Pianist No75 - December 2013 - January 2014.pdf

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Pianist 75

CONTENTS

December 2013 - January 2014 The next issue of Pianist goes on sale 24 January 2014

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68 4 Editor’s Note 4 Competition Three lucky winners will receive a copy of the book Ornamentation: – invaluable A & Answer Manual forQuestion understanding your trills and turns

6 Readers’ Letters 8 News Pekinel sisters on stage in Istanbul, Bösendorfer’s anniversary extravaganza, celebrity amateur pianists play Schumann, award for Jeremy Denk and more 12 Expert Talk Christian Blackshaw on the special touch needed for Mozart, Tim Stein on finicky fifth fingers in his Q&A column and the PTA on the meaning of ‘overstrung’ 14 Jools Holland Erica Worth talks with the modern king of boogie-woogie at his famous recording studio, and discovers that even if Jools loves what he plays, he still makes the time to practise arpeggios 18 How to Play Masterclass 1Mark Tanner on a singing cantabile style 20 How to Play Masterclass 2 Graham Fitch on improving trill technique Don’t miss Graham’s online lessons!

22 How to Play 1 Janet Newman on Grieg’s ‘Lonely Wanderer’ (Scores page 38)

24 How to Play 2 Lucy Parham on Clara Schumann’s Notturno (Scores page 59) 27 The Scores A pullout section of 40 pages of sheet music all levels. Plus Tim Stein on his newfor ‘Basics of Learning the Piano’ video lessons Don’t miss Tim’s online lessons!

45 Beginner Keyboard Class Hans-Günter Heumann’s third lesson: An introduction to pedalling 67 How to Play Boogie-woogie Christopher Norton offers up a step-by-step lesson on his Feelin’ Boogie-woogie, written exclusively for Pianist (Scores page 31) 68 History of Boogie-woogie Ever wondered where boogie-woogie srcinated? Gez Kahan catches a steam train back in time to Texas and the ‘barrel house’ pianists

78 78 Piano Round-Up Part 2 of our annual ‘best of’ uprights, grands and digitals – for all tastes and all budgets (Part 1 appeared in the last issue) 82 Subscribe today for just £4.50 an issue by Direct Debit and receive a FREE e Classical Piano Method book, worth up to £12.99 84 CD Review It’s Beethoven only in this issue, with 5 stars for newcomer Igor Levit 86 Sheet Music ReviewA two-page special with Christmas presents in mind: music for the beginner, intermediate and advanced player. Plus duets, learning books, non-classical and much more 88 Classifieds 90 Back Issues

72 Learn Jazz! If the Jools Holland interview and the boogie-woogie history article have whetted your appetite, how do you get to play like that? Inge Kjemtrup points you in the right direction

74 Charles-Valentin AlkanAlkan’s 200th anniversary has been overshadowed by Verdi and Wagner. Mark Viner’s article on this French Romantic composer makes him shine once more

Cover photo: © Mary McCartney - LGA. Images this page: © Mary McCartney - LGA (Holland). Notice: Every effort has been made to secure permission for copyrighted material in this magazine, however, should copyrighted material inadvertently have been used, copyright acknowledgement will be made in a later issue of the magazine.

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Editor’s note

I

t’s a dazzling end of the year for Pianist, what with the high-energy Jools Holland as our cover star. With his unique boogie-woogie style of playing some might say he’s not our usual type of cover artist, but as Jools tells me in his exclusive interview, ‘In music there are no rules.’ Indeed, the rules of music must be flexible, for even if they say the two worlds of classical and jazz don’t meet, once you’ve read what Jools has to say you’ll see there’s a lot of common ground. No matter what style you play, you have to practise and perfect your technique (even Jools admits to doing the odd arpeggio warm-up), and no matter whether it’s classical or jazz, the more you work on something – whether it’s sight-reading, improvising, pedalling or trills – the better and more quickly you’ll get to grips with it. Trills and ornaments are the topic of Graham Fitch’s masterclass on page 20. Read his article and then watch his video lesson on our website. In his article, Graham mentions Ornamentation, a fantastic book that I own myself and refer to all the time. (We’re giving away three copies of the book this issue – see competition on this page.) ere are many thrilling trilling moments inside this issue’s scores, particularly in the pieces by Galuppi, Clementi and Haydn. e Galuppi is a real gem. I stumbled across it when I saw a film of the great Michelangeli play it. Building on the inspiring interview with Jools, we’ve included several articles on jazz and boogie-woogie this issue. Christopher Norton has written a boogie-woogie piece especially for us (page 31) and presents a lesson on how to play it on page 67. Gez Kahan looks at the amazing history of boogie-woogie, with its steam trains and ‘barrel house’ pianists, on page 68. Improvising is addressed in Inge Kjemtrup’s article (page 72) on getting started with learning jazz, an invaluable read for those who would like to learn jazz but don’t know where to start (the art of improvising is a handy tool for classical pianists as well, as a reader letter this issue reminds us). Jools might be media savvy, but the French Romantic composer Charles-Valentin Alkan certainly wasn’t. He was a bit of a recluse, but some of his piano music is ravishing, and sadly overlooked. Read Mark Viner’s article about the man and his music on page 74, then learn Alkan’s ‘Petit air dolent’ in Scores. I’m hoping that by the start of 2014, your trills will have improved, you’ll be dabbling with improvising and you’ll be spending that first five minutes of your practice time on technical exercises. I think that’s enough to be getting on with, don’t you? P.S.ere

are now over 50 video lessons on the (at www.pianistmagazine.com). Tune in!

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www.pianistmagazine.com PUBLISHER Warners Group Publications plc Director: Stephen Warner Publisher: Janet Davison EDITORIAL 6 Warrington Crescent, London, W9 1EL, UK Tel: +44 (0)20 7266 0760 Fax: +44 (0)20 7286 0748 Editor: Erica Worth [email protected] Deputy editor: Inge Kjemtrup [email protected] Designer: Nathan Ward ADVERTISING Gareth Macfarlane, Advertising manager [email protected] Natalie Tuerena, Advertising executive [email protected] Tel: +44 (0)845 226 0477 Fax: +44 (0)845 226 0377

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WIN A COPY OF THE BOOK ORNAMENTATION Answer the question below correctly, and you could be one of three winners to receive the book Ornamentation: A Question & Answer Manual

In his interview, who does Jools Holland state as his first musical influence? A: Count Basie B: Richard WagnerC: His uncle Dave ENTER ONLINE ATWWW.PIANISTMAGAZINE.COM

Postcard entries are also accepted. Please send to Erica Worth, Editor, COMP PIA0100, Pianist, 6 Warrington Crescent, London W9 1EL, UK. Competition closes 24 January 2014. Quote PIA0100, and remember to put your name, address and telephone number on the postcard as well as your answer. Answer to the page 4 competition Pianist in No 73: C (Amsterdam). Congratulations to the three lucky winners: Bridget Macrae (Guernsey), Angie Tse (Berkshire), Donna van Marion (Lincolnshire)

4 Pianist 64 •

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News

All the latest news from the world of the piano

ONE R EMARKABL E GIFT, ONE REMARKABLE HALL

Anonymous £10m gift funds new concert hall in Saffron Walden

GLITTER AND GOLD

AT BÖSENDORFER’S 185TH ANNIVERSARY CONCERT e Austrian piano maker Bösendorfer presented a dazzling 185th anniversary concert on 22 October in the Brahms Saal of Vienna’s Musikverein (pictured above). Pianist Editor Erica Worth attended the concert, during which an array of pianistic talents touched the keys of two special Bösendorfers. first half of Grante the concert pianists Paulvery Badura-Skoda, Valentinae Lisitsa, Carlo and saw others perform works on the concert grand Model 280. At the start of the second half, a ballet troupe unveiled the second piano and star of the night – the Bösendorfer Opus 50,000 – an art case piano of neo-classical design with gold leaf mouldings inspired by Danish architect eophil Hansen and Anton Grosser, designer of the ornate Bösendorfer grand for the Paris exhibition in 1867. Jazz pianist Marialy Pacheco took hold of the Opus 50,000 and seemed to enjoy it immensely. e evening came to a rhapsodic end with the Janoska Ensemble performing Monti’s Czardas. For journalists and other guests, the concert capped a full-on day of anniversary activities including a press conference by Bösendorfer Managing Director Brian Kemble, followed by a tour of the factory in nearby Wiener Neustadt. While there, Worth managed to try out three huge Imperials, hoping to sneak one back with her on the plane. A full report appears in the next issue of Pianist.

anks to a gift of £10 million from an anonymous music-loving donor, an Essex comprehensiv e school has been able to build a state-of-the-art, 730-seat concert hall that opens on 30 November. Saffron Hall was designed for Saffron Walden County High School by the Tooley & Foster Partnership with acoustics by Paul Gillieron. With the acoustically excellent hall in place and attracting professiona l performers, the school plans to launch a specialist music academy in the next academic year. Master of the Queen’s Music Peter Maxwell Davies has composed a fanfare for the opening concert, which features the Britten Sinfonia, conducted by Christopher Hogwood, soprano Barbara Hannigan, tenor Mark Padmore and pianist Imogen Cooper. e opening concert is part of a weekend of inaugura l events for the hall. On 1 December, the school hosts an Open Day, which is your chance to tour the new facilities and enjoy free concerts, workshops and displays by local music and arts organisations. Entrance is free with a day pass that can be booked via the Saffron Hall website. To find out more about Saffron Hall or to book tickets, go to saffronhall.com

CELEB RATING 100 Y EARS PIANOFORTE TUNERS’ ASSOCIATION When the Pianoforte Association founded in front 1913, every respectableTuners’ home had a piano (PTA) takingwas pride of placeback in the parlour. Piano tuners and technicians were greatly in demand to keep these much-loved household icons in tip-top shape. e PTA was founded to ensure that those tuner and technicians kept to the highest standards. In 2013, the PTA has been celebrating its 100th year in a low-key and steady way befitting an organisation made up of a body of professionals who are often the unsung heroes of the musical world. If the number of pianos in private homes has declined over the past 100 years, the PTA has nonetheless stuck to its srcinal goals: to ‘promote the importance of high professional standards of proficiency and help raise those standards, to educate the public on the need for regular, skilled tuning and servicing while bringing together piano tuners and technicians for mutual protection and benefit.’ Tuner and technicians who use ‘MPTA’ after their names have passed three difficult exams, and those new to the field must work for at least five years after their training before they can be considered for membership . To find an expert tuner/technician in your area, visit pianotuner.org.uk

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Winter wonders: Angela Hewitt, Francesco Piemontesi, Simon ceski Trpˇ

HOT TICKE TS

Winter concerts to warm you up During December (because of Christmas and New Year) and January (because of recovering from Christmas and New Year), holiday-themed programming means that the ‘serious’ concerts take a back seat. A festive holiday concert always brings a cup of cheer, but if you’re in search of something a bit more bracing, where do you turn? Happily, this year there are some excellent concerts that should help you through the bleak midwinter. At London’s Wigmore Hall, András Schiff continues his fine 60th birthday series with his hugely popular recitals of Bach and Beethoven (14, 18 & 21 Dec), while another Wigmore favourite, Angela Hewitt , plays two Beethoven sonatas and two of Bach’s English Suites (8 Dec). Interesting turns from a younger generation at Wigmore come from Francesco Piemontesi (16 Dec; Schubert and Debussy) and Roman Rabinovich (10 Dec; Haydn, Ravel and Chopin). Over at the Southbank Centre, there’s a rare chance to hear pianistcomposer György Kurtág and his pianist wife Márta in a duo recital – his own music and Bach are on the menu (1 Dec). e International Piano Series is still under full sail with recitals from Till Fellner (10 Dec), Boris Berezovsky and Martin Helmchen (28 Jan). For something refreshing, try(14 theJan) dynamic match-up of composers and young musiciansreally that is the Park Lane Group week (6-10 Jan). At the Barbican Centre, Evgeny Kissin’s performance of Tchaikovsky’s First Concerto may be sold out (19 Dec), but you can still catch Murray Perahia and the Academy of St Martin in the Fields in Beethoven’s Emperor Concerto (11 Dec), Simon Trpčeski in Prokofiev’s First Concerto or Maria João Pires in Schumann’s Concerto (21 Jan). Kings Place is in the midst of a season-long series of concerts of the 50 ‘most-loved pieces of chamber music in the repertoire’. Whether you agree with the chosen 50 or not, you can take advantage of some of the performances, which includes Elgar’s Piano Quintet with Benjamin Frith and the Dante Quartet (17 Jan), Schubert’s ‘Trout’ Quintet with the Schubert Ensemble (5 Feb) and Ravel’s exquisite Piano Trio with Adrian Brendel, Andrej Bielow and Aleksandar Madzar (19 Feb). But if it is still wacky seasonal fun you’re after, then you’ll want to head to Lincoln Center in New York, where the wild musical comedy duo of Igudesman & Joo (see profile in Pianist No 73) will see in the New Year (31 Dec) with an energetic concert. For tickets and information, visit wigmore-hall.org.u k, southbankcentre.co .uk, barbican.org.uk, kingsplace.co.uk and lincolncenter.org

News

All the latest news from the world of the piano

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At the keyboard: MP Ed Balls, actor Juliet Stevenson, actor Edward Fox

From the harpsichord to the fortepiano, from the modern grand piano to the latest digital instrument, the sounds of the keyboard are impressively rich and complex. Now, by connecting your digital keyboard to a computer that’s running Pianoteq software, there’s a way that you can tap into that rainbow of keyboard sound and colour. Based on academic research at the prestigious Institute of Mathematics in Toulouse, France, Pianoteq is a physical modelled software instrument for MacOS, Windows and Linux x86. e tiny system footprint and powerful innovative features have made it a popular choice among composers, producers and pianists. Just install Pianoteq on your laptop and connect it to your digital keyboard to start enjoying the vast selection of beautiful-sou nding instruments. In addition to acoustic pianos, Pianoteq also offers digital keyboards (Rhodes, Wurlitzer, Clavinet, CP80), chromatic percussions (vibes, marimba, xylophone, celesta, hand pans) and a wide selection of historical keyboard (pianofortes, cimbalom). latest additions instruments include an upright pianoharpsichords, and a Blüthner Model 1 e grand piano, authorised by Blüthner.

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are delig Modartt, the producers of Pianoteq, nce to win offer readers of Pianist magazine the cha Pianoteq Pro n versio nced va d a most the of ce one licen ner Model 1 along with the add-on instruments Blüth C5 Rock piano – grand piano, U4 upright piano and Y a bundle worth 526 euros (£447). ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM Answer the question below correctly and you could be the lucky winner! In which country was Pianoteq developed? A. USA B. Germany C. France Postcard entries are also accepted. Please send to: Pianist Competitions Department, COMP PIA0099, Warners Group Publications, Fifth Floor, 31-32 Park Row, Leeds, LS1 5JD. Competition closes 25 January 2014. Quote PIA0099, and remember to put your name, address, email and telephone number on the postcard as well as the answer.

To learn more about Pianoteq, go to www.pianoteq.com

10 Pianist 75 •

A CARNIVAL OF CELEBRITY AMATEUR PIANISTS IN LONDON What do actors Juliet Stevenson, Edward Fox and Simon Russell Beale, Labour MP Ed Balls and journalists Alan Rusbridger and Richard Ingrams have in common? ey are all friends of concert pianist Lucy Parham and all of them are keen amateur pianists. Parham has rounded up 13 celebrity amateur pianists to each play a movement from Schumann’s durable Kinderszenen (Scenes from Childhood) at Kings Place, London, on 8 December at 11.30am. e Kinderszenen play-in will be followed by an equally star-studded performance of Saint-Saëns’ Carnival of the Animals . is concert is the first of a new Kings Place series of Sunday morning coffee concerts devised by Parham. On 26 January, Martin Jarvis recounts the scrappy tales of Just William with the help of pianist Richard Sisson (formerly of Kit and the Widow) and on 14 AlexFirst Jennings, Andrew and pianist IainFebruary Burnsideactor explore Worldtenor War poets andKennedy composers. Parham, a regular Pianist contributor, has also launched a Sunday afternoon series at St John’s, Smith Square, in London. e new Sheaffer series features Parham’s Words and Music concerts, including Beloved Clara (19 Jan; about Clara and Robert Schumann and Brahms) and Odyssey of Love (16 March; about Franz Liszt).

For more information on these concert series, visit www.lucyparham.co m

Holocaust survivor makes symphony debut in Boston In the Nazi prison camp of Terezin, imprisoned Jewish musicians were allowed to present concerts and compose. Although many of them perished in the Holocaust, some of the stories and the extraordinary music of Terezin has endured. One Terezin survivors, the now 90-year-old pianist George Horner, stepped on the stage of Boston Symphony Hall on 22 October to perform songs by Terezin composer Karel Svenk with the cellist Yo-Yo Ma. Horner had played these songs in the camp on the piano and on the accordion. e concert came about following a chance encounter between Horner and Terezin Music Foundation director Mark Ludwig. Horner, a retired doctor from Pennsylvania, was asked by Ludwig to perform the Svenk songs with Yo-Yo Ma at a benefit concert for the Foundation in Boston. Horner’s first reaction on being asked to play with Ma was disbelief: ‘I couldn’t believe it because it’s a fantastic thing for me,’ he told Fox News. ‘To have transcended the most horrible thing and to be able to be positive… is the great testament to the human spirit,’ remarked Yo-Yo Ma after his performance with Dr Horner.

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MacArthur Fellowship for American pianist Jeremy Denk

Concert pianist and writer Jeremy Denk (above) has been awarded a MacArthur Fellowship, a prestigious ‘no-strings-attached’ honour that will give him $625,000 spread out over five years. e Fellowship is described as ‘seed money for intellectual, social, and artistic endeavours’. ough possibly best known outside of the US for his partnership with violinist Joshua Bell, this self-admitted ‘piano nerd’ balances out his solo forays into Bach, Ligeti and other ‘transitional’ composers with thought-provoking essays on music for the New Yorker magazine, liner notes for his CDs and a much-admired blog, ink Denk. As the MacArthur Foundation site noted, Denk’s writings ‘not only offer poignant and humorous meditations on such subjects as the complex relationship between protégé and mentor, they also demonstrate the connection between the process of writing and the practicing musician’s ceaseless efforts to find the most vivid and meaningful way to bring a particular phrase to life.’

DOUBLE VISION At the season opening concert for the Borusan Istanbul Philharmonic Orchestra on 10 October, not one but two pianists were in the spotlight: Turkey’s famous piano duo (and identical twins), the Pekinel sisters. ey performed Mendelssohn’s Concerto for Two Pianos in E major with Borusan’s Artistic Director and Principal Conductor Sascha Goetzel at the helm. As the photo shows, the Pekinels arrange their pianos parallel to each other, but with one instrument in front – which means they can’t really see each other, or the conductor. Pianist Editor Erica Worth attended the concert, and afterward asked Güher Pekinel about the unusual seating arrangement. ‘We don’t have to look at each other when we play,’ replied Güher. ‘We feel it instinctively. And with such a high-class orchestra and conductor – it works.’ More on the Borusan Istanbul Philharmonic Orchestra in a future issu e.

“

EXPERT TALK The pros share their views Q&A

with Tim Stein

”

When I play chromatic runs or scale passages, I notice that my fifth fingers straighten or curl under my hand. Is this something I should worry about?

Watch certain concert pianists such as Brendel and Fleisher when they play, and you may notice that in scale passages or chromatic runs their fifth fingers are outstretched or curled inwards. It is a common misconception that the only way to play such passages is with your fingers in this position. When we play, we want to be as tension free as we possibly can, and by trying to imitate another style of playing, we end up causing even more stress. e ideal placement of the fingers on the keys should be a ‘down’ position, meaning all the fingers should be pointing down towards the keys. Your arms should be loose from the top of the shoulder to the tips of the fingers, and they should be free to travel across the torso. One of the reasons that the fifth fingers have a tendency to straighten or curl under is because the arms are too fixed, allowing little flexibility of movement. Of course we are all built differently, and in some cases it is simply a case of the hand and fingers finding their most natural position that causes some fingers to move in strange directions. ere simple things that you canare, tryhowever, to do to some help overcome the so-called ‘riddle’ of this wayward finger. Start with a very simple five-finger position (e.g. C-G) and practise just raising the fifth finger a little (but not too much so as to cause unnecessary strain), counting 1 as you lift and then dropping down on to the key on 2. Don’t worry about making a sound, as the idea is to develop independence and freedom of movement. en take a simple scale and practise it just with the fifth finger alone. e important thing is to keep the hand in as relaxed a position as possible, with wrist flexible, knuckles rounded and fingers curved. In the end, getting too stressed about your fifth fingers will lead to even more tension, so if you are not being too restricted by their strange movements and they don’t impact too severely on your playing, don’t worry too much about it. Go to www.pianistmagazine.com to watch Tim’s online piano lessons for beginners and visit Tim’s website at www.pianowithtim.com

WRITE TO:The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK OR EMAIL:[email protected]

PIANIST AT WORK

Christian Blackshaw

The British pianist talks about studying with Clifford Curzon, performing the complete Mozart sonatas at Wigmore Hall and preparing for ‘lift-off’ in performance What are your thoughts on the comple te Mozart sonata cycle, which you performed and recorded live at Wigmore Hall last season? I have lived with these works for many years. I first tried to play the sonatas in a cycle in 1995, and since them I have picked them up and put them down. I have approached them in much more of a vocal point of view. So much of Mozart’s music is written with the voice in mind. It has always fascinated me how one can become a voice at the piano – a percussive instrument – and how one can make the piano sing. Do you need a particular touch to play Mozart’s music? Yes. It’s somethin g that you can’t learn. You have to be born with it. Mozart can sound mechanical and over-studied. In order to portray the essential beauty of these great undervalued pieces you possibly need a special touch. ere nowhere you a can hide. In Mozart youiscannot attack note falsely. It has to be ‘here is the extraordinary touched by God’. Which are your favourite Mozart sonatas? Impossible to say! ere are slow movements that are truly hymns from heaven, such as the second movemen t of K570. It is one of the most sublime movements that Mozart wrote. e A minor Sonata [K310], which was said to have been written when his mother was dying, is so touching. e older I get, the more reverence I have for these genius composers such as Mozart. He could write an opera, a concerto, a symphony – there is beauty in everything he wrote. ere are also moments of huge wit, humour and laughter, but then again there’s lots of contemplation, sadness, and spirituality. You studied with Clifford Curzon. What did he teach you?

Where do I begin! His approach to the keys was so magical. It’s not only in the playing – it’s the thought before you put your hands on the keys. I think he recognised himself in my approach, sensing things in quite a similar way. I was so flattered and forever grateful that he spent quite a lot of time with me. To my mind, Clifford could play ree Blind Mice backwards, and it could still be magical! He could show you a path you never quite thought of. I understood completely how he did what he did. Anyour advice arethere learning the piano? It’s dutyfortoreaders follow who what’s in print. I always search to make the piano sing, especially in the slow movements. And just to prepare a ‘lift-off’ in a performance. When you are practising, that’s only to enable you to have a much more solid foundation on which to give a performance. I don’t think performance should be a replication of practice. A performance should be a spontaneous and instinctive representation of that moment in time. You never know how well you prepare for something, how it’s going to turn out. Lights, piano stools, noises – things can go wrong. e joy (and the challenge) is to make the music live in that moment.

e first volume of Christian Blackshaw’s Mozart Piano Sonatas series was released on Wigmore Hall Live in September (WHLIVE0061/2 (2 discs)). e second disc in the series is due to be released at the end of 2014.

UNDER THE LID

Top tuners and technicians from the Pianoforte Tuners’ Association (PTA) tackle your instrument queries What exactly does ‘overstrung’ mean? It is generally accepted that the bigger pianos with their longer bass strings produce bass sounds preferred by composers and concert pianists. In an upright, bass strings can be made longer by placing them roughly top left to bottom right. is is only physically possible (for approximately the lowest

third of the notes) if the bass strings are not in the same plane as the treble strings but slightly nearer the player. Many strings therefore cross over each other, giving rise to the expression ‘overstrung’. is is a positive thing! Gordon Nelson, MPTA Turn back to the News pages to read about the PTA’s 100th anniversary.

12 Pianist 75 •

tt o n K e i b r e H ©

13 Pianist 75 •

INTERVIEW

COOL JO O L S A fixture on UK television and radio with his boogie-woogie piano playing, jovial personality, and banter with other musicians, Jools Holland really does love what he plays. Erica Wor th meets the high-energy star

14 Pianist 75 •

I

t’s a balmy day at the end of summer, and I’m sitting in a tranquil room in a Greenwich recording studio, with not just one recording device facing my soon-to-arriv e interviewee, but three. Yes, when you’re offered the opportunity to interview Jools Holland for a 20-minute session face-to-face at his famous studio, Helicon Mountain, you come prepared. Jools bounces in, right on time, looking quizzically at my neat row of recording contraptions. In fact, the first thing he says is that he likes the way that I’ve propped one up on a nice piece of tartan cloth. He looks just like he does when I’ve watched him on the television: the bright open smile, relaxed manner, informal attire. Jools might be relaxed, but I’m not, as I’ve only got those precious 20 minutes with him. But he says there’s no rush at all. Phew. I like him already. For those of you unfamiliar with the name Jools Holland, he’s the British pianist, bandleader and TV presenter – oh, and ‘king of boogie-woogie’. And he’s busy. As you flick leisurely through this magazine, Jools will be whizzing around the UK with tour dates in London, Newcastle, Birmingham, Manchester, Nottingham, Cardiff, among other places. He has his BBC Radio 2 programme on Monday nights at 11pm and of course his famous show Later… with Jools Holland , which appears on Friday evenings on prime-

A G L ye artn cC M rya M @ : 6 1 eg a p o t o h p d n a o t o h p n ia M

time TV 42 Hootenanny series to date). forget his(some cult-like , theDon’t annual TV show that sees in the New Year. at show hits the 20-year mark this year and I’d imagine he’s preparing for it already. No wonder I’ve been allocated only 20 minutes with Jools. I’m here to talk piano playing. I want to know how he has created his ‘once heard, never forgotten’ style. What’s his secret? It all began, as it often does, with the influence of something or someone. Jools tells me, ‘e first thing that I remember was hearing my Uncle Dave play boogie-woogie.’ (Uncle Dave played bass in a blues band called the Planets.) ‘It was fascinating, particularly the staccato and percussive way that he played it. His left-hand style was the same as the left-hand style Ray Charles had learned from an old man in his town, and the same left hand that Dr John’s aunt ha d shown him! Obviously, it must have had the same sort of effect on lots of people. Hearing Dave play stimulated me to want to learn boogiewoogie mu sic and piano music. ‘We also had a 78rpm recording of Sheep may safely graze and I thought, “I’d like to learn that on the piano.” I also remember liking Beethoven’s “Pastoral” Symphony. I tried to figure out if there was a piano version of it,

Jools with his Clavinova in his Greenwich studio

which there wasn’t (I found one the other day made by Ashley Wass – it’s great). It was the piano and the piano sound that I loved. Unwittingly, at about age eight, I had chosen the right instrument: I think the piano is the best tool for writing music on. Everything is laid out in front of you. ‘e first album I bought was a boogie-woogie album with Pete Johnson and Albert Ammons doing duets, and Jimmy Yancey doing blues. Jimmy had this incredible feel for the blues. For me, it’s about finding the person who

The big Squeeze

connects the music to you. It could

be your aunt playing the “Moonlight” Sonata that you love the best of all. Brendel won’t mean the same to you! It’s finding something that connects. e more you look, the more you will find.’ So far, our conversation has been a lot about ‘feel’ and ‘connection’. What about the more technical theory aspect of music? Did Jools learn to read music? ‘I didn’t really read music. I learned the theory of music, which I found very useful. I learned the chords, ah yes, from dear Mr Pixley in school.’ Jools

to put others the limelight more than himself. eninthere’s his famous 18-piece Rhythm & Blues Orchestra, which started its life on a smaller scale in 1987 as the duo outfit Big Band (just Jools and Lavis). Jools obviously enjoys communication with other musicians but he also wants time to sit down to practise alone. Practising, and perfecting his style, have clearly been one key to his success. ‘Ultimately, the real thrust of it is that you can only teach yourself. You have to start off by playing what you love and loving what you play. en as you evolve you have to play what you mean and mean what you play – that is, you have to be confident about it, and clear, and play your own thing. Whoever you listen to, whether it’s Chopin or Fats Waller, you’re never going to sound the same as someone you’ve listened to. Two people cannot be identical. It’s like

was the only pupil who opted for music in his school. at might sound odd, but remember, this was Deptford, South London in the 1960s. ‘en there was a jazz pianist called Duke Burrell and he showed me a chord, a great chord. ere were pianists along the way that showed me great things, new riffs and so on. ey were all useful and helpful.’

two voices – no two voices can sound the same. You need to be inspired, but ultimately you have to make your own thing up. ‘One thing I learned is that if you want to play something and you really love it, that’s what you should try to play. Don’t bother with those you don’t like. If you play what you love, you  will learn it much quicker. e other

‘If you play what you love, you will learn it much quicker’

15 Pianist 75 •

Whether he learned to read music to perfection or not, Jools’s path to fame seems to have been like a breezy walk in the park. At age 15, he formed the band Squeeze, with Glenn Tilbrook and Chris Difford. ey started off by playing in pubs around the East End, and when Gilson Lavis came on board (he is still Jools’s drummer today), the band began to hit the big time. Jools has since made his name a s a media celebrity – he’s a performer and presenter who at times has seemed

Jools Holland ON HIS TECHNIQUE Do you need a special technique for boogie-woogie and stride piano playing? Stride left hand is more demanding than boogiewoogie because you have to think about it first. For both, though, you have to figure out what the left hand is, and then do it on its own and not think about it. It’s like rubbing your tummy and patting your head at the same time. And then you a re also playing music that’s syncopated. So you are being a drummer as well! That’s the interesting conundrum of learning a piece – exercising your mind to learn and work out all the chord changes – and then forgotting it and letting it go. Are you left-handed? No! What about the pedal? One of the biggest errors in this type of music is the pianist’s use of a sustain pedal. Certainly for boogiewoogie, you mustn’t use it. But in music, Rule No 1 is that there are no rules! Same with stride piano – if you need to use the pedal, do it sparingly. You need to hear the staccato. It won’t sound like a rhythm section otherwise. It will sound more fluent, which is not what you really want. Your left hand has to be like a rhythm section of a band. It wants to be quite choppy to make people dance. Do you find playing boogie-woogie physically tiring? No, not really. But one thing I have learned comes from a comment Stan Greig made to me some 20 years ago (he was a great boogie-woogie and jazz pianist): ‘You play quite hard. Do you want to try to playing a bit lighter? I’ve worked with Count Basie and he used to play quite light’. So I’ve lightened up and I have found it less strenuous. I suppose it’s because I played for years on acoustic pianos that weren’t very loud… and everyone else was.

thing I have learnt is that the more you do, the more you are able to do. Your mind gets in a set way of learning. You become more familiar with the paths that music takes – the chords, the themes etc. e process becomes easier.’ at sounds familiar territory for classical musicians. Haven’t we all been told that if we do our daily sight-reading, we’ll learn music more quickly? As I continue to talk with Jools, it strikes me more and more how there are many parallels between classical music and ‘modern’ (for

ey all have their different purpose. So for touring we have a Yamaha GT7 GranTouch. We use our samples in it to make the sounds even broader. An acoustic piano would be great, but impractical for touring. is one has both the attack and the action of an acoustic. Here [at the Greenwich studio], we have a Yamaha acoustic grand I bought new 25 years ago. We record everything in here on it. Ideally I’d always use an acoustic. Nothing beats that. But I endorse Clavinovas and they are the best in that field. ‘I also have a Wurlitzer spinet that I first saw in a shop in Texas. ey were

want of a better word) styles. I pose the question: do they share common ground? ‘My definition of good music is that if you want to hear it again, that’s a good piece of music,’ he replies. ‘It’s like you think, “What’s that piece? I have to hear it again”. It’s that longing and desire, and as a pianist, the desire to play it. at’s one of the great things that Duke Ellington said about music – the more you look at it, the more faces it reveals to you. Yes, the more you look, the more you are likely to find. ‘ey say the two worlds don’t meet, but it’s all the same thing, that’s the point. It’s music – connecting and communicatin g with people. I suppose with classical music, it’s stricter in that there’s a whole form that has to be gone through. With pop music you can condense it into three minutes. Here’s an example: there was a stride

trying to sell me a new piano, but this Wurlitzer wasn’t very much, and I asked how much to ship it back to Greenwich. ey said something like 150 dollars. A month later I still hadn’t heard and I thought, “Oh well, it will never arrive.” en one day I had a ring on my bell and there it was! At home I have a big Yamaha grand. at piano has the best bass – and it really sings. I also have a Steinway, which was given to my mother-in-law as a wedding present in 1958. I am thinking of having it restored, but I don’t want it to lose its sound. So I’m in a conundrum. It’s like the friend that you love in the corner of the living room – like the family dog. If a certain piano has been with you for a long time, it something special.’ Does a day go by when Jools doesn’t sit down at one of his beloved instruments? ‘Well, sometimes, if I’m

did apianist great called versionDonald of the Lambert Pilgrim’swho Chorus from Tannhäuser. I heard his version and I thought, “What’s that? I want to learn it.” So I got a copy of the srcinal Tannhäuser – and it’s three hours long! But I kept listening to it. How did Lambert end up getting it into such a short bit? I thought there’s no point me just copying him, so we made a threeminute version of it, which will most probably drive the Wagner obsessives mad. But the chords are just great – the changes, the melodies.’

away,’ hewhen admits. I’m much happier I’m‘But playing. en you are in another world. Your requirements are completely different. Your whole spirit has changed into something else. You’re like one of those monks seeking something. Sometimes, though, I have been away somewhere for five days or so – like when I’m on holiday where they haven’t had a piano – and I come back and feel refreshed.’ I feel pretty refreshed too, having spent this inspiring time with Jools. As I gather up my array of recording devices and place them back into my bag, I look at the timer on one of them. Forty-five minutes. Wasn’t I lucky? 

Piano space

Do you play any technical exercises at t he piano?

If you’ve seen Jools on Later… with Jools Holland , you’ll notice that his piano has something of a dual identity. On the show’s set, each guest band has its own perch in a semi-circular setting. Jools himself talks to his interviewee while sitting at the piano (a Yamaha S6). ‘e

Sometimes if I’m finding I’m missing something consistently, I will. An upward glissando is very easy for me, but downwards not quite as concise. Sometimes I will deliberately do a lot of arpeggios up and down, in different keys. Sometimes I notice I’m speeding up, so I will turn on the metronome and really listen. Particularly with boogie-woogie and stride piano (a small part of my live repertoire), it’s all about timing and making people want to dance. Too fast or too slow is no good.

piano in Later is the prop that we use to lean on, to sit against – and you learn far more about the interviewee from what they sing or play. Getting a tune out of them is great. Each band has its space, and my space has a piano where most would have a desk instead.’ So how many pianos does a musician like Jools Holland own? ‘I have roughly seven or eight. Something like that. 16 Pianist 75 •

WATCH ONLINE We’ve rounded up a few of our favourite Jools video clips at www.pianistmagazine.com You can watch Jools giving a Clavinova demonstration at www.yamahamusiclondon .com/jools For more about Jools Holland and all tour dates, visit his website www.joolsholland.com

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17 Pianist 75 •

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play

HOW TO

Making it sing CANTABILE STYLE With the right technique, a pianist’s cantabile can be as persuasive as a violinist’s, says pianist and teacher Mark Tanner, who reveals some of the secrets behind this great illusion antabile, from the Italian verb ‘cantare’, meaning ‘to sing’, is as old as the hills. In an instrumental context we find the term attached to keyboard music from Scarlatti onwards, broadly interpreted as ‘in a singing’ or ‘songlike’ style. It is perhaps ironic that pianists spend so much time emulating singers because for us, a true cantabile remains tantalisingly elusive. It is in the nature of our instrument that from the moment a note has been struck it will start to decay (albeit more slowly than on earlier keyboard instruments). Moreover, for all our talk of tone colour and lyrical style, pianists can essentially control just two things: the speed at which the hammer strikes and the length a note lasts. Granted, we have three pedals with which to stir in additional effects, and for those who possess sufficient

yet pianists might learn something from the Italian composer’s lucid distinction. For our purposes, a reasonable working definition of cantabile might be an invitation to draw out the melodic potential in a piece, i.e. to emphasise its songful, soloistic character above, for example, its potential to sound ‘fiery’ or ‘brilliant’. Applied to Scarlatti’s harpsichord sonatas, cantabile can hardly be taken to mean quite the same thing as it might in a piano piece by Fauré or Chopin. e fact that Scarlatti only sometimes used the term in conjunction with a tempo direction should not distract us from the implicit requirement to choose a moderate, perhaps more leisurely tempo, and to look for ways to elongate phrases rather than spotlight local detail. In Romantic piano repertoire, where musical phrases are frequently less compact or symmetrical, there is an especial need to take a broader view of cantabile lines.

artistry technical skill there is scope to finelyand balance the texture of piano music. Nevertheless, we are striving to create an illusion of a shapely singing line since pianists cannot grow through a note as a singer or clarinettist might, let alone colour it with a bit of vibrato or portamento for extra expressive impact. Cantabile is not the sole province of instrumental music. Singers will be familiar with the term in relation to the ‘double aria’ in a 19th-century Italian opera in which the second part, a cabaletta, emerges with less emphasis on its songlike quality in favour of a more vivacious character. Later cantabile could be understood as an instruction to promote a single melodic strand, albeit a fragmentary or less obvious one, and hence, not unlike my discussion of rubato ( Pianist No 73), the term can be seen to tolerate a somewhat elastic definition. Giuseppe Tartini, for example, writing in the middle of the 18th century, took care to differentiate ‘singing’ style from ‘playing’ style, by which he meant a more smoothly joined-up legato for the former and a more separated mode of expression for the latter, especially where notes are approached not by steps but by leaps. Tartini’s primary preoccupation was with bowed instruments, not keyboards,

Voicing and balance

C

In the right hands a pianist’s ‘illusion’ of cantabile can be as persuasive as a violinist’s, and yet achieving such an illusion is no easy matter. For one thing, the closer to the instrument the audience is positioned the more distracting the attack of the hammers tends to become, however well controlled the playing may be.

5

FIVE TOP TIPS FOR A SWEET CANTABILE

1

A purposeful singing tone is frequently paramount, not just where a composer writes ‘cantabile’.

2

Tease out melodic fragments concealed within the texture using your newly honed chord-voicing skills.

TOP TIPS

Take account of the acoustic and size/quality of instrument

3

when projecting your sound; make sure the audience in Row M will revel in your melodies.

4

Good piano playing close up invariably sounds loud; nevertheless, get to the bottom of the keys, even at a dynamic ofp.

5

Cantabile is not exclusively a right-hand phenomenon; melodies in the tenor/bass register need even greater promotion and care.

18 Pianist 75 •

Concert pianist, teacher, writer and festival adjudicator Mark Tanner has also published over 30 volumes of compositions, arrangements and editions for Spartan Press, pitched at Grades 1-8. He edited the complete piano works of Peter Wishart (Edition Peters) and John McLeod’s epic Haflidi’s Pictures ( Europa Edition). Two pieces from his 11-volume piano series Eye-Tunes are on the current London College of Music syllabus. His new Scapes series is an evocative 4-volume collection. Find out more at www.marktanner.info

It therefore becomes necessary for pianists to anticipate the impact of their playing some distance away, i.e. where the audience is situ ated, rather than on howthe it sounds sat at the piano.fixate Moreover, larger the hall the more projected and contoured a melody will need to be, else the music will hit the audience as a dull onedimensional wall of sound. I recall, in my student days, turning pages for an eminent veteran pianist during a rehearsal for a Mozart piano concerto and was struck by the seemingly overpowering cantabile he employed – it was far too loud, I felt, while his exaggerated dynamic shaping bordered on the vulgar. I then listened to the performance from my seat 20 rows into the stalls and was utterly persuaded by the elegantly poised cantabile, exquisite balance and controlled expressiveness of the phrasing; an important lesson for me. Anyone who has done a little public speaking will be aware how much louder and more slowly one must articulate, and pianists would do well to bear this in mind also. Besides these factors, we need to be aware that a warm acoustic will effectively do some of the pedalling for us! So, the next time you find yourself practising at home in anticipation of an event somewhere a little grander, don’t shrink from producing a full cantabile, and consider the impact of your pianissimo effects particularly, which may sound

MASTERCLASS exquisite in your furnished living room but would likely dissolve into an weedy mush in a larger performing space. Understanding how sound carries is partly a matter of physics, but your ears remain the ultimate arbiters of an effective cantabile. As an experiment, place a recording device at the back of a hall; you’ll be amazed at how different your playing sounds compared with when seated at the piano. A good cantabile in 3 steps

Some pianists seem to feel that melodic lines will cut through the texture by a process of osmosis, apparently assuming that the mere act of wishing for a delicious cantabile will miraculously bring it about. Unfortunately, this is not the case unless the melody happens to be conveniently positioned two octaves above a relatively unobtrusive accompaniment . When the melody is situated lower down the keyboard in the tenor area – the piano’s ‘sweet spot’, as I like to call it – the pianist’s role needs to be more active in teasing it out from within the texture, and this brings us to the heart of the matter. Have you ever played a melody convincingly with just your second finger? It’s a great discipline and you could think of it as the first step in the process of producing a delicious cantabile. Allow yourself dabs of pedal to ease the process and aim to achieve as smooth and shapely a line as if using a conventional fingering. With all fingersachieve at youradisposal you can of course more compelling legato, but consciously overlap the notes fractionally. You should vary the amount of overlap according to a) the speed at which you are playing, b) the style/genre of the music, and c) the acoustic. In all cases graduate the dynamics as creatively as you can, listening acutely. e second step is somewhat more involved. Let’s say we wish to ‘voice’, i.e. highlight selected notes forming a potentially interesting counter-melod y from within a chain of chords. How might we achieve this? For a single note to sound appreciably louder than its neighbours it must travel faster. It’s not a case of ‘hitting’ a particular key harder or jabbing at it aggressively, but generating additional key velocity by sliding the finger in question towards you while playing the other notes in a more uniform way. Play a triad of G major in the middle of the piano using the normal fingering of 1, 3 and 5, taking care to apply moderate but equal downward pressure from the wrist – let’s say at a dynamic of mf. Repeat this a number of times, keeping the sustain pedal depressed. Now begin quickly sliding your third finger about half an inch or more towards you as each

chord is repeated. e B should sound noticeably more prominent now, and as you continue experimenting you should soon be able to remove any unwanted asynchrony of notes. Now try sliding in the thumb or fifth finger instead of the third – interesting things should start to happen! My article on fingering (issue 74) touched on the need to use stronger fingers for chord voicing wherever the opportunity arises, so in this case you could substitute the fifth finger for the fourth to good effect. Even dense, complex chords can be successfully voiced in this way, with a selected note or two becoming more prominent in each hand simultaneously. Bear in mind that the closer notes are spaced within a chord, the more imperative it is to highlight one for voicing. Step 3 is to smoothly link together each of the emphasised chord notes. Congratulations, you have achieved one of the hardest yet most rewarding of goals – a sumptuous cantabile! Different pianos

Uprights operate differently from grands in a number of key respects, not least of which is their actions and comparatively small capacity for tonal/ dynamic projection. Expect to work a little harder when playing smaller grands. Contrary to intuition, larger grands frequently possess a lighter touch due to the increased distance between the hammer’s strike-point and the position where the finger depresses a key – Archimedes said, ‘Give memove a place toasstand and with a lever I will the whole world.’ Resist over-working the una corda pedal when pursuing a softer cantabile because it fights against your ability to project a resonant tone (it’s a bit like trying to simultaneously apply the brake and the accelerator when driving). With digital pia nos, including most weighted models, you need to be especially aware of the fact that, since there is no ‘action’ per se, you can be lulled into imagining you are producing an effective cantabile, only to discover when sat at an acoustic piano that the sound seems somewhat thin, lacking in sonority or full of ‘holes in the line’. Cantabile masters

We all have our favourite pianists, but one attribute all great players possess is an ability to coax out an expressive, singing tone. You’ll doubtless have a view on Lang Lang’s individualised mode of expression, but his ability to control and project tone to the back of a large hall is undeniably impressive. I have great admiration for Howard Shelley’s tasteful cantabile, Murray Perahia’s splendidly consistent management of tone and Ivo Pogorelich’s startling ability to draw out 19 Pianist 75 •

ENDLESS MELODY Mark Tanner’s tips for bringing a sumptuous cantabile to 3 of this issue’s scores

1

Lyric Piecesop 43 [Scores Grieg Lonely Wanderer, No 2 from page 38]: During much of the piece the main melody is, fortunately, doubled in the LH, easing the cantabile. Guard against over-pedalling initially – the tied notes imply ‘finger pedalling’. Use strong fingers wherever possible when playing chords, such as at bars 3-4. At bars 12-15 (marked ‘stretto’) restrain the LH during the crescendo and work harder with your RH third, fourth and fifth fingers to bring out these important melody notes. TannerLullaby for Prince George [Scores page 32]: Though cantabile is first indicated at bar 15, the entire piece calls for your most immaculately graded tone – even the first innocuouslooking RH chord needs careful voicing by ‘pulling in’ the second finger on the D. The main melody should be easy enough to bring out, especially as it rises higher and further from the static LH chords at bars 20-21. Come up with something freshly expressive for the passage at bars 27-28, remembering to notice the descending LH line, and cultivate as much shape and expression as possible in your playing throughout. Extra poignancy is invited during the repeated section (bars 15-39), and there’s no need to hurry the delicate, ‘dreamy’ chords at bars 8, 47 and 49 – just take your time and lull the baby to sleep!

2

3

48 Esquisses[Scores Alkan Petit air dolent, No 30 from page 40]: The reclusive French composer Charles-Valentin Alkan composed four volumes of Esquisses (Sketches). This gorgeous miniature, ‘Petit air dolent’ (‘short, sad melody’) comes from Book 3. It’s a good example of a RH melody with thumb accompaniment; once again, you’ll need to dig deep with your third, fourth and fifth fingers here. The ‘chugging’ LH chords, which hover around the tenor register, further broaden the texture, while Alkan’s instruction to really bring out melody sustain cantabile a supportive accompaniment heightens thethe need for a and handsome throughout. Take your time with the grace notes – dispatch them lyrically and expressively.

seemingly any contrapuntal line of his choosing, while there are many who feel that Arrau, Richter, Moiseiwitsch, Argerich, Uchida and Brendel are unsurpassed for their singular treatment of cantabile. In conclusion, we need not await a composer’s instruction to employ cantabile, for melody is king! It is the melody we go out singing after a concert, not the accompaniment. A singing tone is as intrinsic to good piano playing as it is for a flautist or cellist, so if you spot an intriguing counter-melody buried within the texture, consider bringing it to the audience’s attention by engaging your ears, your fingers and your utmost artistic imagination. Finally, listening to singers will feed you ideas regarding expressive nuances, e.g. ornamentation, rubato, portamento and tenuto effects, all of which can potentially add to the pianist’s illusion of a meaningful cantabile. 

In the next issue, Mark Tanner talks about pedalling.

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HOW TO

A turn for the better IMPROVING YOUR TRILL TECHNIQUE Trills are not created equal – some are delicate and sweet, others brash and bold. Teacher and performer Graham Fitch shares some of the best techniques for creating your own trilling moments am often asked what is the secret of a good trill, and I find myself answering with another question: what sort of trill do you mean? ere are so many different types of trill that it is impossible to lump them all together. Some trills are feather light and delicate, others strident like an alarm. Some are exuberant and invasive, others elegant and sensitive. So let’s think of trills (and indeed other ornaments) as chameleons that blend into and enhance their surroundings. In this article I am not going to get into the vast topic of ornamentation and embellishment but instead deal with the practical aspects of what we need to do to manage trills skilfully. If you are confused by all the rules and regulations concerning ornaments of different style periods, I would direct you to an excellent basic guide on the subject, Ornamentation: A Question & Answer Manual by Valery Lloyd-Watts and Carole L Bigler. [ Note: You can win a copy of this book! Turn to page 4 to find out how.] We pianists tend to think that trills need to be as fast as possible. ey don’t! First, you need to determine whether the trill is rhythmic or expressive, and whether it is fast or on the slower side. Often trills and tremolos sound better when they are measured out and played evenly, whatever the speed. I mean ‘played evenly’ both in terms of time (precisely rhythmic) and tone (with no unwanted accents). ere are, however, some situations when you won’t want a precisely measured trill. In slow or expressive music you might prefer to start the trill slowly and gently, perhaps with a crescendo to the middle, then end it with a slight ritardando. In Galuppi’s Sonata in C (in this issue’s Scores, page 34), the ornaments add a delicate sheen to the melodic line and need to be

Graham Fitch is a pianist, teacher, writer and adjudicator. He gives masterclasses and workshops on piano

I

played fast, Sonata lightly and e(Scores, ornaments theon slow of Haydn’s in F gracefully. Hob.XVI:23 pagein42), themovement other hand, need a more expressive approach. Slow them down a bit, and linger over them. e opening ornament in the Haydn may be played either as a mordent (a) or as a turn (b): (a)

playing internationally, and is in high demand as a private teacher in London. A regular tutor at the Summer School for Pianists in Walsall, Graham is also a tutor for the Pi ano Teachers’ Course EPTA (UK). He writes a popular blog, www.practisingthepiano.com. Graham demonstrates everything on these pages in hisvideo lessons (filmed at Steinway Hall, London) on the Pianist website, www.pianistmagazine.com .

In many situations, it is not so much the trill itself that is problematic but coordinating it with the other hand. e solution for this is to practise all trills in a measured way initially, including those that will eventually be free and unmeasured. Work out exactly how many notes are in the trill and how the trill fits together with the other hand. Once you’ve mastered the coordination, you can then allow the trill to be spontaneous and go its own way in performance. When possible, I suggest practising using a variety of different measurements (from slow to fast) so you avoid ingraining just one. With the trill towards the end of Clementi’s Sonata in F sharp minor (Scores 51,would bars 123-124), you might practise it in two different ways, either ofpage which be acceptable:

(b)

We can often make such decisions about trills based on our own judgement and good taste. e register of the piano determines the speed of a trill as much as the musical context. Trills in the high registers are often faster and more brilliant than those in the lower registers. Because of the greater resonance of the tenor and bass registers, trills in those registers might need to be played more slowly and clearly so they do not cloud the texture. In this example from Schubert’s G flat Impromptu (featured in Scores issue 68), you have to take care that the trill does not dominate and become louder than the top melodic line. Remember – the lower the register, the slower the trill. e speed of the trill here depends so much on the chosen tempo, the instrument and the resonance of the room. Very softly and rather slowly, with only a few repercussions, play the trill starting on D flat: Fingering, tension and freedom

Working out a fingering for trills and other ornaments is just as important as working out a fingering for the rest of the piece. e obvious trill fingering is between 2 and 3, but we need to be able to trill skilfully between many different pairs of fingers. Non-adjacent fingers are often much stronger than adjacent ones because of the design of our hand (1 and 3, 2 and 4, and 3 and 5). We might experiment with beginning with one pair of fingers and changing to another during the trill. For example, begin with 2 and 3 then change to 1 and 3 for a crescendo (do the opposite for a diminuendo). An especially strong fingering is 1-3-2-3, 1-3-2-3, etc., or

cresc.

20 Pianist 75 •

MASTERCLASS

1-3-2-3, 2-3-2-3 (bringing the thumb in for the strong beats). We can also begin with 1-3-2-3, then after a while change to 1-3-1-3. ere are many possibilities. If we examine what happens when we play a trill, we notice it is made up of two notes that repeat rapidly in alternation with each other. In order to play trills skilfully, we have to be able to manage these repeated notes in a loose and easy way, without tension. Of paramount importance is to play inside the keys, without bringing them all the way back up to the top. On a grand piano, thanks to Sébastien Erard’s double escapement mechanism (patented in 1821) we don’t need to lift the key all the way to the surface to repeat it, we can lift it only about halfway up in order to play it again. is means we can repeat a note much more efficiently (upright pianos generally do not work this way, unfortunately, although some manufacturers are addressing the issue.) Keeping inside the key is only part of the story, since there is only so much pure finger strokes will deliver in terms of speed and endurance. In order to keep a trill loose and free, especially one that goes on for any length of time, you should keep two things in mind. One is to add to your fingerwork a gentle undulation of the arm and the wrist (see my video lesson for a fuller explanation). e second thing is to use forearm rotation rather than lifting the fingers up and down from the knuckle joints. is is nearly always the best and most natural movement, allowing us to trill freely and powerfully (if required) without any tension whatever. e best rotary fingerings are 1 and 3, 1 and 2, or 2 and 4 (again, my video lesson shows how this works). Now look at the exercises for trills in the column opposite. Finally, a word about pedalling. e pedal blends the notes of a trill together and this produces an effect that is pleasing in most situations. Trills can sound faster and stronger this way. Beware of pedalling through short Baroque trills (and other ornaments such as turns) where clarity of line and texture is paramount. Use light or partial pedal (or avoid it completely) when the trill is in the bass register. e ability to manage trills, like any other aspect of technique, will improve with detailed and concentrated study. Since trills appear in music from all style periods, it is definitely a skill worth mastering. 

Exercises for Trills

Exercises to develop the trill can be very helpful. Here are some that work well. Mozart himself used an exercise for equality of all pairs of adjacent fingers, such as this Exercise No 1: Exercise No 1 R.H.

2

1

L.H.

1

2

3

1

1

3

32

4 2

43

5 3

5 4

2 3

2 4

3 4

3 5

4 5

Start off slowly then build up speed gradually and systematically, in a strictly measured way. e metronome can really help with this. Practise the above exercise not only in C major but in other keys too. You can develop this into a transposing exercise, first with trills a semitone then a whole tone apart (as in Exercise No 2). Don’t forget to use a variety of different fingerings. Exercise No 2

etc.

As with the other exercises and suggestions, make sure to practise this in the LH as well. Additionally you can follow a rhythmic design that starts off slowly and increases speed incrementally, as in Exercise No 3: Exercise No 3

etc.

It is worthwhile making sure your rhythmic control is as precise as possible (again, a metronome is a good way to check this). Next, build the trill up in increasing groups (see Exercise No 4). Starting off with the smallest cell of three notes, increase this to five notes, then seven, and so on. e fast notes should be up to speed and very light – you may pause on the long notes as long as necessary to relax and prepare ahead: Exercise No 4

etc.

Another good practice tip is to build up the trill by making a chain, adding one note at a time (Exercise No 5). ink of the fast notes as grace notes, playing them very lightly as upbeats to the main final note: Exercise No 5

Watch Graham’s video lessons at Pianist’s website, www.pianistmagazine.com. In his article in the next issue, Graham offers up some of his own invaluable exercises for improving technique.

etc.

21 Pianist 75 •

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HOW TO

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FULL SCORE ON PAGE 38

I NTER MEDI ATE

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Lonely Wanderer, Lyric Piece op 43 no 2 p38_S cores_Grieg-FINALish.indd 3 8

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Give yourself plenty of musical freedom and expression, add some subtle pedalling and you’ll master this introspective gem in no time. Teacher and performerJanet Newman guides you through it Ability rating

Intermediate

Info Key: B minor Tempo: Allegretto semplice Style: Romantic miniature

ll u c S e i n r A ©

Will improve your ✓Understanding

of rubato ✓ Tone and colour ✓Pedalling

rush the ends of phrases and in bar 3, the sixths may well suffer from this. Practise in parts (with rigorous attention to consistent fingering) and again, take enough time over it so that each note has a chance to speak.

Grieg composed ten volumes of Lyric Pieces during his lifetime, and many of these short miniatures are gems. In fact, there are so many wonderful Lyric Pieces to choose from, that it was hard to settle on just this one. Grieg’s unique voice informs much of the writing of these pieces, and his championing of Norwegian folk music is evident throughout the several volumes of Lyric Pieces. If you want to listen to recordings of these pieces then you will find many out there – including some of Grieg playing. One definitely worth listening to is the 2002 version by Norwegian pianist Leif Ove Andsnes, performin g on Grieg’s own Steinway at his home in Troldhaugen. Absolutely beautifu l playing!

Because much of the music repeats, you, as the performer, need to ring the changes by using colourful dynamics as well as varying the shape of your rubato. e dynamic markings are limited in this piece, so I would suggest that at bar 5 when the key moves to a brighter, more positive level, play out with a greater tone to show the key change. Again, practise the phrase ending at bar 7 as you did for bar 3, and always take time over the cadence resolution. As it ends in D major, this has a different emotional impact than the first time and you’ll need to show this with plenty of spacious playing.

Grieg chooses quite a bleak key for this introspective piece – B minor. is in itself suggests that the overall tempo needs to be taken at a speed that lets you feel the two dotted crotchets in a bar. 6/8 has a particular character and if you play too fast, then the lilting flow becomes disturbed and panicky, which is completely the opposite of the mood required in this piece. Try to let your hands sink into the bed of the keys with total contact at all times and give the music plenty of time to speak.

music. e in triads, bars 9 which and 11 are based onharmonies diminished give the music an urgency and tension. To hear how effective these harmonies are when used well, you only have to listen to Beethoven’s ‘Appassionata’ Sonata where he uses diminished chords leading from the slow movement into the finale with such shocking force and power. It is completely clear that they represent something foreboding within the music. I feel that in the Grieg at this point, the music begins to surge forward and increase in intensity of both tone and direction. e stretto indication in bar 14 tells us to get faster. You should really feel that you arrive at the climax at bars 15-16 with a sense of the wanderer’s exhaustion rather than relief – this is an arrival tinged with sadness, not happiness.

roughout this piece, you need to give yourself plenty of musical freedom and expression. Teaching rubato is a very difficult thing to do, even in a one-to-one lesson, and on paper it becomes even harder. [Readers might wish to refer to Mark Tanner’s article on rubato in issue 73 for further suggestions.] So, avoid playing strictly in time but allow the phrases to ebb and flow even though there is always a secure sense of the pulse underpinning the overall shape. If you find this difficult to do, listening to good recordings of the piece will give you a sense of what to aim for [listen to our wonderful house pianist Chenyin Li on this issue’s CD]. Very often, we tend to

e section from bar 9 onwards introduces a feeling of uncertainty and, to my mind, anxiety into the

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.

e pedalling throughout the piece adds texture and depth to the tone colour. e suggested markings in this issue’s score work very well on the whole. ere are some small additions to the marked pedalling that I would you suggest you experiment with to see if you prefer the effect. And that is in bars 11 and 22 – try pedalling on the two dotted crotchets beats in the bar instead of leaving them unpedalled as 22 Pianist 75 •

marked (though if you actually look at the markings at the beginning of the piece, the score does suggest two pedal changes per bar – so remember to keep doing this in bars 11 and 22). I feel that the dramatic quality implied by the diminished harmonies really needs

Learning Tip Imagine the phrasing as breaths – think fluid ly and flexibly!

the greater texture and support that the pedal can supply. e two pedal changes in these bars are here because of the harmony changes. If one were to hold onto the pedal all the way through, it blurs and smudges the sound too much, which detracts from the musical effect considerably. You will need to experiment with pedalling in the opening theme (bars 1-3 and bars 5-7) in the same way. And again, try what is marked – that is, two changes per bar. If used carefully like this, it can help to give you a warm and persuasive sound. Make sure that you keep your heel firmly on the floor when pedalling and lift your foot up on the changes of harmony, not before. I may have suggested this practice exercise before in previous articles but it is useful: try pedalling one note at a time (which you play with one finger so that you don’t join the notes in the hand) and use the pedal to seamlessly connect the sound. Lift the foot up on the note then depress the pedal so that you ‘catch’ the sound before moving onto the next note. Your foot should lift up when your finger presses down, and not anticipate the movement and release before the change, which will just give the line of the music an ugly gap. From bar 20 to the end, the music repeats what has gone before and so the question of variation in dynamics and rubato arises once again. Right at the very end of the piece I suggest that you take as much time as you like for the final phrase so that the music fades and disappears – stay on the final B minor chord until the sound dies away completely, mirroring the emotionally dark, exhausted character of this poignant little work. 

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HOW TO

CLARA SCHUMANN

Notturno, No 2 from Soirées musicales op 6 Written when she was just 14, ClaraScumanns dreamy octurne as a venote motif tat was er secret code with Robert. Concert pianist and teacherLucy Parham helps you decode the music Ability rating

Advanced

Info Key: F major Tempo: Andante con moto Style: Romantic Clara Schumann’s early F major Nocturne (Notturno) is remarkable for many different reasons. e fact that it was written when she was only 14 years old is in itself quite extraordinary. But that is not all! e opening theme – a figure of five falling notes – later became the opening of Robert Schumann’s great C major Fantasy. He wrote of this theme that it was ‘a single cry from my heart, for you, Clara’. If you have the score of his Fantasy, do go have a look – it really is worth seeing how he transformed the same theme. is falling five-note motif was also their private code to one another. It allowed Robert Schumann to communicate with Clara through music at a time when her father and teacher, Friedrich Wieck, forbade two young lovers to see each other.the is code became their own unique message to one another, and it assured Clara that Robert was not only thinking of her, but composing for her, too. e ensuing importance of this special code in Robert Schumann’s music cannot be underestimated. But that would be the basis of another article in itself! is haunting Nocturne is the second of Clara’s opus 6 set, Soirées Musicales . is is not her only piece from which Robert ‘borrowed’ musical ideas. Clara’s G major Mazurka turns up in another of his piano works – as the opening of his Davidsbündlertänze opus 6. Clara’s Nocturne also features in one of the Davidsbündlertänze , but this time transposed into E flat.

in e st n r  n e v S

©

Will improve your ✓LH

thumb dexterity ✓ RH deep singing tone ✓Sense of movement

I would suggest you try to learn the central section (bars 57 to 90) first. en go back to the start of the work and try to master a perfectly smooth left hand (LH). Weave the hand over the thumb, thereby ensuring that you eradicate all the bumps. Remembering that your LH thumb remains on A for the first few bars can be very helpful, too. Use it as a guide and weave your other fingers around it. Keep your LH close to the keys and really try to overlap the notes so that it is as smooth as possible. Transposing the LH first bar into F sharp major, for practice purposes, is also a useful trick.

Concert pianist Lucy Parham performs Nocturne at Malvern Theatre with Harriet Walter and Henry Goodman (1 Dec), at the Middle Temple with Juliet Stevenson and Samuel West (2 Dec) and at the Hawth, Crawley

When the right hand (RH) melody enters at bar 3, use the ‘flat’ of your finger tip and really sink deeply into the key bed. Remember the importance of this theme, too. Try to draw the sound out of the piano with the weight of your forearm. ese opening bars are crucial as they state the melody for the first time. I would use a third finger on the opening RH A [as printed in this

with Harriet Walter Robert Glensiter (15and Dec). Her new series of Sunday Coffee Concerts at Kings Place begins on 8 Dec (see this issue’s News). January dates include Beloved Clara at St John’s, Smith Square, London on 19 Jan with Harriet Walter and Henry Goodman. For further details, visit www.lucyparham.com.

version appears intone. issue’s Scores] to give the that best weighted e composer asks for ‘dolce’ at the opening, so try not to over-project the tone. Pay attention to the LH at bar 7 when the F of the previous bars becomes an F . When you arrive at bar 7, aim to keep the grace notes in the turn melodic, as if you were singing them. Lean into the rf B in bar 11 and then make a decrescendo in bars 12-14 so that you can begin the rubato stretto (bar 15) at a lower dynamic level.

As a child prodigy, Clara p erformed and studied a lot of the music of Chopin, Schubert and John Field, so it is not difficult to see where the influence for this nocturne comes from. Her Nocturne is basically in an A-B-A structure, with the dance-like central section (più mosso) providing a perfect contrast to the dreamier outer sections of the piece.

Crescendo until bar 17, where your top C should really ring out. Notice the LH ascending scale in bars 15-18. It is

Learning Try to learn theTip central section (bars 57 to 90) first.

a vital part of the harmonic progression and should be brought out. Bar 18 allows you to take a little time and rubato – revel in the enharmonic change. As you can see, Cla ra was, very specific about the dynamics that she wanted and bar 19 is an excellent example of this. Lean into the RH accents. ey should be weighted and not ‘jabbed’. Notice the descending progression in the melody from where it starts at bar 19 (G ) to bar 25 (A). Clara highlights the LH here, so feel as if you are really sinking into your fifth finger and tracing the bass line. Make a perfect decrescendo to bar 25 as the first section returns comes to When the melody inabarclose. 28, it is in the form of a variation, and is more elaborate and more decorated. Bar 30, with all its repeated Fs, can prove really tricky to bring off in performance. Take your time and allow the rubato to give you the space to fit them in. Start immediately after the LH D (that is, the third quaver) and crescendo through bar 31 to arrive at bar 32. Bar 33 it is almost like a small echo of what has gone before. ere is now a long line that goes from bar 33 to bar 57 più mosso. Pay attention to the sweep and direction of this line, as there is a danger of sectionalising it. With the rinforz at bar 36, in the RH really cling to your thumb (make the melody more focused here) and open the hand out. You don’t want to be constricted here in your RH. e RH stretto Cs at bar 44 need to have a sense of really moving forward. Your LH can really help here so that you can have a wonderful feeling of floating at bar 46. is is a very Chopinesque moment and should sound like gossamer! For me the highlight of this passage is the pp figuration at bar 52,

24 Pianist 75 •

LEARN MORE WITH OUR VIDEO TUTORIALS Tim Stein (top) continues his series on the basics of playing the piano. Perfect for beginners and for those returning to the piano after a long break. Tim offers three lessons with issue 75. e first is about the importance of sightreading, and how everyone can improve if they practise it regularly. In his second lesson, Tim discusses aural training – why it’s so important to develop the ear and to really listen to what you’re playing. His third lesson is on leaps. Tim demonstrates on the Roland HP-507. Graham Fitch (bottom) continues his Masterclass series – this time on the tricky subject of trills and basic ornaments. Trills are not created equal – some are delicate and sweet, whilst others are brash and bold. Graham shares some of the best techniques for creating your own trilling moments. Graham’s lessons come to you direct from Steinway Hall, London, where he demonstrates on a concert grand Model D

WATCH MORE VIDEOS ON THEPIANIST WEBSITE, AND IN EVERY ISSUE OF THE DIGITAL EDITION

www.pianistmagazine.com

WARM-UP EXERCISE

BEGINNER

Finger Strength Study Over the course of the next issues of Pianist we will be presenting exercises for the off the piece, with the left hand (LH) playing accompanied chords until it takes on beginner composed by ournew Keyboard Class contributor, Hans-Günter Heumann. the tune at bar 3. Start off learning this piece slowly and increase speed over time. They are also good warm-up and sight-reading exercises for the more advanced pianist. Keep the fingers well-articulated throughout. Take a look at the technical tips within the score. This exercise is for gaining finger strength in both hands. The right hand (RH) starts Nice easy key of C major. Start on the thumb in the RH.

are few fingerings. However, all the note patterns fit comfortably within the hand, q = 144 There so you will be able to work out the finger positions quite easily.

Hans-Günter Heumann

                        1

f

Forte dynamic.You need strong fingers!

                        1 3 5

Use third finger on the first A.

Hands up from the keyboard for the rests.

Now use the fifth finger on the first A.

                                              

5

Remember to lift both hands on the crotchet rest.

Keep both hands down for the duration of the minim. A strong fifth finger is needed on the top E here.

Weaker fingers are used towards the end of bar 10 (3, 4, 5).Try to keep them strong and controlled.

                            

9

                     

This is the longest phrase. Remember to start quietly, as you need to allow room for the crescendo over the 3 bars.

Weaker fingers are used at the beginning of bar 12 (5, 4, 3).Try to keep them strong and controlled.

13

n

                           ff                             © 2013 Schott Music Limited, London

 28 Pianist 75 •

o d n o L , d e it

im L ic s u M tt o h c S 3 1 0 2 ©

Ludwig van BEETHOVEN (1770-1827)

TRACK 1

BEGINNER

Ode to Joy (arrangement) Most readers will know this very famous melody from the final movement of Beethoven’s Ninth Symphony. It has been arranged here for solo piano. The most important thing is to try to give shape to the melodic line in the RH. The phrases are

Moderato 3

The key is C major.

3

4

5

4

3

1 4

at all times to ensure a

Look at the long phrasing (over 4 bars). We suggest that you make a little crescendo up to the G at the beginning of bar 2, and then decrescendo into the fourth bar.

= 108 — 1 16 5

long – four bars each. Keep the fingers close to the keys smoothness and legato to the melodic line. Take a look at the technical tips within the score.

2

1

1

2

3

3

2 2

1 5

1 3

Place the two fingers onto the keys at exactly the sametime.

4

5

1

Keep fingers close to the keyboard at all times, as if they are crawling over the keys. Make sure the dotted crotchet/quaver rhythm is spot on in bar 8, with both hands touching the keys at exactly the same time.

5 3

3

4

5

5

4

3

2

1 4

1

1

2

3

2

1

1 5

Start this phrase a bit softer, with a mf dynamic. 2

3

1

1 5

1 3

4

5

1 2

1 3

Lift the RH for the crotchet rest, then ‘fall’ onto theE, feeling the syncopation of that fourth beat.

Make the quavers a little lighter than the crotchets.

9 2

1

2

3

4

3

1 4

1

2

3

4

3

1 5

2

1

2

1 4

3

1 5

2

1

3

2

Make sure to accent the G natural above.

13 3

1 4

4

5

5

4

3

2

1

1

2

3

1 5

2

1

1 3

1

4

5

1 2

3 5

3 5

Again, in this last bar, make sure the rhythm is spot on, with both hands acting at the same time. 29 Pianist 75 •

K J BISCHOFF (1823-1893)

TRACK 2

BEGINNER

The Industrious Student op 31 no 3 A well-known composer in his day, the now almost-forgotten Karl Jacob Bischoff was also a theorist and teacher who founded a sacred choral society in Frankfurt. This German composer wrote symphonies, chamber music and piano works. Playing tips: There are many accents throughout, but remember to use them in context – that is, don’t make them too abrupt. This is also a great piece for practising

Al le g re tt o

= c.116

tied notes, as there are many of them. You need to keep certain fingers down while others need to carry on playing. Things becomes trickier for the LH from bar 17 to the end, when the fourth finger plays a leading role. Keep the notes even here and try not to slow down or die away too much as you reach the ending. Take a look at the technical tips within the score.

Make gentle accents on the top Es. But only in context. Don’t thump!

We suggest a small decrescendo in bars 5-8.

3

3

The key is A minor. 2 1

5

Keep the tied As down throughout the two bars...

Hold down the top E. 7

... And again.

Bars 9-16 should sound cheerier.That’s because the key of C major is now implied. 3

1

5

Slighly louder dynamics now – mf.

13

At last – the mood changes. No more tied notes! 2 3

3

Lower the dynamics to mp again.

2

1

5

Play the LH notes evenly.Articulate the fingers well. Fourth and fifth fingers will feel weaker,so concentrate on them. Remember to tie over the top E.

19

2

1

Die away towards the end, but don’t slow down. 30 Pianist 75 •

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Baldassare GALUPPI (1706-1785)

TRACK 5

INTERMEDIATE

Sonata in C, first movement (Andante) Baldassare Galuppi was a Venice-born composer who wrote many operas as well as liturgical works and many works for keyboard, including 130 keyboard sonatas. During an extended period in London, from 1741 to 1743, his keyboard skills were much admired. If you’ ve never heard this tender Andante before, then listen to Michelangeli play it on YouTube. You will be hooked! Playing tips: You need light, even and controlled fingerwork for this piece. Each finger must work independently from the next. The RH is the melody, requiring a

sweet, piercing tone, while the LH is the calm and totally even accompaniment. The trills play an important role throughout, so we suggest you read Graham Fitch’ s lesson on trills on page 20. For trill fingering, we suggest 2-3-2-3 etc, though some might prefer 2-4 or 1-3. Some dynamic markings are placed within the score, though Galuppi would not have made any. Pedal tips: Don’t over-pedal. You will see that we have marked a dab of pedal on each beat. Allow your audience to hear the rests.

An da nt e 1

2

3

232 1

2

5

1

1

2

2

3

232 1

4

2

3

2

3

sim.

3

1

2

5

7

4 2

2

2

34 Pianist 75 •

232

232 2

5

2

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Baldassare GALUPPI (1706-1785)

TRACK 5

INTERMEDIATE

Sonata in C, first movement (Andante) 

232

232

1

1

4 2

1

3 1

2

2

1





1

5

4

2

2





1 1

4

3

2

35 Pianist 75 •

2

1

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

Baldassare GALUPPI (1706-1785)

TRACK 5

INTERMEDIATE

Sonata in C, first movement (Andante) 

1 2





3

4

1

1

2

2 4

2

2

3

2

5

5 3

3





3

36 Pianist 75 •

1

1

1

2

2

2

1

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

Baldassare GALUPPI (1706-1785)

TRACK 5

INTERMEDIATE

Sonata in C, first movement (Andante) 3

232

3

3

3

232 3

2

2

1

232



3



3

37 Pianist 75 •

ISS ’T M N’S DONNEWMA

TRACK 6

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

SON LESTHIS PIECE

JANET

ON

Edvard GRIEG (1843-1907)

E PAG 22

INTERMEDIATE

Lonely Wanderer, No 2 from Lyric Pieces op 43

The Norwegian composer Edvard Grieg wrote ten volumes of Lyric Pieces over the course of his lifetime. Each volume contains between 6-8 pieces for solo piano. Many of the pieces are in a descriptive vein, such as this beautifully forlorn piece. ‘Ensom vandrer’ – ‘Lonely Wanderer’, or as it’s sometimes tra nslated, ‘Solitary Traveller’ – comes from the third volume of Lyric Pieces, which dates from 1886. Playing and pedal tips: You need to feel a lilt within the rhythm from the star t with

Al le g re tt o se mpl ic e

(

this piece and of course, as with all Grieg’s Lyric Pieces, it needs to sing and to ‘speak’ to the listener. It’s very bleak, and full of yearning. But the piece is just glorious and a pleasure to play.The climax appears between bars 15-17. Make the most of it! Pedal markings have been added on to the score. As Janet Newman writes in her ‘How to Play’ lesson, there is something very sad about this wanderer. Read Janet Newman’s in-depth lesson on this piece on page 22.

= 116)

4 1

5

5

4 1

2

1

1

2

1

1

3

5 1

4

3

1

2

21

1 3

5

3 sim.

4 1

5 2

7

4 1

5 2

3 1

4 1

45 5

1

1

1

1

5

21

2

5

1

3

10 3

2

5

5

2

1

5

5

1

38 Pianist 75 •

4

3

5

3

4

2

1

5 2

Charles-Valentin ALKAN (1813-1888)

TRACK 7

INTERMEDIATE

Petit air dolent, No 30 from48 Esquisses op 63

In the view of admirers such as Marc-André Hamelin, the French composer Charles-the accompaniment needs to be ‘très soutenu’ – very much softer. There will be tricky Valentin Alkan has been muchmisunderstood, particularly in his singular reputation parts, such as the ornamental triplets in bar 3 and elsewhere. They should be light for writing dense, unapproachable music. To counter this perception, we present this and lead into the following note. Don’t make them stick out. You will come across lively, accessible piece, dating from 1861. Read more about Alkan on page 74. really thick chords, and they’re hard to execute if you don ’t have a big hand span (such Playing tips: This short poignant work is perfect for working on your voicing (see as in bar 23). Note the amazing change of harmonies right after that. And really Graham Fitch’s lesson in Pianist No 67 on voicing if you’d like a refresher). The die away towards to the end. markings ‘Le chant bien en dehors’ means to make the song come to the front. And Pedal tips: In general, two pedal changes per bar.

. = 72

Al le g re tt in o 3 1

Le chant bien en dehors 5 3 2 1

4 2

2 1 5

3 1

4 5

L'accompangnement très-soutenu

1 2 5

2 5

4 2

2 1

2

1

2 1

4 1

2

ten. 3 2 5 1 3

1

sim.

1 2

2 3

1 4

8

ten.

2 1

2 1

5

4

3

4

5

12 4

3

4 1

5

3 1

4

1

40 Pianist 75 •

Joseph HAYDN (1732-1809)

TRACK 8

INTERMEDIATE

Sonata in F Hob.XVI:23, Adagio 2 2



4 1

1

5

1

5

1

5

2

dolce

1

1

5

2

3

2 4 1

3

1

1

5

5

3

2

3

5

3

1

2

3

2

1

4

4

1

1

5

5

4

2

4

4

3

4

2

cresc. sere

1

3 5

7

5

5

2

1

312 3

4

5

1

3

5 2

5 2

5

1

4

4312 1

3

1

1

5

3

3

9



5

2

1

9

10

123 4

4

5

1

1

5

5 44 Pianist 75 •

Continued on page 49

HANS-GÜNTER HEUMANN

AZE R TY

BEGINNERS zerty XXXX (XXXXX)

KEYBOARD CLASS

LESSON 3: THE SUSTAIN (RIGHT) PEDAL

Over the course of the year,Pianist will be covering the most basic stages of learning the piano through a series of Keyboard Class lessons written by Hans-Günter Heumann, the author ofThe Classical Piano Method (from Schott Music). This third lesson aims to help you get acquainted with the use of pedal.

The Right Pedal (Sustaining Pedal) The right pedal, also known as the sustainor sustaining pedal , is used to sustain and connect notes. When you depress the pedal, the felt dampers are raised from the strings so that all the strings can vibrate freely and the n otes sound for longer. The sustaining pedal is used with the right foot.The heel remains firmly on the ground and the ball of the foot remains in contact with the pedal. The pedalling symbol is usually a bracket sign, which shows you exactly how and when to use the pedal. (Some editions use the word ‘Ped’ and other signs.) The pedal is usually used after the keys are depressed.

Pedal Exercise 1 • Play middle C with the RH (as in the excerpt). • After striking the note, depress the pedal on beat 2. • Hold the pedal down. • As you play the next note, raise the pedal. • Then immediately press the pedal down again.

Pedal Exercise 2 • Repeat the exercise above, but this time playing chords (as in the excerpt opposite) with the RH.

45 Pianist 75 •

PLAGE

HANS-GÜNTER HEUMANN

KEYBOARD CLASS

AZE R TY PLAGE

Liebestraum

A

No 3 – Theme

XXXX (XXXXX)

zerty

Franz Hans-Günter Heumann du fauxLiszt texte(1811-1886) Bella terra etarr mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus Liebestraum (Dream of love) No 3 is the most famous of a set of three and was published 1850. tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut Pay special attention the pedal markings you playplura this quam gorgeous piece. remisi in municipia suato stipendis emeritis milliaasaliquanto trecenta, et omnibus iis agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi

sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaq ue 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 municipiaua s stipendis emeritis millia aliquanto plura qua m trecenta, et iis omnibus agros adsignavi aut pec uniam pro praemiis militiae dedi. Naves cepi sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot.

46 Pianist 75 •

HANS-GÜNTER HEUMANN

KEYBOARD CLASS

AZE R TY XXXX (XXXXX)

zerty

Franz Liszt

(1811-1886) Country: Hungary Period: Romantic (1820-1900) Works: over 700

Franz Liszt was a pupil of the famous piano pedagogue Carl Czerny, who was himself a pupil of Beethoven. Liszt performed concerts from an early age throughout Europe. He was without doubt one of the greatest piano virtuosos of all time and paved the way for the modern concert pianist. He created a whole new palette of orchestral sounds with the piano. Liszt undertook extensive concert tours before his appointment as Hofkapellmeister in Weimar in 1847, where he also composed his most significant works. He supported musicians and taught many well-known pianists and renowned piano pedagogues. In later years he took on the modest post of abbé, while continuing to compose, teach and perform until his death. Among his most famous works are the Piano Sonata in B minor, Transcendental Studies (dedicated, with gratitude, to his teacher Czerny), Mephisto Waltz No 1, Liebestraum No 3, Années de pèlerinage , Hungarian Rhapsody No 2, theLa Campanella study, Consolation No 3, Piano Concerto No 1 and the symphonic poem Les Préludes.

Now turn over the page for another simple piece of music where the use of pedal is required.

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

47 Pianist 75 •

PLAGE

HANS-GÜNTER HEUMANN

PLAGE

Sound Painting

KEYBOARD CLASS

AZE R TY XXXX (XXXXX)

zerty

Note the clear pedal indications below. With the pedal depressed through a number of bars, you can really hear all the wonderful sonorities. Make sure to change the pedal when required or things will sound ‘smudged’.

A

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

48 Pianist 75 •

Muzio CLEMENTI (1752-1832)

TRACK 10

INTERMEDIATE/ ADVANCED

Sonata in F sharp minor op 25 no 5, first movement Although this Italian composer wrote many short sonatines, this is one of his meatier works and is by no means easy. The first movement of a sonata written in 1790, this Allegro is a great example of the Classical style for you to study. Playing tips: We are sure you will get lots of pleasure out of practising th is piece and it will help get your fingers into shape, what with all those scale-like runs. We suggest slow practice, articulating the fingers and keeping the notes even. There are lots of dynamic changes too, which make it very expressive (and expressivo signs, such as at

bar 125, mean it must be even more expressive!). At the development section, which starts bar 65, increase the intensity. There’s lots of syncopation too, such as around bar 134 onwards. Lean into the syncopated notes. You will need a strong LH throughout, as it is the keeper of the pulse. The trills are obviously tricky, and we suggest you read Graham Fitch’s article on trills on page 20. Pedal tips: Try to find your own subtle way with the pedalling. Don’t over-pedal though – it has to sparkle, and sound crystal clear.

Al le g ro co n es pr es si on e 3

3

2

1

2

2

3

2

5

232 3

dolce

3

1 3

3

3

6

3

4

1

2

10

2 3

3

1

3

3

4

3

3

4

3

3

2

1

3

2

dolce

1

2

15

2

4 2

1

2

1 5

3

3

2 3

2

3

2

2

2 4

3

cresc.

2

2

4

51 Pianist 75 •

4

Muzio CLEMENTI (1752-1832)

TRACK 10

INTERMEDIATE/ ADVANCED

Sonata in F sharp minor op 25 no 5, first movement 0

2

3

cresc.

3



2

2

3

3

2

5

4

1

2

4

2

3



2

3

11

1

1

3

4

3

1

2142131

cresc.

4

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1

3

3

3

4

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3

1

4

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3

142131

2

4 53

24

 3 2

5

1

4

3

5 4

4

3

dolce

4

52 Pianist 75 •

2 3

3

Muzio CLEMENTI (1752-1832)

TRACK 10

INTERMEDIATE/ ADVANCED

Sonata in F sharp minor op 25 no 5, first movement 1

2

4

2

5

5

2

3

2

4 3

1

1

2

3

2 2 4

3

4

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4

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55

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53 Pianist 75 •

1 4

3

Muzio CLEMENTI (1752-1832)

TRACK 10

INTERMEDIATE/ ADVANCED

Sonata in F sharp minor op 25 no 5, first movement 4

65 3

4

3

cresc.

4

3

4

3

6 4

3

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54 Pianist 75 •

3

3

Muzio CLEMENTI (1752-1832)

TRACK 10

INTERMEDIATE/ ADVANCED

Sonata in F sharp minor op 25 no 5, first movement 

4

3

6

3

1

2

2

5

3

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3

4

55 Pianist 75 •

Muzio CLEMENTI (1752-1832)

TRACK 10

INTERMEDIATE/ ADVANCED

Sonata in F sharp minor op 25 no 5, first movement 105

5 2

3

2

4

4

10

1

5

2

3

2 3 5

111 3

11

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56 Pianist 75 •

1

2

4

Muzio CLEMENTI (1752-1832)

TRACK 10

INTERMEDIATE/ ADVANCED

Sonata in F sharp minor op 25 no 5, first movement 10

3

2

1

1

2 4

5

4

5

3

2

23

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32

2 1

1 5

2 5

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1 5 57 Pianist 75 •

2 4

1

3

5

1

4

Muzio CLEMENTI (1752-1832)

TRACK 10

INTERMEDIATE/ ADVANCED

Sonata in F sharp minor op 25 no 5, first movement

4

1

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3

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cresc.

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58 Pianist 75 •

3

1 4

3

1

Clara SCHUMANN (1819-1896)

TRACK 11

Notturno, No 2 from

Soirées musicales op

ADVANCED

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66 Pianist 75 •

POPULAR PIANO

The roots of

boogie-woogie Gez Kahan

hits his stride as he traces the history of boogie-woogie from its Texas srcins to its swing era heyday and ass the dificult uestion is boogie-woogie ja

hanks to Jools Holland and others who are determined to keep the tradition alive, most people have a pretty good idea of what boogie-woogie sounds like – an ostinato

took place much later and a good story always grows in the telling, they aren’t necessarily reliable. You have to start somewhere though, and Marshall, Texas, makes a good case for being where it began – good enough for its city commission to have enacted an

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official naming itself thedeclaration birthplace in of 2010, boogie-woogie.

bass line with a clattering right hand and (usually) a blues-based chord sequence. But where did it come from? How is it related to stride piano and the blues? And can you class all three as jazz or are they separate branches? ese are very deep (one might almost say muddy) waters, Watson. We’d best tread carefully. For starters, many of the early practitioners died young and their stories died with them. eir contemporaries gave several accounts of how and where boogie-woogie srcinated, but because the interviews

Photos, this page, clockwise from top left: ‘Cannon Ball’ Engine 359 of the Texas and Pacific in Marshall, Texas, the likely birthplace of boogie-woogie; railroad construction in Texas; Kansas City boogiewoogie planist Pete Johnson, ca 1946

68 Pianist 75 •

Marshall was a rail hub, and there’s definitely the sound of the steam train in boogie-woogie’s insistent rhythms, its repetitious and percussive treble figures and the flattened fifth and third ‘blue’ notes that seem to mimic the whistle’s diminished triad. Some scholars have also examined regional differences in bass patterns and suggested that the more intricate the bass line, the further you’d travelled along the tracks from Marshall. As the railways evolved, that argument goes, so did boogie-woogie. And let’s not forget that ‘bogie’ is a railway term. But it might be a stretch too far to assume that the train-like sound (and associated etymology) were the

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founding fathers of, as distinct from a heavy influence on, early boogie-woogie. What is certain is that the genre came from the African-American community, and there are rhythmic elements that hark back to the traditional music of West Africa. e name itself may well have come over with the slaves: ‘boog’ or ‘booga’ means to beat (a drum) in some of the region’s languages, while in others ‘bogi’ means to dance. And perhaps the most compelling theory is that it comes from the Bantu phrase ‘mbuki mvuki’ – get up and dance as if to shake your clothes off. I hear the train a-comin’

Ragtime, stride, blues and boogie-woogie Melody, rhythm and harmony – that’s what makes music, and every solo piano work has to address the question of how to distribute those elements between the hands. It’s perhaps less of a problem in ‘art’ compositions, but wherever the form is influenced by dance it becomes a left-hand problem, because the right hand will generally take the melodic lead. You could break up the chords to deliver rhythm while suggesting melody (as in classical music’s Alberti bass), or indulge in bass and chord acrobatics (a s any Chopin waltz or polka will demonstrate). Ragtime (so-called from its ‘ragged’ or syncopated right-hand melodies) adopts the latter course. It began as an improvised form, but its most famous exponent, Scott Joplin, had a classical piano upbringing and harmonic sensibility, and his pieces, though popular, are generally to be performed as written. Take ragtime’s oom-pah left hand and syncopated right and begin embellishing them in the way that Baroque players would improvise around a figured bass and introduce ornamentation to the melody and you’re well on the way to stride – ragtime on steroids. And because it was essentially an improvisatory process, the style could be adapted to popular songs. For examples, listen to Teddy Wilson with the Benny Goodman Trio playing ‘So Rare’ or Fats Waller playing his own compositions ‘Honeysuckle Rose’ and ‘Alligator Crawl’ (which also incorporates a touch of boogiewoogie bass). And for technical wizardry, liste n to anything by Art Tatum. Blues and boogie-woogie (really a fast blues) adopted the Alberti approach to the left hand. An ostinato C-E-G-E left-hand pattern in crotchets gives a bass root, harmonic information and a rhythm. Make it more intricate – using broken octaves in quavers, for example, as well as bringing in passing notes, or introducing chordal elements – and you’ve got the boogie-woogie left hand style. Both these forms use similar melodic elements, based on a pentatonic scale plus ‘blue notes’ (predominantly the flattened third, fifth and seve nth) as distinct from ragtime and stride’s diatonicinfluenced scales.

e best guess for boogie-woogie’s genesis as a piano style is 1870-ish, shortly after the end of the American Civil War. Prior to that, slaves would have had little access to expensive instruments, save a brief opportunity to play the church piano after services. Emancipation, in 1865, may not have made their working lives much easier, especially for those labouring in the lumber camps in Texas’s Piney Woods and building the railroads that connected them to the towns and cities, but at least they could set up their own entertainment centres known as barrelhouses. Along with the barrels of booze, these generally had a beaten-up upright piano in the corner. Out back, there was usually a ‘sporting house’, as red-light establishments were called. (You can find an interesting discussion

not coming into common use until much later. Some also referred to it as ‘Dudlow Joe’, which sounds as though it may be named after a long-forgotten

of the symbolicFoundation’s relationship on the music’s Boogie Woogie website; see box, page 70.) e music they played was improvisatory in nature – a series of right-hand ‘riffs’ or ‘licks’ strung together over a left-hand backing that had to combine bass, chords and rhythm. e slower style was ‘Barrelhouse’, while the up-tempo version was ‘Fast Western’ or ‘Fast Texas’, the term boogie-woogie

player.such. And ough there would have been many the blues guitarist Huddie ‘Lead Belly’ Ledbetter said his style had been influenced by boogiewoogie piano players in 1899, we don’t know their names. e first recordings with recognisable boogie-woogie elements didn’t appear until nearly 20 years after that. It being, at the time, an aural tradition, sheet music music was late on the scene too, but once there, it

Above: Fats Waller, 1938

helped crystallise improvisations into defined pieces. By that time, boogie-woogie was already on the move, spread by the railroad. George srcinally from Texas, was omas, in New Orleans by 1910 where he wrote ‘New Orleans Hop Scop Blues’ (published in 1916), which has some claim to being the first 12-bar blues to feature a boogiewoogie bass. Even more important was ‘e Fives’, co-written by George omas with his brother Hersal in 1921 and published the following year. Almost a ll the different boogie-woogie elements are there, and it became a standard set-closer among performers during the 1920s. And by then the omas brothers had followed the tide of southern popular music and migrated to Chicago, taking boogiewoogie with them. Don’t shoot the piano player

Boogie-woogie really hit its stride (no pun intended) over the next couple of decades. e first known recording of a true boogie-woogie piano solo is probably Jimmy Blythe’s ‘Chicago Stomps’ in 1924, while the first hit record in the style was ‘Pinetop’s Boogie Woogie’ by Clarence ‘Pinetop’ Smith. Smith had moved to Chicago in 1928 and recorded the song in late December that year. And it was (almost) a song, with Smith delivering instructions over the music to dancers 69 Pianist 75 •

POPULAR PIANO (including telling ‘the girl with the red dress on’ to ‘shake that thing’ a full 30 years before Ray Charles’s ‘What’d I Say’). He would have made a follow-up in March 1929 had he not been shot dead in a dance-hall altercation, possibly accidentally, the day before the session. ‘I saw Pinetop spit blood’ was the rather insensitive headline in Down Beat magazine. For a while, Smith had lived in the same rooming house as Albert Ammons and Meade ‘Lux’ Lewis, two other pianists destined to become major names in boogie-woogie. It was Lewis, with ‘Honky Tonk Train Blues’, who gave the style its next big hit, while Ammons had his big hit in 1936 with ‘Boogie Woogie Stomp’. e tide was becoming a flood. Tommy Dorsey had a huge hit with a big band version of ‘Pinetop’s Boogie Woogie’ in 1938, while Amm ons and Lewis, along with Pete Johnson, a boogie-woogie pianist from Kansas City, appeared in the From Spirituals to Swing concerts at Carnegie Hall in 1938 and 1939. ose concerts featured Johnson, with his ‘shouter’, Big Joe Turner performing ‘Roll ‘Em Pete’, which is arguably where boogiewoogie sowed the seeds of rock’n’roll. Before then, though, boogie-woogie became a staple of the big band repertoire. Will Bradley’s band had a hit with the Don Raye composition ‘Beat

Yes, boogie-woogie’s good, but is it jazz? And how, pray, do you define jazz? Is it the improvisation, is it the harmonic structure, is it the rhythm, is it the choice of notes? The answer might be any or all the above, but it’s perhaps even more down to the player’s intention – to go with the flow rather than stick rigidly to a script. Early boogie-woogie, up to and including performances and recordings by Meade ‘Lux’ Lewis, Albert Ammons and Pete Johnson, definitely qualifies. Pieces intended to be performed as written, such as Morton Gould’s study, definitely don’t. Tommy Dorsey and Will Bradley? There’s a jazz feel, but a purist might argue the toss. The Andrews Sisters and Glenn Miller have a quasi-jazz sound, but it’s really the pop music of the time. You can apply the same qualification process to the derived forms such as rock’n’roll and r ockabilly, and you’ll hit just a s many grey areas. One thing is for certain. If you play a transcript of ‘Boogie Woogie Stomp’ exactly as written (even if you leave your genteel manners at the door) you’re not playing jazz. If, on the other hand, you buy a boogie-woogie tutor book, learn a few tricks from it, and slip them into your performance without premeditation, you probably are. For more on boogie-woogie and its history, visit the Boogie Woogie Foundation website, www.bowofo.org

Top: The Andrews Sisters, 1952 Bottom: Union Station in Texarkana, Arkansas

Me Daddy, Eight to the Bar’ in 1939, as did Glenn Miller, Woody Herman and the Andrews Sisters the next year. Bradley followed that with ‘Scrub Me Mama with a Boogie Beat’, also by Raye, which formed the basis of an eponymous cartoon in 1941. Unfortunately, the cartoon itself stereotyped AfricanAmericans so offensively that it was

withdrawn from distribution in 1949. Less controversial was the Andrews Sisters’ recording of another Don Raye number, ‘Boogie Woogie Bugle Boy’, which is positively genteel. From bordellos to suburbia

In just 20 years, boogie-woogie had gone from black bordellos and rent-house parties to the concert hall and the radio sets of white suburbia. It went further than that, moving into different genres suchinstance), as country (‘Cow-Cow for rockabilly and,Boogie’ of course, rock’n’roll. e sound is omnipresent in Jerry Lee Lewis’s upbeat numbers and a component of Little Richard’s piano playing, but stylistically it’s just as great an influence on guitar-based recordings by the likes of Chuck Berry. e highbrow world wasn’t immune, either. Conlon Nancarrow’s BoogieWoogie Suite studies for player piano take the form to its illogical conclusion (watch on YouTube for a laugh, but don’t attempt playing it unless you’re a multi-limbed machine), while Morton Gould’s 1943 composition Boogie Woogie Etude can claim as much ‘classical’ legitimacy as Gershwin. Ultimately, however, politeness is not what it’s about. Boogie-woogie works best in its srcinal, rough and ready, vibrant, exciting and exuberant format. Roll ’Em Jools!

Boogie-woogie is everywhere in this issue! Turn to page 14 to read the interview with boogie-woogie star Jools Holland. Learn to play Chris Norton’s Feelin’ Boogie-woogie on page 67. Overleaf, find out how to get started learning boogie-woogie. en perfect your style with video lessons from John Maul on the Pianist TV channel, www.pianistmagazine.com/tv 70 Pianist 75 •

71 Pianist 75 •

EDUCATION

Jazz

YOU LIKE IT

How do you find a ja or boogie-woogie teacher an you really learn to improvise How tricy is ja theory wo leading ja piano teachers reveal all to Inge Kjemtrup JAZZ RESOURCES Courses and jam sessions

Matching a student to the right music teacher is at the core of CristallClarke’s business. Jazz piano students,

to, particularly music with pianists, and bring a list of your favourite recordings to your first lesson. He also recommends

we imagine we are), so what’s the first step to take when you’re looking for a jazz or boogie-woogie piano teacher? Of course: you go to a search engine and type in ‘jazz piano teacher’ along with the name of your town. e search might turn up a list of teachers in your area – but it won’t necessarily help you find the one who will guide you in making the leap from classical to jazz. To get a better understanding of how best to take the first steps in studying jazz, I spoke to two experienced jazz piano teachers from opposite sides of the Atlantic. For starters, do you really need a teacher to learn to play jazz? Could you try to go it alone, using books and recordings? I put this question to Jonah Cristall-Clar ke, director of the London Piano Teachers website. ‘What I would say is there is a lot of information out

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he explains, can be divided intoare two broad categories: those who interested in ‘playing for enjoyment and want to play repertoire that’s jazzy or bluesy but they don’t want to improvise or play with ensembles’ and those who are ‘interested in improvising or the more creative elements of jazz’. Once he uncovers a student’s favourite jazz style and their reason for branching out into jazz, Cristall-Clarke is better able to find the perfect teacher for them. ‘Ideally you want to find a teacher who plays jazz professionally and has the empathy and pedagogical technique to give the student what he or she needs,’ says New York City-based jazz pianist, composer and teacher Robert Cowie. As for locating a teacher, he says, ‘I would ask around music schools or universities where jazz is taught, or, if you go out to listen to live jazz, ask some players you like if they teach

that you devise ‘a you vision ofto yourself in a year: what would like be playing? Jazz piano lessons are very individualised to the student and their goals.’ Listening is also an important part of Cowie’s teaching. ‘To use a language analogy, you can’t learn to speak a foreign language without spending a lot of time listening to it being spoken by native speakers,’ he says. ‘It’s how you learn “the music” of the language.’ For beginners, Cowie has specific listening recommendations including Miles Davis, John Coltrane, Art Blakey and the Jazz Messengers, Wayne Shorter, Herbie Hancock, elonious Monk, Bill Evans, Keith Jarrett and Gene Harris. ‘Jarrett is just an amazing improviser, whether playing solo, with his trio, or with his quartets in the ‘70s. Gene Harris is just so swinging and bluesy,

there – there are tons of books on jazz theory –and it can be overwhelming,’ he says. ‘Lots of students who come to me say they tried to learn on their own, but now they need some guidance. It’s maybe more straightforward for classical, but with jazz, especially when it comes improvising, students have trouble finding their way and that’s where a teacher can help.’

or know people who teach.’ Once you have scheduled your first lesson, other than spending a lot of time wondering if you’ll ever learn to swing, what else can you do to prepare? Cristall-Clarke suggests that you think about jazz music you enjoy listening

e’re all so computer-savvy these days (or

UK

Hideaway, London www.hideawaylive.co.uk Jazz Academy, Surrey www.jazzacademy.co.uk Jazz Course UK www.jazzcourse.co.uk Jazz Factory, Wiltshire www.jazzfactory.org.uk Jazz Workshop, Bucks www.jazzworkshop.org.uk Morley College, London www.morleycollege.ac.uk Music Place Jazz Summer School, Cheshire www.themusicplace.co.uk USA

Interplay Jazz Camp, MA www.interplayjazz.com Jazz Camp West, CA www.jazzcampwest.com New York Jazz Workshop www. newyorkjazzworkshop.com Stanford Jazz Workshop www.stanfordjazz.org

72 Pianist 75 •

while not being super technical. Every the individual student. ‘If theory comes time I hear him play, I just want to smile.’ naturally to a student, we can just dive in. If not, we need to know how to back off. We have to approach jazz from All black notes You should bring bla nk manuscript lot of different angles to play to the paper, a metronome and an open mind strengths and weaknesses of a student.’ to your first lesson with Cowie. ‘When Like professional jazz pianists, a novice I am teaching a first-time jazz student, I jazz pianist will eventually want to seek want to get them improvising as soon as out playing partners. Cristall-Clarke possible,’ he explains. ‘I usually will play eases into this, first playing along with some kind of vamp in the lower end his students in lessons: ‘I’ll be the bass of the piano that they can improvise player and then they can learn how over using “all white notes” or “all black to play with a bass (for example, they notes”. I also often teach a pentatonic can’t play lower notes because that will “blues” scale and show the student interfere).’ en he points his students to a simple vamp over which they can jazz jams – open mike sessions that are improvise using the blues scale.’ ‘One of biggest challenge of a jazz piano teacher is to structure material in a way that students feels they know they are progressing,’ says Cristall-Clark. ‘I choose a jazz standard and think of goals for a student to achieve as they are working on it. Maybe they focu s on a specific idea like using root and seventh and melody in left hand, for instance.’ Now for the tough question: if you’re not comfortable with music theory, must you learn jazz theory? Cowie says it’s a key learning tool. ‘You have to know the vocabulary and grammar to speak. Even the great players who played “by ear” knew what they were doing.’ Cristall-Cla rke explains it in terms of

often surprisingly friendly to novices (see boxout, opposite). ‘Jazz is communal, social music!’ exclaims Cowie. ‘It’s meant to be played with other people.’ Cowie draws parallels between learning a language and learning jazz. ‘When you speak in your native tongue, you don’t have have to think about vocabulary, grammar or accent to have a conversation. However, when you learn a new language you gradually build your vocabulary, grammatical knowledge and accent to a point where you can have conversations of greater depth and complexity. Likewise, as you learn to improvise, you gradually build up a vocabulary of rhythms, harmonies, and melodic fragments that you can use

STUDYING JAZZ: U SEFUL BOOKS As selected by Robert Cowie The Real Easy Book (Chuck Sher, editor; Sher Music) An excellent book of tunes geared toward the beginning improviser, with information about theory and how it applies to each particular tune. Effortless Mastery (Kenny Werner; Jamey Aebersold Publishing) An inspirational book that explains this pianist and composer ’s approach to playing and practising. The Jazz Musician’s Guide to Creative Practicing (Dave Berkman; Sher Music) Geared more towards advanced students, this practice guide is also interesting for the beginner. The Jazz Piano Book ( Mark Levine; Sher Music) An excellent reference on different jazz piano styles. (It can also be overwhelming to the beginner, so don’t think you need to learn how to play everything in it.)

to express yourself musically in the various dialects of “jazz”.’ Who could resist the idea of becoming fluent enough in jazz to join the musical dialogue? 

Find out more about Robert Cowie at www.robertcowie.com and Jonah Cristall-Clarke at www. londonpianoteachers.co.uk

THE PASSION.THE PIANOS. THE REVOLUTION.

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January 17th - 18th 2014 at St George's Hall, Liverpool 73 Pianist 75 •

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HISTORY

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CHARLES-VALENTIN

Recluse, virtuoso and musical genius, the 19th-century French composer Charles-Valentin Alkan was little understood in his day, but his mysterious and brilliant piano music is ripe for rediscovery, says Mark Viner

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Marc-André Hamelin performs two Alkan works on this issue’s covermount CD. See CD for full repertoire details. For more about Marc-André Hamelin, go to his website, www. marcandrehamelin.com.

Inside this issue’s Scores

Alkan's 'Petit air dolent', No 30 from his 48 Esquisses op 63, appears on page 40. I

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harles-Valentin Alkan, perhaps the most enigmatic figure in the history of music as a whole, let alone the 19th century, has celebrated his bicentenary in 2013. What is unfortunate for this unjustly neglected genius, who played an integral role in the evolution of French music and piano literature as a whole, is that he has had to share his bicentennial year with two operatic giants, Verdi and Wagner – a stroke of misfortune that has ensured a real lack of media coverage in the media as well the concert hall during the year in which his name should shine. ‘Alkan has just died. It was necessary for him to die in order to suspect his existence’ – thus ran an obituary in Le Ménestrel on 1 April 1888. is has remained one of the most enduring quotations written about this extraordinary composer, and emphasises the extent of obscurity and reclusion that had enshrouded him throughout his life. Born into an Ashkenazi Jewish family in Paris on 30 November 1813, he was the second of six children in a prodigiously musical household . His father ran a small boarding school in the Marais district of Paris where

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and won a number of prizes. By the time of his adolescence, Alkan was showcased among the glittering salons of the elite. Once established as a leading virtuoso, he had moved to the fashionable Square d’Orléans where, in 1842, Chopin, a life-long friend, became his next-door neighbour. Both men profited from the rich environment of the artistic and aristocratic circles of Parisian society. Other influential friends and colleagues included the novelist and cultural mover and shaker George Sand, the great painter Eugène Delacroix and the pianist and composer Franz Liszt. However, for a mixture of complicated reasons, from 1848 Alkan more or less disappeared from public view to live the life of a recluse for almost a quarter of a century. It was during this period that m uch of his finest music was composed while he busied himself with a translation of the Bible from its srcinal languages into French. e year 1873 witnessed his phoenix-like return to the concert platform when, with the assistance of his youngest brother, Gustave Alkan, he established a series of Six Petits Concerts de Musique Classique at the Salle Erard. e choice of repertoire affi rmed Alkan’s propensity for music of a

young, mainly Jewish children received elementary musical instruction as well as lessons in the rudiments of French grammar. is ancient area was largely untouched by the renovation of Paris under Napoleon III and remains a unique feature of the capital today with its narrow medieval streets and is still ‘a lost world of exotic bazaars, sombre bookshop and twilit cafés’ as one of Alkan’s erstwhile exponents and biographers, Ronald Smith, describes it. At age six, Alkan was admitted to the Paris Conservatoire, where he studied under Pierre-Joseph-Guillaume Zimmerman

Classically oriented aesthetic. Alongside his own works, which he modestly programmed only during intervals, the majority of the repertoire was by Baroque and Classical composers. What is of further interest is that he still played in the oldfashioned position with his back to the audience rather than with the piano positioned so that the pianist’s profile faced them. By 1877, the series of concerts more or less came to an end, and Alkan withdrew to even greater obscurity than before right up until his death on the 29 March 1888: a circumstance which prompted such convoluted rumour that

74 Pianist 75 74 •

him as a note-spinner, which he was anything but. There was a profound musical mind at work – harmony and counterpoint held no secrets for him, but it goes a lot further than that. He was a master architecturalist, bringing a perfect sense of proportion to very large forms, as well as chisel the most exquisite miniatures so that, in both cases, everything seems inevitable and natural. And as far as smaller details, he was always full of surprises, and every page of his music has some kind of innovation or fascinating detail. His imagination was boundless.

harmonies that are definitely bluesy. Also, La chanson de la folle au bord de la mer(The Song of the Mad Woman on the Seashore) opus 31 no 8, paints a wonderfully evocative picture. Astonishingly, a snippet of it can be heard on Tori Amos’ album Night Of Hunters. Alkan wrote many miniatures of this kind, and only a few are truly on an advanced level, so dedicated amateurs are likely to find much within the opus 31 set of preludes, as well as the48 Esquisses opus 63. The First Nocturne in B major (opus 22) is very touching, and simplicity itself.

How and when did you discover Alkan? This may seem bizarre, but I’ve known about

What piano technique does one need for playing/learning Alkan?

You have recorded the ‘big’ works for Hyperion. Do you also play the smaller pieces?

Alkan since I was a little boy of seven or so! My father had been curious about Alkan after reading about him in Harold Schonberg’sThe Great Pianists, so when he spotted Raymond Lewenthal’s first Alkan LP on RCA, along with a collection of the piano music that Lewenthal had edited for Schirmer’s, he brought these two things home and we listened to the LP together, following the scores. It was certainly weird and wonderful for a lad like me, and it helped me becoming aware of Alkan around the same time as I discovered Liszt, Chopin and Schumann. Alkan has always been a presence in my life.

Especially for the most difficult works, a heightened sense of what I call ‘keyboard geography’ is essential. By that I mean ease in moving around, with rapid hand displacements, often at very quick tempos. One must also have a strong touch. Pianos at the time were considerably easier to play, with actions that required next to no effort on the pianist’s part. Playing some of these difficult Alkan pieces on modern pianos can be quite a challenge.

I certainly have. There’s a beautiful piece called Aime-moi (Love me) opus 15 no 1 that is wonderfully lyrical, and not any more difficult than the average Chopin.

Marc-André Hamelin on Alkan

Do you think Alkan’s music is underrated? Perhaps not so much underrated as little known. Many people haven’t gone beyond dismissing

Are any of Alkan’s works accessible to an intermediate/advanced amateur pianist? First and foremost would be the Barcarolle in G minor opus 65 no 6 [featured insidePianist No 39], which besides being extremely accessible pianistically, is hauntingly beautiful, with

until relatively recently, it was widely accepted that he was crushed to death beneath a falling bookcase.

work, and in which the composer is at his driest and most neoclassically abrasive in character. [You can hear the first movement of the Grande Sonate, played by Marc-André

Terrifying grandeur Alkan’s output is extensive and includes some of the most arresting music ever written for the piano. It is generally recognised that his Douze études dans tous les tons mineurs opus 39 (1857) is the fullest single embodiment of his creative powers. is monumental set of studies runs to 275 pages in total and comprises some of Alkan’s best-known music, including the Symphony and Concerto for solo piano (the latter work lasting nearly an hour in length) as well as a magnificent set of 25 variations on an srcinal theme, Le festin d’Esope. Other masterpieces include a Grande Sonate opus 33 (1847/8), whose four movements are each successively slower than the previous, representing the four ages of man, and a gigantic Sonatine opus 61 (1861), his last large-scale

LISTEN TO ALKAN Grande Sonate ‘Les quatre âges’,Sonatine,Le festin d’Esope, etc Marc-André Hamelin Hyperion CDA66794

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What are your favouriteAlkan works? The Symphony for solo piano is his masterpiece. It’s a four-movement work, and these four movements are also four of hisDouze études dans tous les tons mineursopus 39. This series of etudes represents a major achievement, full of marvellous invention and a great deal of substance. Within that set of 12 etudes one must also mention the Concerto for solo piano, as well as Le festin d’Esope(Aesop’s Feast), one of the most diabolically srcinal things ever written, whether for the piano or not.

Hamelin, thislesissue’s covermount CD.] e set Douze études dansontous tons majeurs opus 35 (1848) alsoofcontains many attractive works, the most striking of which is perhaps the fifth, a furious Allegro barbaro on the white keys alone. Alongside these masterpieces of terrifying grandeur and sometimes chilling demands are many shorter pieces of no lesser importance and musical value. e 48 Esquisses opus 63 (1861) [No 30, ‘Petit air dolent’, is in this issue’s Scores on page 40] encompass a rich array of kaleidoscopic miniatures, many within the reach of the fluent amateur and providing a wealth of choice to those seeking the escapism of fanciful titles, exotic tonal worlds and excursions into different eras. For the more courageous, the five suites of Trente Chants contain many  attractive pieces, notably the five barcarolles that close each

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Concerto for solo piano, etc Marc-André Hamelin Hyperion CDA67569

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Piano Music of Alkan Raymond Lewenthal BMG High Performance Series 09026 633310 2

75 Pianist 75 74 •

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Alkan Piano Works Ronald Smith EMI 7243 5 85484 2 6 (2 discs)

n a m f u a K n a r F ©

HISTORY

EXPLORING ALKAN 3 TOP PLAYING TIPS Much of Alkan’s music hasn’t been re-engraved since it first

1appeared in print during the composer’s lifetime. The innocent eye can all too easily be led astray, not only by such things as the employment of archaic crochet rests (which appear as backward quaver rests), but also by the notes themselves. This kind of unfamiliar musical terrain can be so unpredictable, especially when outre harmonic twists abound, that misreadings can easily occur. A definite eyes open is required at all times! In many works, Alkan prescribes a fingering: do take them

2seriously whenever they occur. What often, at first gl ance, seems cumbersome and unnatural usually, in time, becomes absolutely logical and the ultimate means to an end, musically speaking. Regarding the general interpretation of Alkan’s music, treat it

3classically. Approach it with the same authority and respect with which you would Beethoven, and the music will take flight. Always bear in mind that Alkan was a staunch Classicist and an ardent exponent of the style sévère or strict style. His lyricism is always beautiful yet seldom rhapsodic and sensuous. While all music must breathe, if you refrain from any niggling rubatos and maintain a Gallic tightness of rhythm, you will be halfway there already. -MV

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set [Barcarolle opus 65 no 6 appeared in Pianist No 39]. e Deuxième Suite opus 38 no 2 (1857) contains one of the most radical and daring conceptions in musical history: an Allegretto in A minor during which the note F is repeated 414 times while the piece modulates to a host of distant keys and is never resolved. A consequence of the diversity and scope of Alkan’s music is that the novice’s first impressions can be so misleading, and it is necessary to assess large portions of his music at a time before drawing conclusion s. If the same circumstances of obscurity had befallen a composer as exploratory and experimenta l as Liszt, for example, we would be faced with a similar problem. Many have remarked that the wide-ranging style and scope of Alkan’s staggering output is one of the factors that renders him so utterly unclassifiable as a composer as well as disconcerting to the newcomer. Most interestingly for Alkan’s musical aesthetic was the historical context in which he found himself: he was essentially a Classicist. All the largescale works are born of a Classical pedigree. Even the most demonic sweeps of virtuosity are bound by the shrewdest economy and severest logic. e rhapsodical ecstasies of Chopin and Liszt are more or less absent as are the cadential arabesques that adorn so much piano music of his time. is isn’t to say, however, that Alkan was immune to or rebelled against the more universal Romantic ideals. e dichotomy of his Classical aesthetic and the

THE VITAL IMMEDIACY OF ALKAN'S MESSAGE AND MUSICAL LANGUAGE ARE MORE RELEVANT NOW THAN THEY WERE OVER A CENTURY AND A HALF AGO Romantic idiom was the catalyst for many of his masterpieces in which a Classical, often Germanic mould is adopted and enlarged, and piano writing, which so often constitutes formulae of a Classically tailored aesthetic, is expanded, sometimes beyond recognition. Technical elaboration and consequent diffi culties of so many of Alkan’s works are never ultimately for their own sake but are justified by their respective contexts. is is what has led me to firmly believe that Alkan’s music is not ‘virtuosic music’ but ‘music for the virtuoso’. Vital immediacy

5 TOP PIECES TO TRY (in order of difficulty: 1 = easiest, 5 = hardest) Barcarolle op 65 no 6: One of Alkan’s best-known short pieces

1and one of the most frequently played. A hauntingly beautiful work of arresting simplicit y and striking srcinality. The so-called ‘blue notes’ that echo through twilit Venetian canals belong to some 60 years after the piece was written and m ust surely have raised some incredulous eyebrows in the 19th-century Paris salon. Canon opus 65 no 3: An achingly beautiful work of int ense

2lyricism. A fleeting, eight-bar passage, indifferently earthbound, provides an unlikely foil before a cradle-song ensues. Le premier billet doux op 63 no 46: Translated as ‘The First Love

3Letter’, this miniature of but 20 bars is one of those conceptions that affirms Alkan’s uncanny ability to crystallise the subtlest and most elusive of human emotions. Nocturne op 22: A fine essay in the genre, very much à la John

4Field with its cool, chaste lyricism. Two themes are introduced

before they are interwoven on the closing page; their close-knit unity yielding beautiful harmonic clashes before fading into dawn. Air à 5 temps op 32 Bk 2 no 3: This piece is effectively a zorcico

5– a Basque dance in quintuple time. The zorcico was a form

that captivated Alkan and was one in which he could explore his penchant for quintuple time without too much persecution. An unceasing left-hand ostinato provides the impetus to this quintuplet rumba – the effect is i rresistible! -MV

e often-asked ‘Why is Alkan’s music so unknown?’, many answers. During question, his lifetime, Alkan was never really a public idol.comes If he with had been, his music would have been vastly different. Aside from this, his general reticence in society, reclusive nature and complete lack of self-promotion are not factors conducive to a successful career, and his music possibly lacked the immediate appeal to satisfy the tastes and whims of the pleasure-seekin g audiences of the 19th century, even though he was considered France’s leading pianist and was the only person before whom Liszt was reputed to feel ill at ease when performing. Indeed, Liszt declared in later years that Alkan possessed the finest technique he had ever seen. Yet Alkan preferred the life of a recluse. e notion of a ‘lofty, somewhat puritanical artist’, as Ronald Smith put it, trapped amid the gaudy and excessive frivolities of the Second Empire readily gives one the impression of a creator at odds with the society within which he dwelt. However, the qualities that may have repelled 19th-century ears have the power to attract those of the 21st century. Indeed, many have remarked that the vital immediacy of Alkan’s message, together with the radical nature of his musical language are attributes that are perhaps more relevant now than they were over a century and a half ago. Coupled with the advocacy of past pioneers such as Raymond Lewenthal and Ronald Smith, the endeavours of some of today’s leading pianists such as Steven Osborne, Marc-André Hamelin and a host of younger pianists of my own generation have ensured that there are no longer blank stares when Alkan’s name is mentioned. Of equal importance are the various organisations that have done so much rallying – notably, the Alkan Society in England and its sister society in France, the Société Alkan. More recently, their Hellenic counterpart, the C.V. Alkan–P.J.G. Zimmerman International Music Association of Athens has been responsible for the founding of an international piano competition: a step of considerable significance as Alkan’s name has finally secured a solid footing in the arena of international piano competitions. Despite a somewhat overshadowed bicentennial year, the tables do seem to finally be turning. 

British pianist Mark Viner won first prize in the inaugural C.V. Alkan–P.J.G. Zimmerman International Piano Competition in 2012, and has long had a special interest in unfamiliar pianistic territory. 76 Pianist 75 74 •

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MAKERS

This year’s top pianos PART 2

If you’re in search of a piano, Gez Kahan tells you where to star t with the best uprights, grands and digitals – and how you can take advantage of some great special year-end offers as well Kemble Cambridge 12

elcome to Part 2 of our piano round-up. As with Part 1, which appeared in the last issue of Pianist , we’ve picked a cross-section of about a dozen upright,

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grand and digital pianos that will broadly suit everyone from complete beginners to advanced players – at prices ranging from very affordable to money-no-object. We can, of course, only give a brief overview of these models here, so hurry on down to your dealer’s showroom, try them out for yourself, and place your order in time for Christmas morning.

UPRIGHTS We start with uprights and, appropriately enough, a Christmas offer. e C Bechstein Millenium 116K may be compact at just 116cm in height, and but there’s no compromise in build quality from the legendary firm celebrating its 160th anniversary this year . is piano also looks great, thanks to a collaboration with product designers Rommel & Schoen – who really do design everything including the kitchen sink. eir modern yet understated vision for the Millenium (yes, that is the correct spelling) has won three international design awards. At £17,135 in black polyester or £19,779 in white polyester, it’s the most affordable model in Bechstein’s flagship range. Even better, if you order one from an authorised C Bechstein UK or Ireland dealer by the end of November for delivery by the end of the year, you also get, free of charge, the C Bechstein Vario HDS Silent System, a rise-and-fall bench, ground floor delivery and first tuning – an impressive goodie bag worth £3,650. [ Note: e end-of-year offers mentioned throughout this article may not be available to purchasers who live outside the UK; check with your local retailer.] who would rather look piano for modernity inside thecomponents case, the Kawai (listing at £8,450) hasFor its those own millennium story. is uses ABS-Carbon in itsK6 ‘Millennium III Upright Piano Action’. Carbon fibre is stronger, less likely to fail, lighter (and therefore not only more controllable for pianissimo passages, but also faster and so better for key repetition) and delivers more power than traditional wood. And the sound? At 132cm in height, the K6 has plenty of soundboard and resonance to help generate a full, rich tone. Next, another award winner. e 112cm Cambridge 12 , part of Kemble’s Family Collection, was voted top of its class for overall excellence by leading French publication Le Monde de la Musique. e latest in the Cambridge series, with a redesigned scale (enhancin g the quality of sound, especially in the bass) and an enlarged soundboard are a, this piano can also be fitted with Yamaha’s latest SH Silent system. An d though Kembles are no longer manufactured in England, all UK-destined Kemble models are voiced and prepared in England before going out to dealers. e Cambridge 12, in black polyester, lists at £4,839, and those purchasing by 15 January 2014 can also take advantage of Kemble’s ‘Cash for Keys’ part exchange initiative. Equally compact, at 112cm, is the Reid-Sohn Samick 112, part of a Klaus Fenner-designed range from the 1980s and priced from £2,740 to £4,340. We chose this model (listing at £3,170) because the UK distributor, Reid-Sohn, participated in the design of its cabinet, inspired by 18th-century furniture maker omas Sheraton. Buyers can decide whether they want ‘Samick’ or ‘Reid-Sohn’ on their piano. Also take a look at the 121cm Yamaha b3, the largest instrument in the company’s entry-level series, for which the soundboard has been changed from a laminate to solid spruce with a reinforced crown. e upgraded soundboard, from Yamaha’s specialised wood factory in Kitami, Japan, delivers extra richness and resonance. ere’s no upgrade to the b3’s list price, however, which stays at £4,483 for the standard polished ebony finish. e smaller b2 (£3,823) gets the same upgrade, while the baby of the range sticks with the laminated soundboard but has been re-priced downwards to £2,275. To sweeten the deal even further, there’s also a buy-back scheme running in C Bechstein Millenium 116K the UK until mid January.

Yamaha b3

Ritmüller R9 78 Pianist 75 •

Steingraeber A170

Kawai K6

Steinway Arabesque Schimmel K175

Yamaha C2X Chrome

If you have designs on a grand, you’ll have to shell out rather more money, but we do have one option in this round-up that comes in (just) under five figures. e Ritmüller R9 , a 5ft 3in (161cm) baby grand in black polyester, normally retails from £9,599 for black polyester finish, but Pianist readers can take advantage of a seasonal offer to buy it through participating dealers for £8,499 when they produce a copy of this article. is is really an exceptional piano for this price. Moving up, in size as well as price, is the Yamaha C2X Chrome, a 5ft 8in instrument listing at £19,949. e CX range has a more ‘European’ sound than C-series, but it also has an elegant modern look, this one with a silvered frame and chrome fittings. ere’s limited availability, however. Forsyth Bros of Manchester has the only one in the UK, itself one of just ten in Europe. A touch sma ller than the Yamaha C2X Chrome, but with a fine German pedigree (and a price to match) is the Steingraeber A170, a baby grand

both the design and manufacture of the company’s new ranges. It has the same key length as the 9ft 2in K 280 concert grand, allowing unusually precise control of dynamics, Triplex Scaling to enhance the middle and treble and an enlarged soundboard with dynamic bars for a longer sustain when playing pianissi mo. Fazioli, established in 1981, is a relative youngster in the grand piano market, but there’s nothing immature about its offerings. e factory in northeast Italy produces around 120 instruments per year, with soundboards made of red spruce from Val di Fiemme (the same wood that Stradivari used for his violins). We particularly like the big projecting tone, and well-balance bass and treble of the 6 foot (183cm) Fazioli F183 . is retails at £65,000 in black polyester, with other finishes available. But if that’s still a bit small time when you come to choose a Christmas gift for your significant other (or your significant self) we’ve got just the thing for you. e Steinway Arabesque has been produced to celebrate the company’s 160th anniversary, in a limited edition of only 50 instruments.

that sounds a lot bigger than its 170cm (5ft 7in). Helping the bass response is a larger soundboard area than is normally found on such a relatively short instrument, allied to low string tension with a straight bass bridge located at the most active area of the board. ere’s a range of case designs and finishes (including exotic woods), while technical features include Steingraeber’s climate-resistant carbon fibre soundboard and carbon fibre/ composite action, plus the option of mammoth tusk ivory key tops. Recommended retail prices start from £44,412. Similarly priced (at £45,000) to the Steingraeber A170, the 5ft 9in (175cm) Schimmel K175 also benefits from the latest technology, used in

Inside it’s a Steinway concert grand. But to look at, the Arabesque is a design masterpiece by Dakota Jackson, who also collaborated with Steinway on its Tricentennial limited edition model in 2000. It takes its name from ballet’s Arabesque pose, where the ballerina appears almost to be frozen in suspended animation. Particular features that build on the theme include the spiralled legs, the bevelled rim and, especially, the suspended lid and with curved prop. It’s a beauty, in silver plate and black ebony high polish or silver plate and Macassar ebony, and it’s bound to be highly sought-after. Price? If you have to ask, it’s not for you (just to sate your curiosity, though, the black ebony version runs at £136,000).

GRANDS

79 Pianist 75 •

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MAKERS

DIGITALS Dream as we might, most of us have neither the pocket nor the room for a concert grand. And if budget, space, unsympathetic neighbours who’d rather you played on headphones, portability or additional sonic and technological possibilities are deciding factors, digital is probably the way to go. e Casio CDP-120 , at £329 without the stand and another £100 with the stand, is aimed at Korg LP380 beginners, students and the budget-conscio us, but nonetheless has a weighted keyboard, realistic sounds and a high-quality speaker system as well as a headphone socket. Also aimed primarily at the beginner market, the £649 new Roland F-20 likewise has a weighted action and convincing sounds, plus a range of interactive features to keep learners

Fazioli F183

Roland F-20

motivated and provide extra enjoyment to more accomplished players. ese include not only metronome, in-built recorder and rhythm accompaniment, but a range of free Roland piano apps for iPhone, iPad or iPod, including some to help with ear-training and sight-reading. As you’d expect, Yamaha also has an instrument design ed for aspiring pianists. e PreCF tone generator in the Yamaha YDP-142, part of the Arius range, uses samples from the company’s flagship CFIIIS concert grand – but instead of a six-figure price tag, it lists at just £732. Along with Yamaha’s Graded Hammer Standard action it incorporates Damper Resonance to add acoustic piano depth when pedalling, a two-track recorder and a USB port to connect the instrument to a computer. If space is an issue, the Korg LP380, available in black, white or red, is designed to be slim enough (just 26cm in depth) and stylish enough to suit any room, while still, with a £1,019 list price, ticking the economy box. It has a three-pedal design with half-damper support, a sound system with plenty of poke and, like all the digitals here, a weighted action. Finally, for anyone from learners to teachers (and a great option for gigging pro players and itinerant university students too) there’s the Kawai ES7 (complete with sustain pedal and music rack at £1,249). It sounds good and plays beautifully. Not only that, but it also has an amazing array of functions from accompaniments to amp simulations (for use with electric piano sounds) to a ‘virtual technician’ allowing you to adjust touch, tone, temperament and partial components such as string resonance, damper and fall-back noises, the key-off effect and hammer delay. e ES7 comes in black or white, with an optional matching stand.  Casio CDP-120

MEET THE MAKERS Bechstein www.bechstein.com Casio www.casio.co.uk | www.casio.com Fazioli www.jspianos.com | www.fazioli.com Reid-Sohn Samick 112

Kawai www.kawai.de | www.kawaius.com Kemble www.kemble-pianos.com Korg www.korguk.com | www.korgusa.com Reid-Sohn/Samickwww.jreidpianos.co.uk

Yamaha YDP-142

Ritmüller

www.intermusic.com

Roland www.roland.co.uk | www.roland.com Schimmel www.forsyths.co.uk (Manchester)

www.peregrines-pianos.com (London) www.schimmel-piano.de Steingraeber www.hurstwoodfarmpianos.co.uk | steingraeberpianos.com Steinway www.steinway.co.uk | www.stei nway.com Kawai ES7

Yamaha www.uk.yamaha.com | www.usa.yamaha.com 80 Pianist 75 •

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Essential

– go get it! Really great specialists only

 ne release Average For

ABDEL RAHMAN EL BACHA

Editor’s

CHOICE

ANGELA HEWITT

Complete Piano Sonatas



IGOR LEVIT The Late Piano Sonatas: Opp 101, 106 ‘Hammerklavier’, 109, 110, 111 Sony Classical 88883703872 (2 discs)

Mirare MIR 187

Piano Sonatas Vol 4. No 11 op 22, No 18 op 31 no 3,

(10 discs)

No 28 op 101

Hyperion CDA67974

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

Beethoven playing has come a long way since the days of Backhaus, Kempff, Solomon and Schnabel – all giants who came to dominate many people’s conception of how the Beethoven sonatas should be played. eir fidelity to the score and their musicality were second to none, so it’s diffi cult to imagine how anyone could follow in their footsteps without simply copying their way of playing. Yet Igor Levit has succeeded. He has better fingers than Schnabel, while his musicality is a match for Kempff and Solomon’s. He also has a better Steinway (and piano tuner) than any of the oldies, and he stays close to the printed score as Backhaus did. So, what makes Levit the Beethoven player of our times? Answer: his ability to make us listen to Beethoven as if we have never heard him before. All this without compromising anything and while still managing to put his own personal stamp on every bar. e first movement of the ‘Hammerklavier’ sums it all up. From the hair-raising first chords to the impossible fugue, Levit catapults the music into a towering soundwor ld. His dynamic range is nothing short of phenomenal, helped by a recording sound of rare brilliance. e last three sonatas, especially the very last,

Abdel Rahman El Bacha is a cult figure in the piano world, the ultimate insider’s favourite. His complete Chopin and Ravel rank among the very best. So how wonderful to have this reissue of his complete Beethoven sonatas. Here is Beethoven playing that’s anything but idiosyncratic, but it’s not bland. It is fascinating to follow El Bacha’s playing with the score: he’s able to observe every single detail, without being pedantic. ere are pianists with a more personal tone who can produce greater miracles on the piano, however few can show such understated beauty and sheer bliss in their interpretations as El Bacha. As a

In the booklet notes in this continuing series, Angela Hewitt explains the reasoning behind her unusual mixture of early and late sonatas – she wants to offer up a recital programme experience. Hewitt is, as always, rhythmically secure, and her trademark sharp accentuations eliminate the oversentimentality that’s a problem for other artists. However, a sweeter approach might have worked wonders for some of sonatas, such as the early B flat major opus 22. Hewitt’s many admirers will not mind her preference for the brilliant-sounding Fazioli piano and the bright recording – but for more

simply have no competition in the Beethoven concertos. from a living pianist. I can’t wait to hear him

referencenames. version, his outshines more famous

weighty Beethoven, you will want to look elsewhere.

DANIEL-BEN P IENAAR

ANDRÁS S CHIFF

SUNWOOKKIM

HJLIM

Concerto No 5 ‘Emperor’, plus Symphony No 5 Seoul PO/MyungWhun Chung

Complete Piano Sonatas

Deutsche Grammophon 481 0312

(8 discs)

Diabelli Variations; Six Bagatelles op 126

Warner Classics 464952 2

Diabelli Variations, plus Sonata No 32 op 111 & Six Bagatelles op 126

Avie AV2260

ECM New Series 481 0446 (2 discs)

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





I cannot recall a more secure winner of the Leeds Piano Competition than Sunwook Kim, who won in 2006 when he was just 18. His understated elegance and round, sonorous piano tone on that occasion linger forever in my memory. All of these qualities are evident in this live performance of the Beethoven ‘Emperor’ Concerto. Kim

When HJ Lim released her first Beethoven sonatas disc, it created near chaos among Beethoven cognoscenti. Practically every movement of the sonatas was played in what some called a new and srcinal way; others felt she was forcing her own ideas on Beethoven. Yet her playing is fascinating, because she is brave

I very much enjoyed Daniel-Ben Pienaar’s Bach Goldberg Variations and I’ve had the same pleasure in the Diabelli Variations here. His stylistic conviction and straightforward approach are surely what Beethoven had in mind when he turned the simple theme from publisher Diabelli into one of the greatest sets

ere is no question that a pianist of Schiff’s calibre ought to be entitled to five stars for this rendition of the mighty Diabelli Variations – he is in line with the old school of Beethoven playing and he is far above any technical obstacles. So why only three stars for this CD, in which Schiff offers not one but two versions of

is partnered by the experienced and much underrated conductor MyungWhun Chung and they keep the concerto in a firm rhythmic basis. If the orchestra lacks the shine of many Western orchestras, it is enthusiastic, and its version of the Fifth Symphony is classic and restrained. A good recording in a resonant hall rounds out this delightful release.

enough to present ideas rooted in a stunningly secure piano technique. Some of the sonatas here are faster, slower or dynamically so far removed from the score that you wonder what edition Lim might be using. Yet no one can deny her ability to make you sit on the edge of your chair. Hers is not a Beethoven for everyday listening, but we would poorer if it did not exist.

of variations after the Goldbergs. Pienaar never over-accentuates the often-abrupt rhythmic changes in the faster variations, and he gives us a lovely forward-moving pulse in the seductive slower variations in which Beethoven is often at his most harmonically inventive. It is hard to imagine why anyone would not be delighted by this fine modern version.

the Diabelli Variations? e answer is that you would need to be a real historic piano buff to put up with the limited range of the 1820 Franz Brodmann fortepiano on the first version, while the 1921 Bechstein on the second cannot compete with a modern instrument’s sonority. One for serious Schiff fans or those not unduly worried about piano sound!

84 75 84 Pianist Pianist#13 • •

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TEL: 0161 977 0075 www.britanniapianoauctions.com 6 Pianist Pianist75 85 75 • •

REVIEW

SHEET MUSIC & BOOKS

Michael McMillan offers a bumper crop of music this issue – from sight-reading and tutorials to Schumann, Mendelssohn and duets to give as a gift or to keep for yourself

LEAR NING TOOL

BEGINNER

S

IMPROVE YOUR SIGHT-READING! TRINITY EDITION Paul Harris Faber Music ISBN: 978-0-571-53750-1 (Initial); -53751-8 (Grade 1); -53752-5

PIANO REPERTOIRE LEVELS 1 AND 2 Mike Cornick Universal Edition ISBN: 978-3-7024-7110-1 (Level 1); -7111-8 (Level 2)

(Grade 2); -53753-2 (Grade 3); 53754-9 (Grade 4); -53755-6 (Grade 5)

Paul Harris has already written a set of Improve your sight-reading! volumes for the graded ABRSM exam syllabus. ese ones are written for the Trinity College London exams, which have slightly different requirements. e layout is almost identical to the ABRSM set, in which a new element (a different key, time signature or note value, for example) is introduced one stage at a time. Each stage begins with a few rhythmic exercises to tap, followed by several melodic exercises (i.e. pieces without the distraction of dynamics or contrasts in articulation), a couple of prepared pieces (i.e. pieces prefaced with questions to help the reader assess the music), and, finally, a page of six-to-eight bar pieces to try unaided. Although Trinity does provide samples of their sight-reading tests in their books called Sound at Sight, these ones from Faber offer the student a more structured approach and contain more exercises at each grade.

is pair of books provide supplementary repertoire at Grade 1 to 3 for students working their way through Mike Cornick’s two-volume piano tutorial called Play the Piano! ere are 30 pieces in each book, divided equally across five styles: Baroque, Classical, Romantic, Folk/Traditional and Modern (including Jazz, Jazzy, Latin, Ragtime). Of the 60 pieces in total, nine are srcinal compositions by Cornick, four are piano solos presented in their srcinal form and the remaining 47 pieces are adaptations, arrangements, simplifications or transposed versions of other music. As expected, Cornick’s arrangements are all well written for their target audience and my only quibble would be that although the pieces are described as ‘favourites’, I suspect that a high proportion of people will only be familiar with about half the music. Demo and/or backing tracks of several pieces can be downloaded from the Universal Edition website.

INTERMEDIATE

THE CLASSICAL PIANO METHOD: FINGER FITNESS 1 & 2

VENETIAN GONDOLA SONGS

Hans-Günter Heumann Schott ISBN: 978-1-84761-290-8 (1); -291-5 (2)

Felix Mendelssohn Henle ISMN: 979-0-2018-1172-7

Last year, Schott published a new set of pianostarter books written by Hans-Günter Heumann [the author of Pianist ’s current Keyboard Class]. e set included volumes devoted to Method, Repertoire and Duets. In Pianist No 69, I noted the overall thoroughness and clarity of their presentation, and these two new exercise books help to enhance the effectiveness of the series. Each book has 63 pages and contains roughly 50 exercises, all one to two pages long. e chief purpose of the exercises is to develop a student’s finger strength and independence, coordination between the hands, and articulation, but the repetitive and easy-to-read nature of the music also helps to increase reading skills. Where appropriate , Heumann has recycled material from other composers (e.g. Czerny, Hanon and Burgmüller) to achieve his pedagogic aims. As with the other books in this Classical Piano Method, Book 1 leads up to around Grade 1, and Book 2 up to Grade 2. [Note: Pianist features one of Heumann’s Finger Fitness exercises per issue – inside this issue’s Scores, you’ll find it on page 28.]

A picture may be said to be worth a thousand words, but, according to Mendelssohn, true music is that which ‘fills one’s souls with a thousand better things than words’. is book gathers together the four Venetian gondola songs that Mendelssohn wrote for solo piano, three of which were published among his eight volumes of Songs Without Words – op 19 no 6, op 30 no 6, and op 6 2 no 5. e remaining piece ( Gondellied in A major, U 136) was written in 1837 and was published as a supplement to the Neue Zeitschrift für Musik . All four pieces are written in 6/8 time, are around 60 bars long and are Grade 6 to 7 difficulty. is is not a new edition of these beautiful works, but it comes from Henle’s larger collections of Mendelssohn’s piano works. Editorial fingering is included. SCENES FROM CHILDHOOD OP 15 Robert Schumann Bärenreiter ISMN: 979-0-006-53962-8

BEGINNING PIANO FOR ADULTS Karl Mueller Alfred Music Publishing ISBN: 978-0-7390-9273-6

Karl Mueller’s piano tutorial has two stated primary goals: 1) to

It’s interesting to note that when Schumann’s collection of short pieces, Scenes of Childhood (Kinderszenen), was first published in 1839, there were mixed reviews, with one reviewer railing

teach the fundamentals of musicianship at the piano so that you can play easy classical piano pieces and 2) to help you play popular music by introducing basic chords, chord inversions and chord progressions. It succeeds in a methodical and gentle-paced manner, reaching about Grade 1 by the end of its 100-odd pages. ere are plenty of written instructions to cater for those without a tea cher, and the enclosed CD will help you to hear how the tunes go if you don’t recognise them. In terms of presentation, musical content, and ease of use, however, there are more attractive adult-orientated tutorials around, e.g. Pianoworks by Alan and Janet Bullard, Play the Piano! by Mike Cornick and Adult Piano Adventures by Nancy and Randall Faber.

about ‘the complete inanity of the entire undertaking ’. What do critics know! Bärenreiter’s new Urtext edition of these 13 miniatures is based on the corrected first edition, which dates from 1839. Both Robert and Clara Schumann’s pedal indications are included in this new Bärenreiter edition, and Clara’s fingering has been lifted from her ‘instructive edition’ (1887) of her husband’s music. Informative introductory notes covering the genesis of the work, Schumann’s problematic metronome marks, fingering and performance practice completes the volume. e whole desirable package is available for just a fiver – if you like Schumann, then what more could you want?

86 75 86 Pianist Pianist#13 • •

ADVANCED

ON THE LIGHTER SIDES (3 VOLUMES)

PETITE SUITE Béla Bartók

Universal Edition ISBN: 978-3-7024-7152-1

Béla Bartók Petite Suite für Klavie r solo

Don’t confuse this suite of pieces with Bartók’s more famous Suite op 14, or his Dance Suite or his Out of Doors Suite. is is the third published version of the ‘little suite’ that was composed in 1936, and includes revisions by Peter Bartók (Béla Bartók’s second son). It contains six short piano solos, about Grade 6 to 8, that Bartók adapted from the 44 Duos for Two Violins, which he had written five years earlier. All except one of the characteristically folk-inspir ed pieces UE36 013

Universal Edition

are one or two pages long, and the complete set should take around seven minutes to play. (Bartók has given precise instructions about the length of each piece, as usual, but the time given for the first piece is surely mistaken – 2 minutes 66 seconds!). Across the 11 pages of music, there are just three pedal indications and eight fingering markings supplied.

NINETY SONATAS IN THREE VOLUMES Domenico Scarlatti, edited by Eiji Hashimoto

Artful Musical Moments Johannes Berauer Chillin’ with jazzy feel good songs Michael Publig Music from an imagina ry garde n Monika Stadler

Doblinger ISMN: 979-0-012-20136-6 (Berauer); -20135-9 (Publig); -20137-3 (Stadler)

ese three publications all contain music that is described as being ‘on the lighter side’. ey contain between ten and 20 pieces each at around Grade 2 to 5, and most of the pieces are one or two pages long. Berauer, Publig, and Stadler are three contemporary jazz composers who all have individual styles of writing, and all their music is well written for the instrument at this level. I particularly enjoyed Monika Stadler’s tuneful pieces, which were in fact all srcinally composed for the harp (she is a harpist) and arranged for piano by Michael Publig. Publig apparently wrote most of the works in his own volume in just one day! You can decide whether or not you like their music by listening to all the pieces in these three books at www.lighter side.at.

DUETS

Dover ISBN: 978-0-486-48608-6 (Vol 1); -48616-1 (Vol 2); -48617-8 (Vol 3)

SONATAS FOR ONE PIANO, FOUR HANDS Wolfgang Amadeus Mozar t

Alfred Publishing ISBN: 978-0-7390-9171-5

In 1993, Dover published four volumes of Scarlatti’s sonatas that were a direct reprint of the set that Alessandro Longo had edited for Ricordi. e three volumes reviewed here have just been added to Dover’s catalogue, and have been edited by Eiji Hashimoto. ese volumes srcinally appeared in print between 1999 and 2002 from Zen-On Music, the Japanese publishers, for whom he had already edited 100 of Scarlatti’s sonatas. Note that none of sonatas those 100 sonatas, norcatalogue the 90 sonatas in this collection overlap with the 60 in Schirmer’s that were edited by Ha shimoto’s teacher and mentor, Ralph Kirkpatrick (whose chronological catalogue of Scarlatti’s works is most commonly used). ere is no fingering included in this revised edition, and the srcinal key signatures are preserved, meaning that in several sonatas you will find one fewer sharp or flat present compared to modern practice. At the beginning of each volume, there are some pictures of the sources consulted (various first editions and manuscripts), followed by a short history of each source. Extensive notes about Scarlatti’s ornaments and their performance are split between the second and third volumes, and Hashimoto has listed his editorial decisions at the back of each volume. All in all, this is a super collection of books – fairly expensive, but easy to read, and worth every penny.

Mozart’s first two four-hand piano sonatas (K381 and K358) predate his first piano sonata by a couple of years, and his last (K521) was written four years before his death. In between, he wrote what is considered to be one of the finest sonatas in the four-hand repertoire, K497. In this edition, the parts are presented on separate pages rather and thaneditorial above each other (as is the caseaswith the other duet reviewed here), fingering is included, are suggested realisations of ornaments. Henle Verlag and Wiener-Urtext have volumes of Mozart fourhand works that contain six sonatas, but other editions, including this one, contain just the four mentioned above. e two sonatas left out are K357, an unfinished, two-movement work, and K19d, which is now considered of doubtful authenticity.

BALLET FROM ORPHÉE ET EURYDICE Christoph Willibald Gluck arr. Anderson and Roe

Alfred Publishing ISBN: 978-0-7390-9283-5

Greg Anderson and Elizabeth Roe are a youthful duo noted for their dynamic performances and creative presentation in their music making. is arrangement of Gluck’s popular melody from Orphée et Eurydice is one of four pieces by Anderson that Alfred has published so far (more are available through www.andersonroe.com), and it is an essentially faithful transcription of the srcinal orchestral score. Sensitive musicians around Grade 6 should be able to handle the technical difficulties of the lower accompaniment part, while the upper part is significantly easier, with about half of it requiring the use of just the right hand.

NON-CLASSICAL JOPLIN MEETS STRAUSS Gerald Schwertberger

Doblinger ISMN: 979-0-012-20040-6

Do you sometimes find yourself getting cravings to play the music of Strauss in piano solo ragtime, blues and boogiewoogie arrangements? If so, this book may be just the thing for you. e book begins with a Strauss-ed up arrangement of Joplin’s Entertainer , followed by 12 of Strauss’s best-known pieces, such as e Blue Danube , Du und Du from Die Fledermaus , and Wine, Women and Song. ey are all reimagined here in the style of Joplin by Gerald Schwertberger, an Austrian composer who was born in 1941. e pieces are two to six pages long, and sympathetically written at around Grade 6 to 7. It’s certainly an srcinal project, one that is sure to prompt amusement and befuddlement in equal measure.

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