
nf
nf
nf

4 3

4
1
4
1

ff #ff
ff #ff
ff #ff
4
1

f
f
f

4
1
4
1

4
1

4 3

ff
ff
ff

4 3

2
3
2
3

FF
FF
FF

2
3

1
4

f
f
f

FF
FF
FF

ff
ff
ff

2
1
2
1

f nff
f nff
f nff
2
1

bf nf f f f
bf nf f f f
bf nf f f f
#w
w
#w
w
#w
w
3
3

FF
FF
FF

3 5 4
2

F
F
F

1
4
1
4

3 5 4
2
3 5 4
2

ff
ff ff nff
ff
ff ff f
nf
ff
ff ff nff
j
fj f f f #f
f f f f #f

j
f
#
f
f f f

fF f f f f f f
fF f f f f f f
fF f f f f f f

Ff #f
Ff #f
Ff #f
nbff
nbff
nbff

fF #f f f f f f #f FF
fF #f f f f f f #f
fF #f f f f f f #f F
FF
F
FF
F
FF
F

static or lumpy. A good idea is to practise the piece faster than Adagio (refer at
Graham Fitchs masterclass in issue 78 in which he discusses practising pieces
at opposite tempos). Try to get the fingers to do all the legato work, rather
than cheat with the pedal. Weve offered some good fingering as help for this.
Once youve mastered it, you will really enjoy playing this poignant work.
Pedal tips: Pay attention to the pedal markings. You will need to depress
the pedal a fraction after the fourth beat, and then lift it after the first beat
of the next bar.

1
1

4
2
4
2

ff
ff
ff
4
2

F
F
F

FF
FF
pF
F
p
F
pF
FFF
F
FFF

1
2
5
1
2
5

ff f f #f
ff f f #f

f
ff f #f

f
4

f
f
f
ff
ff
ff
ff
f

1
2
5

f #f f
#f f f bb ff nn ff f # f f
#f f f
f #f f
#f f f b f n f
f

32 Pianist 89

P32 SCORES Mozart-FINAL.indd 32

08/03/2016 12:56

Wolfgang Amadeus MOZART (1756-1791)

TRACK 5

13

&

&

17

&

f f f nf f f f

&

j
f f f f #f f f f f
f f f ff f f #fj #FF
J

J f

#ffj ff
J

ff
1
3

ff

1
2

nff nff

Fw

ff
f

#f f nf f #f
J
4

fF f f f f ff

ff #ff ff ff ff ff ff nff fF f f f f ff f f #f

nf

f f f f f f f #f F

ff f f f f f f ff nff

&

FF

&

f bF

25

1
4

nf

ff

FF

1
4

nff

FF

4
2

f
nF

1
3

2
4

2
4

1
5

ff

#ff

f f f n f b#wF

1
3

f f #f f F

j
ff #ff
J

f
f

1
3

& f f f #f

f #f

nf #ff
#
f

&

21

INTERMEDIATE

Adagio in C for Glass Harmonica K356/617A

f #f

#FF

4
2

fF f f f f f f f f f #f f f nf f f nfF f f f U

f nf FF
3
5

2 3
1

fF

nf

FFF

ff
f
u

33 Pianist 89

P32 SCORES Mozart-FINAL.indd 33

08/03/2016 12:56

Johann Nepomuk HUMMEL (1778-1837)

TRACK 6

A prodigy who studied with Mozart and became one of the first touring
concert pianists, Johann Nepomuk Hummel wrote much for the keyboard,
and although he was influential in his day, his music is only recently being
seriously revived again by the likes of Howard Shelley.
Playing tips: The rhythm in this piece has to be really precise and clipped.
Experiment with clapping the rhythm first. The crotchet-quaver timing has
to be extremely accurate. Try to feel a bouncing sensation in the RH wrist

Allegro non troppo

Allegro non troppo

{{
{{

#
3
& ##
#
3&
##
3&
? ##
? ##
&
? ##
5
? ###
5
& ##
#
5&
##
5&
? ##
? ##
&
? ##
7
? ###
7
& ##
#
7&
##
7&
? ##
? ##
&
? ##
? ##

{{
{{
{{
{{
{{
{{

in order to create a really detached even sound. Even if the three groups of
quavers are slurred (e.g. beats 4, 5, 6 and 10, 11, 12 in the first bar), each
note should nonetheless sound slightly detached. Try to imagine youre at
the typewriter (for those of you who remember the typewriter)! Make sure
to observe all the different dynamic markings, and aim to create an air of
cheerfulness that should preside throughout.
Pedal tips: Pedal is not necessary for this light and articulated gigue.

q. = 110

## 12
fq. = 110j
j f troppo
non
8
& # Allegro
f f ff f. j f f f
12 f f. j
#
& 8 f f f f f f f f f f
.non troppo fq. = 110.
## Allegro
12 f
& 8 ff fj f f f f fj f f f
? # 12
f . j f
.
12
8
#
? ## 12
88 ff f ff f f fff fj ff f f
&
.
. f
? ## 12
f
8 ff
f
f
? ## 12
f f
8j f
f
f
f
j
f
f
f
f
f
f
f f. j
f f f. j
f
f
f
f
f
f
f
f
f f.
f
f.
f p
f
f
j f
j f
pf
f
f
f
ff f.
f
f
f
f
f
f .j f
j
#
f
p

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

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

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

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

f
nf
f
f
#f
f

nf
f

f
#pf
f
nf
f
p
f
j
f nf f f ff fj f f f #ff
f f. j nnff f f f f. j f f f #pf
.
.
f
j
j f f
f nf f f
f
f pf
.
.
fj nf f f f fj f f f f
.
.
2

INTERMEDIATE

Gigue in D

5
2q.
5
2

= 110

5
2
5
2

1
1

1
1

1
2

2
1

4
2

4
4

2
4

5
5

j
f f. jj f fj f
f
j
f f. f f. j f
f
.
j
f f. j f fj f
f
.
f j f
j
f
j
f f
f f. j f f ff
f
f
f
.
j
f f. f f f
.
f f f
j
f
j
f f. f f f
f f
.
f
j
f
ff ff. ff ffj ff f f f f
f f
f
f f.
f
f
f
f
f f
f
f f
f
f
f
f
j
j f
j
ffj f f f f f
fj
f
j
f ff
f f
f f
j
j f
j f
f
f
f
j f
j f
j f
ff f fj #f ff ff f f

j
f f f #f f f ff

f
f

f f fj #f f f f
f
ff
f

f
f
f f fj #f f f ff
f
f
f
f f
f
f
f
f
f
f
f
f
f
f
j
f
j
n fj f fj f f f f f
f
nf f f f f f
j
n ffJ ff ffj ff f f f f
fj f Jfj
f
n fJ f Jf ff f f f
f f f f

J
J
f f f f

J
J
5
5

4
1
4
1

5
2
5
2

4
1

5
2

4
1

5
2

3
3

3
4

4
3

f
f
4

f
f
f
f
fj
ffj
f
j
f
j
f
4

3
3

f
f
f
f
1
1

34 Pianist 89

P34 SCORES Hummel-FINAL.indd 34

08/03/2016 12:56

Johann Nepomuk HUMMEL (1778-1837)

TRACK 6

9
9
9
9

## f
&#
& ### f
& ## fff
& f
? ## f
? ## f
? ##
? ##
5

{{
{

11
11
11

{{
{

5
5

f
f
f
f

f
f
f
f
f
f
f
f

f
f
f
f

f
f
f
f

2
2

.j
f.
f..jj
fj
f
j
f. j
f. j
f. j
f.

## f
15
& ff
15 ##
15& # f f
& ### pff f
& p
? ## pf
? ## pf
? ## f
? ## f

f ff f
ffffff
f f f f f ff
fffff
j ff f. f
f. j
Jf. f
f
f. j f J. f
f. j f ffJ. f
f.
Jf

{{
{

15

{{
{

5
5
5
5

2
2
2
2

fff
ff
f
fff
fff
f
f
f
f
4
4
4

4
4
4
4

.j
f.j
f..j
fj
f
j
f. j
f. j
f. j
f.

j
f. j
f. j
f. j
f.

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

f
f
f
f

f
f
f
f

f
f
f
f

f
f
f
f
.j
f.
f..jj
fj
f
j
f. j
f. j
f. j
f.

f
f
f
f

fff
ff
ff
ff
ff
f
f
f
f

ff
f ff
ff
f
f
f
f
f

3
3

2
2

f
f
f
f
f.
Jf.
Jf..
fJ
J
3

1
1
1
1

2
2

4 5
4 5
4 5
4 5

f
f
f
f

f
f
f
f

.j
f.j
f..j
fj
f

f
f
f
f
1
1
1
1

j
f. j
f. j
f. j
f.
f
f
f
f

ff
ff
ff
ff
f
f
f
f
2
2

2
2

f
f
f
f

f
f
f
f

f
f
f
f
f
f
f
f

f
f
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
f

f
f
f
f

f
f
f
f

1
1

f
f
f
f

f
f
f
f
4

f
f
f
f

4
4

f
f
f
f

f
f
f
f

f
f
f
f

f
f
f
f

f
f
f
f

2
2

f
f
f
f

f
f
f
f
f
f
f
f

f
f
f
f
f f
f f
f
f cresc.
f f
cresc.
fff
cresc.
fff
cresc.
fff
fff
2

2
2

1
1

f
f
f
f
ff
ff
ff
ff

1
1
1
1

f ff
f ff
ff
ff
f
f
f
f
5
1
5
1
5
1
5
1

f
f
f
f

f
f
f
f

f
f
f
f

f
f
f
f

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

f
f
f
f

j
f
j
4f
4fj
j
f
4

3
3

1
1

2
2

f
f
f
f

f
f
f
f

f
f
f
f

f
f
f
f
f
f
f
f

5
1
5
1
5
1

f
ff
ff
f
f
f
f
f
f

1
1

f
f
f
f
f
f
f
f

2
2

## f
13
& ff
13 ##
13& # f
& ### ffff
& f
? ## ff
? ## ff
? ## f
? ## f
13

f
f
f
f

nf
nf
nf
nf
f
f
f
f

5
1

2
2

5
5

4
4

4
4

j
f. j
f. j
f. j
f.

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

5
5

f
f
f
f
f
f
f
f

## f
&#
& ### f
& ## pff
& p
? ## p
? ## p
? ##
? ##

11

INTERMEDIATE

Gigue in D

5
2

f
ff
f
f
f
5
2
5
2
5
2

f
f
f
f

f
f
f
f
3

f
f
f
f

3
3

2
2

4
1

3
1

4
1
4
1
4
1

3
1
3
1
3
1

ff
ff ff
ff
ff
ff
f
f
f

f
f
f
f

f
f
f
f

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

2
2

2
2

f
f
f
f

f
f
f
f

35 Pianist 89

P34 SCORES Hummel-FINAL.indd 35

08/03/2016 12:56

Melanie SPANSWICK

TRACK 7

Notes from the composer: This piece was inspired by self-healing, and the sense
of peace and happiness that manifests from positive thoughts. The warm key
of E major and tuneful melody felt appropriate for this sentiment.
Composers playing tips: Hand positions will prove important, so aim to work
through the piece by blocking out patterns, locating notes and fingerings.
The repetitious movement will require an even touch. Try practising with
strong fingers (both hands, but especially the LH), playing powerfully to start

Con
Con
Con
Con
2
Con
2

####### 3
######## 4433 ff
&
&
### ## 4433 ff
&
&
& 4 pf
####### 3 pppp
######## 4433 f
&
&
## # 433 f
&
&
& # # 44 fff

5
5
5
5
5

2
2
2

{{

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

3
3
3
3
3

{{
{{

ff
ff
f

{{
{{

FF
FF
F

ff
ff
f

ff
ff
f

moto
moto
moto
moto
3
4
moto
3
4

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

4
4
4
4
4
1
1
1
1
1

132
132
132
132
132

4
4
4

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

2
2
2
2
2

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f
ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f
ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

4
4
4
4
4

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f
ff
ff
f

ff
ff
f

2
2
2
2
2

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

FF
FF
F

ff
ff
f

ff
ff
f

ff
ff
f
ff
ff
f

ff
ff
f

2
2
2
2
2

4
4
4
4
4

ff
ff
f
ff
ff
f

with, and then pulling back and lightening your touch. Full cantabile will
highlight the melodic material effectively. Endeavor to cushion your sound
with the use of arm weight and a loose wrist.
Pedal tips: Touches of pedal will add a resonant feel and quick footwork will
achieve the best results!
Karma features in Melanie Spanswicks collection of five short pieces
entitled Digressions. The book was reviewed in issue 86.

ff
ff
f

ff
ff
f

ff
ff
f

#######
######## f ff f
&
&
### ## ff ff ff ff ff
&
&
ff ff f ff ff
&
f
f
17
17
17
######
ff
17
17 #
FF
#
#
#
ff
#
&
#
#
#
#
&
F
#
#
#
f
&
F
#
&
F
& # mp
mp
mp
####### mp
mp
#
#
#
#
&
#
#
ff fff ff ff
#
#
f
&
#
#
#
f
&
#
&
& # fff fff ff fff fff
3
3
3
3
3

=
=
=
=
=

ff
ff
f

3
3
3

3
3
3
3
3

4
4
4
4
4
1
1
1
1
1

q
q
q
q
q

ff
ff
f

#######
######## f ff f
&
&
### ## ff ff ff ff ff
&
&
ff ff f ff ff
&
f
f
9
9
9
#######
ff
9
9
FF
#
#
#
ff
#
&
#
#
#
#
&
F
#
#
#
f
&
F
#
&
& # mfF
mf
mf
####### mf
mf
#
#
#
#
&
#
#
ff fff ff ff
#
#
f
&
#
#
#
f
&
#
&
& # fff fff ff fff fff

13
13
13
13
13

INTERMEDIATE

Karma

ff
ff
f
4
4
4
4
4

ff
ff
f
2
2
2
2
2

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

FF-
FF--
F--

ff
ff
f
ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f
5
5
5
5
5

ff
ff
f

ff
ff
f

ff
ff
f

4
4
4
4
4

ff
ff
f

3
3
3
3
3

FF
FF
F
ff
ff
f

ff
ff
f
ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f
ff
ff
f
FF-
FF--
F-ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f
ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f

ff
ff
f
ff
ff
f

ff
ff
f

ff
ff
f

36 Pianist 89

P36 SCORES Karma-FINAL.indd 36

08/03/2016 12:57

Melanie SPANSWICK

TRACK 7

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

21
21
21
21
21

{{

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

25
25
25
25
25

{{

?
######
?
?
? ##########

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

29
29
29
29
29

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

33
33
33
33
33

{{

ff
ff

FF
FF
ff
ff

ff
ff

ff
ff

ff
ff

>>f
>>fff

ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

4
4
4
4
4
2
2
2
2
2

f
f
ff
f

>>f
>>fff
3
3
3
3
3

3
3
3
3
3

ff
ff

######
&
######## ff
&
&
& # # mfff
mf
#
?
#
mf
ff
mf
#### mf
#
?
#
#
?
? ####### ff

ff
ff
ff
ff

5
5
5
5
5

ff
ff

>>f
>>fff

ff
ff

>>f
>>ff
f

ff
ff

2
2
2
2
2

>>f
>>ff
f
4
4
4
4
4

ff
ff

ff
ff

2
2
2
2
2

2
2
2
2
2

ff
ff

ff
ff

ff
ff
ff
ff
5
5
5
5
5

1
1
1
1
1

ff
ff
ff
ff
ff
ff

ff
ff
ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

>>f
>>ff
f

ff
ff

ff
ff

ff
ff

ff
ff
ff
ff

ff
ff
ff
ff
ff
ff

ff
ff

ff
ff

ff
ff
ff
ff

ff
ff

ff
ff
ff
ff

ff
ff
ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

>>f
>>f
ff

ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

2
2
2
2
2

>>f
>>f
ff

ff
ff

4
4
4
4
4

ff
ff

ff
ff

ff
ff
ff
ff
ff
ff

ff
ff

ff
ff
ff
ff
ff
ff
ff
ff

ff
ff
ff
ff
ff
ff

ff
ff

ff
ff

>>f
>>f
ff

ff
ff

>>f
>>f
ff

ff
ff

ff
ff

FF
FF

ff
ff
ff
ff

FF--
FF--
ff
ff

ff
ff

ff
ff

ff
ff
ff
ff

>>f
>>ff
f

ff
ff
ff
ff

-F
F
-F
F

ff
ff
ff
ff

ff
ff

ff
ff

ff
ff

{{

ff
ff

FF
FF

1
1
1
1
1

ff
ff

ff
ff

ff
ff

37
37
37
37
37

ff
ff
ff
ff

>>f
>>fff

2
2
2
2
2

FFFF-mp
mp
mp
?
###### mp
mp
ff
?
#
#
#
?
#
? ###### ff

{{

INTERMEDIATE

Karma

ff
ff

ff
ff

ff
ff
ff
ff
ff
ff
ff
ff

ff
ff

ff
ff
ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

ff ?
?
ff ?

>>
>>ff
ff

ff
ff

ff
ff

ff
ff

>>
>>ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

1
1
1
1
1

>>
>>ff
ff
4
4
4
4
4

2
2
2
2
2

ff
ff

ff
ff

ff
ff

ff
ff

&
&
&
&

ff
ff
5
5
5
5
5

FF
FF
FF
p
p
p
p
pF
FF
FFF
F

ff
ff

>>
>>ff
ff

1
1
1
1
1

4
4
4
4
4

ff
ff

ff
ff
ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

ff
ff

FF
FF

ff
ff

rit.
rit.
rit.
rit.
rit.

FF
FF
FF

FF
FF
FF
F

ff
ff

ff
ff

ff
ff
ff
ff

ff
ff

ff
ff
2
2
2
2
2

ff
ff
3
3
3
3
3

?
?
?
?
?
?
?
?

1
1
1
1
1

FF

FFF
F
F
F

2
2
2
2
2

1
1
1
1
1

FF
FFF
FF

37 Pianist 89

P36 SCORES Karma-FINAL.indd 37

08/03/2016 12:57

Adolf HENSELT (1814-1889)

TRACK 8

Adolf Henselt was a student of another composer featured in this edition:

Hummel. Henselt was a fine pianist, teacher and composer venerated by all,
according to Grove. Much of his career was in Russia, where he influenced
the likes of Tchaikovsky and Balakirev. This romance dates from about 1840.
Playing tips: This is a calm yet passionate Romantic work. Be sure to make
the RH melody sing out, with lots of pathos. The LH accompaniment
should remain calm and rocking throughout. The melody starts at bar 3 and
goes through to bar 18 and then repeats. Bar 34 sees the beginning of the

Lento
b b Lento
6
& bbbbbLento
68
b
b
& b bbLento
68 p

{{{
{

f
f
f
f

& bbbbb 68
&
? bbbbbb 688 ppfj f
? bbbbb 68 p. j f
f. j f
? bbbbb 68
f. j f
? bbbbb 68
f.
4
bb
b
b
f f f
4 & b b b f

bb
f f f
4 & b b b f
bb
ff f f
4 & b b b f
b b f
ff f f
b
b
n
f
& b bb j f
ff
?
? bbbbbb ffj f nf ff
? bbbbb j f nf ff
? bbbbb ffj f nf
bb
8
f f f
8
bbbbb f
&
f f f
8
bbbbb f
&
b

f f f
8
& bbbbbb ff
ff f b fff
b
b
ff b f
f
&
b
? bb b j f
f
fJ
? bbbbb fj f f fff b fffJ
? bbbbb fj f f fff b fffJ
? bbbbb fj f f f fJ
12
bb f
12
f f f
bb b f
12& bb b
f f f
b b f
12& bb b
ff f f
& bbbbbb f
fj f nf fff f f
b
b
&
b
? bb b f
f
b
n
f
ff
? bb bb fj f
? bbbbb fj f nf ff
? bbbbb fj f nf
bb

{{{
{
{{{
{

INTERMEDIATE

Romance in B flat minor op 10

{{{
{

5
5
5
5

3
3
3
3

5
5
5
5

ff
ff
ff
ff

development section, which starts off calmly but builds up to a dramatic

climax at bars 47-53. The theme returns at bar 55 (make the return even more
heartbreaking) with a short coda.
Pedal tips: Although this piece is marked one pedal change per bar, there
will be places where you need to change more often, depending on the
harmony. An example of this is towards the end of bar 9, where you will have
to work on half pedalling, or changing the pedal very quickly, in order not to
smudge the semitones in the melody line.

f
f
f
f

j
fj ff
fj f
fj f
f
f nf
f nf
ff nf
ff nf
ff
ff
ff

f
f
f
fj f f
fj f f
fj f f
fj f f
f
f
f f
f
f f

f
f n >ff
fj f bf fff n >ff
fj f bf fff n >>f
fj f bf fff n f
fj f bf fff
f
f
f nf

f
f nf

f
ff nf
fj f f fff nf
fj f f ff
fj f f ff
fj f f f
f

f
f
f
f

4
4
4

3
3

f
>ff
>ff
>f
>f
f
2
2

f
f
f
f

ff
ff
ff
ff
f
f
f
f
j
fj ff
fj f
fj f
f

f
f
f
f

f
f
f
f

f n ff
rit.
f n fJf
f n fJfj
f f n fJffj
f f fJfj
f f ffj
f f ff
f f
f
f
fff
f f
f ff
f ff
f f
rit.
3
3
3

1
1
1
1

f
f
f
f
5
5

4
4

nf
nf
nf
nf
f
f
f
ff
ff
ff
ff
ff
ff

f
f
f
f

f
f
f
f

2
4
2
4
2
4
2
4

5
5

f nf
f nf
ff nf
f
ff nf
f
ff
ff
1
1
1

5
5

f
f
f
ff
Jf
Jf
Jf
J
5

f
f
f
f
f
j f f
fj f
fj f f
fj f f
fa tempo
a tempo
fa tempo
ff
ffa tempo
ff f
ffj f f
j
fj ff f
fj f f
f
f
ff
f
fff
fff
ffj f f
fj f f
fj f f
fj f f
f
5

rit.

f
f
f
f

f
f
f
f

rit.

f
f
ff
f
ff
f
ff
ff

F
F f
F f
legato
F f
legato
f f
legato
f
legato
f
f b f
j
f b f
j
f b f
j f
f b f
j f
f
f j
f
f j
fj
fj
f
5

f
f
f
fj
fj
fj
fj
ff
f
f
ff
ff
ff
ff
2

5
5

f
ff
ff
ff
ff
ff
f
ff
ff

f
f
f
f

f
f
f
f

3
1
3
1
3
1
3
1

f
bffJ
bffJ
bffJj
bnffJj
nffj
nfJfj
nfJf
J
2
3
2
3
2
3
2
3

38 Pianist 89

P38 SCORES Henselt-FINALish.indd 38

08/03/2016 12:57

Adolf von HENSELT (1814-1889)

TRACK 8

INTERMEDIATE

Romance in B flat minor op 10

5
2
1

bb

f
f nf f
& b b b ff f f f f f f f f
f
f
fJ dim.
f f
f
f f
f nf
p
f f f
ff
f
f
f
j f
? b b bf
f
f
b b b f
f
f
f f f

16

4
1

20

b
& b bbb f

? bb b j f nf
bb f

f f f

ff

ff
j f f
f

& b bbb f

? bb b j f
bb f
b
& b bbb ff
f

f
b fj
f
J

ff
ff

ff n f
b
f
f
f
j
f
5

f f f f

f nf f f

ff
f
j
? bb b
f
bb f

j f nf
f
4
2
1

bbb ff
b
& b f

31

bf
? bb b f f
b b fJ

f
ff
f
f

ff

f ff
b fJ

ff

j
f

f
f

F
f

f
J

f f
f

f
J

n ffJ

f
f nf f

f
1

j
f

f
f

2
4

f f
2

f n f f ff

F
2

4
1

ffj

f
f

ff
j f f
f

f bf

ff
f
f
f

5
2
1

ff
F

f f f

27

ff
f

f
ff
n
f f

j
f

24

f nf f

f f f
f

f
f

( 4

f
F

39 Pianist 89

P38 SCORES Henselt-FINALish.indd 39

08/03/2016 12:57

Adolf von HENSELT (1814-1889)

TRACK 8

34
34
34
34
34

? bbbbbbb
&
& nf
? bbbbb f
& nf
? bbbbb f
& nf
? bbbbb f
b b b f b f ff& f nn ff
f
f b f
?
? bbbbbbb ff b f f JfJ
? bbbbb f b f f fJ
? bbbbb f b f f fJ
J
? bbb b f
37 b bb
37
b
37
37 bb
b b f
ff ff ff
37&
& bbbbbbbbb f
f
f
f fff f f
& bbbbb f
f
f >>ff f f
& bbbbb f
f
f
b
& b f ff >ff f f

?
>ff
f
? bbbbbbbb F ff
>f
? bbbbb F f
f
? bbbbb F f
f
? bbbbb F f
b b F
41
41
41 bb
bb f
ffJ fff fff ff
f
41&
& bbbbbbbbb f
f
f
f Jf ff f f
41& bbbb f
ff

b
b
& bb bb f f Jf ff ff f
& b b f
ff ff fJJ fff f ffjj
?
f
fj
? bbbbbbbb f
f
f
fj
F
? bbbbb F
f
fj
F
? bbbbb f
f
f
F
? bbbbb f
b
F
b
45
45
ff
ff nnff nn ff
b
45 bb
b
bbbbbbbb ff
nnff nnff

45&
f
&
f
f
nnff nnff

45& bbbbb f
f
f
f
ed arettando
ff
ff nnff nnffj
& bbbbbb crescendo
crescendo
ed arettando
& b b crescendo
ff nf nfffj
f nf fed arettando
crescendo
arettando
ff fj
?
ff nnff ffed
? bbbbbbbb crescendo
j
ed arettando
? bbbbb ff nf f ffff fj
? bbbbb JfJf nf f ff f

? bb b tempo
fJf
49 b bba
ab tempo
49
Jf
a tempo
49
Jff
ff fff
b
a ntempo
49 bb
b
b
f

ff f
b
ff
49&
& bbbbbabb ntempo
ff ff
& bbbbb nff
ff ff
& bbbbb nffffff
ff >ff
& b b nffff
ff >ff
n
f
?
f
n
f
? bbbbbbbb ff f nf JfJ >>f
? bbbbb ffff f nf fJ >f
? bbbbb f f nf fJ f
? bbbbb f f
J
bb f

{{{
{{{
{{{

INTERMEDIATE

Romance in B flat minor op 10

5 3
5 3

1
1
1
1

1 )
1 )

3
3

1 )

1 )
1
1 )

2
2

2 2 4 1
2 4

3
2
2
3
2
2

2 4
2 4
2 4

1
1
1
1
1

2 4
2 4
2 4
2 4
2 4

{{{
{{{

3
3
3
3
3

5
5

3
3

1
1
1
1
1

2
2
2
2
2

1
1

2
2

ff
f
f
f

FF
F
F
F

ff
f
f
f

5 3
5 3
5 3

ff
f
f
f

ff
f
f
f

ff
ff
>>fff
>fff
>ff
>ff
ff
ff
5 3
5 3

5
5

ff
ff f

ff ff ff f ff
ff f ff f f
ff f ff f f
f f
f
ff f fff f
f
FF f
f
F f
f
F f
F
ff
f
ff f ffJJ fff fff ff
ff f fJ f f f
ff f fJ f f f
ff f fJ ff f ffjj
f f
f f fj
fFF
f
fj
fF
f
fj
fF
f
f
ffF
ff ff ff
ff
ff ff ff
ff
ff ff ff
ff
ff ff ff
f
ff f fjj
f ff ff ffj
ff f f ff fj
ffJ ff f fff ffj
fJf f f ff

fJf
Jf
J bbff ff
ff
f
n
bbff fff
nfffJ
bbff ff
nfJf
bbff ff
nfJf
f
bf ff >>ff nffJ
JfJ >f J
fJ >f
fJ >f
J

5 3
5 3

5
5

4
4

5
5

5
5

3
3

3
3

4
4
4

4
5
4
5

2
2
2

23
3

1
1
1
1
1

f
ff
>>ff
>ff
>FfF
>fF
fF
F

5 3

2
2
2
2
2

ff
f
f
f

ff
f
f
f f
ff ff
ffJ f
fJf f
fJf
Jff
Jf
ff
ff
ff
ff
ff
f
ff

ff
f
ff
ff ff
ffJ f
fJf f
ffJ
fJJf
ff
ff
ff
ff >
ff >ff
>f
>f
>f
ff
ff
5
5

5
5

5
5
5
5

5
4
4
4
4
4

4
4
4

4
5
45
5

ff
ff
f
f
f
F
F
F
F
F

ff
f
f
f

ff
f
f
f

ff
JJf
Jf
fJ
J

ff
ff
ff
ff
fff
ff
ff
ff
f

ff
f
ff
ff fff
f fff
f ff
f ff
ff
ff
ff
f
>>ff
>f
nnff ff>fff
nf f>f
nf ff
nf ff
ffjjj
ffj
ff
ffj
ff
f
4
4
4
4

4
2
2

1
1
1

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

ff
f
f
f
2

2
2

1
1

2
2

2
1
1

1
1

ff
f
fj
ffj
fjj
fj
f
2

ff
f
f
f

ff
ff
ff
ff
f

ff
ff
ff
ff
fjj
ffj
fj
fj
f
1

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

ff
f
f
f
fff
f
f
>>ff f
>ffF ff
>fF f
>Ff f
Ff
F
ff
f
f

f f
ff ff
ff f
JfJf f
fJf
Jfrit.

Jffrit.
rit.

f
ff
rit.

ff
rit.
f
f
dim.
dim.
f
dim.

dim.
f
dim.
f ff
ff f
ff f
ff f
f

2
2
2
2
2

ff
f
f
f

ff
f
ff
ff
ff
f
ff
ff
ff
ff
f

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

2
2
2
2
2

3
3
3
3
3

ff
f
f
ffjj
fj
fj
fj
f

ff
f
f
fff
f
fff
fff
fff
ff
1

5
5

5
4
4

5
5
5
5

FF
FFF
FF
FF
FF
F
F
F

ffJ
fJJ
fJ
fJ

ff
f
f
f

4
4

ff
f
f
f
4

4
2
2

nnff
nf
nf
nf
4
4
4
4

2
2

3
3

3
3

2
1
1

ff
ff
ff
f
>>ff
>ff

>fff
>f
ff
ff
ff
1

1
1

1
1
1

ff
ff
ff
ff
f

nnff
nnff
nnff
nnff
nfjj
ffj
fj
fj
f
1

FF
FFF
FF
FF
FF
FF
F
F
F

ff
ff
ff

40 Pianist 89

P38 SCORES Henselt-FINALish.indd 40

08/03/2016 12:57

Adolf von HENSELT (1814-1889)

TRACK 8

{{
{{

{{

FF
FFFF
FFF
pp
FFFF
pp
pp
FF
nnpp
FF
npp
nnFFF
FF

ff
f
ff
j
ffjj
fjj
ff

ff nnff
f nf
ff nnff
fff
ff

f
fff
f

ff
f
ff

ff
f
ff

5
5
5

ff
fff
fff
ff
j
ffjj
fjj
ff

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

5
5

5
5
5

bbff
bf
bbff

5
5

4
4

ff
f
ff
fffnnn fff
fff
nn ff
fff
ff
f

ff
f
ff
ff
f
ff

2
2
2

ff
f
ff
j
ffjj
fjj
ff

ff
f
ff

f
bbfff
bff
bbff
nn ff
nf
nn ff

rit.
rit.
rit.
rit.
rit.

ff
f
ff

5
5
5

FF
FF
F

5
5

ff
f
ff

ff
f
ff

ff
f
ff

ff
?
b
?
f
? bbbbbbbbbbbb
ff
ff
b
?
? bbbbbbbbb
f
b
b
ff
65
65
65
ff

65 bb
n
f
f
f
b
#
f
b

65& bbbb nf
ff ##ff ff f
bb bbbb nf
&
ff
& bbb bbb nnff
f
f
#
f
f #f f ff
&
& b bb bb
ff
f
n
b
f
b
f
f bf nf
bbff bb ff
j
ff b f n f
?
?
b
j
b
?
?
ff n ff
f

?
? bbbbbbbbbbb fffj bbff bb ff &
f

&
bb ff n f
f

&
j
b
f

?
?
f
b
f
b
b
j
b
? f
? bbbbbb ff
f
&
&f
bb
f
69
69
69

bbbb f
69& bb
ff
FF
69& bbbbb
fff
b
b
f

& bbb bbb f

FF ff

ff

f
f
f
FF f
b

&
ff

& b b bb ff
f
fz
f
f
FF ff
fz
f
fz

?
f f
b
?
? bbbbbbbbbbbb fff ff ff fff nnff ffffzfz
?
? bbbbbbbbbb ff ff f ff nnff ff >fff
bb
nf
>>f
>>f

{{
{{

4
4
4

3
3
3
3
3

1
1
1

3
3
3
3
3

1
1

5
5
5

3
3
3

5
5

3
3

4
4
4

5
5
5

4
4

5
5

2
2
2
2
2

4
4
4
4
4

ff
f
ff
5
5
5

ff
f
ff
a
a
a
a
a

tempo
tempo
tempo
tempo
tempo

5
5

ff
f
ff
j
ffjj
fjj
ff

ff
f
ff
3
3
3
3
3

ff
ff ff
f f
ff
ff
f
ff

nn fffJ
n fJfJ
nn ffJ
J
ff
ff
ff
f

ff
f
ff

ff
f
ff

3
3
3

2
2
4
2
4
4
2
2
4
4

ff
ff
ff
f

3
3

ff
f
ff

nnff
nf
nnff

ff
f
ff
ff
ff
ff
f

2
2

jj
ffjj
fj
ff

ff
f
ff

bbbbbbbbbbb
&
&
& bbbbbbbbb
&
& b bb bb
?
b
?
? bbbbbbbbbbb
?
? bbbbbbbbbb
bbb
57
57
57
bb
57
57 bbbb
&
b b
b
&
& bbbbbbbbbbb
&
& b bb bb
?
b
?
? bbbbbbbbbbbb
?
? bbbbbbbbbb
bb
61
61
61
61
61 bb
bbbbbbb
&
b
&
& bbbbbbbbbb
&
& b bb bb

53
53
53
53
53

INTERMEDIATE

Romance in B flat minor op 10

5
5
5

ff
f
ff

nn ff
nf
nn ff

4
4
4

5
5

ff
f
ff

j
ffjj
fjj
ff

ff
f
ff

fz
fz
fz
fz
fz

ff
f
ff

5
5
5
5
5

ff
f
ff

ff
f
ff

ff
f
ff

ff
fJJ
fJf
JJ

j
ffjj
fjj
ff

5
5
5

5
1 5
1
1

ff
f
ff

1
1

ff ff f
f f ff
ff ff f
dim. f
dim.
ff dim.
b
ff bb ff dim.
f b ff dim.
ff b f
ff
fF
fFFf
FF
FF
F
FF

1 5
1 5
1 5

ff
f
ff

ff
f
ff

3
3

ff
f
ff

ff
f
ff

5
5
5
5
5

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

arettando f
f
arettando
n
f
j f
f
ffjj ff nnff fff
fjj ff nnff
ff
rit.

ff
f
ff

5
5
5

5
5
5

1
1
1
1
1

5
5

rit.
rit.
rit.
rit.

ff
f
ff

ff
ff
ff
ff
ff
ff
ff
f

1 4
1 4
1 4
1 4
1 4

2
2
2

nf
jj fff nnff
ffj f nf
fjj f nf
morendo
ff
morendo
morendo

ff
ff
ff
f

1
1

ff ff f
f f ff
ff ff f
dim.
f
dim.
dim.
ff bb ff
dim.
ff b ff
dim.
ff bb fJfJ
ff fJf
JJ
3
3
3

2
2

5
5
5

55
5
5
55
3
5
2
5
4
5
3
1
5
2 morendo
5
4
3
1
2 morendo
4
5
1
5
5
5
3
5
5
2
4
3
1
2
4
1
1
1
1

ff
f
ff

5
5
5

3
3

5
5

ff
f
ff

ff
f
ff
ff
ff
ff
f

ff
f
ff

ff nnff ff
f nf f
ff cresc.
nnff ff
cresc.
ff cresc.
cresc.
ff cresc.
ff
f
3
3
3

5
5
5

nnff
nf
nnff

j
ffjj
fjj
ff
ff
f
ff

ff
f
ff
ff
ff
ff
ff

4
4

ff
ff
ff
ff
f
j
ffjj
fjj
ff
ff
f
ff

rit.
rit.
rit.
rit.
rit.

ff
f
ff

ff
f
ff

ff
f
ff

ff
f
ff

ff
f
ff

nnnnnfff bbnnnfff
nnff bnfJfJ
nnnff bbnfJf
fJJj
ffjj
fjj
ff
4
4
2
4
2
2
4
4
2
2

5
5
2
5
2
1
2
1
5
12
52
2
22
1
1
2
2

ff
ff
ff
ff
5
5

ff
ff
ff
ff
ffjjj
fj
ffj
5
5

2
2
2

2
2

FF
FF
FF
FF
F
FF
FF
FFF
1
1
1

1
1

1 5
1 5

41 Pianist 89

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George Frideric HANDEL (1685-1759)

TRACK 9

INTERMEDIATE

Allemande from Suite No 8 in F minor HWV 433

weight and evenness. We suggest extremely slow practice and at first, hands
separately. Try to work out where the melody is leading and where you can
breathe. Its often worth marking these types of observations in the score,
too. In this kind of a piece, you may find that you encounter the tendency to
speed up (or even slow down for the hard bits!), so we suggest that the use of
the metronome might be of some help. Make sure to follow the dynamics.
Pedal tips: No pedal required.

The great Baroque composer George Frideric Handel wrote 16 suites for
keyboard, most likely composing them for the harpischord. The second suite
in F major contains the famous Harmonious Blacksmith. This Allemande, a
very stylised dance with possible German origins as the name indicates, is the
third movement in the eighth suite, which was published in 1720.
Playing tips: Finger dexterity is the key to success in playing this piece. One
needs to hear every single note with clarity, played with the same type of

Allegro moderato
Allegro
moderato
5
3
b
.
b
f5. f3 fmoderato
f f ff nf
& bbbbbbccAllegro
f
f
f
J
Allegro
moderato
f
5
&
3
fff

f
f f nf
f ff
f
f

f
f
f f nf f f f f nf
fff
f nf f f f f nff
pff f f
f ff nf f f f ff. f nsff
f nf f f .j sff f f f . p .
f ff f nf f ffj sff f f f ff. p ff.
f f nf f .j sff f f . p
f ff f nf f ff.j f f ff f ff. ff..
f f nf f
f

ffJ..
ff
J
ff
J
n
f
b
.
b
ffJ..
& bbbbbbccmfffJ. ff ff f ff f ff nf f f
mf
&
f f nf.. f ff f f f f J f
J
? bb bcmf
fJJ f f ff f f f nnff f
? bbbbcmf
f. f f f f
b
? bb bc
fJJ. f f ff f ff f nnff ff
? bbbbc

b
3
3
f f m
bbb ff f ff f ff f bf f f f f f
b
bf f f f f f f f f f ff f f f f f ff m
f f f
f
3 & bb b
f
f
b f f f bf

f
f
f
f f f
m
f
f
3& b b

f
f
f
f
f
f

f
f
f
f
f
m
f f f f bf f f f f f f f f f f f f f f f
& bbbbbb
f
f f f f f ff f f ff f f f f f f f ff
&
.
f f f f f
? bb b f. bf.. f.. f.
f
f
? bbbb f bf f f. ff. f. f. f..
f.. ff. f. f
f
f
f.. f. . f. f
? bbbb f.. bf.. f.. f. f. f. f. f.
f
? bbbb f bf f f. . f. f. f.
f. f. f. f
f
f
f. f. f
f. .
.
b
f
.
.
5
5
bb
f f f f f f f ff f ff f f f f ff f ff f f f f f
b
b
b
&
b
f
f
5
bb f f f f f f f f f f f f f f f f f f f f f f
5& b b
f f f
f f ff ff f ff f ff f ff ff f
f
& bbbbbb cresc.
f
f ff ff f ff ff f ff ff f ff ff ff f ff ff f
cresc.
&
f f f f jf f f
j f f f f.. f. f
f
? bb b cresc.
f

? bbbb cresc.
. f ff. j f.. f ff. j f.. f fJ f. f.
f
? bbbb f. f.. f. jj f. f.. f. jj f. f.. Jf.. ff. f.
? bbbb f.
f. f fJ . f.
.
b . f. f.. f. ff. f.
J
f.
f..
f.
7
.
7
f f
bbb f f ff f f ff ff f f ff ff f ff f
f f
ff
b
f
f
f
b
&
f
f
f
f
b
f
f
7
f
f
f
ff f
f
f
f
f
b
f
f
f
b
f
f
f
f
f
f
f
f
7& b b
f
f
f
f
f
f
f f
f f f ff f
f fdim.
f fa poco
f
f
f
f
& bbbbbb fff f f ff ff f f poco
f
f
f
f
f
ff f ff ff f
f fa poco dim.
ff
poco
f.
&
f
f
f
f
ff
f
? bb b fff. f. f.. f.. pocof.a pocofdim. f f
? bbbb f. f. f f pocof.a pocof. dim. . f.
f. ff. f. f. f f.
f
b
f. . f. f. f. f.
.
.
? bb b ff. f. f.. f.. f. f . f
? bbbb
f. f. ff. f.
f. ff. f. f. f. f.
f
.
f
f
b
f. . f. f. f. f.
. . .
.

{{

{{
{{
{{

2
2
2

2
2

1
1

25

3
32

25

f.
f.
f.
f.

f
f
f
f

1
1
1
1

f
f
f
f

f
f
f
f

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

f
f
f
f
f.
f.
f.
f.
f
f
f
f
f..
fJ
Jf.
fJ.
J

f
f
f
f

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

f
f
f
f

f
f
f
f
2
2

1
1
1
1

42 Pianist 89

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08/03/2016 12:58

George Frideric HANDEL (1685-1759)

TRACK 9

INTERMEDIATE

Allemande from Suite No 8 in F minor HWV 433

f f

f
b
b
f
f
f
f
f
ff f f f ff nf f f f f f f
f f f f f f f f
&b b f f f
f f
f f
4

? bb f
bb .

f.

f.

f.

j
f

f.

f.

f f.

f
4

f.

f nf f f f f f f f

f
f f f f nf
f
b
b
n
f
n
f
f
f
f
f
f
f

f
f f f nf f f
nf
f
& b b ff bf f f f f
f
n fff
f
p
j
n
f
f f f f. f. f
f f f nnff f ff f.
? bb b f. f. f
f

f
f
b
f. f
f

11

mf

M
ffffff
.

j
nf

f f f

nf
nf f nf f f f
nf f
3

? bb b
b

nf f f f f
f nf f f
f

14

2 2

f.
b
b
& b b J

f bf f

b
& b bb f

16

f.

f.

f.

f f f nf f f
f
fJ f f

.j
nfff
J
5
4
2

cresc.

f f f f nf f f
? bb b
f f f f f f
b
nf f f f. f.
4

f.
f. f

j
f.

f f f f f f
2

43 Pianist 89

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08/03/2016 12:58

George Frideric HANDEL (1685-1759)

TRACK 9

fff f f f
bb
f f f
f ff f
&b b f f f
f f f f f f ff

18

INTERMEDIATE

Allemande from Suite No 8 in F minor HWV 433

f.

? b b f f f f . f. f. f.
bb
f f fff
5 1 4 2 5 2

f f f.
f.

f nf f f f f f f f f

nf
1

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

f f f f. .
f
.f

21

fff f

f.

f ff
f f f f nf
f
f
f
bbb f
f
f
f
f
f
ff f
f
f
f
f
f
f
b
&
fff
f
f
f
nf nf bf f f f f nf f f f nf f f
n
f
f
4

1 2

. f. nf. f.
f
n
f
J
f

f. f. f f
.
2

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

24

1 2 5 5 2

1 5 4 5

. . f. f.
f
n
f
f
J

1 1

dim.

f.
? bb b f.
f
f
b
f.
f. . f . f
.
.

2 5 5

2 1

. . bf
nf f. f f f. . f f.
J
.
f.

cresc.

? bb b
b f.

cresc.

mf

f f f nf f f f f f f f f f f f f f f
f
f
.
n
f
f f
f
f
J

4 2

4 2

5 1

r
r

f
f
f
f
bbb f f f f ff f f f f f ff f f ff f f nf f f f f f f f f

b
&
f
f
f
f
nf f f ff nff f
f
5

27

? bb b f
b

dim.

fj bf

fj

2 4

. .
fj f. nf. f f
p

4
2

5
3

4
2
1

f. f. f f f

f
f
. .f
f

44 Pianist 89

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08/03/2016 12:58

A Z E R T Y

H A NS - G NTER HEUMA NN

B E Gzerty
INNERS
XXXX (XXXXX)

PLAGE

KEYBOARD CLASS
LESSON 17: D MAJOR SCALE

On these four pages, Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Gnter Heumann.
Lesson No 17 covers the D major scale with triads, cadences, exercises and pieces.

D major scale

Key: D major
Accidentals: F sharp, C sharp

D major triad/chord
The D major triad consists of the
first, second and fifth notes of the
D major scale: D-F-A

D major triad with inversions

Play these two exercises with each hand separately then with both hands together.
Begin with the LH one octave lower, or two octaves lower for the broken chords.

Perfect cadence in D major with inversions

45 Pianist 89

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HANS-GNTER HEUMANN KEYBOARD CLASS

PLAGE

A major
Z E
Exercise for the key of D
An exercise to get your fingers used to D major.

R T Y

XXXX (XXXXX)

zerty

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.

46 Pianist 89

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HANS-GNTER HEUMANN KEYBOARD CLASS

A WoO
Z E 11
R noT 4 Y
Country Dance (Lndler)
Ludwig van Beethoven (1770-1827)

XXXX (XXXXX)

zerty

PLAGE

A lndler is an Austro-Bavarian folk dance that dates from around 1800. A lndler consists of two repeated eight-bar phrases and is
in 3/4 time. Mozart, Beethoven and Schubert adopted the lndler into their compositions. Beethoven published these dances (WoO
= work without opus number) for orchestra as well as for piano solo.
Turn the page for another piece in the key of D major this time by JS Bach.

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

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

47 Pianist 89

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HANS-GNTER HEUMANN KEYBOARD CLASS

PLAGE

Z the
E Notebook
R T Yfor Anna Magdalena
Musette BWV Anh.126 A
from
J.S. Bach (1685-1750)

XXXX (XXXXX)

zerty

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.

48 Pianist 89

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TAP HERE TO WATCH CHENYIN LI PLAY THIS PIECE

S
MIS
NTWMANS
DOT
E
N
JANE
IECE
HIS P
ON T AGE

ON

Frdric CHOPIN (1810-1849)

LESS

TRACK 10

Waltz in A minor B150

P 2
2

(even if the fingers are secure), so the hand doesnt freeze. Phrasing and rubato
are everything always think where the melody is leading. The RH filigree
passagework between bars 21-23 is tricky and should be taken out of context,
RH alone, with slow practice. Listen to Chenyin Li play this piece on the CD
and notice her dynamics; even if not marked on the score (Chopin is known
not to include dynamics) its necessary to incorporate them into your playing.
Pedal tips: All pedal markings are on the score.
Read Janet Newmans step-by-step lesson on this piece on page 22.

Chopin wrote many waltzes, all of which had a charm and vigour making
them suitable for the concert hall rather than the dance floor. This waltz was
composed ca. 1847 but not published until 1955.
Playing tips: While the LH plays an accompanimental role in this piece, it
is still the foundation and it needs to be 100 per cent secure. We therefore
advise you to study the LH first, practising it on its own. Also try blind
practice (not looking at the keyboard), as that should really secure those LH
jumps. The apoggiaturas in the RH should be light, keeping the wrist flexible

Allegretto
1
3Allegretto
f2
& 4Allegretto
f
1
3Allegretto2
2

{{
{

& 43
& 43
? 443
&
? 43
? 43
? 43

{{
{
{{
{
{{
{

1
1
1

1
1

& f f
& f f
f f
&
?
& ff f
?
? f sim.
? f sim.
f
sim.
9
sim.
f
9& f
9
f
9& f
& f f
? f f
&
? f
?
? f
f

13
f

nf

13& f
13
f nf
13& f nf
&
? f nf
&
f
?
? f
? f
f
5
5
5

f
f
f

2
2
2

f
f
ff
fff
ff
fff
fff
3
3
3

f
f
fff
f
fff
fff
fff
f
f
ff
ff
fff
fff
fff
3

3
3
3

INTERMEDIATE

f
f f
f f
f f
f

f
f

f
f
ff
fff
ff
fff
fff
2

2
2
2

f
f
fff
f
fff
fff
fff
f
f
ff
ff
fff
fff
fff
2

2
2

3
3
3

f
f
ff
f
fff
fff
fff
4

4
4
4

1
2
4
1
2
4
1
2
4
1
32
4

f
f
f
f
f
f
f
f
f f
f f
f f
f f
f
f sim.
f sim.
f sim.
fsim.
f
f
f
3
3
3

f
f
f
f
f
f
f
f
F
F
Ff
Fff
ff
ff
ff
f

f
f
ff
f
fff
fff
fff

f
f
f
f
4

F
F
Ff
Fff
ff
ff
ff
f

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

f
f
f
f
f
f
f
f
2

ff
f
ff
ff
ff
f

f
f
f
f

f
f
f
f
f
f
f
f
3

ff
f
ff
ff
ff
f

f
f
f
f
f
f
f
f

ff
f
ff
ff
ff
f

ff
f
ff
ff
ff
f

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

ff
f f
f ff
f ff
ff
ff
ff
2

f
f
f
f

f F
f F
f Ff
f Fff
ff
ff
f
ff
f
f
f
f
3

F
F
Ff
Fff
ff
ff
ff
f

f
f
f
ff
ff
ff
ff
f
2

2
2
2

1
4
5
1
4
5
1
4
55
1
4
5
5

f
f
f
f
5
5

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

f
f
f
f

f
f
ff
f
ff
ff
ff
f

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

2
2

f
f
f
ff
fff
ff
ff
f

f
f
f
f

f
f
f
fff
fff
ff
ff
f

f
f
ff
ff
ff
ff
ff
f
4

4
4
4

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

f
f
f
f

f f
f
f f
f f
f ff
ff
ff
ff
f
5

1
1

f
f
f
f

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

f

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

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

nf F
nf F
nf F f
nf F ff
f
ff
ff
f
ff
f
f
f
3

ff

13

13

13

13

2
2
2

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

3
3

ff
f
ff
ff
ff
f

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

f
f
f
f

ff
f
ff
ff
ff
f

ff
f
ff
ff
ff
f

49 Pianist 89

P49 SCORES Chopin-FINAL.indd 49

14/03/2016 12:12

TAP HERE TO WATCH CHENYIN LI PLAY THIS PIECE

Frdric CHOPIN (1810-1849)

TRACK 10

INTERMEDIATE

Waltz in A minor B150

#f f f f
#
f
f
&
2

17

ff
f

f
#ff

1
2
5

1
3
5

3 4

ff

3 4

ff

fff

fff

ff
f

f
& f nf

fff

fff

ff
f

33

&

ff
f

ff
f

ff
f

ff
f

ff

f #f f
ff
f

ff
f

ff
f

f f
f f f
2

ff
f

ff
f

ff

ff
f

f f

3 5

ff
f

ff
f

f #f F
ff
f

ff
f

#f f #f

#f f F

#fff

fff

n ff
f

ff
f

1
2
3

1
2
5

232

#fff

f f f
f f f

# f f f #m
f f f #f f #f
f #f f
3

ff

ff
f

f
2

3 5

1
2
4

f f F

29

f f F

ff
f

f #f f f f

ff

f f f f f

& f f f

3 5

ff
f

25

1
2
4

#f f f f f f
f
& f #f f
5
ff
#fff
?
f
f

21

f f
f f
f

ff
f

# ff
f

14

f #f

ff
f

f f #f f
#f
5

1
2
4

ff
f

ff
f

3 4

f #f

f #f f #f f
5

# ff
f

ff
f

50 Pianist 89

P49 SCORES Chopin-FINAL.indd 50

14/03/2016 12:12

TAP HERE TO WATCH CHENYIN LI PLAY THIS PIECE

Frdric CHOPIN (1810-1849)

TRACK 10

INTERMEDIATE

Waltz in A minor B150

37

&

# f f f #m
f f f #f f #f
f #f f
1

f
#ff

# ff
f

& f f f
n fff
?

f f F

fff

ff
f

ff
f

& f f f

f f F

fff

fff

ff
f

49

fff

ff
f

P49 SCORES Chopin-FINAL.indd 51

ff
f
1
3
5

ff
f

ff
f

ff

ff
f

ff
f

ff
f

#f
f

f f #f f f f
f

f
ff

1
3
4
51 Pianist 89

1
3

ff
f

ff
f

ff
f

143

ff
f

f #f F
f

f f

f f f

f f f f f
&
? f

ff
f

m
f
f
f
#
f
nf

fff

53

ff
f

f f F

& f f f
?

#f

#f f

f f f
f
f
f

45

ff
f

1
3
5

41

f
ff

f f

f #f

#fff

ff
f

ff
f

~~~~~~
f #f f f
#f
f

f
f

ff
f

1
5

1
2
5

ff
f

F
f

f
f

1
3

14/03/2016 12:12

BACH arr. SILOTI (1863-1945)

TRACK 11

INTERMEDIATE/
ADVANCED

Prelude in B minor

JS Bachs keyboard works have enjoyed a further existence in arrangements

by later composers, and one of the most famous of these is the arrangement
of the E minor Prelude BWV 855a made by Ukranian-born pianist and
composer Alexander Siloti. You may enjoy comparing the original prelude,
which appeared issue 69, to this one. For instance, the original is in E minor
while Siloti has B minor; Siloti also changed the voicing significantly.

Playing tips: See the learning tips from Maria Ramuzovsky that are dotted
throughout the score.
Pedal tips: There are markings on the score. Remember, though, that the
markings are a guide we always suggest that you use your ear to create the
pedalling that works for you.
Read Maria Razumovskys article on Emil Gilels on page 80.

h = 38

##c 1 f2 f3 f4 f3 f f f f f f f f f f
f
f
&
sempre legato

Ff
f

1
2
5

f f
f f
f f f f f f f f f f f f
w
ff 2

2
5

1
2
3
5

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

f f
f f
Ff f f f f f Ff f f f f f

f
? ## ff 3

f
ff 3

#ffff

3
5

4
5

f
ff

1
2
5

#f f f f f f f Ff # f f f f f f f

f
#ff
f

mf

? ## f
ff 2

Ff

f
ff 2

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

f f
Ff f f f f f f f Ff f f f f f

ff
f3

f
f2
f

Fingering note: using 3 followed by 2 in the LH (e.g. bar 5 etc) will help reduce hand tension and
contribute to a more nuanced phrasing. As an alternative, both notes can be played by 3.

#
f f
f f f f f f
& # Ff f f f f f Ff f
? ## ff 2
f

f
f2
f
sim.

## 1 f3 f4 f5 f f f f f f f f f f f
& Ff
Ff

{
9

w
ff
f

1
2
5

{
7

Ff
f

4
5

F1
? ## ff

Ff1
ff

? ##c

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

1
2
3
5

Take time with this wider spacing.

It will be easier to play and add
expression to the high point at
the start of bar 11!

52 Pianist 89

P52 SCORES Bach-FINAL.indd 52

08/03/2016 12:59

BACH arr. SILOTI (1863-1945)

TRACK 11

Prelude in B minor

f f
## Ff f f f f f f f f f f f f
Ff
&

f f f f f f f nFf f f f f f f f
Ff

11

n ff
ff

Bar 11 is an important arrival point. Dont rush into

a diminuendo too soon. Instead, in the RH, sing out the
D and match the B to what is left of its dying sonority.

3
5

3
5

f f f f f f f
##
f f
& Ff
Ff f #f f f f

13

f f f f f f f Ff #f f f f f f f
Ff
ff
ff

3
5

2
5

Midde of bar 15 is the climax of the piece.

3
5

ff
#ff

Again, take time for this wider spread to

make space for the next arrival point
(the climax of the piece).

f f
f f
Ff f f f f f Ff f f f f f
Keep the sound broad without pre-empting the diminuendo..

3
5

fff
f

fff
f

? ## ff
f

3
5

3
5

5
5
##
f f f f3 f f3 f2 nFf f2 f3 f f f f f
& Ff

15

f
#ff
f

1
2
3
5

fff
f

? ## ff
f

f
ff
f

fff
f

f
? ## f
f

INTERMEDIATE/
ADVANCED

3
5

4
##
f f f f f f f Ff f f f f f f f nFf #f f f f f f f
n
f
f
f f f f
f
#
Ff
&
#Ff

sempre rit. e dim.

17

mf

ff
f

ff
#
f
? ## f

In the LH in bar 17, listen to the nostalgic drop in the line from E to A sharp,
and hear its resolution to B in bar 18.

#f

#
f f
& # nFf f f f f f Ff f f f f f f f #Ff

19

? ##

f
5

#
&#

21

? ##

nf
f

#f

nf

ff

nf f

f
f
f

fffffff

f f f f f f f Ff
#f f

#f

#f

1
4
2
4 3 4 3 1
f
f
U
f
f
f
f
f
f
f
f
f
f
f
f
#
f
f
f f f f Ff

f
F
f
#Ff f f f f f f f #w
w
Ff
w

sempre pi rit. al ne

f
f
f
3 1

5 1

f nf
3

#f

f
f
ff
3

ff
f
f

U
w
w
w
pp

53 Pianist 89

P52 SCORES Bach-FINAL.indd 53

08/03/2016 12:59

Edvard GRIEG (1843-1907)

TRACK 12

INTERMEDIATE/
ADVANCED

Prelude from Holberg Suite

Norwegian composer Edvard Grieg composed the Holberg Suite op 40 in 1884,

to mark the 200th anniversary of the birth of Ludwig Holberg, an important
Danish-Norwegian playwright and philosopher. We have presented selections
from this five-movement work before, most recently the Gavotte in issue 81.
Playing tips: This piece requires you to think in long phrases, using the
accents on the notes to bring out the melody. The hands should be relaxed and
the wrist loose, but the fingers totally firm. When you pass the semiquavers
from one hand to the other, you must still think of the semiquavers as being

one long continuous line. Notice that each group of four semiquavers is a
broken chord using this knowledge, you might try practising in chords,
in order to feel the structure and general line. You need an air of musical
confidence in order to make this wonderful prelude soar. Note: Bars 1-18
should be repeated, even our pianist has not done so on the CD.
Pedal tips: Pedal markings have been placed on the score, but remember to
use your ear at all times. Too much pedal will drown out the music; too little
will make it sound dry.

ff fff ffff
>
f
f
f
f
f
f
f
f
f
f
? #c
f
f
f
f
f
& f
f
f fff ff
h = 92

Allegro vivace
3

? #c

w
w
>

w
w

f> f f f f f f f >f f f f f f f f f f f f f f f f f f f f f f f # f
>
f
?#

f
w
F
>
w
F
&

{
5

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

?# F
>F

>f
f

F
>F

F
>F

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

? # >F
F

F
>F

F
>F

f
f

&

54 Pianist 89

P54 SCORES Grieg-FINAL.indd 54

08/03/2016 13:00

Edvard GRIEG (1843-1907)

TRACK 12

Prelude from Holberg Suite

& f

&

11

#F
p

f f f

f f f

f f f

cantabile

f f f
f
J

INTERMEDIATE/
ADVANCED

f f f

f f f #f f f f f f f
5

&

f 3f f
4

f #f f f f f f f f f f f f f f f f #f f f f f f f f f f f f f f f
f-
f
3 f
# Ff
f
? f
f
J
f
&
&
&

13

f
f
& fffffffffff f ff
f
f
#f
f f f#f f f f f f f f f f
3
3
F# Ff
? f
f
? f
#
f
#
ff

f
&
&
&

15

&

&

#
#

#f
f.

f f f
?

f f #f f f f f f f f f f f f f f f f
cresc.
molto
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

#F
w
f #f

f f f
&

f f f

32

f.
f
f f f f f
#
f
f
f
f
f
f
&
f f f f f
f
f
f
f
f f f f f f
f
fz
fz
# f.
? f

&
f.

17

55 Pianist 89

P54 SCORES Grieg-FINAL.indd 55

08/03/2016 13:00

Edvard GRIEG (1843-1907)

TRACK 12

INTERMEDIATE/
ADVANCED

Prelude from Holberg Suite

>
19
nff n f f f f f f
? # ff
f f nf f f f
&
ffff f
4

f
f

?#

?#

f
2

f
2

f
5

ff

ff

f
3

n ff

nf

?# f

f
&

f
f

nff

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

29

? # fj
f

P54 SCORES Grieg-FINAL.indd 56

nf

nf

2 5

ff ff
R

#f
#f

f
f

f
2

nf

#f
2

f f f #f f
4

#f

#f

f
2

f f

f f

ff
f

ff
f

ff
f

f
2

ff
f
f

fR f

f f

#f

f f

nff
nf
f

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

nff
nf

.j
f
#f f f fj #ff
f
fJ
.

1 5

ff

fz

fp

fff

f
f

fp

>
f fff f f f f #f f
fff fff
f&
#f f f f f

25

?#

f
5

?# f f

27

22

ff

?#

?#

.j
# ff
ff
fJ
.

fz

2 5

5 2

56 Pianist 89

08/03/2016 13:00

Edvard GRIEG (1843-1907)

TRACK 12

32

&

Prelude from Holberg Suite

#f

nf f f

f f f
2

?#

f f f

#>
& f

f f f

f #f f #f f f f f
2

f
f f

f
f f

f f
f
f
f
f
f
2

>
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

nf
f f
2

38

#f n>f
f

pi p

36

?#

?#

f f f

# #f f f f f f f f f f f f f
&
4

34

INTERMEDIATE/
ADVANCED

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

?#

40

&

pp

molto

>f f f
f
>
> ff f f
fff f
3

#
f

ff
>f

?#

ff

>f f
fff
4

fffff

ff.
ff

fffff
3

fff

fffff

ffff

57 Pianist 89

P54 SCORES Grieg-FINAL.indd 57

08/03/2016 13:00

Edvard GRIEG (1843-1907)

TRACK 12

42

&

INTERMEDIATE/
ADVANCED

Prelude from Holberg Suite

F
F

f f
3

ff

~~~~~~~~~~~~~~~~~
F
ff

f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f
f fff fff ff
f
f
>.
45

nf
f
#f
#
f
f
f
& F
f f f f f f f f f f f f f f nf f f f f f f f f f f f f f f f
f
? # f f f f f f f f f nf
F
F
f
F
f
f
f nf
F
F
F
>
>
>

48
f
f
# f f f f f f f f f f f f >f f f f f f f f f f f f >f f f f f f f f f f f f
f
f
f
f
f
f
f
f
&
f
f
ff
f
F
F
F
f
F

?#
F
f
F
F
F
f

51
#f f f f f f f f f
f f
f
f
f
f
f
&
f
f
f
f f f f f f f f f f f f f
f
f
f
f
?# f
f
f
f
f
f
f
f
f
f
f
f
?#

sf

3 5

2 4

2 4

53

poco rit.
4

& f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f
f
f
?#
w
f
f
f
f
w
f
f
f

55

a tempo

tranquillo

& f f f f f f f f f f f f
f
f
f
f
f
f
f
f f f f f f f f f f f f f
p
Ff-
f
?#

J
&
F
f
F
f
cantabile

58 Pianist 89

P54 SCORES Grieg-FINAL.indd 58

08/03/2016 13:00

Edvard GRIEG (1843-1907)

TRACK 12

57

&

&

59

&

#
#

Prelude from Holberg Suite

f f f

INTERMEDIATE/
ADVANCED

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 f F
f
f

f
f
&
J
f

f
2

4
5

f fff
fffffffffffffff f
3
3
#
? f
?
F
f

& f
&
ff
&
ff f
f
f

61
f
f
f
f
f
f
f
f
?# f f f f f f f f f f f f f f f f f f f f f f f f
5

fffffffff f

#
& F-

&

f f f f.

f f f f

f f f

fz

63
?# f f f f f f f f f f f f f f f f
4

<>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
#
& w

65

molto

?#

fz

&

f f f f f f f f
f
&
3

f.

ff

1 3

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
nw
w
f nf
>
nfJ

U
rit.
~~~~~~~~

f
ff ff #f F
r
f
f
f
w
f
f
f
f
F ff
w
n ff nnfff fff #f
w
f
3
f f f
nF f
U
w
f f f f f f F
w
f F
w
j
f f f

F
fJ F
f w

pi f

fz

1231

#
&

68

# fff fff ff
f
ff pesante
?#
f f nf
f f f nf
f

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
F

f
f

ff ffff
f.
f
f
?
f
f
f f ff
f ff
& f
f fff ff

f.

& fff ffffffff

f
2

fff fff
f nnff
f

1323

5
3
2

59 Pianist 89

P54 SCORES Grieg-FINAL.indd 59

08/03/2016 13:00

ISS
T M
AMS
H
R
DON
A
P
LUCY
IECE
HIS P
ON T AGE

Franz LISZT (1811-1886)

ON

LESS

TRACK 13

of power, passion and lyricism in order to master such a work. As Lucy points
out in her lesson, start off by mastering the cadenza first, which starts at bar
61. It really needs to shimmer. Once you have this under your fingers, youll
be extra motivated to tackle the rest of the piece. This gorgeous work is one
of Liszts lesser-known works, but it is well worth the effort!
Read Lucy Parhams lesson on this piece on page 24.

In the later part of his long life, the Hungarian composer Franz Liszt led a
threefold life, dividing his time between Rome, Weimar and Budapest. While
teaching became more important, he continued to experiment with form and
colour in his compositions, as in this Impromptu, which dates from 1872.
Pedal and playing tips: Listen to Lucy Parhams recording of this work on
our covermount CD and you will immediately realise that one needs playing

#### #c
& #

dolcissimo

Animato, con passione

ADVANCED

Impromptu in F sharp S191

P 4
2

pp

4
2

FF
F

? #### #c
fffffff fff ffffffff fff ffffffff
f
#
f
f
f
J
J
J

una corda

ff
f.

FF
F.

FF
F.

w
w
w-w

? #### # f f f f f f f f f f f f f f f f f f f f f f
#
f
f
J
J

.
ffff

f f

f f
2

.
nFF
ff
n
b
f
f
f n FFf
f f f

#### # f
& #

nf. bf. nf.

nf
? #### # J
#

nf bf

un poco rall.

~~~~~~~~~~~~~~~~~~~~~~~~~~ U
#F
f

#f f

U
f

f f U U
f
J
#f #f f
2

R.H.

>
nF

? #### #
#

.
ff
ff

f f f f f f f f
J
f

sempre legato e pp l'accompagnamento

#### #
& # fff
f

ff

#### #
& # FFF
-

bf

nf bf f f f f
f
f
3

rall.

f #f #f f
f f fj f f
f
con grazia.
f fJ
j
f
f

f

60 Pianist 89

P60 SCORES Liszt-FINAL.indd 60

08/03/2016 13:01

Franz LISZT (1811-1886)

TRACK 13

ADVANCED

Impromptu in F sharp S191

a tempo

ff

FF
F
F

#### #
& # FF

12

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

#### #
& #

15

ff.
ff

FF-
FF

FF.
FF

w
w
w
w
ff

FF.
FF

f
f
? #### # f f f f f f f f f f f f f f f f f f f f
#
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61 Pianist 89

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Franz LISZT (1811-1886)

TRACK 13

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62 Pianist 89

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Franz LISZT (1811-1886)

TRACK 13

ADVANCED

Impromptu in F sharp S191

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63 Pianist 89

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Franz LISZT (1811-1886)

TRACK 13

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ADVANCED

Impromptu in F sharp S191

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64 Pianist 89

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Franz LISZT (1811-1886)

TRACK 13

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ADVANCED

Impromptu in F sharp S191

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65 Pianist 89

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SUMMER COURSES
& WORKSHOPS 2016

SUMMER COURSES
& WORKSHOPS 2016

Where in the world do you want to study this summer? At a music course nearby or perhaps further
away in a distant valley or mountainside? You wont be short of inspiration with our listings here
UK
Benslow Music Trust
Various dates throughout 2016
Location: Hitchin, Herts
Tel: 01462 459446
www.benslowmusic.org
Residential and short courses
throughout the year for all levels.
Piano courses include Piano SightReading (1-13 April), Speed Dating
Piano Duets (6-8 June), Advanced
Pianists course (24-27 Oct).
Cadenza International
Summer Music School
16-23 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 William
Fong, Fali Pavri, Julian Jacobson
and John Thwaites.
Cambridge Suzuki Young
Musicians, Summer School
25-28/29 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
teacher-training programme leading
to qualified Suzuki teacher status.

Dartington International
Summer School
30 July-27 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 in a creative environment.
This year sees masterclasses from
Joanna MacGregor and Hamish
Milne, a talk by Alfred Brendel on
late Beethoven and Woody Allen,
and lots more.
Encore Music Projects Third
International Summer School
18-30 July
Location: Well, Somerset
Tel: 07886 355952
www.encoremusic.com
Courses for students in the beautiful
historic setting of Wells Cathedral
School. One-to-one lessons,
masterclasses and opportunities to
perform. Piano tutors include Olena
Shvetsova, Katya Apekisheva, John
Byrne and Vadim Gladkov.
Residential and non-residential
options available.

Murray McLachlan gives a lesson at Chethams International Summer School

Fantasia Music School

Summer Courses for Young
Musicians
15-26 August
Location: West Sussex
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.
Higham Hall
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 Piano Workshop (March),
Romantic Music (April), Jazz
Composition (April), Chamber
Music for Strings and Piano (June)
and lots 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 (25-28 July) with
workshops, masterclasses and more.

Piano faculty: James Lisney and

Simon Nicholls.
Holiday Music at the Purcell
School
31 March-3 April; 18-21 August
Location: Purcell School, Herts
Tel: 020 8947 5538
www.holidaymusiccourses.com
All ages from 15 to 90. Residential
courses for pianists (solo and
ensemble) and other musicians,
making music in any combination.
Workshops in ensemble playing,
technique and interpretation. Piano
tutors: Muriel Levin, Danielle
Salamon, Robyn Koh. Meals,
accommodation, tuition and use of
swimming pool included. Early
booking fee reduction.
International Musicians
Seminar (IMS) Prussia Cove
20 March-10 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 Ads,
Ferenc Rados and Rita Wagner.
Jackdaws Music Education
Trust
Various dates throughout 2016
Location: Somerset
Tel: 01373 812383
www.jackdaws.org.uk
All types of courses to cater to all

Chethams International
Festival and Summer School
for Pianists
12-18 & 18-24 August
Location: Chethams School of
Music, Manchester
Tel: 01625 266899
www.pianosummerschool.com
Popular courses for professionals,
adult amateurs and young players of
all abilities. Murray McLachlan,
artistic director. Faculty includes
Philip Fowke, Peter Donohoe,
Margaret Fingerhut, Leslie Howard,
Seta Tanyel, Martino Tirimo and
Steven Osborne.

City Lit
Various dates throughout 2016
Location: London
Tel: 020 7492 2630
www.citylit.ac.uk
Ongoing courses for all grades, ages
and abilities in genres including
classical, jazz, Latin and popular,
with course in topics including
keyboard harmony. Summer,
weekends, weekdays and weeknights.

CSSM at Sherborne Summer

School of Music
23-30 July
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!

67 Pianist 89

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SUMMER COURSES
& WORKSHOPS 2016
levels and tastes. Courses include
Sharpen up your Chopin, The
Complete Pianist, The Pianist
Within. Tutors include Elena Riu,
Julian Jacobson, Mark Tanner, Philip
Fowke and Margaret Fingerhut.

Lake District Summer Music

International Summer
Academy
30 July-12 August
Location: Cumbria
Tel: 01539 742620
www.ldsm.org.uk
The focus is on conservatoire

students and young professionals.

Residential. Coaching with
international artists and tutors.
Piano faculty: Rena Kellaway, Emiko
Tadenuma, Andrew Brownell.
London Masterclasses at the
Royal Northern College
3-10 July
Location: Royal Northern College
of Music
Tel: 020 8346 7088
www.londonmasterclasses.com
Piano masterclasses with concert
pianist and teacher Norma Fisher.

Music Makers
Various dates, July and August
Locations: Fordingbridge, Salisbury
and Wimbledon
Tel: 01425 654819
www.musicmakers.co.uk
Five-day courses for ages 5-18
(residential option for ages 8-18).

Nelly Ben-Or Piano Courses

20-25 July
Location: London
Tel: 01923 822268
www.pianocourseswithalexander
technique.com

Bright lights, big festival

Jim Kedersha

Both participants and listeners will nd something special at New

York Citys irrepressible and irreplaceable International Keyboard
Institute and Festival, as founder Jerome Rose tells Inge Kjemtrup
Talk to Jerome Rose, pianist and founder of the
International Keyboard Institute and Festival, and he
will give it to you straight: The festival is in its 18th
year, and were a staple of New York City musical life.
This might sound like brash New Yorker attitude,
but hes probably right: critics and audiences seem to
have taken this two-week long festival of all things
piano to their hearts. The International Keyboard
Institute and Festival (IKIF) is a perennial favorite
among piano aficionados said the New York Times,
while the New Yorker pointed up the IKIFs
tantalizingly, innovative and robust concert programs
from a variety of international virtuosos, up-andcomers, and local heroes.
Indeed, by all reports, a large part of the appeal
of the IKIF is this annual coming together of
established performers, the young-and-up-andcoming (several recent competition winners, such as
George Li, who was a laureate in the Tchaikovsky,
will take part this year), amateurs and general piano
nuts. The variety of ages helps too, ranging from 12
to 80, says festival director Julie Kedersha.
Its Kedershas challenging job to keep tabs on the
125 participants and 20-30 teaching staff, who
collectively take over the music department of New
York Citys Hunter College every July. Her task must
be made harder by what Rose calls the open door
policy of the IKIF. Youre not assigned to any
teacher, you can study with anyone, he explains.
You can walk in and out of a room if you want.
Though presumably not in the middle of your lesson.
Rose claims his programming comes from telling
the guest artists, play better than you did at Carnegie
Hall and play whatever you want, an approach that
does lead to some diversity and some playfulness.
Rose persuaded concert pianist Dmitry Rachmanov
to present a programme about Sergei Rachmaninov
(no relation) and he put together an orchestral
ensemble for the festival and dubbed it the Jger
Meisters Chamber Orchestra (Jger means hunter
in German). Ill drink to that.
More seriously though, Rose is keen to fte the
great keyboard masters of the past and present,
including those whose careers have, perhaps, deserved
more attention. This year the IKIF features the

Jerome Rose (left) hosting a talk with David Dubal

French pianist Philippe Entremont, 75 years and

basking in the light of a long career of French music
and Chopin. Rose also has tributes to past keyboard
masters such as Paderewski and Gilels.
Entremonts recital (23 July) will be heavy on
Chopin and French works, including Ravels Sonatine
and Alborada del gracioso from Miroirs. Geoffrey
Burleson, who is recording Saint-Sanss piano music
for Naxos offers a diverse recital with music by that
composer. Other confirmed recitals so far are from
Stanislav Khristenko, Jeffrey Swann and Magdalena
Baczewska, with Rose himself on opening-night spot.
Rose has had a distinguished teaching and
performing career (as a youngster in California he
studied with Adolph Baller, mainly recalled now as
Menuhins pianist). He was a young man when the
idea of the festival came to him: When I was 17
going on 18, I had a transformative experience going
to Marlboro [the famous Vermont chamber music
festival], played with Casals and Sascha Schneider,
and I wanted to create a similar thing in the piano
world. Rose, it seems, is in his element with IKIF.
If the concerts and classes arent enough, Rose
adds, there are also the beautiful acoustics of the
Hunter College concert hall, the many available
practice rooms, the Yamahas and Bsendorfers on
tap, and the interesting lectures. By the end of my
phone call with Rose, Im nearly ready to reserve my
place on his big city, big passion piano fest.
The New York International Keyboard Institute and
Festival runs 17-31 July. To apply as a participant or to
attend concerts and events, go to www.ikif.org.

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.
(There is also a course in January.)
Teacher: Nelly Ben-Or.

Oxenfoord International
Summer School
23 July-21 July
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.
Accommodation provided.
Oxford Philharmonic
International Piano Festival
and Summer Academy 2016
30 July-7 August
Location: Oxford
Tel: 01865 987 222
www.oxfordphil.com
Faculty and performers includes
Ferenc Rados, Nikolai Lugansky,
Marc-Andr Hamelin, Alexandre
Tharaud, Menachem Pressler.
Grade 8 plus. Public masterclasses,
concerts, lectures and pedagogy
classes. Concerts by professional
pianists also held during the Piano
Festival (see Festival listings).
Penelope Roskells Advanced
London Piano Courses
22-24 April; 28-30 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 are presented by Penelope
Roskell, international pianist and
Professor of Piano, Trinity College of
Music. The courses are open to all
advanced pianists (amateur, student
or professional).
Piano Duet Courses
19 March (Rotherham); 6-8 June
(Benslow); 15-17 July (Wells); 31
Oct-2 Nov (Benslow)
Tel: 01223 240418
www.piano-duet.co.uk
Short courses, weekend and one-day
courses; include repertoire
performance, discussion, individual

68 Pianist 89

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SUMMER COURSES
& WORKSHOPS 2016

Residential Courses
Summer Schools
wind string keyboard
composing conducting
Chenyin Li giving a masterclass at Piano Week

tuition, tutor recitals/concerts.

Grade 5 plus and age 18 plus.
Course tutors are piano duettists
Anne Applin and Geoffrey Pratley.
Individuals willing to pair up at the
time of the course are welcome as
well as are pre-formed duos.
Piano Week
17-24 July & 24-31 July
Moreton Hall School, Shropshire
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, Maciej Raginia,
Vesselina Tchakarova, Niel du Preez,
Alexander Karpeyev, Warren
Mailley-Smith and Yuki Negishi.
Stephen Kovacevich will be giving a
Celebrity Recital again this year.
Sherborne Summer School of
Music
31 July-7 August; 7-14 August
Location: Sherborne, Dorset
Tel: 01342 893963
www.sherbornemusicsummerschool.
co.uk
Age 18 plus; students and good
amateurs. Courses include Solo
Piano, Piano Accompaniment,
Alexander Technique, Score
Learning and General Musicianship.
Faculty: Andrew Ball for piano,
and Nigel Hitchson for piano
accompaniment.

XIX International Summer

Music Course
14-26 July
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
worlds leading tutors.

Graeme Humphreys Piano Summer

School
Mon 25 - Fri 29 July 2016
Resident: 480 Non-Resident: 375
And many more....please see our website
for further information

www.benslowmusic.org
01462 459446 info@benslowmusic.org

Benslow Music, Benslow Lane, Hitchin, Hertfordshire SG4 9RB

A company limited by guarantee. Registered in England no 408404. Reg Charity no 313663

SS 2016 140x105 Pianist:Layout 1 02/11/2015 16:53 Page 1

Pianist_Summer_Sch_Supplement.indd 1

CANADA
Calgary Piano Camp
Location: Calgary, Alberta
Tel: +1 (403) 271-0418
www.calgaryartssummer.com
Ages 10 to adult. Explore the many
facets of piano playing in a
supportive, fun atmosphere that
promotes a positive attitude towards
practising and performing. Students
are coached in prepared solo
repertoire and new ensemble pieces.
Students attend classes in musical
style, interpretation, memorisation,
technique and performance anxiety.

Chethams International
Summer School &
Festival for Pianists
Artistic Director: Murray McLachlan
Part One: 1218 August 2016
Part Two: 1824 August 2016

The Friendliest Piano Summer School

in the World!
Faculty includes: Dmitri Alexeev, Elena Ashkenazy, Peter Donohoe,
Christopher Elton, Margaret Fingerhut, Philip Fowke, Peter Frankl,
Leslie Howard, Leon McCawley, Murray McLachlan, Noriko Ogawa,
Artur Pizarro, Martino Tirimo, Vladimir Tropp, Nelita True,
Catherine Vickers

With daily concerts, lectures, improvisation, jazz, composition,

intensive one-to-one coaching, duets, organ and harpsichord.

FRANCE

Lot Music
9-16 July; 16-23 July
Location: Prayssac, Lot Valley
www.pianolotmusic.com
Intensive piano study in a

03/03/2016 15:19:10

For further information call +44 (0)1625 266899

or email info@pianosummerschool.com
www.pianosummerschool.com

Summer School for Pianists

13-19 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, Graham Fitch, Ann
Martin-Davis. Lessons, masterclasses,
student and faculty concerts.

Featured Course

Ulverston International Music

Festival
April, October, November
Location: Lake District
Tel: 07840 293448
www.ulverstonmusicfestival.co.uk
Piano Masterclass with Murray
McLachlan and Kathryn Page
(16-17 Apr), Piano and Strings
Masterclass with the Primrose Piano
Quartet (8-9 Oct), Piano
Masterclass with Martin Roscoe and
Anthony Hewitt (Nov, exact date
TBC). See Festival listings for the
June festival.

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SUMMER COURSES
& WORKSHOPS 2016
beautiful setting. About nine pianists
per course. First week tutor: Simon
Nichols; second week tutor:
Martin Cousin.
Music at Albignac
3-11, 13-21 & 23-31 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), Stefan
Bojsten and Charles Owen.
Summer Piano School at
La Balie
12-19 May, 17-14 July, 21-28
August
Location: South West France
www.labalie.com
For intermediate to advanced
pianists (Grade 8 and above). Takes
part in beautiful stone farm
buildings with wonderful
accommodation. Three one-week
piano courses led by concert pianist
James Lisney. Class numbers limited
to eight. Students encouraged to
play in the evening concerts.

GERMANY

Matt Jolly/Aldeburgh Music (Aldeburgh, page 71)

Schleswig-Holstein Music
Festival & Masterclasses
11 July-30 August
Location: Lbeck
Tel: +49 451 389 570
www.shmf.de
Masterclasses take place at the
Musikhochschule Lbeck, with each
course concluding with concerts
given by the participants. For
advanced students and young
professionals. Two piano masterclass
teachers this year: Andrzej Jasinski
(23-27 July) and Anatol Ugorski
(8-13 August).

ITALY

LMFL Summer Course

30 July-13 August
Location: Florence
www.lmfl.org.uk
Specialist course given by wellknown faculty for advanced students
(17+) or professionals.
Music Holiday Italy
February through to October
Location: Appenine mountains
www.musicholidayitaly.com
Nine one-week courses throughout
the year. Masterclasses by Gil Jetley,
Murray McLachlan, Martin Roscoe.
Maximum eight per course, for
intermediate/advanced amateurs
(around Grade 8, but no fixed
standard). Performance opportunities.

JERSEY

Jersey International Festival

for Amateur Pianists
29 May-5 June
Location: Jersey Academy of Music
www.normandypianocourses.com
Residential course for serious
amateur pianists, aged 18 plus.
Introduction to Alfred Cortot
method; raising level of playing and
gaining freedom at the piano. Ample
practice facilities are available, with
one piano per person. Performance
possibilities. Masterclasses from
Frdric Aguessy.

USA
ArtsAhimsa Music Festival at
Belvoir Terrace
23-30 August
Location: Lenox, Massachusetts
www.artsahimsa.org
www.belvoirterrace.com
Set at a beautiful 19th-century estate,
ArtsAhimsa promotes non-violence
throughout the arts. Chamber music
classes for pianists and string players.

An engaged audience of participants at La Balie Summer School

Studying a score at Kinhaven Piano Workshop in Vermont

For adults with a good playing level.

Audition required. Performance
opportunities. Faculty includes Paul
Epstein, Rui Shi, Donna Gill.
Aspen Music Festival and
School
30 June-21 August
Location: Colorado
Tel: +1 (970) 925-3254
www.aspenmusicfestival.com
Masterclasses, workshops, private
instruction, and performance
opportunities for advanced students
and young musicians.

Golandsky Institute Summer

Symposium
9-17 July
Location: Princeton University,
New Jersey
Tel: +1 (877) 343-3434
www.golandskyinstitute.org
Week-long immersion in the
Taubman Approach to piano playing
which includes private lessons,
supervised practice times, techniques
clinics, lectures, masterclasses and
evening concerts as part of its own
International Piano Festival.
International Keyboard
Institute and Festival
17-31 July
Location: Hunter College,
New York City, New York
Tel: +1 (212) 665 2446
www.ikif.org
Intermediate to professional or
talented amateur (audition required).
Scholarships available. Concerts,
masterclasses and lectures. Faculty
and performers include David
Dubal, Philippe Entremont, Dmitry
Rachmanov, Alexander Kobrin,
George Li. See feature on page 68 and
festival listing on page 76.
International Music Camp
Piano Program
10-16 July
Location: Near Dunseith, North
Dakota
Tel: +1 (701) 838-8472 (Sep-May);
+1 (701) 263-4211 (June-July)
www.internationalmusiccamp.com

Ages 10 to adult, with at least two

years piano experience. Daily
classes in technique, literature,
musicianship, performance, keyboard
harmony, theory and more.
Kinhaven Adult Piano
Workshop
31 May-5 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. Concert
pianist and teacher Leander Bien is
director of the course.
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 (28 May1 June; 1-5 June) in the inspiring
setting of the Rocky Mountains.
Faculty includes SoYoung Lee, Evelyn
Chen, Sergio Gallo, Larry Graham.
Summer Trios
5-12 June, 26 June-3 July, 1-5 June
(Concerto Week)
Location: Pennsylvania
Tel: +1 (212) 222-1289
www.summertrios.org
Providing the opportunity for
amateur musicians to play chamber
music together. Piano faculty
includes Lily Friedman, Denise
Kahn, Efi Hackmay. Includes
Concerto Week, where attendees
play through their concertos.

WEBSITES
Hot Courses
www.hotcourses.com
Searchable databases of UK courses
available throughout the year.

Music Workshop Guide

www.acmp.net/workshops
Searchable database of worldwide
chamber music courses.

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MUSIC FESTIVALS 2016

MUSIC FESTIVALS 2016

Which festival will you attend this year? From the bold and brash to the small but innovative,
from the big names everywhere to talented lesser knowns, we have a festival that youll like
UK
Aldeburgh Festival
10-26 June
Location: Suffolk
Tel: 01728 6871100
www.aldeburgh.co.uk
The Snape Maltings Concert Hall
and ancient Suffolk churches are the
main venues for the festival founded
by Benjamin Britten and Peter Pears.
Birdsong is a theme this year, with a
an entire day devoted to Messiaens
Catalogue dOiseaux. Look also for
intriguing programmes from Artistic
Director Pierre-Laurent Aimard and
Emanuel Ax, and several events on
Bartks Mikrokosmos.
Bath International Music
Festival
20-29 May
Location: Bath
Tel: 01225 463362
www.bathmusicfest.org.uk
The beautiful Georgian city hosts a
wide-ranging festival of musical
styles. Richard Goode gives an
all-Schubert concert; writer and
pianist Jay Rayner is also appearing.
Full listings available in late March.
Bath Mozartfest
11-19 November
Location: Bath
Tel: 01225 429750
www.bathmozartfest.org.uk
A popular festival set in venues in
the beautiful and historic city.
Details announced in the summer.
BBC Proms
15 July-10 September
Location: London
Tel: 0845 401 5040
www.bbc.co.uk/proms
This amazing festival, centred at the
Royal Albert Hall, features national
and international soloists, ensembles
and orchestras. Full programme
details announced in April.

Cambridge Summer Music

Festival
15-30 July
Location: Cambridge
Tel: 01223 767125
www.cambridgesummermusic.com
Full details about the programme on
the website in early spring.
Cheltenham Music Festival
1-17 July
Location: Cheltenham
Tel: 0844 880 8094
www.cheltenhamfestivals.com
Saties 150th birthday is celebrated in
nine Keyboard Inventions, in which
20 composers commune with the
eccentric French composers spirit
using avatars, wearable technology,
early synthesizers, animation, an
inside-out piano/pendulum,
radiophonic toy pianos, narration
and new scores for old films.
City of London Festival
TBC
Location: London
Tel: 0845 120 7502
www.colf.org
Churches and historic buildings in
the City of London are the setting
for this popular festival. As we went
to press, details of the dates and
artists had not yet been confirmed,
so look online for updates.
East Neuk Festival
22 June-3 July
Location: East Neuk
Tel: 0131 473 2000
www.eastneukfestival.com
The theme of Romantic composers
and remembrance shapes this years
programming. Look for Christian
Zacharias playing Schumann and a
recital from the young German
pianist Joseph Moog.

A full crowd at the Britten Studio, Aldeburgh

Edinburgh International
Festival
5-29 August
Location: Edinburgh
Tel: 0131 473 2000
www.eif.co.uk
The Edinburgh International Festival
is the distinguished older sibling of
the capricious Fringe, but you can
easily attend both in one visit. Full
details announced in late April.
English Music Festival
27-30 May
Location: Dorchester-on-Thames
www.englishmusicfestival.org.uk
Set in splendid backdrops such as
Dorchester Abbey and Radley
College, the festival celebrates the
George Butterworth centenary this
year and includes much more of all
things English.
Hebden Bridge Piano Festival
22-24 April
Location: Hebden Bridge, Yorkshire
www.hebdenbridgepianofestival.com
Concerts and masterclasses from the
likes of Benjamin Frith, Leeds
Competition winner Anna Tsybuleva
and jazzer Jason Rebello.
Kings Lynn Festival
17-30 July
Location: Kings Lynn
Tel: 01553 764864
www.kingslynnfestival.org.uk
Classical, chorale and chamber
music; this years offerings include a
recital by Angela Hewitt of Bach,
Scarlatti and Beethoven.
Lake District Summer Music
International Festival
30 July-12 August
Location: Lake District

Tel: 01539 742 621

www.ldsm.org.uk
This years highlights include recitals
from Andrew Brownell and from the
Andrew Dunlop and Danny Driver
duo, plus Sasha Grynyuk playing the
original Shostakovich piano score for
the 1929 silent film New Babylon.

Midsummer Music
24-26 June
Location: Latimer, Bucks
Tel: 01494 783643
www.midsummermusic.org.uk
Pianist Paul Lewis and his cellist
wife, Bjrg Lewis, are joint artistic
directors of this small but potent
chamber music festival based at St
Mary Magdalene in Latimer. Lewis
shares the keyboard spotlight this
year with Aleksandar Madzar; guests
include tenor Mark Padmore.
Music at Paxton
15-24 July
Location: Paxton, Scottish Borders
Tel: 0181 473 2000
www.musicatpaxton.co.uk
Paxton House, a historic estate on
the Scottish borders, provides a
gorgeous setting for this intimate but
engaging festival. Programme details
available in early spring.
Newbury Spring Festival
7-21 May
Location: Newbury, Berks
Tel: 0845 5218 218
www.newburyspringfestival.org.uk
Music by Ravel and other French
composers is the theme this year for
the Sheepdrove Piano Competition
for young pianists that takes place
concurrently with this festival, which
also features many recitals. See story
on page 72.

Brighton Festival
7-29 May
Location: Brighton
Tel: 01273 709 709
www.brightonfestival.org
A lecture from Alfred Brendel, Leif
Ove Andsnes plays Mozart, and lots
of surprises at the annual festival of
arts and music in this city by the sea.

Bristol International Piano

Duo Festival
27-30 October
Location: Bristol
Tel: 0845 4024001
www.pianoduofest.org.uk
A tasty weekend of piano duos,
founded by the well-known duo of
Joseph Tong and Wake Hasegawa.
Guest artists revealed so far are Katia
and Marielle Labque, and Duo Tal
and Groethuysen (a transcription of
Mendelssohns Octet is planned).
Full details online in late spring.

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MUSIC FESTIVALS 2016

Newbury Spring Festival

Newbury Spring Festival artistic director Mark Eynon tells Erica Worth
why a competition for young pianists is integral to his festival
What is unique about Newbury Spring Festival,
which runs this year from 7-21 May?
All festivals are unique and are really determined by
where they take place. Newbury Festival has not only
the town of Newbury, but also the Corn Exchange
a well-equipped theatre with a Steinway Model D
piano that we use every day throughout the festival.
The wonderful Tudor-style St Nicolas Church Hall,
which we use as the concert hall, has acoustics that
really work. Every conductor and international
orchestra has loved it. This year we have the City of
Birmingham and Moscow State symphony orchestras
as well as the Royal Philharmonic with Pinchas
Zukerman as soloist and conductor.

Oxford Piano Festival and

Summer Academy
26 July-3 August
Location: Oxford
Tel: 01865 987 222
www.oxfordphil.com/piano
Formerly the Oxford Philhomusica
Festival, this festival is a deep well
of exciting concerts and masterclasses
with keyboard titans such as
Marc-Andr Hamelin, Nikolai
Lugansky, Alexandre Tharaud, Ivo
Pogorelich, Menahem Pressler and
Ferenc Rados.

Does the piano play an important role in the

Newbury Spring Festival?
It always has done, while Ive been director. [The
festival is in its 38th year, and Eynon has been artistic
director for the past 18.] Every year we have a major
piano recital in the Corn Exchange. This year we have
Benjamin Grosvenor, who is coming back for the third
time, with a mini residency. Previously we had Peter
Donohoe, Stephen Hough, Mikhail Pletnev, Emanual
Ex, Yevgeny Sudbin some amazingly high-profile
international pianists.

Out of the 16 entrants in the first round, four go

through to the final round. The final takes place as
part of the festival. The audience can vote for their
favourite pianist, which, as you might imagine, makes
it a very popular event.

Tell me about the Sheepdrove Piano Competition.

Alongside the international stars that appear, we have a
policy of supporting young musicians and young
pianists in particular. This competition, now in its
eighth year, is an illustration of this.

Why just four finalists?

We want the opportunity for the audience to hear
them properly. Each finalist will perform for 25
minutes. I also have to fit this competition into a busy
festival schedule!

How did the competition come about?

It all began when I saw the wonderful venue that
Peter and Juliet Kindersley of the Sheepdrove Trust
had created (Peter was co-founder of the publishing
company Dorling Kindersley) at their Sheepdrove
Organic Farm. They created and built a conference
centre there run on entirely organic lines. This centre,
just outside Newbury, is stunning. It has a beautiful
natural oak hall, which has the most perfect acoustic
for piano. There are many rehearsal rooms and a
wonderful restaurant with organic food. I thought,
this would be fantastic for a setting for a piano
competition. I also wanted to create a competition
where the competitors did not lose out financially.
I persuaded the Kindersleys to waive all entrance
fees and to accommodate and give free food to
all of the participants.

What music do they have to play?

Each year there is an emphasis on a composer, and
its usually planned around an anniversary. Weve had
Chopin, Liszt, Debussy and Schumann. This year
we had thought of Satie (because of his anniversary)
but we felt this was too limited. So we came up with
Ravel and any other 20th-century French music.
Each entrants programme has to contain 50 per cent
of that repertoire. Each entrant is required to have
a full one hours recital programme prepared. The
reason it works so well is that the heads of keyboard
talk in advance about who the composer will be,
and who would be the best pupils to put forward for
this type of repertoire.

Who is eligible to enter the competition?

Students up to the age of 26, from the eight major
UK conservatories; thats the Royal Scottish, Royal
Northern, Birmingham, Cardiff, the four London
colleges (Trinity, Guildhall, Royal College, Royal
Academy). The head of keyboard at each conservatory
pre-selects two students, which means there are 16
entrants in total.
How many stages are there?
The prelims take place in the colleges beforehand.

Norfolk and Norwich Festival

13-29 May
Location: Norfolk
Tel: 01603 766 400
www.nnfestival.org.uk
Classical and jazz at this popular
festival, including a rectial from
pianist Hao Zi Yoh.

Recital in the Sheepdrove Eco Conference Centre

And the prize?

The winner gets 2,000 and they also get a further
500 fee to perform the following day in the Corn
Exchange. Weve had some amazing past winners
including Ju Liu, Dinara Klinton and Robertas
Lozinskis. Thats not surprising, because the UK
attracts so many talented students to its schools from
all over the world. Some winners have gone on to play
with top orchestras. These youngsters need the
opportunity. Lets give them the chance!
Go to www.newburyspringfestival.org.uk for further
information on Newbury Spring Festival and the
Sheepdrove Piano Competition. Listings are on page 71.

Proms at St Judes Music &

Literary Festival
25 June-3 July
Location: London
Tel: 020 3322 8123
www.promsatstjudes.org.uk
The lively summer festival hosts
recitals from Martin Roscoe,
Benjamin Grosvenor and Beau Pluto.
Ribble Valley International
Piano Week
13-16 July
Location: Ribble Valley, Lancs
Tel: 01229 861325
www.rvipw.org.uk
The line-up at Lancashires alwaysintriguing piano festival includes
Martin Roscoe, Steven Osborne and
Peter Donohoe.
Ryedale Festival
15-31 July
Location: Ryedale, North Yorkshire
Tel: 01751 475777
www.ryedalefestival.com
Well-loved regional festival that
attracts international artists. Full
details available in April, with a
warm-up weekend of concerts taking
place on 1-3 April that features
Pianist contributor Lucy Parhams
Rverie programme.
Spitalfields Festival
2-26 June
Location: London
Tel: 020 7377 1362
www.spitalfieldsmusic.org.uk
Variety is the spice of life at this
festival; dont miss the Schubert
Ensemble playing the Schumann and
Louise Farrenc piano quintets.

Swaledale Festival
28 May-11 June
Location: Yorkshire Dales

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MUSIC FESTIVALS 2016

Tel: 01748 880019

www.swaledale-festival.org.uk
This years festival serves up recitals
from Benjamin Grosvenor and
Richard Uttley.

Thaxted Festival
24 June-17 July
Location: Thaxted, East Anglia
Tel: 01371 831 421
www.thaxtedfestival.org.uk
Composer Gustav Holst organised
the first festival, centred on the East
Anglian town of Thaxted and its
600-year-old church, taking place on
three consecutive weekends. Details
available in spring.

The Two Moors Festival

22-29 October
Location: Devon
Tel: 01643 831006
www.thetwomoorsfestival.com
Theres always much to like in terms
of both concerts and the convivial
atmosphere at this Devon festival,
which launched in 2001. Full
programme details available in June.
Ulverston International Music
Festival
8-19 June
Location: Lake District
Tel: 01229 587140
www.ulverstonmusicfestival.co.uk

Hike around the lovely Lake District

when you arent attending concerts
by festival founder and pianist
Anthony Hewitt and friends.
Wales International Piano
Festival
29 April-2 May
Location: Caernarfon
Tel: 01286 685230
www.pianofestival.co.uk
Satie on the Sidewalk, a concert
of new piano works by Welsh
composers, Peter Donohoe in recital,
a piano competition and more, all in
the beautiful Carcassone-like royal
town overlooking the Menai Strait.

En Blanc et Noir

Barry Lewis (EBEN)

Amanda Holloway visits an enterprising keyboard festival set

in a picturesque French village with open air performances
It must be a pianists dream holiday: staying in one of
Frances most beautiful villages and enjoying free recitals
from morning to midnight in the shade of the medieval
timbered marketplace.
Named after the Debussy piece, the En Blanc et Noir
(EBEN) festival takes place in the Languedoc village
of Lagrasse, with its historic abbey, rich winegrowing
landscape and community of artists. An idyllic threeday break in July 2015 introduced me to new repertoire
(Scriabin sonatas, anyone?) and some remarkable young
pianists whose careers I will follow with interest the
Italian Simone Tavoni, Franois Moschetta from France
and British-based duo James Kreiling and Janneke Brits,
to name just a few.
EBEN is not a showcase for established stars but a
chance to see some of the most interesting, and in some
cases breathtakingly talented young pianists coming
out of the worlds conservatoires. Europe has produced
scores of gifted pianists eager to perform after many
years of hard slog, says EBEN artistic director Robert
Turnbull. We want to help these dedicated young
musicians achieve some of their musical goals in what
can be a solitary and frustrating profession.
Turnbull, a journalist and amateur pianist himself
(hes a graduate of the San Francisco Conservatory
of Music), has been building up a regular roster of
accomplished pianists, from the Catalan Nstor
Bayona to American maverick Bobby Mitchell, who
gave a electrifying performance of Frederic Rzewskis
Winnsboro Cotton Mill Blues. James Kreiling and
Janneke Brits created an orchestra on one keyboard,
with arrangements of Holsts The Planets Suite and
Debussys La mer ending the 2015 festival with a
flourish. I can confirm that theres nothing like listening
to The Planets as you lie back and gaze at real-life stars
twinkling above you.
Open-air festivals are always at the mercy of the
elements, and although southern French summers
are usually warm and dry, the winds can be fierce and
unpredictable. Performers are protected by a roof held
up by medieval carved beams but that doesnt stop
gusts whipping the score from the piano or at least
flapping the pages. Weve had to develop the technique
of extreme page turning, says Turnbull. The turner
holds down the score with his forearm and tries to

AUSTRIA
Grafenegg
19 August-11 September
Location: Grafenegg Castle
Tel: +43 (0)2735 5500
www.grafenegg.com
Founded by pianist Rudolph
Buchbinder, this festival boasts the
magical setting of Grafenegg castle.
Buchbinder himself plays in several
concerts this year, while the Vienna
Philharmonic pays a visit.
Schubertiade Schwarzenberg
Hohenems
4-22 May; 12-17 July; 3-7
September; 4-11 October
(Hohenems); 18-26 June; 23-31
August (Schwarzenberg)
Location: Schwarzenberg,
Hohenems
Tel: +43 (0)5576 72091
www.schubertiade.at
One festival, two German towns,
and a host of stellar pianists in both
places such as Nicholas Angelich,
David Fray, Elisabeth Leonskaja,
Paul Lewis and Andrs Schiff.

FRANCE

A balmy summers night at En Blanc et Noir

turn a page without obscuring the pianists view. Last

year Nstor Bayona arrived with his iPad and a pedaloperated, wireless page-turner.
In the first couple of years, Turnbull lent his own
piano for performances, but last year he hired a
Steinway Model B that had to be left in the market
square for the duration of the festival. One of the team
offered to sleep by the piano every night, but we felt it
really wasnt necessary, he says.
The pleasure of hearing music in the open air is
enhanced by beautiful surroundings and a relaxed
atmosphere. But what about the acoustic in an outdoor
space? Turnbull thinks its generally good, though adds,
we do encourage pianists to play relatively powerful
pieces big Romantic or 20th-century repertoire.
The 2016 festival has expanded to six days, with
many returning artists and some new discoveries.
The established Serbian pianist Ivan Ili gives a special
performance of Morton Feldmans work For Bunita
Marcus (which features on his latest Feldman CD)
and Turnbull has introduced a new feature Piano
Volont when we invite amateur musicians of
all ages, including young piano students of the local
Narbonne Conservatoire, to come and play a prepared
piece on the Steinway B.
Any reader tempted by a public performance in a
sun-filled French marketplace, take note!
En Blanc et Noir runs 2-7 July. Further information at
www.enblancetnoir.com. See listings at right.

En Blanc et Noir
2-7 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. Ivan Illic and British
piano duo of James Kreiling and
Janneke Brits are among the
youthful performers. See article, left.
Orpheus & Bacchus Piano
Festival
17-25 September
Location: Near Bordeaux
Tel: +49 (0)30 2759 4175
www.orpheusandbacchus.com
Enjoy a residential holiday at the
piano-focused offshoot of this
two-year-old festival. Offerings
include concerts by Benjamin Frith
and by the Gould Piano Trio.
Roque DAntheron
22 July-18 August
Location: Aix en Provence
Tel: +33 (0)4 42 50 51 15
www.festival-piano.com
One of worlds powerhouse piano
festivals. If youre looking for a place
to gain encyclopaedic knowledge of
todays pianists, Roque and the
Klavier Festival Ruhr are your best
bets. Full programme available
online in late spring.

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MUSIC FESTIVALS 2016

PROKOFIEV

SYMPHONIES NOS 4, 6 & 7

PIANO CONCERTOS NOS 4 & 5

ALEXEI VOLODIN
SERGEI BABAYAN
Archie Chen gives a masterclass at Dublin Piano Festival

EV

New Ross Piano Festival

22-25 September
Location: Ireland
Tel: +353 (0)51 421255
www.newrosspianofestival.com
With Finghin Collins as its artistic
director, this is a short but potent
festival of pianism.

4,
6
S
&7
TR ER
A GEI
B A B AYA N

ER
N SY Y GE
CE M P R GI E V N OS
RT H O N I E S 5
,
N
OS N S 4 &
O
DI S
A L E X I VO LO HE
MAR E K Y O R C
IINS

CO

Dublin International Piano

Festival & Summer Academy
23-31 July
Location: Ireland
Tel: +353 1 5555000
www.pianofestival.ie
The fourth year of this academy and
festival, founded by pianists Archie
Chen and Rhona Gouldson, sees
young stars tutored by the pros, who
also give recitals. Full programme
details online now; Frederic Rzewski
is a special guest artist.

Never have I seen so many fast and furious

hand-crossings, so many dizzying flights from
top to bottom of the keyboard, all performed
flawlessly (Prokofiev Piano Concerto No 5)
The Telegraph
Alexei Volodin made Piano Concerto
No 4 sound effortless. Financial Times
Gergievs evident understanding of the
structural and emotional intent of Symphony
No 7 was communicated to the orchestra...
MusicalCriticsm
Available on 2SACD and download January 2016

ITALY
Spoleto Festival
24 June-10 July
Location: Spoleto, Italy
Tel: +39 0743 77 64 44
www.festivaldispoleto.com

Schleswig-Holstein Music
Festival
2 July-28 August
Location: Schleswig-Holstein
Tel: +49 (0)431 23 70 70
www.shmf.de

IRELAND

L
VA

Rarities of Piano Music

19-27 August
Location: Husum
Tel: +49 (0)4841 89 73 130
www.piano-festival-husum.de
An unmissable festival for the piano
cognoscenti in which rare and (often
unjustly) neglected piano repertoire
takes pride of place, with some
top-flight pianism to boot. Book
early, its very popular!

ANO

Mozart@Augsburg
3-17 September
Location: Augsburg
Tel: +49 (0)821 777 3410
www.mozartaugsburg.com
Set in the charming Bavarian city of
Augsburg, this festival boasts creative
programming such as festival
director Sebastian Knauer in a
concert with Klaus Maria Brandauer.

Spannungen
20-26 June
Location: Heimbach
www.spannungen.de
This issues cover artist, Lars Vogt,
directs an innovative festival located
at a former power station. Expect
electric performances from Vogt and
colleagues. Details online in spring.

P R OPIKO F

Klavier Festival Ruhr

15 April-10 July
Location: Cities in the Ruhr Valley
Tel: +49 (0)1806 500 803
www.klavierfestival.de
Rivalled only by Roque DAntheron
in size and scope, this amazing piano
festival presents recitals and concerts
in cities throughout Germanys
industrial heartland. Major names
abound, this year including Lang
Lang, Arcadi Volodos, Grigory
Sokolov, Alice Sara Ott, Igor Levit,
Daniil Trifonov, Marc-Andr
Hamelin and Krystian Zimerman.
Plus Martha Argerich and Daniel
Barenboim (that one will be popular,
you can be sure).

This festival takes place in different

cities in this German region.
Highlights include recitals by Grigory
Sokolov and Ivo Pogorelich, plus
Andrs Schiff plays and talks about
Bachs Goldberg Variations.

2SACD MAR077

GERMANY

VALERY GERGIEV
MARIINSKY ORCHESTRA

AVAILABLE FROM ALL GOOD STORES. FOR THE FULL CATALOGUE PLEASE VISIT
MARIINSKYLABEL.COM.
ALTERNATIVELY PLEASE VISIT ITUNES.COM/MARIINSKY TO DOWNLOAD
MASTERED FOR ITUNES DOWNLOADS.

Released in association with LSO Live.

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MUSIC FESTIVALS 2016

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
30 June-6 July
Location: Near Lake Trasimeno
www.trasimenomusicfestival.com
Angela Hewitt plays the first
concertos of Brahms and
Shostakovich, and gives a duo recital
with Jeffrey Tate at her festival in an
Italian hillside town.

NORWAY
Bergen International Festival
25 May-8 June
Location: Bergen
Tel: + 47 (0)55 21 06 30
www.fib.no
A trend-setting annual multidisciplinary arts, theatre and music
festival. Concerts and recitals from
international stars such as Andrs
Schiff, Ihle Hadland, Leif Ove
Andsnes, Mahan Esfahani, Louis
Lortie and more.
International Music Festival
Stavanger
16-21 August
Location: Stavanger
www.icmf.no
Top chamber music festival founded
by clarinettist Martin Frst and
pianist Christian Ihle Hadlandt.
Details available in May.

Mark Shapiro (Verbier)

Lofoten Festival
11-17 July
Location: Lofoten
Tel: + 47 (0)9139 8640
www.lofotenfestival.com
Founded by Jean-Efflam Bavouzet,
this festival set on the Lofoten
islands alternates years between
being a piano and a chamber music

festival, with piano the star this year.

Marc-Andr Hamelein and Nelson
Freire are among the performers.
Rosendal Festival
11-14 August
Location: Rosendal
Tel: + 47 (0)53 48 29 99
www.rosendalfestival.com
New chamber music festival directed
by Leif Ove Andsnes set at a
beautiful manor house this years
theme is the year 1828.
St Marks Church at Music@Menlo in California

SWITZERLAND
Lucerne Festival
12 August-11 September (Summer);
19-27 November (Piano Festival)
Location: Lucerne
Tel: +41 (0)41 226 44 80
www.lucernefestival.ch
Top international stars play in the
Jean Nouvel-designed concert hall on
Lake Lucerne. Summer highlights
include Martha Argerich with the
West-Eastern Divan Orchestra
conducted by Daniel Barenboim.
Menuhin Gstaad Festival
14 July-35 September
Location: Gstaad
Tel: +41 (0)33 748 83 38
www.menuhinfestivalgstaad.ch
In the centenary year of Yehudi
Menuhins birth, the theme of music
and family seems fitting: family
performers (the Labques) and family
composers (the Bach family, the
Schumanns and Brahms) .
Project Martha Argerich
Lugano
TBC June
Location: Lugano
Tel: +41 (0)58 866 82 40
www.luganofestival.ch
Martha Argerichs festival with her
friends, who have in the past
included Nicholas Angelich, Lars
Vogt and Gabriela Montero.

An exhuberant moment at Verbier with Lang Lang and friends

Verbier Festival
22 July-7 August
Location: Verbier
Tel: +41 (0)848 771 882
www.verbierfestival.com
Concerts, masterclasses and more at
this Swiss mountain festival, with
major names performing including
Daniil Trifonov, Yuja Wang, Grigory
Sokolov and Alsseio Bax.

TURKEY
Istanbul Music Festival
1-24 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 dil Biret and Murray
Perahia. This years theme is If Music
be the food of love, play on.

USA
Aspen Music Festival
30 June-21 August
Location: Aspen, Colorado
Tel: +1 (970) 925-9042
www.aspenmusicfestival.com
Energetic music and the fresh air of
the Colorado Mountains explain why
this festival has endured. This years
keyboard soloists include Jonathan
Biss, Marc-Andr Hamelin, Jeremy
Denk and Daniil Trifonov.
International Keyboard
Institute and Festival
17-31 July
Location: New York City
Tel: +1 (212) 665-2446
www.ikif.org
Piano-intensive concerts, recitals,
lectures and masterclasses in this
annual festival and course organised
by American pianist Jerome Rose.
Philippe Entremont, George Li and
Jeffrey Swann are among the
performers. See article, page 68.

Marlboro Music Festival

16 July-14 August
Location: Marlboro, Vermont
Tel: +1 (215) 569-4690
www.marlboromusic.org
Artistic directors Mitsuko Uchida
and Richard Goode maintain the
Marlboro mystique in which
established stars and up-and-coming
youngsters work together for three
weeks before performing and
audiences only find out whats on
offer a week before each concert.
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
15 July-6 August
Location: Menlo Park, California
Tel: +1 (650) 330-2030
www.musicatmenlo.org
Well-chosen programming,
interesting lectures and dynamic
performers explain this San Francisco
Bay Area festivals huge success. Full
details in early spring.
Spoleto Festival USA
27 May-12 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.
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 country summer home in
Lenox. This years roster includes
Jonathan Biss, Daniil Trifonov, Yefim
Bronfman and Nelson Freire.

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E D U C AT I O N

UNDERSTANDING THEORY

PART 2: MORE ON SCALES

ABRSM Syllabus Director Nigel Scaife continues our new theory series with an exploration
of commonly used scales such as pentatonic and blues and a close look at modes

he first instalment of this series, presented in the last

issue, focused on major and minor scales, and considered
how the construction of scales relates to keys. We saw
that the major scale can be divided into two, with the
upper and lower tetrachords having a direct relationship
to keys which are closely related. Looking at the various
types of minor scale we discovered how the sixth and
seventh degrees of the scale are often altered from the natural minor,
depending on the musical context harmonic or melodic. So now its time
to delve into the world of other commonly used scales.
If you travel to Asia, you will be surrounded by music derived from the
pentatonic scale, especially if you hear the traditional music of countries
such as China and Japan, where this scale is used all the time. But you can
also hear pentatonicism in all kinds of other music such as folk, rock and
jazz, as well as in Western classical music from the 18th century onwards.
A pentatonic scale has five notes within each octave. There are two types
of pentatonic scale major and minor which relate to each other, just
like the major and relative minor scales.
Here is the C major pentatonic scale in the treble clef, starting and
ending on C (six notes in all, as were going to include the C twice).
In relation to the C major scale, the two semitone-forming degrees the
fourth and the seventh are missing, leaving minor third gaps. (Well
be looking at intervals in the next issue.) It is this lack of semitones that
gives the scale its special character:
1

& w

& w

Here is the same scale paired with its relative minor the A minor
pentatonic scale.
C Major pentatonic

&

was listed by UNESCO as one of the worlds top ten folk songs. Love Song
of Kangding was even taken to outer space when NASA selected it as
representative of the worlds most recorded songs during a satellite launch
in the 1990s. You can hear Lang Lang play it with Placido Domingo and
Song Zuying on YouTube, and there are many other recorded arrangements.
Because of its calming effect, the pentatonic scale is often used in music
therapy. It is a good scale to use for improvisation as it is impossible to
make a pentatonic tune sound dissonant with any surrounding chords,
provided they are also based on the pentatonic scale.
Another commonly used scale is the blues scale, which in a sense is a
variant of the minor pentatonic, as it just adds one extra note the
sharpened fourth:
Blues scale

minor 3rd

minor 3rd

Nigel Scaife began his musical life

as a chorister at Exeter Cathedral.
He graduated from the Royal College
of Music, where he studied with
Yonty Solomon, receiving a Masters
in Performance Studies. He was
awarded a doctorate from Oxford
University and has subsequently
had wide experience as a teacher,
performer and writer on music.
As ABRSMs Syllabus Director he
is responsible for the musical and
educational content of all the
Boards exams.

A minor pentatonic

The minor pentatonic scale uses the same notes but starts a minor third
lower so the gaps come in different places in relation to the starting note,
A. The black notes of the keyboard are the most straightforward way for
pianists to form major and minor pentatonic scales.
The major pentatonic scale is often found in folk music, especially that
from America, Scotland, Ireland and China. A classic example is the
Scottish tune Auld Lang Syne. The major pentatonic scale is also common in
spirituals, such as Swing Low, Sweet Chariot.
The minor pentatonic is often used in rock music, especially in guitar
solos, as its pattern fits easily under guitarists fingers. An example of an
Asian melody that uses the minor pentatonic is the beautifully lyrical Love
Song of Kangding. One of the most famous of all Chinese folk melodies, it

bw

#w

bw

Because it has six pitches, the blues scale is called a hexatonic scale.
Although there are different types of blues scale, the one given above is
the standard version which many jazz educators use with their beginner
students. This is because it can be used as a single scale which works for
the whole duration of a 12-bar blues. This can be seen if we take the chords
used in a basic C blues C7, F7 and G7 and look at how their notes relate
to the scale:
C7

& w w w bw

bw
w w w

F7

w
w w w

G7

Unsurprisingly, the blues scale provides a useful starting point for

exploration of the language of the blues, especially as it contains blue
notes. These are the expressive notes which are often not played at the
precise pitch but instead are bent, on a guitar string for example, for
expressive effect. In the C blues scale the notes E and F can both be
considered as blue notes which can slide to the notes a semitone above.

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Modes
Music written before what is sometimes called the common practice period
(c.1600-1900) used a different set of scales to those we are familiar with
today called modes. These scales formed the basis of the monophonic
chants sung in the services of the early Christian church, the polyphonic
music of the Renaissance, and folk music throughout Europe and beyond.
Many classical composers in later times have drawn inspiration from modal
music and the use of modes is also a common feature of contemporary jazz,
folk and popular music.
We saw in the last issue that if the major scale is started on the submediant
(sixth) degree of the scale, then a natural minor scale is created. In C major,
this A-A natural minor scale (see below) is also known as the Aeolian mode.
While major and minor tonalities can be referred to generally as modes, the
term mode is more commonly used to describe one of the modal scales that
have been used since medieval times. These scales are most readily understood
as a set of scales that can be formed by playing the white notes from different
starting points. It is traditional to start with the major scale and then to find
the modes within in by starting a new scale on each successive note. So in this
example the C major scale (presented here as the Ionian mode) can be
thought of as the parent scale from which the other six modes are extracted:

&

Ionian

& w

Dorian

Lydian

w
Mixolydian

w
Aeolian

#w

#w

#w

bw

bw

w
and

& bw

As there are no perfect fourths or fifths in this scale it is not possible to

create common chords from its pitches. It is this lack of tonality that gives
the scale its mysterious and dream-like quality.
Among composers who have used the whole-tone scale are Glinka, Liszt
and Vaughan Williams. However, the composer most associated with its use
is undoubtedly Debussy. His wonderfully evocative Prlude Voiles (Veils or
Sails), composed in 1909, is a celebrated example. Here is the opening:
e = 88

Modr

fb f
2 #ff ff#ff ffbff bff # f #f
&4
p trs doux

? 42

Phrygian

&

White notes of the keyboard only:

Whole tone scales

& FF

ff

The Ionian, Lydian and Mixolydian modes are known as major modes
because their tonic triads are major and they have a major quality. The
Dorian, Phrygian and Aeolian modes are minor modes because their
tonic triads are minor and they have a minor quality. The odd one out is the
Locrian mode, which is known as a diminished mode. Due to its awkward
structure this mode is used less often than the others.
By the mid-17th century the modal system had generally been replaced
by the tonal system as we know it today, which is based around just two
modes: Ionian (major) and Aeolian (minor). With the introduction of
sharps and flats these scales became transposable and so led to our standard
diatonic system based on minor and major tonalities.
The most commonly heard modes are the minor-sounding Dorian, used in
Scarborough Fair (featured in Pianist No 87 in an arrangement by Derry
Bertenshaw) and What shall we do with the drunken sailor?, and the majorsounding Mixolydian, used in the fiddle tune Old Joe Clarke and the folk song
She moved through the fair. The latter was recorded by Fairport Convention in
1968 and has been recorded by dozens of artists since, including Sinad
OConnor, a version used in the soundtrack of the film Michael Collins.
While it is useful to understand the modes theoretically in relation to
C major, this approach is limited in terms of understanding the different
colours and intervallic characters of each scale. To really get inside the
world of modes, as jazz musicians do in order to speak the language of
jazz, it is necessary to see them as distinct sounds in themselves and not just
as offshoots of an existing parent scale. To develop fluency in this requires
a lot of dedication to the art!
One of the most iconic uses of modes in the jazz context is on an album
by the trumpeter Miles Davis. Theres no better place to discover the world
of modal jazz than Kind of Blue, thought to be the best-selling jazz album of
all time. The track So What, for example, is based on two Dorian scales,
the first on D and the second on E. It is also a notable tune for its use of
quartal harmony that is chords made up of fourths, which you can hear
played by Bill Evans as the So What chords at the start. Well worth
exploring if you are new to jazz.
Other common scales
As its name suggests, the whole-tone scale is built from notes which are
a whole tone apart, dividing the octave into six equal steps. There are only
two whole-tone scales:

bf bf f
f

pi p

f
f

pp expressif

Locrian

#f- f#f
f f f ffbff bff ff#nff nf f
ff

f
bf bf f
f
f
J

bf
bf
bf
bf
b f b f f fJ b f
b f f fJ b f
pp .
. .
. . toujours p . .
. .

The octatonic scale is theoretically any eight-note scale. However, the term
is usually used to describe a symmetrical scale containing alternating
intervals of a tone and a semitone, such as this:
Octatonic scale

&

w bw bw nw #w

w bw

Because it has such a complex mixture of pitches which allow for a wide
variety of chords to be produced, it can be used to create a sense of
bitonality the simultaneous combination of two keys.
The octatonic scale was used in the late 19th century by Liszt and
particularly by Russian composers such as Glinka, Rimsky-Korsakov and
Scriabin. It became an important organisational device in 20th-century
music and is found in music by Debussy, Ravel, Stravinsky, Bartk and
Messiaen. Its not an easy scale to identify in terms of hearing when it is
being used, as it tends to be more of a compositional tool than something
which is immediately recognisable aurally. To explore it at the piano, take a
look at the musical example below:

6
&8

Andante

? 68

p dolce

e = 134

1 2 4

ff

bf f f f f bF
#f

fbf f f

j
f
f f f f f

fff
#f

fff

bf f
J

1 2 4

This is the opening of No 109 from Bartks Mikrokosmos (Book 4), which
he called From the Island of Bali and is evocative of the Balinese gamelan.
In the next issue Nigel will be looking at intervals and related topics, such as
how we hear dissonance and consonance.

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LEGENDS

EMIL GILELS
centenary celebration

Emil Gilels was born 100 years ago, and to mark the occasion, Maria Razumovskaya
traces the musical journey that gave rise to this great Russian concert pianist. Plus, try
the Bach-Siloti Prelude in this issues Scores, one of his most famous encores

All photos: Emil Gilels Foundation

he 100th anniversary of an undisputed

titan of 20th-century pianism, Emil
Grigoryevich Gilels, is celebrated in 2016.
Rarely has a pianist captivated the hearts of
international audiences with such an
infallible synthesis of emotional directness,
profound musical vision and trailblazing
technique. Gilels (1916-1985) was one of the most honoured
musicians in the USSR and beyond.
During World War II his playing was seen as a beacon of
heroism and strength his iconic performances were heard
in concert halls, the radio, on the front lines and, as the war
drew to a close, at the monumental Potsdam Conference
in 1945. In 1955, in the midst of the politically charged
atmosphere of the Cold War, he was entrusted to be the
first Soviet artist after the war to perform in America. Despite
the crippling travel restrictions for Soviet citizens, the furore
of Gilelss performances paved the way for an illustrious
international career.

Those who knew him personally are unanimous in their

awe and respect for him. Those for whom Gilelss
pianism lives on through his many recordings
know a musician whose unique voice redefined
the limits of the instrument and whose
artistic voice speaks as much to our time as
it did to his own. This article will look
beyond Gilelss well-known triumphs to
investigate that long journey of learning
and practice that gave rise to one of the
worlds greatest performers.
Emil Gilels was born on 19 October
Bach-Siloti Prelude in B minor,
1916 in the bustling city of Odessa.
the piece that became an iconic
Located on the shores of the Black Sea,
Gilels encore piece.
Odessa was at the time a unique place
Includes learning tips by
teeming with the sounds of music from
Maria Razumovskaya.
open windows and brass bands in the parks.
From this atmosphere arose some of the
greatest musicians of the 20th century, including

INSIDE
THIS
ISSUES
SCORES

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Pianist
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In the need for new horizons, at the age of 13, Gilels learned his last piece
with Tkach: Liszts Piano Concerto in E flat. The break was stressful, but
also one that gave him an encounter with a figure whose influence he
remembered with reverence and gratitude for the rest of his life. Now
enrolled in the class of Berta Reingbald at the Odessa Conservatory, he
called her a true Teacher with a capital letter and friend. Explaining this he
said: a true teacher first and foremost has infinite patience. (S)he can spend
hours with students, together finishing the technical and emotional aspects
to the playing and this work brings them joy. In contrast to the dry
discipline of Tkach, Reingbalds approach was tailored to the psychology

{{

Sometimes teachers say: Well, everything is ready now, which means

the student can do it with their eyes closed with their mind on other
things. [] It is easy to overvalue this kind of clinical preparation.
Its much easier to rely on preparation, its easier not to be involved
emotionally. If you get used to this kind of method the piece of music
gets offended you go one way, and the piece on music another.
The music must always breathe together with the performer.
[From an interview with Lev Barenboim in Emil Gilels. An Artistic
Portrait (Moscow: 1990); translated by Maria Razumovskaya]

ED IATE

Left: Emil Gilels celebrates his birthday while on tour outside of the USSR in the
1960s (actual date unknown); above: Gilels with his friend, the pianist Yakov Flier,
playing balalaikas together in 1952

David Oistrakh, Nathan Milstein, Benno Moiseiwitsch, Samuil Feinberg,

Yakov Zak and Maria Grinberg.
Gilelss precocious talent made itself known at the age of four, and
just before his sixth birthday he began lessons with one of Odessas most
demanding pedagogues, Yakov Tkach. The study of music was taken very
seriously. Despite the youth of his student, Tkach was relentless in his
requirement for a thorough study of scales and many volumes of exercises
and etudes. No time was wasted in developing Gilelss natural aptitude
for the keyboard into a formidable and efficient technique Tkach was
already certain that with proper study, this talented child was destined
for the piano, writing in his report card that he was sure that in later years
the USSR would be enriched by this world-class pianist. Already in a
few years Gilels was effortlessly playing flashy showpieces including the
fiendish Etincelles (Sparks) by Moszkowski, dances from Bachs suites,
concert etudes by Chopin and Liszt, Scarlattis sonatas and Beethovens
Pathtique Sonata.
Later in his life, Gilels expressed how grateful he was to Tkach for
instilling in him this vital confidence in his own abilities. As recalled by
another pianist, Yakov Zak, the music schools in Odessa were full of
talented students and walking through the corridors one was sure to hear
pianos being beaten with five hours of etudes not so much in unison, but
competitively yet hearing Gilels play these was simply scary. However,
while acknowledging the benefits of such a training, Gilels lamented on the
limitations imposed by the method in which his teacher would present him
with copiously annotated scores and where each fingering, articulation or
change in dynamic was drummed into the pupil without exploring the
reasons for these:

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of the student. As she wrote later, For a time I didnt teach the
student, but studied him to be able to adapt [my] approach to
his abilities and to open up his individuality.
Reingbald patiently encouraged Gilels to open up a more lyrical
side to his playing, developing the characteristic
warmth, velvet touch and breadth that would
become a hallmark of his pianism. Isolating
individual lines and textures she guided
him through densely layered polyphonic
writing in a manner that would add a
sense of perspective and nuance to his
technique and sound production. It
was not that Gilels had lacked
sensitivity lyrical music would
make me shake and move me to
tears. I loved this shaking and
tears the issue was that he
restrained himself because no
one was meant to know. I was
shy. Thus, among the first
pieces Gilels studied with
Reingbald were the
deceptively simple Bach-Siloti
Preludes: the famous B minor
became an iconic encore piece
in his repertoire [the score
appears inside this issue].
Although Reingbald was not
herself a concertising pianist, her
outlook was much broader than
Tkachs. She was keen to encourage
Gilelss virtuosity, and where Tkach
did this mainly through having him
play rather dated salon pieces,
Reingbald took her student to what, at the
time, were the fringes of the piano repertoire.
For instance, she introduced
him to the complex technical
and emotional world of Liszts
and Busonis piano
transcriptions of Bachs organ
music, and it was under her
tutelage that Gilels feel in love
with the lush soundscapes of
Impressionism. At a time when
works by Debussy and Ravel
were still a rarity in Russia,
Gilels was so taken aback by
these new sounds and
harmonies that he literally fell
asleep with their scores hugged
in his arms. Indeed these works
were so hard to come by in
Odessa that to quell Gilelss
impatience to learn them, his
father and sister would copy out
these intricate scores by hand
from a copy borrowed overnight!
Reingbald believed that it was imperative that Gilels learn
by performing on stage. Unlike Tkachs dictatorial approach to
preparation, the decision whether or not a piece was ready was
often an issue discussed after public performances. She worked
with her student to build up a phenomenal repertoire, much
of which he continued to perform throughout his career.
Reingbald was keen that Gilels become accustomed to the
psychological pressures of performance keeping nerves in check
by developing a pre-concert routine, adjusting to acoustics,
making contact with the audience, and even being aware of such
seemingly small issues as sleeves getting in the way and disrupting
the concentration in the playing.

VIRTUOSO SHOWCASE

All this preparation was not in vain. In 1933 Gilels got his first big
break at the All-Union Competition for Performing Musicians.
Designed to showcase the achievements of the Soviet education
system, this competition captured the imaginations of
music lovers across the USSR. Audiences eagerly
flocked to Moscow to hear the best young
virtuoso-interpreters of the time. Favourites
quickly emerged but these all fell by the
wayside with the opening sounds of
Gilelss performance. With the final
piece in his programme the
glittering Fantasia on Themes from
Mozarts Marriage of Figaro by
Liszt, arranged by Busoni the
mesmerised audience could
scarcely believe that what they
had just heard was humanly
possible, let alone by the
unassuming 16-year-old in
front of them. As reported by
the composer Kabalevsky, it
was a moment that those
present would remember for
the rest of their lives.
Winning the first prize
changed Gilelss career
overnight. He became the darling
of the music scene with
invitations to perform across the
Soviet Union. Yet, despite his critical
acclaim and constant engagements,
he decided to complete his studies
with Reingbald and graduate from the
Odessa Conservatory. In 1935, he enrolled
as a Meisterschule (advanced postgraduate)
student of the legendary
Heinrich Neuhaus at the
Moscow Conservatory.
Gilels was attracted by
Neuhauss charisma and
rich imagination: a gifted
and talented nature []
who was for many the
symbol of high Art.
The move to Moscow did
much to further Gilelss
renown both within Russia
and internationally. At a
time when international
movement both in and out
of the USSR was restricted
he won second prize at the
prestigious International
Vienna Competition in
1936 (first prize: Yakov
Flier), and when the great
conductor Otto Klemperer
came to Moscow he asked for Gilels to be the concerto soloist. In
1938 Gilels graduated from the Meisterschule and won the Ysae
(now Queen Elisabeth) International Competition in Brussels which
led to a flurry of high-profile invitations to perform abroad. Today it
is easy to underestimate these achievements at the time, however,
music lovers fanatically followed the trail of news regarding
competition rounds, and international competition laureates were
greeted by huge crowds at railway stations like national heroes!
Despite these successes, Gilelss early years in Moscow were a
time of doubt and isolation. With a bravura style of playing that
contrasted to the majority of pianists at the Moscow Conservatory,
Gilels saw himself as an ugly duckling: I was different and they

Constantly adapting his

learning process and
attitudes to get closer
to the inner meaning of
a piece of music, Gilels
warned that being
an artist meant never
being satisfied with your
own achievement

82 Pianist 89

p80_Legend-FINAL.indd 82

10/03/2016 10:44

didnt understand me. Being used to the selfless attention which

Reingbald was able to offer her students, Gilels found his lessons with
Neuhaus to be completely different. Rather than being a true teacher,
Neuhaus was, at the time, on the cusp of his own concert career.
Frequently away and in charge of a huge number of piano students,
Neuhaus expected Gilels to rely on his own intuition. To make matters
more complicated Neuhaus was also known to slavishly spend hours
with mediocre students over the smallest phrases polishing them up
to his exacting standards yet, when it came to the most talented
students it was altogether another matter. Thus, Gilels noticed: I left
his lessons feeling all alone. [] Sometimes if something wasnt going
the way he wanted, he would just say: Ducky, you know what to do
do it yourself . Yet, from another perspective, Neuhauss
unwillingness to supplying his student with answers was in many ways
the push to independence that Gilels knew he needed. In fact, Gilels
had even resisted several suggestions that he did receive from his
professor. Gilels was adamant to find his own individuality and voice,
and refused play from anothers experiences or emotions, even

At a time when works by

Debussy and Ravel were
still a rarity in Russia,
Gilels was so taken aback
by these new sounds and
harmonies that he literally
fell asleep with their scores
hugged in his arms
dropping certain pieces of new repertoire given to him by Neuhaus
unless he felt he was ready to express his own personal response.
Although he was by then a star pianist, Gilelss recollections of this
time in his development are candid and humble: I relied on my artistic
intuition. I had successes, but also failures and mistakes. Talking about
his transition into a fully independent artist, Gilels said it was never a
simple case of being in complete control of his artistic progress: No,
initially I went by touch, so to speak. You could compare it, if you like,
to a dog which instinctively searches out a particular kind of grass to
remedy a complaint, and starts to chew on it and is soothed This
path of experimenting taking full responsibility and ownership of his
practice was not only confined to the private hours of practising.
At the heart of this journey was also his contact with other musicians.
In Neuhauss lessons, which were nearly always held as public
masterclasses, Gilels considered he learned more listening to other
students play, than in his own allotted time with his professor: I
thought a lot about what I had heard and tried to copy what I liked,
but then to make it better. [] It is wonderful when a class for
performers mirrors the fabled studios of great Italian artists, if it
becomes like a stadium exhibiting the students achievements. []
Every artist, every composer must make use of this kind of opportunity
to make observations and comparisons it is how he learns.
This kind of attentive listening became a lifelong characteristic and
kept his recordings and performances fresh and in a state of constant
re-invention and evolution: learning from colleagues through their
recordings and concerts, through discussions, and through his contact
with other instrumentalists, conductors and concert piano technicians.
The vital confidence in his own abilities, judgement, taste and
convictions that is necessary in order to become an independent
master-pianist was in Gilelss case also underpinned by a genuine and
rare humility. It was a humility not only before his colleagues, but
perhaps even more importantly, before his Art. Constantly adapting
his learning process and attitudes to get closer to the inner meaning of

Backstage after the First Tchaikovsky Competition in 1958, where Gilels

(centre) was the chairman of the jury. First prize (which was politically
meant to go to a Soviet competitor) was awarded to Van Cliburn (left)

a piece of music, Gilels warned that being an artist meant never being
satisfied with your own achievement. He knew that the quest for
perfection was an arduous one that required the patience to accept it
as a life-long commitment to discovery. Explaining this to his own
students at the Moscow Conservatory he remarked: Learning the
piano is very changeable like the weather. Maintaining a gruelling
performance schedule throughout his life, often touring for a
staggering ten months of the year, Gilels never rested on his laurels or
allowed himself to be lulled by indifference or complacency.
As he said, Classical music is the greatest spiritual act. It requires
the utmost purity to look a piece of music in the eyes (without any
veils) and capture its features [] to open the score and try to
understand what the composer thought and felt. Evidently, every
time the decision will always be not quite right, and so you try again
and again all your life. n
Dr Maria Razumovskaya performs internationally as a pianist, and is
a teacher and lecturer. Having received her conservatoire training with
Rustem Hayroudinoff and Dmitri Alexeev, she is passionate about
investigating the Russian piano tradition.

ESSENTIAL LISTENING
NEW
Emil Gilels: The Complete Recordings on Deutsche
Grammophon
A 24-CD box set to celebrate his 100th anniversary
Deutsche Grammophon DG 479651
Emil Gilels Edition
Brilliant Classics 92615 (10 discs)
Emil Gilels Early Recordings Volume 3
Naxos Historical Great Pianists: 8111386
Brahms: The Piano Concertos (with Berliner Philharmonic/
Eugen Jochum), Fantasies op 116
Deutsche Grammophon DG 4794877
Emil Gilels Recital: Works by Beethoven, Mendelssohn, Mozart
and Schumann
Deutsche Grammophon DG 0734265 (DVD released 2007)
Chopin: Sonata No 3, Polonaises
Deutsche Grammophon DG 4779079
Grieg: Lyric Pieces
Deutsche Grammophon DG 4497212

83 Pianist 89

p80_Legend-FINAL.indd 83

10/03/2016 10:44

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REVIEW

CD reviews

Marius Dawn hails another landmark Sokolov disc and praises a new Buniatishvili recital,
Pizarros masterful Rachmaninov and a CD of a little-known Russian romantics music

Pianist star ratings: Essential go get it! Really great A ne release Average Fair
Buy these CDs from the Pianist website.Visit pianistm.ag/cd-reviews
ALESSIO BAX

Lullabies for Mila: Solo works by Bach arr. Siloti,

Brahms, Grieg, Rachmaninov, Scriabin and more;
plus Mozart: Concerto K595 (slow movement)
Signum Classics SIGCD439

Alessio Bax and his pianist

wife Lucille Chung had a
baby girl. Congratulations!
And how best for a piano
dream team like this to
celebrate? Of course: pick
some sweet moments from
previous releases and put them together onto
a CD dedicated to baby Mila. A splendid idea!
Here is a box of musical goodies, almost verging
on the saccharine in terms of repertoire. But
dont let that deter you the playing is of the
highest calibre. Particularly moving are the Bach
arr. Siloti and Bach arr. Petri pieces, as well as
Rachmaninovs Vocalise and other Rachmaninov
preludes (Chung joins Bax in two engaging fourhand Brahms waltzes). If you are a Bax fan, and
have most of his fine earlier releases, youll find
a lot of these works scattered throughout. If you
dont possess any of them, get this release Bax
has picked out the tastiest bon-bons for you.

KHATIA BUNIATISHVILI

Kaleidoscope. Mussorgsky: Pictures at an Exhibition;

Ravel: La valse; Stravinsky: Three Movements
from Petrushka
Sony Classical 88875170032

In this releases booklet notes,

theres a somewhat pretentious
interview with Buniatisvili
where she talks about such
things as trees can reproduce,
castles cant in connection
with the Mussorgsky Pictures.
Well, shes certainly not the biggest philosopher of
all time, but who cares when she can make the
piano speak so eloquently? Her performance of
Pictures is full of contrast, colour and imagination.
She produces a tone as soft as silk, but she can also
hammer away at the instrument like a thundering
steam engine, albeit without ever forcing the
well-tuned Steinway beyond its limits. Ravels
La valse is furious and technically stupendous,
and if Stravinskys Petrushka Three Movements
borders on the insane, it is nevertheless fabulous
piano playing. Not a recording for everyones taste
its a clenched fist in your face that you will not
easily forget. Be prepared!

EDITORS CHOICE
GRIGORY SOKOLOV

Schubert: Impromptus D866; Three Pieces D946; Beethoven:

Hammerklavier Sonata op 106; encores by Rameau and
Brahms
Deutsche Grammophon DG 479 5426 (2 discs)

Like his earlier Salzburg Recital disc, which was Sokolovs debut
recording for DG (reviewed in issue 83 and also given Editors
Choice), this newest release is being hailed as a sensation,
a long-awaited discovery, and so on. But it isnt. The cognoscenti have known about Sokolov for
many years, so hes no sudden sensation. The only sensation here is that at last a major record
company has come along to snap up such a special artist, which means this extraordinary artist
can be effectively promoted to the general public. Now Sokolov is acclaimed as the greatest living
pianist, but hes been on this planet for 65 years and has always been the greatest. The Russian
label Melodiya recorded him in his younger years, and then the small French label Opus 111
released over a dozen Sokolov discs. They are precious jewels every single one of them.
So, what to say about his new release of Schubert and Beethoven? I suggest that you go out and
get it for the sake of the encores alone. Thats not to put the Schubert or the Beethoven down
in any way, though. For this reviewer, the majestic Schubert works cannot be bettered, and the
gigantic Beethoven Hammerklavier puts all other recordings, every single one of them, in the
shade. But its for the encores the five Rameau pieces especially that you should invest in this
release. You might have recordings of the Schubert repertoire that you prefer, and the same could
be said for the Hammerklavier. But the Rameau! Those five small pieces are cast into multicoloured marbles coated with sparkling dust of rainbow shades. These pieces are the sensation,
the discovery, and worth all the hype. And they will never be bettered. Trust me!

LOUIS LORTIE & HLNE MERCIER

Poulenc: Concerto S146, Concerto for Two

Pianos S61, Aubade; etc
Chandos CHAN 10875

I have yet to hear a less-thanmagnificent release from

Louis Lortie, with his elegant
playing, glorious sound and
straightforward musicality.
Poulenc was himself a fine
pianist and his works for
piano and orchestra are well laid out, even if they
might lack the final ounce of originality. Best is
his Concerto for Two Pianos, and here Lortie has
the perfect partner in Hlne Mercier. They steal
the limelight from the BBC Philharmonic
Orchestra (not a negative comment, I may add).
The Aubade for piano and 18 instruments hasnt
aged well, but the three works for two pianos
and four hands (Elgie, LEmbarquement pour
Cythre and Sonata S8) are very original. They
are played with charm rounding off one of the
finest Poulenc discs to date from Chandos. Note:
this duo has recently recorded the Rachmaninov
two-piano works also highly recommended,
and one of the best versions on the market.

ARTUR PIZARRO

Rachmaninov: Complete Piano Works

Odradek ODRBOX01 (7 discs)

What a gargantuan task: to

record Rachmaninovs
complete solo piano music.
It is best left for only the
finest virtuoso pianists, not
only because the technical
challenges are monumental,
but also the sheer magnitude of music is
overwhelming. Artur Pizarro copes with all these
challenges without ever sounding strained or out
of steam. His preferred Yamaha piano is clearly
recorded, and the whole production arrives in a
sleek seven-CD box. Pizarro includes early
sketches, plus the arrangements, and his set is
the most complete to date. As an overall view of
the Rachmaninov piano music, this should be
your first choice, but naturally we cannot forget
individual recordings, not least of the sonatas
and the preludes where Pizarro is up against
legendary performers. However, and this has to
be underlined, for a complete set Pizarro is a
master musician with enough technical power to
make the music dance from score.

8686
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BEATRICE RANA

Prokofiev: Piano Concerto No 2; Tchaikovsky:

Piano Concerto No 1
With Orchestra dellAccademia Nazionale di
Santa Cecilia/Antonio Pappano (con)
Warner Classics 0825646009091

Goodness! Beatrice Rana is

just 22, and for her first
concerto disc she is playing
two of the most mammoth
concertos. Just to play all
the notes in the Prokofiev,
not least the enormous
first-movement cadenza, is a behemoth task. But
Rana is fearless. If her approach is on the lighter
side such as in the first movement, where her
elegant Baroque phrasing adds some sparkle to the
gruff Prokofiev her powerful partner in Antonio
Pappano pushes the concerto forward with force.
In the Tchaikovsky, Pappano lets his orchestra
take a lead role, but Rana feels no threat from the
strong brass section and can easily make her voice
heard without ever making harsh sounds. Most
successful is the tender second movement where
one hears her more tender side. Lets hope we get
to hear more of that in her next release.

YEVGENY SUDBIN

Medtner: Fairy Tales (selection), Sonata Tragica

op 39 no 5, Sonata-Reminiscenza op 38 no 1,
etc; Rachmaninov: preludes from op 23 and 32
BIS Records BIS-1848

Yevgeny Sudbin has already

recorded Medtners three
piano concertos, so it comes
as a pleasure to hear him in
the solo piano works, where
his razor-sharp articulation
and rhythmic stamina comes
brilliantly to the fore. He is no sentimentalist,
though. Other pianists have milked the SonataReminiscenza, yet none has a better sense of
proportion. The selection of six Rachmaninov
preludes are up against very stiff competition,
however Sudbin has his own idea about each one
and he is free of exaggeration or idiosyncrasies.
I especially enjoyed his gutsy unsentimental way
with the G minor opus 23 no 5 and the D flat
opus 32 no 12. And they come as a nice contrast
to the opening Medtner work, the Prologue from
Stimmungsbilder opus 1, which shows Sudbins
more, introverted side. All in all, a well thoughtout selection of two Russian romantics.

NADEJDA VLAEVA

Bortkiewicz: Piano Sonata No 2 op 60;

Fantasiestcke op 61; Jugoslavische Suite op 58;
Lyrica nova op 59; etc
Hyperion CDA68118

Some five years back,

Hyperion released its first
disc by Bulgarian pianist
Nadejda Vlaeva, featuring
Bach Transcriptions. It was
a great success and I am
delighted to see her back
for this second recording. The five stars are for
both the repertoire and the gentle persuasive
way Vlaeva plays this sadly way-too-little-known
late-Romantic Russian. The sound of the piano
is not up to five stars, but this concern is
outweighed by the musicality and the convincing
playing. If you like Rachmaninov, or you just
love big lush romantic harmonies in general
(think of Korngold and Hollywood movies of
the 1930s), you will adore these confectionary
cakes with over-decorated icing that Bortkiewicz
indulges you with. This is a disc to return to,
and every time with more and more joy. More
Bortkiewicz, Hyperion we cant get enough!

87 Pianist 89

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BOOKS MARKED WITH AN * ARE AVAILABLE AT THE

PIANIST DIGITAL STORE pianistm.ag/digitalshop

REVIEW

Sheet music

Elegant new Ravel editions, Einaudi lm music, minor-key mysteries from Breitkopf,
Nortons Eastern Preludes volume and more in Michael McMillans round-up

EINAUDI

Elements; Film Music

Chester Music
ISBN: 978-1-78558-084-0
(CH84205) (Elements);
-78305-977-5 (CH83677)
(Film)
The mysterious illustrations
on the rather sinister front cover of Einaudis
Elements turn out upon closer inspection to be
an assortment of musical, mathematical and
chemical symbols integrated into a natural
landscape. Drawn by the composer, it is a
pictorial representation of the ideas Einaudi has
sought to express in the 12 pieces in the book.
Almost all the pieces benefit from instrumental
backing on the CD of the same name, and
although the hypnotic music will appeal to
Einaudi fans, the solo items (e.g. Song for Gavin)
will naturally sound the best at the piano.
Einaudis minimalist style is well suited to films,
and 17 of his pieces from films as diverse as
Intouchables, Insidious and This is England have
been collected into the Film Music volume. An
ideal gift for a film buff pianist, but note that all
the pieces except The Water Diviner have also
been published in other volumes.

RAVEL

Pavane pour une infante

dfunte; Sonatine
Henle ISMN: 979-0-20181260-1 (HN1260) (Pavane);
-1018-8 (HN1018)
These are Henles first editions
of two of Ravels most popular
piano works. The Pavane,
often heard in its orchestral form, was originally
composed for piano solo in 1899. It sounds
simple but turns out to be deceptively tricky to
play. It is laid out over five pages in this edition,
and helpful fingering and hand distributions by
the celebrated French pianist Pascal Rog are
included. The three-movement Sonatine, written a
few years after the Pavane, was conceived for a
competition that required entrants to compose
the first movement of a piano sonata in F sharp
minor. It is presented here on 15 oversized pages;
Ravels fingerings are printed and translations of
the French terms are noted at the back.

RAVEL*

Valses nobles et sentimentales

Brenreiter ISMN: 979-0006-52586-7 (BA10826)
Ravels intention to write a
succession of waltzes after
Schuberts example resulted in
the eight pieces that make up his
Valses nobles et sentimentales (a
name that pays homage to Schuberts Valses

nobles and Valses sentimentales).This new Urtext

edition has been prepared by Nicolas Southon
(a co-editor of Brenreiters Complete Works
of Faur), whose impressively detailed research
is apparent in the critical commentary. You
will also find golden nuggets of performance
suggestions gleaned from pianists closely
associated with the composer, such as Lucien
Garban, Vlado Perlmutter and Henriette Faur.
Fingerings and performance notes are provided
by Alexandre Tharaud, the French pianist who
has recorded Ravels complete piano works, and
page turns are ideally located. Brenreiters
characteristically clear layout and a glossary on
the back page of all the French terms round off
a superlative package.

PIANO MIX BOOKS 1, 2 & 3*

Compiled and edited by

David Blackwell
ABRSM
ISBN: 978-1-84849-864-8
(1); -865-5 (2); -866-2 (3)
There was a time not
so long ago that the
ABRSMs piano exam
syllabuses didnt include
arrangements of music written for other
instruments. Now they do, because people have
created arrangements that are pianistic, have
pedagogic value and dont sound like cheap
imitations of the original. These three books,
each containing about 25 pieces, underline the
ABRSMs endorsement of the genre. No fewer
than 19 arrangers have written music for the
volume that sounds good, fits comfortably
under the hand and matches the level for
which it is written. A selection of these pieces
will surely make their way into the ABRSMs
exam syllabuses in time. The only slight
disappointment is that these books dont include
music from films or musicals, but let this not
detract from an excellent series.

J S BACH*

Seven Toccatas; Overture

in French Style; Chromatic
Fantasy and Fugue
Alfred ISBN: 978-14706-2282-4 (Toccatas);
-1789-9 (Overture);
-2279-4 (Chromatic)
Hans Bischoff (1852-1889)
was a German pianist, teacher and editor. He
studied piano with Theodor Kullak, taught the
piano and theory at Kullaks school, and was a
respected music editor Grove describes his
editions as exemplary for their time. The three
books reviewed here contain newly engraved
extracts from the seven volumes of Bachs
keyboard works that Bischoff edited for the

Steingrber publishing house. Bischoffs helpful

footnotes and editorial markings (dynamics,
fingerings, articulations) have been carried over
and suspected omissions have been added in
square brackets. These are all advanced works
(several of the Toccatas and the Chromatic
Fantasy and Fugue appear on diploma lists),
so some may find the editorial additions
distracting and might prefer Henle or
Brenreiters Urtext editions. For those who
would appreciate a little assistance, however,
these inexpensive editions will appeal.

PIANO MISTERIOSO

Barbara Arens
Breitkopf
ISMN: 979-0-004-18473-8
Breitkopf has published One
Hand Piano and 21 Amazingly
Easy Pieces by Barbara Arens
(b.1960). This newest volume,
Piano Misterioso, contains 28 pieces in minor
keys, ranging in difficulty from Grade 1 to
Grade 4; most of them are one page long. The
composers experience as a piano teacher is
reflected in her sympathetic writing for students
with small hands, and the Latin titles of all the
pieces (e.g. Insula in nubibus island in a cloud)
will appeal to a students imagination. All but
two of the pieces are marked to be played with
pedal, and the music is easy to grasp and listen
to, but many pieces will require a sensitive
performer to bring out the musics character
successfully. Seven of the pieces are available to
sample at www.breitkopf.com.

EASTERN PRELUDES

Christopher Norton
Boosey & Hawkes
ISMN: 979-0-060-13083-0
(BH13083)
Christopher Norton is best known
as a composer and educationalist
with his Microjazz series, but
his two Concert Collections and contributions
to the Boosey & Hawkes Solo Piano Collection
demonstrate his excellence as an arranger.
Eastern Preludes contains 14 arrangements of
native themes from the East, most of which are
three or four pages long and around Grade 6-7.
The Japanese tune, Sakura, may be known to
some Western piano students, but I doubt the
other tunes (such as Samalindang from Brunei or
Bang Chhun-hong from Taiwan) will be familiar.
No matter, because Norton has a knack of
writing in a distinctive style and attractive
harmonic language, and students will surely
find it difficult to resist the lyricism of Arirang
(from Korea) or the dynamism of Ya, Ya, Maya, Ya
(from India). The enclosed CD features
exemplary performances by Iain Farrington.

8888
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