Pianist No85 - August-September 2015

5 1 0 2 R E B M E T P E S T S U G U A

OF 40 WITHFR EV E AU S ER DI H P Y E O A IS E SU TR E E AC T G KS E & M S O NL U IN S E IC LE

PL US

No 85

Helping you become a better player

SS ON S

Tricks on how to play at

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Pianist 85

CONTENTS

August-September 2015 The next issue of Pianist goes on sale 25 September 2015

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14 4 Editor’s Note 4 Reader Competition Win Gabriela Montero’s latest stunning CD release 6 Readers’ Letters 8 Lang Lang on playing at Versailles and being Global Ambassador for the Leeds 10 News Tchaikovsky Competition results, Pianist composing competition winner revealed, seagull attacks pianist and more 14 Lucille Chung Her small hands don’t put this fine pianist off playing huge repertoire, as she tells Jessica Duchen 18 How to Pla y Masterclass 1 Mark Tanner on fast and slow playing 20 How to Pla y Masterclass 2 Graham Fitch’s final article on pedalling presses down those ‘other’ pedals – the una corda andonsostenuto

26 How to Play 3 Janet Newman on Pachulski’s Prelude in C minor (Scores page 50) 27 The Scores A pullout section of 40 pages of sheet music for all levels 45 Beginner Ke yboard Class Hans-Günter Heumann’s Lesson No 13: Fifths, sixths & sevenths 67 Moment by Moment Tom Hewson, winner of the Nottingham International Jazz Piano Competition, talks about his ‘slightly peculiar’ way of life 68 Flex Time Can a yoga-inspired piano method help your playing? We talk to the creator of Piano-Yoga to find out 72 Sviatoslav Richter Claire Jackson offers up an in-depth look at this enigmatic Russian piano legend, born

22 How to Play 1 Melanie Spanswick on Hofmann’s Melodie (Scores page 32)

100 years ago this year 74 Alexander Scriabin It’s time for a re-evaluation of this remarkable Russian composer. Plus, learn one of his préludes inside this issue’s Scores (page 58)

24 How to Play 2 Lucy Parham on Chopin’s ‘Aeolian Harp’ Etude op 25 no 1 (Scores page 60)

78 ‘The Leeds’ Its founder and guiding force, Dame Fanny Waterman, is retiring at age 95. John Evans takes us on a guided

Don’t miss Graham’s online lessons!

Cover photo: © Lisa-Maria Mazzucco. Images this page, clockwise from top left: © Lisa-Maria Mazzucco; © Simon Wilkinson/SWIPX.com, Leeds International Piano Competition 2012; © Harald Hoffmann/DG. 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.

78 tour of the prestigious competition from past to present, and asks what’s in store for the future

82 Subscribe today for just £4.50 an issue by Direct Debit and receive aDame Fanny Waterman Piano Treasurybook worth £9.99 84 Piano round-up ink that the piano making world never changes? ink again – new designs and technologies are springing up everywhere. Gez Kahan has the story 86 CD Reviews ere’s lots of Grieg in this issue, from Fialkowska, Moog and Perianes, but for reviewer Marius Dawn, it’s Gabriela Montero’s heartfelt disc that stands out in the end 88 Sheet Musi c Review Highlights this issue include film scores; new editions of Scriabin, Sibelius and Schubert; music for three pianists at one piano and popular encore pieces 89 Classifieds

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Editor’s note

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his issue features many remarkable musicians who persevered even when the odds were against them. Cover artist Lucille Chung, whose interview appears on page 14, was told by the legendary concert pianist Lazar Berman that her handswere too small to play Liszt. That didn’t deter her – she went on to master the biggest and most challenging repertoire. Then there’s Dame Fanny Waterman, who realised her dream of establishing a world-class piano competition in her home town of Leeds. This year, at age 95, Dame Fanny steps down from the hugely successfulompetition c after 52 years. Read all about her legacy inJohn Evans’ article on page 78. The new Global Ambassador to the Leeds Competition, Lang Lang, has always pulled out all the stops,the both in his playing andview as an inspiration to millions of kids (and adults) all over world. Read my inter with him on page 8. Lucille Chung isn’t the only pianist who has small hands but big-hands ambition. Turn to page 68 to read all about the pianist GéNIA and her Piano-Yoga method, and try the sample exercise from her book – those with larger hands can benefit too. As we report in this issue’s News, at the XV Tchaikovsky Competition in Moscow, a Russian, Dmitry Masleev, took home the gold. As it happens, this issue we feature two Russian musical greats whose centenaries are celebrated this year. On page 72, Claire Jackson looks at Sviatoslav Richter, an enigmatic and brilliant pianist who is on many lists of ‘top 10 best pianists’ (including mine). Michael Quinn delves into the mystical soundworld of Scriabin on page 74, asking why his music challenges players and listeners. Inside the Scores, you’ll find Scriabin’s gorgeous and accessible Prélude op 16 no 3. Other unmissable scores include Granados’s ‘May Song’, Henselt’s ‘Love’s Repose’ and Pachulski’s Prelude. Each one is incredibly heartfelt, and most of them were real discoveries for me. For those with guts, there’s Chopin’s Etude op 25 no 1 to try (Lucy Parham’s lesson will definitely help). Lastly, take a peek at the piano round-up on page 82. There are some groundbreaking happenings in the world of piano making. The straight-strung design ‘Barenboim-Maene’ piano, for instance, was commissioned by Daniel Barenboim. Inspired by a Liszt piano, Barenboim had a vision of a piano that combines what worked in the past with current technology – and like many other remarkable figures in this issue, he was able to turn his dream into reality. ERICA WORTH, EDITOR

Make sure that you keep in touch with me – what I’ve been up to, which pianists I’ve spoken to, exclusive extra articles and interviews – by registering for our FREE e-newsletter. All you need to do is go to www.pianistmagazine.com

COMPETITION

ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM

WIN A COPY OF GABRIELA MONTERO’S NEW CD, OUR EDITOR’S CHOICE IN THIS ISSUE’S CD REVIEWS Answer the question below correctly, and you could be one of three winners to receive a copy of Gabriela Montero’s new CD, featuring Rachmaninov’s Piano Concerto No 2 and Montero’s own improvisations, from Orchid Classics (see review, page 86) Where was the pianist Gabriela Montero born? A: Italy B: Spain C: Venezuela ENTER ONLINE ATWWW.PIANISTMAGAZINE.COM

a g e v o l a E in m a j n e B ©

. Please send to Erica Worth, Editor, COMP PIA0117,Pianist, Postcard entries are also accepted 6 Warrington Crescent, London W9 1EL, UK. Competition closes 25 September. Quote PIA0117 and remember to put your name, address and telephone number on the postcard as well as your answer. Answer to page 4 competition inPianist No 82: B: Brahms. Congratulations to the three winners: Mr Tony Loader (East Sussex), Mr Sin Lau (Cheshire), Mrs Kathleen Warwick (West Midlands)

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Pianist

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

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Readers’ Letters Get in touch WRITE TO:The Editor, Pianist, 6 Warrington Crescent, Lon don, W9 1EL, UK OR EMAIL: [email protected] STAR LETTERwins a surprise CD. Letters may be edited.

Orna posting E D U C AT I O

Music Theory – More, please!

STAR LETTER

Can piano keepplaying ailments at bay? I was deeply moved by the Star Letter in

Pianist No 84 charting Jennie Gardner’s struggles and successes on the piano despite her non-musical background. I am of an earlier generation and by the time issue 85 hits the shelves, I will be 73. Yet I have never enjoyed playing so much as I do now, thanks almost entirely to the arrival of your magazine, to which I have subscribed since issue 2. I had my first piano lesson aged seven, eventually reached Grade 6, but once I left home in the early 1960s to pursue a busy career as a provincial news journalist, I scarcely touched a keyboard for almost 15 years. Now I divide my music time between a Challen upright and a six-octave Casio keyboard. Without wishing to blow my own trumpet, in a strange sort of way I am a natural, playing both by ear and from the score, learning new pieces quickly and with a range that includes hundreds of pop tunes, jazzy numbers, light offerings and classical, courtesy of Pianist . My limit is usually intermediate but I am psyching myself for a stiffer challenge. Now here’s the thing. Both my parents suffered from dementia right up to their deaths in their early nineties, and my GP has announced to me I am a likely candidate for this distressing condition. So I keep myself busy with a regular gardening page for my old paper, looking after our large garden and losing myself on the black-and-whites, which convinces me that being able to read music keeps that deadly disease at bay. Reading Pianist and playing its scores is unquestionably a high spot in my life, enabling me to create beautiful tunes and, at the same time, fend off that hereditary threat. Graham Andrews, Devon

What an inspiring letter, and an idea for a future article exploring your question: ‘Does playing the piano every day keep illness (including dementia) at bay?’ Anecdotally, we suspect that it does have some positive impact. A surprise CD is on its way to you.

Reading the article ‘Music eory: Love It! Hate It!’ in Pianist No 84 gave me grounds for some reminiscing. I studied piano here in Canada from about age 9 to 15, completing my Grade 9 exam. Along with the

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practical, was obliged to in study both history and harmony to me. a fairly advanced Ilevel. Harmony particular was mostly a puzzle to At no point in my studies did anyone suggest there was a reason for learning HEOR MUSIC T these subjects – it was simply mandatory to do it. I studied, memorised E IT! and passed the exams that were concomitant with my piano exams. LOV E IT! HAT I am retired now and, having some leisure time, I have resumed my study of the piano. With the assistance of some reading and study on the subject, I realise how important theory actually is and that a knowledge of it can help the pianist immensely, particularly with memorising a piece. Rather than the somewhat unreliable kinetic recall, one can analyse and learn the harmonic aspects of the piece, which can be a solid support to playing from memory. So, yes, indeed: I think it would be an asset to your magazine to have a regular music theory column. It would provide both a review and an introduction to the subject for many pianists of all levels. Marnie McGrath, near Vancouver, BC, Canada

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Music theory causes anxiety in many pianists, and yet g etting to gr will help your play ing immeasurably ips with it tells you why you . John Evans should relax and give theory a try

ew would deny Moz art who did with ex-communica knew his music theory. tion. P ope Clement XIV When, as a boy, he he must have approved ard of Mozart’sarra Greg orio Alleg ri’s ng e than expelling the yment because rather being sung oung g enius, he showered him with pra the Sistine Chape at l in No one’s quite sure ise. Rome by it that, perhaps , he was so moved had once been so toucwhy the Vatican hy about archaic rules he wasnot realising what Miserere. Some say it was because the it down by ear and wbreaking , he wrote piece contained jealously guarded the drop of a hat, eveould play it at ornamentation that w when he asked him to.n to the Pope down but passed fromas never written An everyday story generation; others say g eneration to you mig ht say, ex of a boy g enius musical interval in t it features a cept he bass that was before, the Vatican that centuries once reg arded had forbidden as being so ug ly it was Miserere t o be perf known as the diab olu ormed beyond the s in musica (t he Sistine Chapel, thre Devil in music). Today atening anyone interval an aug ment we call that ed f ourth, or a Mise rere

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tritone (an interv a l that spans three whole tones). As you can probably nickname, the tritone tell from its was a much loathed and feared musical device. ere really are storie ex-communicated f s of people being or using it. For these reasons, it’s unlik it in his original Mise ely Alleg ri used of his time didn’t, as arere; composers it certainly found it rule. However, versions and perf s way into later ormances of the work. None of this evidently bothered young Mozart or, it but Mi serere and the seems, the P ope, rules once surrounding it serve as anyone preparing for a reminder to their ABRSM

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5/05/20 5 09:

I have been a piano teacher for over 20 years, and I agree with John Evans’s view about the importance of backing up playing with a knowledge of musical grammar. However, it is worth mentioning that a pass at Grade 5 theory is not the only route towards the ABRSM higher grades. Several of my students have enjoyed using the ABRSM’s Practical Musicianship syllabus. e tests are carried out through playing your chosen instrument, and the skills learned include harmonising, transposing and improvisation, and the Grade 5 examination is an accepted alternative to Grade 5 theory. I have found that students taking the practical route often seem better able to relate the musical grammar learned to their playing and understanding of actual music, and to retain the knowledge long after the exam. It is also good fun. I don’t believe that any learning should be like the nasty medicine that John Evans describes as often associated with learning music theory. Jill Osborn, Bedfordshire I returned to the piano about ten years ago at the age of 67. I had spent most of my life studying, first industrial chemistry, then chemical engineering, then market research and marketing, along with some other specialist topics. I’d had enough of theory! I told my piano teacher no theory and no Bach; I just want to pla y some nice tunes and work on a jazz technique. However, as I began to play I realised just how much I love the classics, so I started out on a journey through Chopin, Debussy, Granados, the Romantics and, for the last two years, Rachmaninov. I have found that I cannot avoid theory. For me it works to study each piece in turn with my teacher and consider its theory requirements. Gradually, I have built up a grounding in the theory necessary for my repertoire – it’s not ideal but it works for me. Articles in Pianist do help to broaden my understanding of music and theory. So I owe you yet another vote of thanks. David Kay, Doncaster

We received many excellent and thoughtful letters in response to our request in issue 84 for reader views of music theory, with most writing positively about their own theory experiences – and in favour of a future series on music theory. It was especially difficult to choose our favourite letter, but we’d like to award the copy of e AB Guide to Music eory to Marnie McGrath, whose letter appears above. We’re still sketching out plans for a music theory series, so if you have any further thoughts on this topic, please let us know.

The right warm-ups I agree with Brenda Ogdon’s view [‘Diabolical stretching?’, Letters, Pianist No 81] in that horizontal hand stretching must not be exaggerated. To warm up, however, I suggest palm and finger stretching: place your hands and fingers, palm uppermost, pressing hard touching underneath the keyboard, then move them vigorously to and fro for a few seconds. is massages and stretches hand and fingers, improving flexibility and blood circulation before playing. When athletes like Bolt prepare for the 100 meters, they use a similar stretching for their legs. We can profitably use the suggested version for our fingers and hands. Geoffrey Adkins, Rome, Italy 6• Pianist 85

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UP CLOSE

LANG

GLOBAL

LANG

CITIZEN

He’s always been a great emissary for the piano, and now Lang Lang has become Global Ambassador for the Leeds Competition. He tells Erica Worth how it all came about

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© ); y n n a F e m a D & g n a L g n a (L n o ti ti e p m o C o n a i P l a n ito a n r te In s d e e L f o y s e t r u o C );s o t o h p s e lli sa r e V ( l a ic s s a l C y n o S / u a e v a L x li A ©

ow did you become Global Ambassador for the Leeds International Piano Competition? Dame Fanny Waterman approached me about it, and I decided to come to Leeds to see the competition first hand. It is obviously a legendary competition, and the list of previous winners speaks for

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the high standard it has set, but I was also interested in how individualistic the competitors might be. Suffi ce to say, I was even more impressed seeing the competition close up. Dame Fanny asked me to meet the finalists before the performances. ey were a diverse bunch, and I then decided I would take on the Global Ambassador role. Tell us about that initial meeting with Dame Fanny.

Clockwise from bottom left: Lang Lang at the entrance of Leeds Town Hall with Dame Fanny Waterman; in Versailles’ famous Hall of Mirrors; with young pianists at the Allianz Junior Music Camp in 2014

When I arrived at her house, which is full of momentos of students, the Leeds Piano Competition and many big moments in her life, she immediately asked me to play. It’s one thing playing to a Royal Albert Hall or Berlin Philharmonie audience, and another playing to the most famous piano teacher of all! We started to play together and had really good fun. It was the opposite of music making in a pressured environment. I can see why her students regard her with both fear and love – she has real magnetism and a sense of history around her. Will you stay in touch with Dame Fanny after she steps down from the Leeds later this year? I don’t think that Dame Fanny will ever not be part of the Leeds! It’s fantastic that you are giving a benefit concert on 9 September at Leeds Town HallLeeds and are donating your fees to the Competition. I am fortunate to have the career and life through playing that I have, so giving support where it’s appreciated is an honour. e Leeds is a vital part of the piano world, not just in Britain, but for aspiring students worldwide. It’s all too easy to forget tradition and take for granted that it will always be there.

8• Pianist 85

Can’t get enough of

LANG LANG? See him play Lang Lang appears in recital at the LeedsTown Hall on 9 Sept, prior to the finals of the Leeds International Piano Competition; for tickets and information go to leedspiano.com. Lang

How important do you feel it is to expand classical music into today’s modern culture, especially among young people? It is expanding – I see it. e classical music world can seem impenetrable and elite, we can’t hide from that. We need people coming into concert halls, and I get a lot of families coming to my concerts. We can’t just be musicians, we need audiences too, and they don’t want to feel alienated. Keeping musicians’ standards high, but growing the audiences at the same time is a challenge for all of us. Can you tell me about your ‘Versailles experience’, which happened in June? It had been a life-long dream of mine to once give a concert at the magical Chateau of Versailles. In June this dream came true when I was invited to play a recital in the famous Hall of Mirrors. It is the most beautiful place you can imagine, with its many chandeliers, ornaments and its big windows overseeing the park. I played the four Chopin Scherzos and e Seasons by Tchaikovsky. e concert was captured by multiple cameras and will be released on DVD by Sony Classical this autumn. We produced a studio recording in Paris with the same programme for CD release. Tell us about your Allianz Junior Music Camp, which takes place in Vienna this November. It sounds like it must be a once-in-a-lifetime chance for ten gifted pianists! is willJunior be theMusic third Camp. year of e the first Allianz two camps took place in Munich and Barcelona, and I am really looking forward to taking the camp to Vienna’s famous Musikverein this time. During the camp the young students will have lessons from our teachers, get to explore the city and will meet likeminded young pianists from all around

the world. I will join the camp for one day to meet the kids and teach them in a masterclass held at the Musikverein. Kids between eight and 14 years can apply by sending a video to the Lang Lang International Music Foundation. Last year we had some excellent participants from the UK, and I hope we will have some more UK participants this year too. You are very active on social media. How do you see social media helping other people feel inspired to listen, watch and play the piano? I think social media and technology are a blessing for classical music. I embrace social media, and love to share my music with as many fans and friends as possible. I love to follow how technology changes the music world almost daily and I am a keen observer of all the new trends and opportunities that arise. When can we expect to see you performing in London again? I will be in London in November, playing three concerts with the Philharmonia Orchestra and Maestro Esa-Pekka at the Royal Festival Hall. I will play three different concertos in three concerts: Bartók Piano Concerto No 2, Prokofiev Piano Concerto No 3 and the Grieg Piano Concerto [see box at right for more details]. We’d love to know how much practising you do each day! Nowadays I practise two hours a day on average. Lastly, what gives you the drive every day, to get up there and play the piano to the world? It’s the music. I simply love it. It gives me energy! ■

Lang London’s Royalappears Festivalat Hall, as part of the Salonen/Lang Lang Series, on 26 Nov, 1 Dec and 3 Dec. For tickets, go to www.southbankcentre. co.uk. He opens the New York Philharmonic season on 24 Sept at Lincoln Center with a performance of the Grieg Concerto (see lincolncenter.org). Find out how to enter the Allianz Music Camp by going to www.langlangfoundation.org

Learn with Lang Lang Mastering the Pianois the first series of books to be launched in the Lang Lang Piano Academy, a major new piano programme from Faber Music encompassing a range of materials for pianists of all levels.The books are available from the Pianist Digital Store at http://pianistm.ag/digitalshop

Lang Lang inside Pianist Lang Lang appeared on the cover of issue 61, in which you can read a three-page interview with Editor Erica Worth.The issue is no longer available in print, but you can buy it digitally (as an app) by going to http:// pianistm.ag/issue61

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News

All the latest news from the world of the piano

Pianist composing RUSSIAN PIANIST DMITRY MASLEEV TRIUMPHS AT XV TCHAIKOVSKY COMPETITION Excitement, joy and controversy at world-famous event One of the world’s major musical competitions, the XV Tchaikovsky Competition, concluded at the end of June with gold medals in their respective categories for Russian pianist Dmitry Masleev (pictured above), Mongolian baritone Ariunbaatar Ganhbaatar (also the Grand Prix winner of the competition), Russian mezzo-soprano Yulia Matochkina and Romanian cellist Andrei Ionu Ioniă. No first prize was awarded in the violin category, although Taiwanese violinist Yu-Chien Tseng received the silver. In the piano category, the silver medal was shared between Russian-Lithuanian Lucas Geniušas and American George Li, while the bronze was shared between Russians Sergei Redkin and Daniel Kharitonov, with fourth prize going to Frenchman Lucas Debargue, who also won the prize of the Moscow Music Critics Association. at last-noted prize is reminder that, as usual, the Tchaikovsky Competition was not without controversy. Lucas Debargue, who wowed the audience with a Medtner sonata and Ravel Gaspard de la nuit, inspired a minor slanging match between jurors Boris Berezovsky and Peter Donohoe on social media. Meanwhile, Jessica Duchen, a regular contributor to Pianist, was unimpressed that the all-male piano jury managed to produce an all-male list of piano finalists. ‘Can it REALLY be the case that no women, not even Maria Mazo, were considered good enough to have a try for the final? Or is it same-old same-old yet again?’ After going through the preliminary stages that lasted several weeks, the five piano finalists had to further prove their superhuman endurance in the final, which required a performance of a Tchaikovsky concerto (all but one finalist chose the First) plus a showpiece concerto of their own selection. ere are concerts in the UK featuring some of the competition winners, at London’s Cadogan Hall (26 Oct) and Birmingham’s Symphony Hall (28 Oct). For details, go to cadoganhall.com or thsh.co.uk

competition winner revealed! Scarborough Fair arrangement sweeps the field Pianist is delighted to reveal that the winner of our first-ever composing competition is Derry Bertenshaw from Shropshire. After hours of play-throughs and deliberations, the judges selected Bertenshaw’s Intermediate/Advanced level arrangement of Scarborough Fair, finding it to be a unique rhapsodic arrangement, full of sweeping lyrical moments and subtle key changes. We hasten to add that Bertenshaw submitted his 62-bar masterpiece in clear handwriting (see above). at alone must have taken some work! Bertenshaw’s winning arrangement will feature in a forthcoming issue of the magazine, along with a full-length feature about the competition, highlighting some of our favourite entries, plus giving feedback from the judges. e competition attracted more than 80 entries from all over the world. Submissions included arrangements of works by Bach, Tchaikovsky, Chopin, the Beatles, Vivaldi, Purcell (two versions of Dido and Aeneas) and Charles Aznavour. e creativity and wide choice of repertoire amazed the judges, who sifted through arrangements of God Save the Queen, Amazing Grace, Swing Low, Sweet Chariot, underbirds are Go, some lovely Irish traditional songs and a jazzy rendition of Für Elise entitled Jazz Elise, among many others. Pianist would like to thank all those who entered. We know that it took a lot of hard work. We are happy to announce that next year we will be running another composing competition – this time asking for srcinal compositions. Watch this space!

Facelifts for Southbank’s Queen Elizabeth Hall and Purcell Room Key London halls will be closed for two years e Southbank Centre has three of London’s busiest halls, and from September, two of them – the Queen Elizabeth Hall (QEH; pictured top right) and the smaller Purcell Room – will be closed for much-needed refurbishment. e two halls, along with the Southbank’s Hayward Gallery, will be shut for a projected two years for essential repairs and maintenance. e works are not expected to be as extensive as those at nearby Royal Festival Hall, which received a major overhaul in 2007, but will include much-needed renovation of seats,backstage production facilities, toilets, cloakroom, areas, heating, ticket desk, and, as much as is feasible for the 1960s buildings, the energy and environmental efficiency. e 900-seat QEH is the main venue for the Southbank’s International Piano Series as well as the International Chamber Music Series. During the closure, some of the concerts will be relocated to St John’s, Smith Square. 10. Pianist 85

11• Pianist 85

News

All the latest news from the world of the piano The Soul of Chopin Mailley-Smith plays complete Chopin in London

Saffron Hall’s new season One of the newest venues, the 740-seat Saffron HallUK’s in Essex, hasconcert announced its second season. e Hall’s acoustically outstanding space received many accolades when it first opened its doors and its forthcoming season brings top-flight talent to match the sound. Pianistic highlights include an exploration of composers influenced by jazz featuring Steven Osborne, bassist Eddie Gomez and the Britten Sinfonia (21 Nov); András Schiff in his Saffron Hall debut (31 Mar) and Simon Trpčeski in the Rachmaninov Second Concerto with the Oslo Philharmonic and Vasily Petrenko (13 Mar). en there’s all three Brahms piano trios played by violinist Leonidas Kavakos, cellist Gautier Capuçon and pianist Nikolai Lugansky (5 June). Another development at Saffron will be the October opening of a specialist Saturday music school, the Saffron Centre for Young Musicians. For full details about Saffron Hall, go to saffronhall.com

Critic Ted Greenfield dies Edward ‘Ted’ Greenfield, broadcaster, formerGuardian chief music critic and co-editor of the Penguin Record Guide, has ) h it m -S y le il a M ( E G B © ;) ll a H n o ffr a S ( ll a H n o fr f a S

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died in London, age 86. Greenfield, born in Westcliff-on-Sea, Essex, studied piano and voice from a young age. At Cambridge he chose first modern languages, then law. Nudged in the direction of journalism, Greenfield began writing for the then-Manchester Guardian, and eventually served as chief music critic for the paper from 1977 to 1993, and also wrote for Gramophone and co-edited the Penguin Record Guide. In 2010, Greenfield told the Spitalfields Life blog about his philosophy as a critic: ‘e first duty of a critic is to appreciate, to try to understand what the artist is trying to do and how far he has succeeded. You just have to try and sympathise.’

Warren Mailley-Smith will perform all of Chopin’s solo piano works at St John’s, Smith Square, London over the course of the 2015-16 season. e 39-yearold English pianist’s recital on 4 September opens the St John’s, Smith Square season and is the first of eleven recitals in the new Chopin series. Mailley-Smith has carefully planned the programming so that the individual programmes ‘includes an early and a late work, a well-known and a lesser with as a major – ballades, scherzos ornotes. e mazurkas are evenly split etudeswork featuring a maingroup theme’, as the press release between the programmes and run chronologically from first programme to the last. e first programme, for instance, includes the Polonaise-Fantaisie and Andante Spianato and Grande Polonaise Brilliante, as well several mazurkas, waltzes, nocturnes and so on. e remaining recital dates are 23 Oct, 27 Nov, 15 Jan, 19 Feb, 4 Mar, 8 Apr, 29 Apr, 27 May, 17 June and 15 July. Mailley-Smith previously presented a series called ‘Young Chopin’, and says of the composer, ‘I adore playing Chopin, for the sensation that his music creates in the hand, and his wonderful combination of harmonic invention, breathtaking melody and virtuosity.’ Further information at sjss.org.uk

ACCIDENT REPORT: Paul Lewis and Anthony Hewitt soar back up after f alling down ‘Pick yourself up, dust yourself off, start all over again,’ says the song– perfect advice for concert pianists Paul Lewis and Anthony Hewitt, who were both injured recently in falls. For Lewis, his encounter with a seagull resembled nothing so much as a scene from Alfred Hitchcock’s film e Birds. According to BBC News, Lewis was leaving rehearsals with the Royal Liverpool Philharmonic Orchestra in June when the seagull swooped down on him, causing him to lose his balance, fall and sprain a finger on his right hand. Friends say he is practising again as he slowly heals the affected ligaments. Ulverston Festival founder and pianist Anthony Hewitt was bicycling when he fell, breaking his collar bone and dislocating his right shoulder. (ree years ago, Hewitt bicycled from Land’s End to John O’Groats as ‘e Olympianist’, raising £13,000 for charity.) After discovering that the healing process would last longer than six weeks, Hewitt devised a programme for the Ulverston Festival of works for the left hand, while Martin Roscoe stepped in for his performance with the Northern Sinfonia. ‘One thing is for sure – I will certainly be steering clear of bicycles in the run-up to next year’s festival,’ Hewitt told Cumbria Live. Pianist wishes both performers a swift and complete recovery.

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INTERVIEW

Life is

sweet Lucille Chung hasn’t let small hands (she loves playing Liszt) or being married to fellow concert pianist Alessio Bax (they play duos) get in the way of a blossoming career. Jessica Duchen meets her

If you could only play one piece from now on, what would it be? Brahms Piano Concerto No 1. If you could only play one composer from now on, who would it be? Mozart. One pianist, dead or alive, whom you’d travel long and far to hear? Grigory Sokolov.

Up Close

LUCILLE CHUNG

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If you weren’t a pianist, what would you be? A psychologist. One person you’d love to play for? Two: Grigory Sokolov and Krystian Zimerman. One composer you’re not quite ready to tackle?

One concert hall you’d love to I’m not performing Bach in public play in? at the moment. Suntory Hall, Tokyo, with its fabulous acoustics. What other kind of music do you like to listen to? Any technical struggles? Jazz. And hip-hop when my Big chords, because of my nephews and nieces come over. But for listening I prefer going to small hands. I rework them with sensible fingerings. a concert and immersing myself in a performance. I don’t like What would be your advice to treating music as background.

ucille Chung is waiting for me in a café in London’s Holland Park, ready to squeeze in a lunch interview before rushing off to Heathrow Airport. At first it is almost diffi cult to square up the astonishing virtuosity and power of Chung’s playing – as attested by her recordings, which include nothing less than the complete Ligeti Etudes – with the diminutive young woman about to head home to New York with her husband, the pianist Alessio Bax [Pianist No 80’s cover artist], and their baby daughter, Mila. Yet it’s soon clear that Chung is not one to let life, physique or anything else stand in the way of her music. She has tiny hands – and says some of her teachers have apparently tried to give her short shrift for that. ‘When I first came to Lazar Berman in Weimar, he said: “Oh, you have a small hand, so you’ll never be able to play Liszt,”’ she remembers. ‘at made me decide to learn all the Liszt I possibly could. In one year I learned the B minor Sonata, the Spanish Rhapsody, a few

Chung, who hails from a family of scientists, applies a forensic perceptiveness and precise personal systems to her work at the piano. Her parents were born in Korea, met and married in Germany, then moved to California and later to Canada, where they settled in Montreal. ‘My father was professor of genetics at the University of Montreal and my mother was director of dietetics at Montreal General Hospital,’ she recounts. ‘Of course they loved music and went to concerts – and at school the cool thing for the girls to do was to learn the piano, so that was why I wanted to sta rt.’

She was six years old. e school piano teacher soon began to enter her for competitions. ‘I kept winning, but we didn’t even have a piano at home. My parents thought: “Oh, she must have

breaks, I would sneak away to London for lessons with Maria Curcio,’ she says. ‘Of course, my teachers in Philadelphia didn’t like me going. But she taught me so much about sound, musicianship

Hungarian Rhapsodies, SchubertLiszt transcriptions – justsome to show him. And then I won second prize at the Liszt Competition [also in Weimar]. I didn’t want to be bothered by or put down by such a comment. I’m short and people assume that I must play dainty music – but then I play Ligeti or Liszt and it shocks them. So perhaps it plays to my advantage.’

some and bought a piano!’ Aged ten shetalent,” performed a concerto with the Montreal Symphony Orchestra and at 13 she was accepted by the elite (in the best way) Curtis Institute in Philadelphia. She duly left home on her own. ‘It was great!’ she laughs. ‘I had a real sense of independence and responsibility. I loved writing my own cheques, paying the rent and having my

and – which an institution theytechnique don’t always teach.inShe knew the instrument so well: how to sing and how to speak through the piano.’ It seems remarkable that Chung felt she was not finding the technical rigour she needed in her main institution: ‘It’s because they assume you are already formed and made,’ she says, ▲ ‘but when you’re so young you need

L g n o B g n a S ie L y b 6 1 e g a p n o n w o g g in n e v E . o c c u z z a

amateurs on how to improve? Be systematic – it will help you to sustain real quality.

own credit card. Now I look back and wonder how I did it, but at the time it seemed normal, because I wanted to pursue my music. My father would have preferred me to stay home and have a regular life, but my mother supported me and would come to visit once a month. ey’d call me every morning and again at night to make sure I was safely home.’ Having sloped off to Curtis, Chung then began to slope off elsewhere in the holidays. Rather than sticking with just one teacher, she was hungry for different experiences of coaching from different musicians. ‘During the summer

‘I’m short and people assume that I must play dainty music – but then I play Ligeti or Liszt and it shocks them. So perhaps it plays to my advantage’

15• Pianist 85

INTERVIEW that training.’ She had not had this earlier. ‘In Montreal, my piano teacher was a nun and she’d never performed in her life. So I went from a nun to Curtis. It was a big shock.’ For further studies, having graduated from both Curtis and Juilliard before she was 20, Chung came to Europe and enjoyed spells not only in Weimar but also in Salzburg, where she studied with Karl-Heinz Kämmerling, and at the piano academy in Imola, Italy. ‘ere I lived for a steal in a palazzo with frescoes,’ she remembers. Dial-up romance

he would! Afterwards he went back to Dallas and I went back to Imola. I’d just got the Internet. He immediately emailed me and we started writing to each other every day, no matter where we were. I remember trying to find Internet in Brazil and Japan – and at that time it was dial-up in Italy, so I had to wait for 6pm every day. It was quite exhilarating,’ she grins. ‘We did about a year of emails. You really get to know someone just by writing. It’s a kind of modern chivalry. ‘en he came to play in Florence, I went to see him for a day, and he went back to the States. Finally we got

rooms in our flat in New York, and it works, but neither of us likes to practise so much, so it’s quite the opposite from fighting over it. Instead we’re always telling each other to go and practise. ‘We’re each other’s harshest critics as well. It’s nice to have an extra set of ears there that you trust. Singers have coaches all their lives, but as a pianist you usually have to fend for yourself. We play to each other and criticise each other and each of us knows what the other can do better.’ Moving to Dallas had benefits besides togetherness: Chung entered the SMU Meadows School of the Arts, studying

It was at the 1997 International PianoHamamatsu Competition in Japan that she found herself placed in the same alphabetically determined ‘group’ as a young Italian named Alessio Bax. ‘Over four or five days, because of this grouping, we’d practise together, eat together and perform rather close to each other,’ she says. ‘at’s how we met. He won the competition – I knew

together that was that. on Wethe sawtelephone. each otherAnd a few more times – and I moved to Dallas. When you know, you know. My parents thought I was crazy.’ It’s a lovely story, but isn’t it asking for trouble to have two concert pianists in one household? Chung laughs. ‘We don’t like practising,’ she jokes – or half jokes. ‘We have two pianos in separate

with Bax’s chief Achúcarro. mentor, the‘He’s Spanish pianist Joaquín the type of person who’d call on New Year’s Day and say: “I found a new fingering,” and play it on the piano down the phone. You don’t often find that kind of mentorship! I was very lucky to come to him.’ Chung and Bax have now become joint artistic directors of the Joaquín Achúcarro Foundation, which promotes his legacy, organising concerts and masterclasses around the US and Spain and offering one scholarship per year to a young pianist. ‘It’s quite exciting to be on the promoter side of things,’ Chung says. ‘At first it was embassy based, but now we go beyond that and have developed many partnerships, including one with Carnegie Hall.’

LUCILLE CHUNG ON…

MEMORISATION

I managed to memorise the Ligeti Etudes really quickly. My system for memorisation stems from the secret fact that I can’t sight-read – possibly because I didn’t learn how to do it young enough. That Musical matching means that when I see music it’s easier for me to memorise it on the spot, rather than trying to sightread it. I approach it in a way that is quite mathematical and it works perfectly for something like Ligeti. Chung’s career has been building First of all, I memorise the structure and intervals. I relate to numbers and patterns, and I apply that to the music I’m learning. Some people will play right through a piece, but I need to chop it up mathematically. But once I have it memorised it’s quite quick to learn at the piano. It’s painstaking during the first few days, but I think it’s a faster process in the end. It’s a system I devised on my own, simply trying to survive. When I went to Curtis I had to learn a Bach Prelude and Fugue every two weeks, so I ended up learning all of them – which was wonderful – but I had to invent a way. The first thing was finding the patterns, looking at the structure, dividing it up. I had to be very determined and concentrated: I’d say to myself: ‘OK today I’m going to memorise four pages and I won’t stand up until I’ve done it.’ And it was always a miracle; somehow I’d always find the way it had to be done. One tip about fingerings: write it out. If you write out something, it stays with you. I remember when I was young everything was handwritten and I’d remember it. But nowadays everything’s typed and sometimes I wonder how people’s spelling works, even whether they can write by hand. In New York people bring computers and type everything, so there’s no tactile memory, nothing to put them in touch with the text itself. So I find it interesting to write out my fingerings. By hand.

steadily, with a busy touring schedule and several recordings to her name, including the afore-mentioned Ligeti etudes, a recent Mozart disc and a prize-winning all-Scriabin disc. Besides their flourishing individual careers, Chung and Bax are well known for their duo work. ey have released a CD on Signum Classics featuring Stravinsky’s complete ballet score Petrushka in its four-hand version, plus Brahms waltzes and their own version of four Piazzolla tangos. e result proves that though each is a musician of great individuality, with very different sounds and approaches, together they can sound entirely of one mind. ‘Sometimes in a duo you try so hard and it doesn’t work; other times you just click,’ says Chung. No prizes for guessing which is true here. ‘It’s like our relationship: as soon as we met we had the feeling we understood each other. Working together isn’t like working. We’re on the same line musically and we know our own strengths. Even choosing our repertoire, we already know who will play No 1 or No 2 for each piece. We cut out a lot of the usual nonsense and get straight to the music.’ One of their party pieces is Astor Piazzolla’s Libertango: ‘It changes at

16• Pianist 85

every performance,’ says Chung. ‘e harmonic base is the same and we improvise on top of it, which is a new medium for us, because being classically trained we don’t often get to be creative in that sense. Because we trust each other’s playing completely, we can do it, especially if we play it a few times in a row – it gets wilder and wilder and we really hope we end together!’ A video of them shows, at one point, Chung playing in the centre of the keyboard and Bax with one hand on either side, effectively with his arms around her. It is sweet. Very sweet. It is also fabulous music-making. e pair will spend more time in Dallas from this new academic year onwards: they now share an official teaching post and are upping their number of students. But they remain New Yorkers at heart, with Bax – an excellent cook, as Pianist readers will already know from his interview inside issue 80 – taking charge as chef when friends come round. Life has inevitably changed since Mila’s birth. ‘It’s a lot of juggling, but it works,’ says Chung. ‘I slowed down a bit after her birth, but now I’m gearing up again. Travelling is quite easy when the baby is this young, but it may be more difficult later.’ Earlier LISTEN • LEA

this year Chung premiered a concerto with the Dallas Symphony Orchestra written by a local teenaged composer, Chase Dobson; over the summer she has recitals in Italy, Dresden, Washington DC and the Bard Music Festival in New York state. In October she and Bax travel to Argentina to perform at the legendary Teatro Colón in Buenos Aires. She also has a new CD on the way, to add to her already substantial discography: a programme of piano music by Poulenc, on Signum Records. ‘I love Poulenc’s music,’ she enthuses. ‘I love the contrasts in the miniatures – one piece can be so tender, and the next so incisive. I do think it’s underrated. Maybe I feel an affinity with it because my mother tongue is actually French.’ Modestly, when pressed, she reveals that she is fluent in six languages. ere’s no doubt that Chung’s mild manner and bubbly nature disguise a musician of great intelligence and a pianist capable of jaw-dropping virtuosity. Small hands, according to some palm-readers, can signal big ideas. Chung might just be living proof of it. ■

For further details about Lucille Chung, go to lucillechung.com.

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HOW TO

Changing gears

FAST & SLOW PLAYING Do you dream of playing uently and fast? Do you wish your slow playing could be better controlled? Pianist and teacher Mark Tanner shares some tricks and tools to perfect your velocity ianists tend to fixate on fast playing – it is

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something yearn to be able tothat do we as we become more adept, and indeed the aspect that adult learners often envy in younger players. Adult learners can cultivate a reliably dexterous technique too, but extra attention may be needed to ensure movement around the instrument remains relaxed, coordinated and unencumbered. Tis will be aided by a carefully positioned seat (keeping a little further back from the keyboard will free up the elbows) and a conscious top-of-the-bounce ‘glancing blow’ of the keys (which can be assisted by sitting a notch lower than instinct might suggest). Paradoxically, slow playing brings about at least as significant a challenge as fast playing with respect to sustaining a centred, shapely cantabile through to the ends of phrases. In this article, I’ll look at fast and slow playing – and what happens when you combine the two. Physicists take care to distinguish speed from velocity, defining the latter as ‘the speed of something in a given direction’. Tis is quite an apposite way of thinking of it in pianistic terms too, since it reminds us that directional force is intrinsic to fast-moving music and encourages us to channel our speed purposefully. We often think of technique as being one ‘thing’ – i.e. an ability to whizz around the piano like a crazed octopus – whereas technique is better thought of as anything we do to make the instrument sound in a particular way. Tis, of course, includes subtle chord-voicing, pedalling, or indeed the playing of a single note! Playing at speed requires a lightness of fingerwork and wrists, good motor skills and an ability to conceptualise the passages in question as a single gesture, as opposed to a bunch of individual notes. It also requires the brain and fingers to function in perfect synchrony. After all, slick fingers presuppose a quick brain, even though it is the kinaesthetic, or muscle memory, which we tend to be preoccupied by when we begin to pile on the tempo. Evenness is at least as important as speed – an Allegretto pace, with evenly controlled fingers and active

shaping of phrases, will have a greater impact than a Prestissimo speed riddled

Mark Tanner is a pianist, composer, writer, ABRSM

with superficial fingerwork faultybumps, coordination of the hands. and Besides, the piano is not a piece of gymnastic equipment designed to demonstrate the player’s prowess. Speed for its own sake will tend to draw attention to the performer, but often at the expense of the music itself; in the final count, speed – or indeed velocity– is but one tool in our kitbag, not a vehicle to bolster a player’s ego or titivate an audience. I once asked a young player why he was playing a piece marked Adagio at such a fast speed. His response was ‘because I can’. Enough said.

examiner and teacher. In 2015 his performing and academic work will take him to Australia, USA, South Africa and Caribbean. This August he will teach piano, composition and improvisation at the Chetham’s Summer School and presents his own popular piano summer school at Jackdaws. A dozen of his pieces feature on current exam syllabuses, including five on the new Trinity College piano syllabus. Spartan Press has published 50 books of his compositions, arrangements and transcriptions. Find out more at www.marktanner.info

Fast playing

When a composer indicates a fast pace, it will invariably be to promote a particular characterisation – capriciousness, excitement, agitation or brilliance – hence tempo considerations should always be aligned with a particular type of musical charisma. If the pianist becomes too excited and carried away with the speed at which the music is moving, often the audience will experience something rather different: a breathless, tense performance with an inordinate amount of collateral damage in wrong notes or fragmentation. Our task in playing quickly is to lend the music just enough momentum and animation to let it spring

5

TOP TIPS

1 2 3

SUCCESS AT ANY SPEED Speed helps to determine character, but only in carefully selected instances should it be used as a means of demonstrating the performer’s prowess. In the main, target evenness, consistency and shape above pace. Bear in mind the impact of different articulation and dynamics when gauging appropriate speeds.

4 5

Slow playing requires an especially attentive ear for legato shaping and cantabile tone; fast playing demands super-relaxed, supple wrists and fingers. Always think in patterns and larger gestures, regardless of speed choice, and ensure that fingerings chosen at a slow speed will work at the eventual target speed. 18• Pianist 85

to life in a musically satisfying way; playing any faster soon becomes gratuitous and counterproductive. Showmanship is all well and good, but there are loftier objectives in piano playing than becoming known as the fastest player in town. Here are the main points to keep in mind when playing at high velocity: • Suppleness (i.e. a lack of tension in the fingers, wrists, or body). • Independence of fingers, which is optimised by sensible fingerings and well-considered placement on the keys. • Keeping closer to the keys and minimise extraneous movements. • Tinking in longer ‘gestures’ unencumbered by barlines. • Using a leggiero touch, using relaxed wrists and steely fingers. • Deploying sustain pedal only minimally. • Making mindful repetition of homemade exercises and/or studies by Burgmüller, Czerny, Dohnányi and so on. Strange though it may seem, running uses entirely different muscle groups from speeded-up of a personwalking. walkingAwill look like video something out of John Cleese’s ‘Ministry of Funny Walks’, not like someone running. Te same is true of piano playing. ry making a video of yourself playing an arpeggio over two or three octaves at two contrasting speeds. Aim on each occasion to play normally and smoothly. Now play back both videos, but increase

MASTERCLASS the replay speed of the first one (various apps will let you do this). is speededup version will look entirely different from the second version, where you actually played at a faster speed. e main differences are the distance you will likely be travelling away from the keyboard when playing faster, alongside greater contractions of both the fingers and wrists – we visibly fly, gathering appreciable momentum, especially when shifting to the new hand positions. Moreover, as a general rule, the fingerings you come up with at a slower speed are very likely to be different from those you find yourself needing when playing

(again, preferably adopting a similar pattern) may alleviate issues of speed loss. Consistency is definitely the name of the game when it comes to homing in on an appropriate speed. When top pianists perform in such venues as Carnegie Hall or Wigmore Hall, they get to choose their instrument a few days before. If all concert pianos were identical in the weight of their actions, there would seem little point in doing this. Indeed, choosing the right instrument for a major recital is a little like having the right running shoes for competing in an important track event. For most of us, such indulgences crop up

quickly, due toofthe different playing. muscularity and trajectory faster-paced My point is that practising at a slower speed, though useful in some respects, may well leave you with a false sense of security, and potentially give you a bum steer on fingerings. Hence, no amount of slow playing will ever enable you to play quickly; indeed, were you to practise a passage at half speed for a year, you would simply become proficient at playing it slowly.

rather butsomething this shouldappropriate not preventto us fromrarely, finding our needs. If in doubt, err on the light side. An overly heavy action can cause too much exertion of the wrists, arms and upper body, all of which will slow us down and exacerbate fatigue – the pianist’s bête noire. If forced to play on a heavier instrument, keep close to the ends of the keys and refrain from hunching over the keyboard. Always imagine the hammers striking the strings, nimbly and effortlessly. e heavier the action, the more we will tend to raise the fingers high to combat it; while this can be desirable as a technique for building finger independence, we should guard against extraneous movements and be aware of the impact on both pace and dynamics.

Articulation, patterns and piano actions

An aspect frequently overlooked when targeting a faster pace is the impact of different types of articulation. Staccato playing generally slows us down because our wrists need to play a more active role. Moreover, the louder we play, the more pronounced the slowing effect becomes. is is all the more true when rendering octaves or chords, which at speed will end up sounding staccato whether we like it or not. Try this: play a favourite ‘running’ passage several times, employing a different combination of slurs and dots on each occasion – for example, all legato, all staccato, slur-dot, dot-slur, slurs and dots grouped in threes or fours, then in alternation. Quite apart from the changes to musical impact, you will notice that the speed at which each version works most comfortably will be quite different. It is a good idea to jot down metronome speeds to keep track of your optimum pacing of all the above elements so that you never become tempted to over-egg the tempo – a bit like knowing your own vital statistics. Composers tend to compose in patterns, so the best approach is often to search these out when learning to play at abeing certain ere is littleversion point of in a ablespeed. to play the tonic melody in a Classical sonata at one speed, and the dominant version at another, which could well happen if you fail to spot the potential for using the same fingerings/hand positions. Look beyond the obvious when considering more convoluted patterns – taking the odd note or two in the other hand

Slow playing

Because our instrument creates sounds that are always decaying, we can encounter problems with creating a convincing sense of line when playing slowly. All too often we hear chopped-up phrases or else ungainly ‘bulges’. We need to pay attention to the beginning, middle and end of every note we play – just as wind, brass or string players would – so we achieve a beautifully smooth, controlled effect. e slower we play, the more pedal we can permit ourselves, though this is a general, not absolute rule. It is a good idea to practise the melody on its own, pedal-free, and create as much natural shape as you can. As with most other facets of effective piano playing, this is actually something of an illusion. A helpful exercise is occasionally to practise melodies with the alternate hand, which will encourage you to listen even more intently and hence produce the desired effect. ere are two forces at work when pianists play melodies – subtle tempo.dynamic/tone is is why wegradation will not and need to exaggerate dynamic effects quite as much when playing music at faster speeds. Remember also that the slower we choose to play something, the more the listener will tend to become absorbed by the harmony rather than the melody, so be sure this is what you are wanting! Static-sounding playing is the kiss of 19• Pianist 85

QUICK TRICKS Mark Tanner’s advice for playing at different speeds in 3 of this issue’s works

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Granados Canción de Mayo [Scores page 38]: This deliciously song-like work needs to come over with appreciable poise and tranquillity (marked ‘apacible’ – gentle). As isso often the case in Romantic piano playing, much of the ‘real’ work comesni honouring the effortlessly flowing accompaniment. Spend time working hands separately, initially without pedal. The Chopinesque RH tripletsagainst LH semiquavers (bar 10, etc.) will come about without undue angst if you aim to target the chord at the top on each occasion. Home in on the LH here, for the tendency will often be to suddenly hurry the accompaniment.Target a spacious, ‘tumbling’ qualityin the melody.

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Henselt Etude op 2 no 4 ‘Repos d’amour’ [Scores page 42]: This piece needs the lightest possible touch for the dainty RH molto cantabile e portando la chords, so that the LH tune, marked melodia, never has to work too hard to be heard. Aim for shape and sensitivity; make it sound as unhurried and naive as you dare. The fingerings are good for sharing out the tune from bar 9 onwards. At bar 19 make the most of the switch in roles to give the RH a chance to sing!

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Chopin Etude op 25 no 1[Scores page 60]: This study makes play of arpeggiated chords. A significant challenge is how to ‘pluck’ the melodic line into life ina shapely fashion.The listener should not become overwhelmed by the music’s super-rich texture. Although there are 48 notes per bar, these need to be discretely tucked away. This confers a lot of work to the RH little finger – allow the elbows freedom to move outwards on each beat, but maintain stillness of the upper torso – too much ‘porridge stirring’ will render your performance turgid and bumpy. [Read Lucy Parham’s How to Play on this piece on page 24.]

death in slow music – play buoyantly, gently on the move at all times. Mixing speeds

Piano music frequently requires the player to combine fast and slow playing within a single passage – ornaments invariably need to sound uncluttered and effortless, even within a slow-moving melodic line. e trick is not to tense up when executing ornaments, and to practise them in isolation first – for it is impossible to play with loose fingers if the wrists are tense! Furthermore, pianists often have to cope with different speeds simultaneously, i.e. a slow, poised melody set against a more florid accompaniment (for example, Chopin’s Prélude in G op 14), or indeed the other way around (such as Bach’s Invention No 14 in B flat BWV 785). In either case there will be issues of balance to keep in mind, as well as the need to adopt essentially a different technique for each hand. Finally, keep in mind the ‘less is more’ philosophy regarding speed, andstrengths wherever possible, play to your – if speed is not yet one of them, it is better to opt for more relaxed, atmospheric music when performing. And in the meantime keep grafting away at your technique; your day will come! ■ In the next issue Mark Tanner talks about practising away from the piano.

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HOW TO

e ‘other’ pedals

UNA CORDA & SOSTENUTO In the last of his three-part series on pedalling, Graham Fitch looks at the middle and left pedals – una corda and sostenuto – and explains how, when and why you’ll want to use them in your playing fter discussing the right (sustaining) pedal in some detail in my previous two articles on pedalling, I’m going to end

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with some thoughts on the remaining two pedals on most modern grand pianos – the soft pedal andfound the sostenuto. It is worth remembering that at points along the piano’s evolutionary timeline it had additional pedals that have since disappeared. e ‘moderator’ muffled the sound by bringing strips of leather or cloth between the hammers and strings; the ‘lute’ brought a strip of felt into contact with the strings, producing a gentle plucked effect; the ‘bassoon’ created a raucous buzzing by moving a strip of parchment into contact with the strings, and the ‘janissary’ produced percussion effects suitable for Turkish music. Of the three pedals that remain today, the middle pedal may be a sostenuto (more about this later) or, on some upright pianos, it may be a practice pedal, where a thin strip of felt is lowered between the hammers and the strings to muffle the sound so you can practise without disturbing your neighbours. Let’s begin with the left pedal – otherwise known as the soft pedal, the shift pedal (because on a grand piano the whole action including the keyboard shifts to the right) or the una corda.

Don’t lessons, miss Graham video whichFitch’s you’ll find on the Pianist website at www.pianistmagazine.com. Graham demonstrates everything that he discusses on these pages – and more. His current lessons are filmed at Steinway Hall, London, on a Model D concert grand. There’s nothing like watching the expert!

Here we use the left pedal to take the focus and clarity out of the sound without affecting the volume (the singing tenor line needs to be played firmly). If you covered your mouth with a handkerchief and spoke quite

of the hammer where the felt is less compacted and hardened from regular use. On its F308 grand, Fazioli added a fourth pedal, which functions just like the soft pedal on an upright, allowing the player greater control over soft playing without any change in tone colour (the piano is of course equipped with the standard shift pedal too). e term una corda (‘one string’) is thus slightly misleading. On the early pianos it was possible to use this pedal to cause the hammer to strike one or two strings but this is not the case on the modern grand. Beethoven requested these two degrees of shift in the slow movement of his Piano Concerto No 4 and also in the Sonata opus 106 ‘Hammerklavier’. One problem with making too many decisions about using the left pedal is how much the effect varies from one instrument to the next. On some pianos, the effect is a dramatic drop in sound and a subdued velvety tone quality; in others it might be barely noticeable. Piano teachers seem wary of encouraging the use of the left pedal, for fear their students will rely too much on the left foot to play softly rather than developing full control of soft playing with the fingers. Once you have developed a habit of muffling your sound by constantly using the left pedal during your practice, it is remarkably difficult to break. Try covering over the pedal with a book to stop you using it or invest in a squeaky mouse toy that you place between the underside of the pedal and the floor (every time your foot wanders back to the left pedal, the squeak will alert you and over time help you break this habit). You can achieve some wonderful silvery effects by putting the left pedal down only slightly, or half or three-quarters of the way down. Experiment with this, remembering it varies from piano to piano. We often use the left pedal in conjunction with the sustaining pedal, remembering of course that while the right pedal may need constant changing and adjusting the left pedal is usually held down for an entire phrase or even a section of music. It is not generally a good idea to use the soft pedal to assist with a diminuendo, since this would change the tone colour. However, it can work rather well when you want to

loudly, voice would still soundbetween loud, just andanclear. ereyour is a big difference in effect the less left direct pedal on upright piano and on a grand. On an upright, the pedal moves the hammers’ resting position closer to the strings. Because the hammers have less distance to travel, they reach the strings with reduced velocity and thus a reduction in volume. e tone quality is not affected. On a grand piano, the action (including the keyboard) is shifted over to the right. Hammers that in normal position strike notes with three strings now only strike two of them, but this only accounts for approximately the upper two thirds of the instrument’s range. What really changes the timbre is that the strings are struck by a part

guarantee a really soft tapering off in a slurred ending, such as the very last chord of Chopin’s Berceuse (right). Make sure the soft pedal goes down before you play this chord (you can put it down just after the penultimate chord). It is helpful to think of the left pedal as a change

The soft pedal

e soft pedal is capable of so much more than merely playing softly. Yes, it does usually make the sound softer but that’s not really the main point – we should be able to control soft playing with our fingers, hands and arms. Perhaps more importantly than using the left pedal to play more softly, we use it when we want to change the timbre or the quality of the sound. e left pedal reduces the percussive quality and gives the sound a bit more mellowness, and we can use it at a variety of dynamic levels. At the beginning of Bénédiction de Dieu dans la solitude , Liszt was obviously after a very special sound when he marked mezzo forte and una corda: Moderato

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cantando sempre

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u.c.

MASTERCLASS of registration. Experiment with holding it down for an entire repeat in a Baroque binary dance movement but do this judiciously, where it feels appropriate to the character of the music. Consider using the left pedal in echo effects and when a phrase is repeated, such as this example from Chopin’s Fantasie in F minor. Here again we would not use the soft pedal to play softly, but to make a tonal contrast between the two phrases:

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Some players like to use the sostenuto for Debussy and Ravel’s music, even though those composers would not have expected this. Te combination of using the sostenuto to sustain and the right pedal for the changing harmonies u.c. tends to create a tonal vacuum between the sustained note(s) and the changing harmonies that sanitises the texture of the music inappropriately. It’s just too squeaky clean! It is perfectly possible to realise all the special effects in It is most important not to recourse to the left pedal every time you see pianissimo or you will take the intensity, shine and glitter out of the sound. I do Debussy and Ravel’s music by the use of fractional or vibrating pedalling (of suggest it for thepianissimo in bar 2 of the Mozart’sFantasie in C minor (bars the sustaining pedal) allied with sensitivity to touch and voicing. 1-2 are below) because it helps orchestrate the slur at the end of the phrase: Rachmaninov’s C sharp minor Prelude (below) is another example of where judicious use of the sustaining pedal creates a lovely effect. By all Ada gio means use the sostenuto, but it is not at all necessary: ,

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Composers rare ly specify the use of the left pedal – its use is at the discretion of the performer. The sostenuto pedal

Steinway patented the sostenuto pedal in the USA in 1874. While American piano builders soon adopted it into their designs, it was not well received in Europe. As an undergraduate piano student at the Royal College of Music in the late 1970s, I was actively discouraged from using it, because there was no guarantee the piano at the concert venue would be equipped with one, and even if it were it might not be well enough regulated to rely upon. Te sostenuto pedal catches any dampers that are already raised and holds them in the up position so they are not affected by the sustaining pedal, which can be used independently and in conjunction with the sostenuto. Tis allows you to sustain certain preselected notes but not others. For it to work, the sostenuto has to be perfectly regulated, which it often isn’t, even on concert pianos! Remember that the note you wish to catch and sustain has to go when at nothe other fingers are holding, and want the sustaining cannot bedown fully down precise moment. So if you to sustainpedal a bass in the sostenuto and the RH is also playing, whatever the RH is holding down will also be caught in the pedal. If you play a lot of 20th-century and contemporary music, particularly by American composers, you may already use the sostenuto constantly. In the extract from Elliott Carter’s sonata at the top of the next column, all the rests and staccatos can be realised while the sostenuto holds on to the chord.Te sostenuto is also ideal for the Liszt and Busoni transcriptions of Bach – using it sustains long bass notes with changing harmonies played in higher registers.

If you are using right pedal only, then don’t even begin to adjust the pedal until about halfway through the bar, after which I suggest vibrating the pedal to sustain the bass octave and to partially clear the changes of harmony above (see my article in Pianist No 84). Let us remember when composers write this type of passage they are not after a clean sound – a certain amount of blurring is intended and perfectly acceptable. However, Liszt’s Consolation No 3 in D flat does present a problem: how to sustain the bass for so many bars, with so many changes of harmony above. In 1883, some years after Liszt wrote this piece, he received a piano from Steinway equipped with a sostenuto pedal. He was impressed with the device and sanctioned its use in the Consolation . Use it to catch the bass D In flatconclusion, at the start unless and change the specifically right pedal calls with for each the work thenew useharmony. of the sostenuto, it is safe to assume that sonorities can be managed without it. Tis does not mean you may not use this pedal – it comes down to personal judgement as well as practical concerns about individual pianos. If you are at all reticent or squeamish about using the left pedal, consider that it has been an integral part of piano design since the piano’s inception and it’s here to stay. It is a tool at our disposal; let us use it wisely and for effect. n

In the next issue Graham Fitch discusses the technique of forearm rotation.

21• Pianist 85

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SS T MIEI N’LA DOM E NICK’S W SPANS ON SSI S PIEC E LOE NT H E PA G 22

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HOW TO

HeinrichHOFMANN (1842-1902)

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stillhasalovelyinnerrisingmelody,whichshouldbebroughtoutsubtly.Takenote ofallthephrasemarkingsandthechangesindynamics.Thelastthree barsalmost soundlike achorale – voice the chords,so thatthe topnotes soundoutthe most. Pedal tips: Youwillseesome pedalmarkingsonthescore. MelanieSpanswick, who gives the lesson on this piece,suggests using pedal with discretion. Rea d Mel a n i eSp a n swi c k ’sst ep -b y-st epl esso n o n t h i sp i ec eo n p a g e22.

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HEINRICH HOFMANN Melodie, No 5 from Skizzen op 77

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Me lodie , No 5 fromSkizzen op77

TheGermancomposerHeinrichHofmannwasdescribedbythe leadingViennese critic Hanslick as ‘not a highly gifted composer but a reliable, skilled practical musician, ableto presentcommonplaceideasinatastefullyrefinedform.’ That’s truehere,inthispiecefromhis Skizzen (Sketches)forsolo piano. Playing tips: This is a sweet piece – perfect for perfecting your even LH accompaniment.AlthoughtheLH actsasthe‘accompanist’throughtthispiece,it

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While this lovely Romantic piece is quite straightforward on the surface, you can take it to a higher level with excellent legato and cantabile. Teacher and author Melanie Spanswick shows you how Ability rating Beginner Will improve your

Info Key: C major empo: Allegro Moderato Style: Romantic

3Cantabile 3 3

Phrasing Legato technique

Tis tuneful, attractive little piece, in the key of C major, is convenient and comfortable to play. Melodie was written by German composer and pianist Heinrich Hofmann (1842-1902) and offers an excellent study in legato technique. A tempo marking of crotchet equals 116 beats per minute feels appropriate. Tis tempo will help retain the musical line and flowing character. Short phrases suffice throughout, providing a slightly breathless demeanour, which is borne out in the twisting and turning melody that is combined with a forward-moving, slightly chromatic accompaniment. Hofmann sets out his musical ideas with straightforward clarity. Te piece’s structure is A-B-A (or ‘ternary form’), with a very short coda at the end. Use the sustaining pedal sparsely when you play this piece. Although Melodie is of a Romantic character, it will not benefit from too much pedal, as this will cloud the left hand (LH) accompaniment and smudge the melody too. It’s probably a good idea to use the pedal at cadential points or at the end of a phrase, such as at bars 8 and 12. Te chords at the end will need careful pedalling (as marked), preferably with a slight overlap. Remember to keep your foot firmly on the pedal (when taking it up and down), rather than ‘hitting’ it from above, as ‘extra’ sound effects won’t compliment the smooth, legato lines! (You’ll see that I have added suggested fingering and pedal markings in the score.)

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Melanie Spanswick is a classical pianist, teacher, adjudicator, author and presenter. She regularly conducts workshops and masterclasses in Germany as well as for EPTA (European Piano Teachers Association). She adjudicates for the British and Interna tional Federation of Festivals and curates the Classical Conversations

Tere a natural dynamic rise and fall withiniseach phrase, as you might expect from such a Romantic piece. Once the tempo and underlying pulse feels secure, allow some flexibility to capture the nuances in the tops of phrases. For example at bar 3, the second beat, a G, might need a little time or slight rubato (rhythmic flexibility or a relaxation of strict time) going from the

Series, where she interviews eminent classical pianists on camera. These interviews are published on YouTube. Her book, So You Want To Play The Piano? has been critically acclaimed. Find out more about Melanie at www.melaniespanswick.com

preceding F to the succeeding E, providing the appropriate expressive feel. Similarly, the cadence (or end of phrase) at bar 12 might require a mini hiatus, giving time to ‘breathe’ before repeating the phrase again at bars 13-16. Te opening four bars are repeated at bar 5, with brief chromatic flavour in the last two bars (bars 7-8). Aim to colour with a deeper, more sonorous, yearning tone, by voicing and placing the second and fourth beats of bar 7. Hofmann enjoys springing chromatic twists; at bar 15 and 16 the music flirts with E minor, and at bar 22 and 23, a chromatic downward passage in the LH heralds the coda, adding an intrinsically spacious quality. A crucial technique to master for this piece is the control of finger legato. Good legato will provide the specific colour and smooth touch required. Both hands can benefit from this technique. Work hands separately to begin with, practising the opening melody by searching for a warm timbre within the key bed. In the first bar, keep the thumb (beat 1) on the key right up until the last millisecond, then transfer weight from the thumb to the second or index finger with a small rolled motion on beat 2 (an A), only leaving the G as the A is being depressed. Tis will need quick movement, but will be easy to implement with attentive listening; it can also help to imagine your fingers are stuck to the keys with glue! Te LH continuous quaver movement really demands a creamy, fluid touch. Each note must lead to the next with no gaps in the sound, and with little note accentuation. one should be carefully graded from one note to the next, with the exception of odd chromatic colour. Again, listening is the best way to achieve this, as well as practising with strong 22• Pianist 85

fingers initially, lightening the touch when the patterns have been assimilated. Balance between hands is key to a successful performance. Te soft, fluent quaver movement in the LH must support and nurture a predominant

Learning Tip The acciaccatura in the melody can be played lightly, fluidly, and on the main beat for a completely legato line.

right-hand (RH) melody. Cantabile, a singing style, is required. o ‘sing’ on the piano, each note must emanate a beautiful rich tone, so aim to use your wrist flexibly, combined with arm weight (which plays an important role in tone production), encouraging fingers to play to the bottom of the key, cushioning the sound with the pad of your finger tip. Tis technique will encourage a resonant melodic line, and can be applied to the whole piece. ry to ensure total evenness when playing each phrase too, so notes in the tune lead logically and without jerkiness to and from climactic points. Observe Hofmann’s markings in terms of dynamics and tempo changes. Bars 17 and 18 will require a ritenuto (slowing down), allowing the phrase to ebb away softly, before resuming with the opening theme, A tempo (in time). Te last three bars, 24-26, can be enhanced by a highlighted top line. Balance hand weight towards the the RH fifthwith finger. ake eachbiased chord down, making sure all notes sound concurrently. Play the top line alone, with plenty of colour, adding the other parts only when you feel ready to balance the tone, using appropriate wrist motion and finger cushioning; each top note should ‘ring out’, bringing this work to an expressive close. ■

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HOW TO

CHOPIN

Etude in A fat op 25 no 1 From the rst note to the last, this étude, with its glowing melody and a harp-like accompaniment, is full of subtleties. Concert pianist and teacher Lucy Parham guides you through it Ability rating Advanced Info Will improve your Key: A flat 3Leggiero touch in both hands empo: Allegro sostenuto 3 Forward momentum Style: Romantic 3RH fifth finger strength Tis beautiful and popular study is often known as ‘Angel’s Wings’ or ‘Aeolian Harp’ due to its florid symmetry. Pianistically, it is a very comfortable étude, lying beautifully and organically under the hand, although you will get some sense of Chopin’s own long, tapering fingers when you play it. Tis is definitely written for a larger hand. I love to play this piece, with its glowing melody set within a harp-like accompaniment. Chopin composed the opus 25 études, his second set of études, when he was living in Paris in the 1830s. I always think the score looks more like a work of Liszt than Chopin, and it is also visually a thing of beauty. Coincidentally, this set of études is dedicated to the Countess Marie d’Agoult. She was at that time the mistress of Franz Liszt and it was she who introduced Chopin to the cigar-smoking novelist George Sand (Amantine Lucile Aurore Dupin, to use her real name rather than her nom de plume). I love the story that upon meeting Sand at a soirée at Liszt’s apartment, Chopin apparently remarked, ‘What a repulsive creature she is; is she a really a woman? I am inclined to doubt it!’ [see boxout, opposite page, on Chopin and Liszt.]

Lucy Parham performs her composer-portrait concerts Rêverie, with Tim McInnerny at the Machynlleth Festival, Wales on 28 Aug, and Odyssey of Lovewith Juliet Stevenson and Henry Goodman at Kings Place (part of the London Literary Festival) on 3 Oct. Her latest CD, Odyssey of Love, with Juliet Stevenson and Henry Goodman is on the Deux-Elles label. Lucy will be in the recording studio in September. For other dates and details, please visit www.lucyparham.com

very special quality of tone, for which you will need to sink deeply into the bed of the key. Te tempo should be constantly flowing but never too fast.

the first note has a special ring to it. You want to m ake the note shine! Te pedalling here is fairly obvious, but make sure when you have the same harmony over several beats you leave

Start working onayour left hand (LH) by alone and use circular movement from the thumb. I often think it helps to imagine you are drawing little circles with your elbow – but make sure the circles are small. You definitely do not want your elbows floating around all over the place. Te right hand (RH) should mirror the circular movement of the LH so the two hands are doing the same thing in unison. Always remember that you are circling away from the thumb, and this will be a continuous movement to use throughout the whole work.

the pedalofdown. Tere needs(but to be element a ‘wash’ of pedal noan blurring, please).

Te first note of the piece is crucial. It is almost the only note in the entire piece that stands alone. ‘Draw’ it out of the keyboard with an upwards movement, but give it due weight as it needs to be matched in tone by the first note of bar 1. Now look at the phrasing in the first bar and make sure you phrase over the fourth beat in order to lose the barline; you do not want to stop on the first beat of each bar. You are aiming to make the barlines invisible. You will notice there are three E flats in the RH melody of bar 2. You should be aiming to grade these three notes downwards in order to create a perfect decrescendo. Te following phrase climbs to a higher level, so make sure when you reach bar 4 that

It is essential that you treat this étude almost as a Song without Words. Te melody is always at the forefront and the technique to keeping the semiquavers quietly ‘plucked’ underneath the melody is a very specific one. Firstly, I would suggest learning this piece all the way byyou playing it in chords. Tis through will enable to grasp the sense of structure and the line of the piece. It is in three very obvious sections and you could try to master these one by one. in e st n r A n e v S

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Learning Tip At first, I would suggest learning this all the way through by playing it in chords. This will enable you to grasp the sense of structure and the line of the piece.

At the key change at bar 5 really sink into the bass D to show the new colour. When you arrive at bar 8, try feel a sense of spaciousness and do not rush. At bars 11-12 the melody changes from the opening. You need to reflect this change with a different form of tone and more weight in the fifth finger. Again, never lose focus of the main melody. Be aware that from bar 9 onwards that the dynamic marking is piano , so resist the temptation to overplay the dynamic and also resist any urge to hurry! When you reach bar 15, you need to find a sense of calm and peace. Observe the way that Chopin uses small crotchets within each group of six semiquavers (i.e. on the third semiquaver of each group of six) to highlight an inner melody. Tese notes are important (and are often overlooked), and should resound like a bell or a gentle echo. Tey are melodically more significant than the fifth finger at this point. In fact, they almost form a duet with the fifth finger. In bar 16 you are trying to achieve the perfect decrescendo and take a little time and ease into bar 17. You almost need to take a small breath, as a singer might do, before you reach bar 17, as this isina terms new section (our second section, of practising). From this point, a long line drives right through the next page until the climax of the piece at bar 35. At bar 17, Chopin highlights the LH thumb in the same way the RH had the inner melody two bars earlier. Again, gently point this melody out and sink

Chopin marks ‘Allegro sostenuto’ at the start. Te second word, ‘sostenuto’, is of utmost importance, as it implies a 24• Pianist 85

I SS ’T M ’S DONPARHAM LUCY N SHSISO PIECE LOE TAGE NP 24

TRACK 12

Fré dé ric CH OP IN (1810-1849) Etude inAflatop 25no 1

Thisétude,nicknamed‘AeolianHarp’byRobe rtSchumann,isthefirstinavolume ofétudesdatingfrom1836. Playing and pedal tips : Everything is spelled out for you when you read Lucy Parham’sarticleonpage24.Butasyoucansee,therearealotof notesoneverypage!

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Acertain rotational techniqueisrequiredinboth ha nds, as wellasalight‘plucking’ techniqueto theinnernotes, asLucyexplains. Thisisawonderfulpieceandifyou takeyourtimelearningit, youwilldefinitelyberewarded. Rea d L u c yP a rh a m ’sst ep -b y-st ep l esso n o n t h i sp i ec eo n p a g e24.

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into the fleshy side part of your thumb. Bars 19 and 20 should project more than the previous two bars. A small crescendo is necessary here and make sure you arrive at bar 21, where it is imperative to keep the tone level up. I should also mention at this point that as the étude progresses, the

e second time this phrase appears (i.e. at bar 30), you need even more bass. You will also want to aim to make a more colourful melodic moment here, as the harmony is more intense. A little rubato is also called for. When you reach bar 32 take a little breath and drive forward for the next four bars

accompanying semiquavers assume more importance than they did in the first few lines of the piece.

until you reach thetoclimax of the piece. Here bar you 35, need establish a big, warm tone right through until the end of the phrase. e ensuing bars are almost like a coda; the piece is gradually winding down. When you reach the top F in the middle of bar 39, you must take a little time and really place the note.

When you reach bar 22, please observe the subito piano! is is a beautiful moment and should not be overlooked. You could also experiment with being a little lighter with the pedal too, as the whole touch and melody becomes lighter and slightly less ‘into the keys’ than the preceding couple of bars. At bar 25 you really want to feel a sense of expansion into the beginning of bar 26 where the melody really takes flight. Notice the way in which Chopin marks the bass notes here – they are meant to have more weight. I would suggest that you use a wedge in the LH for these notes (i.e. combining your fourth with your fifth finger). Again, always phrase that melody over the barline, taking it from the second beat rather than stopping on the first beat of each bar. Try to imagine this melody as if it were being sung.

e final leggierissimo (at bar 44) needs what is called the perlé touch – as if you are plucking the keys. is passage is quite tricky so I would suggest practising this arpeggio sequence in all different keys (but keeping the same fingering!) in order to make it ultimately easier to play in the key of A flat. Tail away to nothing. e end should be very harp-like, gossamer in quality and beautifully quiet. e LH needs a generous trill (with a turn) and then a slow final arpeggiated chord to finish the étude. Lift the pedal slowly and release your hands carefully – any jerky movements will spoil the mesmerising end of this exquisite piece. ■

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Chopin and Liszt The two contrasting personalities who shaped the Romantic era’s pianism Because Liszt lived so long (he died in 1886 at age 75) and Chopin died so young (39 when he died in 1849), it is easy to forget that these two great Romantic-era composers were born just a year apart. They both evidenced great talent as children, but, as Chopin biographer Adam Zamoyski notes, Chopin was allowed a relatively normal childhood, while Liszt was pushed by an ambitious father. By the time the two men first met, in Paris, they had growing reputations as performers and composers, and naturally gravitated to the same circles of young artists. Liszt attended Chopin’s Paris debut in February 1832 and they later played duets in public concerts. Chopin dedicated his Etudes op 10 to Liszt, writing admiringly, ‘I wish I could rob him of the way he plays my Etudes.’ But their contrasting personalities – Liszt’s more extroverted and theatrical, Chopin’s introverted and refined – meant a durable friendship was never really in the cards. Their musical gods were different, too: Chopin admired Bach, Mozart and Haydn, while Liszt praised Beethoven, whose ‘passion too often approaches cataclysm’ in Chopin’s view. For Chopin, public performance was a kind of torture (he much preferred playing for small groups), while Liszt was at home on the concert stage, as one who invented the idea of a recital would have to be. They differed as well in the scale and focus of their compositions. Liszt left Paris in 1835 to flee the scandal over his romance ithwMarie d’ Agoult, while Paris remained Chopin’s base. After his death, Liszt wrote Chopin’s first biography, a heartfelt panegyric to an admired contemporary.-Inge Kjemtrup

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play

I SS S ’T M ’ DON EWMAN N JANET N SSISO PI ECE LE ON TPHAGE

TRACK 9

Henryk PACHULSKI (1859-1921)

Compos erandpianis tHenrykPachuls kiwas ofnoblebirthandwas borntoafores ter andhis familywhoworkedonthees tateofNadezhdavonMeck,Tch aikovs ky’s patron, whichmaybewhyyoungHenrykwas abletos tudywithexcellentteachers inWars aw andMos cow.This preludecomes fromas etofs ixpublis hedin1891. Playingandpedaltips :This tender,romanticpieceis inA-B-Aform,withtheLH beingtheaccompanimentthroughoutandwiththeRHtaking thepining,s inging

And a nt e m ol t o

melody.Makes uretodigthenotes gentlybutfirmlyintothekeys foradeeps inging tone.Tryto make the LH do this too – there’s alotof chromatic movementin the LH chords , and it’s nice to be able to hear that inner movement. The B s ection, which s tarts atbar15,s houldbe more agitated,before returning to the As ection againatbar23.Pedallingis markedonto thes core. Rea d Ja n et N ewm a n ’sst ep -b y-st ep l esso n o n t h i sp i ec eo n p a g e26.

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FULL SCORE ON PAGE 50

I NTERMEDI ATE

P re lude in C minorop8 no 1

26

HOW TO

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HENRYK PACHULSKI Prelude in C minor op 8 no 1

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You can tailor this Chopin-like work to your personal style through listening carefully and responding to the music. Teacher and performer Janet Newman offers helpful insights Ability rating Intermediate Will improve your

Info Key: C minor empo: Andante molto Style: Romantic

3Listening 3

Phrasing of LH melody line

3Shaping

melodies soTe thatbass you line can isbring these to the fore. especially important; begin by practising it alone so that you have control over the way you want to define it. Keep your hand still upon the keys; just imagine that the keys upon which your hand rest will bring your hand up to restrike the next chord, rather than you lifting your hand off the keys to do so. Tis way, the sound you make will be muted and tender as opposed to harsh or strident – the chords should feel ‘cushioned’ in tone.

Te Polish composer Henryk Pachulski spent the majority of his life in Russia. He studied with renowned musicians such as Arensky and Rubinstein at the Moscow Conservatoire and later, he became a professor there himself for many years. Tere is an obvious influence of Chopin in this little Romantic Prelude. Te octave movement within the theme calls to mind Chopin’s E minor Prélude opus 28 (as does the chordal accompaniment), and the chromaticism that pervades the piece creates a sombre, dark mood reminiscent of many Romantic works of that time. I’ve only previously come across Pachulski in relation to graded exams, so it has been a pleasure to get to know his music a little better.

In bar 4, take your time to manoeuvre your way through the finger substitution. After all, it is a very expressive moment and a small ritardando feels exactly the right thing to do. Also be aware that the final chord (which has been taken in the RH for ease of movement) should be the quietest moment of the phrase, not accidentally bashed out because of the change of hand position! I also would try to voice the top part of those chords (LH thumb on G passing to the F in the RH fourth finger and then over the bar to the G in the LH again), because when the RH melody is temporarily still, there is room for the LH counter melody to show itself. Tis also heralds the emergence of the major tonality in bar 5, raising both the mood as well as the key.

Tere is much to enjoy and learn in this piece. One of the main challenges is learning how to manage the chords with subtlety and nuance – it can be very easy to drown out the melody, which at times, has a somewhat static feel, especially if the tempo is too slowly placed. First decide upon the tempo that feels appropriate for the music. While the overall effect should be one of reflective stillness, don’t let the melody falter – there must be a sense of direction and shape at all times so that the music keeps moving forward in a natural way. On the piano, slow melodies can be difficult to shape as the pianist needs to be keenly aware of grading between each note, matching tone and evenness; all problematic on what is, essentially, a percussive instrument. Practise the fingering with real attention. Genuinely join every note together and use your listening skills – ask yourself if each note leads to the next without bumps or bulges, or if there is something obtrusive in the shape. Ten double-check the fingering, as this is usually where the problem lies.

In many ways, the left hand (LH) has just as much melodic interest as the main right hand (RH) theme. I advise practising the LH alone in order to discover the poignant little inner

Pachulski repeats the thematic material exactly in the next three bars. Only when the diminished seventh chord appears in bar 8 does the mood revert to the sombre colour apparent at the start. Show this by taking a little time to let this phrase breathe. Tis also allows you to place the opening of the next phrase, an important one 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.

musically, theLH tempo can10-11 move is on somewhat.asTe in bars really important too – the chromaticism increases in expressive intensity. I would practise this by taking the chords in the LH apart. Play the top part alone, then add the middle (plus top), then bottom (plus top). Also, just play the bottom and middle notes alone for increased security before finally adding all parts 26• Pianist 85

together. ‘Lean’ on the top voicing and take enough time to clear the pedal on each chord – let this phrase slow down at the end of bar 13 so that the chord taken by the RH is not rushed.

Learning Tip As ever, practise pedal with the LH on its own, so that changes are clearly executed. Take your ti me with it, and ‘squeeze’ the pedal, never attack!

Tere is a slight gathering of pace in bar 15. Each rising two-bar phrase feels as if breath is being drawn in and there is an obvious sense that the music is clearly moving towards a high point which finally occurs at bar 20. From the beginning of this section (bar 15 onwards), control the dynamics carefully and try to shade each note within the RH melody so that the gradual crescendo is beautifully graded; don’t let the final forte feel in any way forced or strident – it should be a natural and inevitable expression of the musical direction before it falls away again, returning to the suppressed, contained theme at bar 23. Start this final section using a very quiet dynamic. Tere is a feeling here that the music seems to have lost all power to assert itself after the outburst at bar 20. Restrained but intense, keep the tone very focused and clear, but have a sense that emotionally, all has retreated within. Although there is a slight brightening of the material at bar 27 (again, the use of the major tonality helps), this last section stays quietly brooding through to the end and it is important to maintain your chordal control throughout so that the musical atmosphere is not dispelled. I’m aware that I haven’t said a great deal about the techniques of ‘how to’ much of I feel thatpractise this is because in this this piece. particular case, so much of playing it well is about listening to and responding to the music, which is a very personal thing unique to each player. I hope, though, that you have enough ideas here to help you discover your own way to play what is a very sensitive and beautifu lly written little work. ■

Pianist 85 August-September 2015

Scores

LEARN MORE WITH OUR VIDEO LESSONS Go to the Pianist

Contents 28

HEUMANN Rainbow Fairy

30

LE COUPPEY Arabian Air

32

HOFMANN Melodie op 77 no 5

website to find an array of video lessons –

from the basics of playing to more demanding technical issues. All you need to do is go to www.pianistmagazine.com/tv to get started with the complete piano learning experience! Our videos include: Tim Steinand John Maulhave made some

30 plus lessons for Pianist, all devoted to the basics of learning the piano. Perfect for the beginner pianist! Tim’s most recent lessons have been on slurs, rhythm and using the thumb. Past video lessons include the basics of chord playing, sight-reading, fingering for beginners, how to sit, geography of the keyboard and more. ese beginner-level lessons are demonstrated on a Roland. Graham Fitchgives

his lessons for the more intermediate/advanced player. ere are over 20 of his masterclasses on the Pianist channel, and more continue to be added. Graham’s subjects include pedalling, chords, passagework, arpeggios, ornaments, voicing and different touches. Graham’s lessons come directly from Steinway Hall, London, where he demonstrates on a Model D concert grand.

READ PIANIST ON THE GO Enjoy Pianist as a digital edition wherever you are in the world! Keep up to date with our latest interviews, fascinating piano features and competitions. Our Pianist App version also includes our pages of Scores from the magazine and contains sound files from our tutorial CD, so you can still listen to the Scores on the go! Why not download our FREE Pianist app and then view our FREE sample edition by visiting www.pocketmags.com/pianist e Pianist app is available on iPad, iPhone, Android Tablet, Android Smartphone, Kindle Fire, PC and Mac.

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34

CIMAROSA Sonata in G R14, third movement

37

BRESLAUR Cuckoo op 46 no 21

38

GRANADOS Cancíon de Mayo op 1 no 3

42

HENSELT Repos d’amour op 2 no 4

45

KEYBOARD CLASS Fifths, sixths & sevenths

49

SCHUBERT German Dance D783 no 7

50

PACHULSKI Prelude in C minor op 8 no 1

53

RAMEAU La Villageoise

58

SCRIABIN Prélude in G flat op 16 no 3

60

CHOPIN Etude in A flat op 25 no 1

Typesetting by Spartan Press Music Publishers Ltd

Quick guide to UK/North American note value terminology semibreve /whole note minim/half note crotchet/quarter note quaver/eighth note semiquaver /16th note demisemiquaver /32nd note

Hans-Günter HEUMANN

TRACK 1

BEGINNER

Rainbow Fairy ‘Rainbow Fairy’ is the first of 20 easy piano pieces in the newly releas ed book Fantasy Piano by Keyboard Class contributor Hans-Günter Heumann. Playing tips: Try to keep the RH legato and make the melody really sing. The LH is the calm accompaniment. You will see that there are ample pedal markings on the

q = 88

   3

p



Create a totally calm feeling for this piece. Keep the pulse nice and even.

score, as this needs to have a dreamy feel to it. Start pianissimo at bar 17, to make it sound even more magical. This is a gorgeous piece, and it will surely be popular with beginner level players and listeners alike. Take a look at Pianist’s technical tips within the score.

There are no phrase markings, but the melodic line is very apparent. Sing it out loud first!

    

3





Hans-Günter Heumann

    

Keep soft throughout.

    



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   

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simile

Feel a real 3/4 lilt in the LH, with an emphasis on the first beat, as in a waltz.





The melody returns at the end ofbar 8, but with some new additions, such as the two-part chords in the RH. Make sure the top note is the strongest.

                      3





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The LH has more to say now too.

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

9

3 2

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 

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 

Bring out the top notes in all the RH two-note chords, from bar 14 below to the end of the page.

3 2

‘D.C. rit.’ means that you can slow down abit when you play this the second (final) time around.

(D. C. rit. ) 



           

     

 





 Fine

28• Pianist 85

z in a M , G K , C & H b m G ic s u M tt o h c S ©

Félix LE COUPPEY (1811-1887)

TRACK 2

BEGINNER

Arabian Air, No 28 from ABC du Piano Félix Le Couppey was hired by the Paris Conservatoire athe t tender age of 17 to teach calm and legato, with dynamics rarely going abovemezzo piano. harmony even as he was still a student there. The talented young pianist became a Pedal tips: Even though pedal has not been marked into the score (and is not 100 well-known teacher. His ABC du Piano was extremely popular. per cent required, as this is a Beginner piece), we advise you try two pedal changeserp Playing tips: There’s a lovely French Baroquequality to this piece. Take a look atthe bar – that is, a change per every beat. phrase markings and notice how the LH sometimes mimics the RH. It should all sound Take a look at the technical tips within the score.

This is in the key of A minor (notice the G sharp) . The minor key gives it that slightly soulful feel. Both hands should play legato (smoothly). A nd we suggest hands separately at first, as the parts are quite independent. Observe the crescendo andt, dimuendoallmarkings throughou such as the one below in bar 3.

Notice all the phrase markings. They are important to adhere to.

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The LH has its own melody. Play it on its own, and you will hear how beautiful it is. Remember to project it when both handscome together. It shouldn’t overpower the RH, of course, but we should be able to hear it.

Put weight onto the keys for the two-note chord above...

This is a repeat of the opening. Consider playing it a little quieter this time. 4

3 5

... then an upward motion for this twonote resolving chord. Now you can start to increase the dynamic; ‘rf ’ means to put emphasis on thenote. 8

Observe all the short phrase markings in this part, and the continual crescendos and diminuendos.This will create more drama.

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30• Pianist 85

4

Félix LE COUPPEY (1811-1887)

TRACK 2

BEGINNER

Arabian Air, No 28 from ABC du Piano These semiquaver moments might prove tricky. Keep them light. Practise slowly too, at first!

Drop the dynamic to piano (soft). 12 1

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Emphasise the LH F above. It has to last through the whole bar.

Crescendo up to the E. 16

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Then resolve softly to the E.

Crescendo up to the D.

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Bring out the LH here. It’s almost an answer the RH from the previous bar.

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Bring out this lovely semiquaver run. Move towards the crotchetE.

This phrase is the start of a short little coda.

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Lift both hands for the quaver rests.

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Notice staccato for the first time! Make the notes detached, and even.A descrescendo is needed too. 31• Pianist 85

2 4

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Try your hardest to play the final chords at the same time, very softly.

ISS ’T M DONELANIEK’S

M

Heinrich HOFMANN (1842-1902)

WIC

S SPAN NE SHSISO PIEC LE T N E

TRACK 3

The German composer Heinrich Hofmann was described by the leading Viennese critic Hanslick as ‘not a highly gifted composer but a reliable, skilled practical musician, able to present commonplace ideas in a tastefully refined form.’ That’s true here, in this piece from his Skizzen (Sketches) for solo piano. Playing tips : This is a sweet piece – perfect for perfecting your even LH accompaniment. Although the LH acts as the ‘accompanist’ throught this piece, it

Al le gr o mo de ra to 1

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still has a lovely inner rising melody, which should be brought out subtly. Take note of all the phrase markings and the changes in dynamics. The last three bars almost sound like a chorale – voice the chords, so that the top notes sound out the most. Pedal tips: You will see some pedal markings on the score. Melanie Spanswick, who gives the lesson on this piece, suggests using pedal with discretion. Read Melanie Spanswick’s step-by-step lesson on this piece on page 22.

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Melodie, No 5 from Skizzen op 77

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32• Pianist 85

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Heinrich HOFMANN (1842-1902)

TRACK 3

BEGINNER/ INTERMEDIATE

Melodie, No 5 from Skizzen op 77 12 2

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33• Pianist 85

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Domenico CIMAROSA (1749-1801)

TRACK 4

INTERMEDIATE

Sonata in G R14, third movement The Italian composer Domenico Cimarosa was a leading figure in opera, and his operas were performed in many of the royal courts of Europe. His republican sympathies caused him problems with the reinstated Bourban rulers of Venice, where he died in 1801. His works, including his many keyboard works, have a lightness and charm. Playing tips: Try to imagine the sound of afortepiano, an instrument of the Classical era, when playing this energetic piece. The music should be full of rhythmic drive, with the LH playing light, totally even quavers and the RH the detached semiquaver

Al le g ro

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melody. Aim for real finger independence between each note. There should be a detached quality too – hence no pedal. Try to adhere to all the dynamic markings. Bar 24 sees a new short eight-bar section – keep the RH wrist loose for the two-note chords otherwise the hand will tense up. Don’t be put off by the quick tempoon the CD. You will be able to build up the tempo over time. on Pedal tips: There are no pedal markings. We suggest just short dabs, sometimes, selected first beats of the bar.

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34• Pianist 85

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Domenico CIMAROSA (1749-1801)

TRACK 4

INTERMEDIATE

Sonata in G R14, third movement

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35• Pianist 85

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Domenico CIMAROSA (1749-1801)

TRACK 4

INTERMEDIATE

Sonata in G R14, third movement 28

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36• Pianist 85

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Emil BRESLAUR (1836-1899)

TRACK 5

BEGINNER

Cuckoo, op 46 no 21 German composer Emil Breslaur studied in Berlin, was choirmaster at the Reformed Synagogue there and also the author of many books on piano technique, including Die leichtesten Klavierstücke(The easiest piano pieces), from which this piece comes. Playing tips: This is a great exercise for practising interplay between the hands. Think of the cuckoo’s chirp, and how it is echoed. That’s how it happens on ethpiano: The

Al le g ret to 4

RH and the LH mimic the cuckoo in the first two ba rs, followed by a kind of answer in the next two bars. Make sure to get the rhythm co rrect for the RH triplets – always think of moving towards the next full beat (first beat of the next bar), keeping the triplet notes light. No pedal required. Take a look at the technical tips within thescore.

Keep the RH triplets light, moving towards the crotchetin the next bar.

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Repeat of the opening.

1

Key of G major. Notice the F sharp in the key signature. 1

5

1 4

Practise slowly. Keep the notes light, even and articulated. The LH answers the RH‘cuckoo’, like an echo.

5 3

1

These two bars above are ilke an answer to the first two bars. They should be different, with legato and beautiful ly phrasing.

This is a repeat of the opening, but these two bars are different, in both hands. 5 3

3

1

3

Back to the opening material.

More of a singing quality is needed now. 9 5

4

3

1

2

5

1

2

4

4

Down/up ‘Down/up’ means pressure down on the first note , and up on the second.Continue this in the LH throughout this line.

13

2

4

1

5

3

1

3

Taper off gradually and with a small ritardando and diminuendo. 37• Pianist 85

Enrique GRANADOS (1867-1916)

TRACK 6

INTERMEDIATE

Cancíon de Mayo, No 3 from Cuentos de la juventud op 1 5 1

11

2

5

4

4

3

4

1

1

1

2

13

5 1

1

3 2

5 1

2

poco rall.

3 2 1

5

4

3 5

2

1

1

1

4

5

1

a tempo 15

5

5

4

5

5

4

3 5

18

3

1

5

4

3

4

3

4

5

1

3

2

1

5 5 2

R.H. 2 3

dim.

1

5121

21

5

4

5

4

3 1

2

1

1

R.H. 2 3

4

1

3 5

2

1

4

1 5

2

1

5 5 2

2

R.H. 2 3 4

1

3

1

2

3

R.H.

R.H.

2

3 5 39• Pianist 85

2

1

3

4 1

5 2

R.H.

2

3

4 1

Enrique GRANADOS (1867-1916)

TRACK 6

INTERMEDIATE

Cancíon de Mayo, No 3 from Cuentos de la juventud op 1

24

1

5 2

2

1

R.H.

R.H.

2

4

1

4

4 2

4

2

4 3 1

3 2

5

1

2

2

1

a tempo 27

5 3

2 1

5 3

2 1

4 3

5 3

1 4

30 1

2

2

3

3

1

5

1 4

3

1 4

2

5

4

33

36

3 5 1 2

rall.

meno

2 4

3

1

2

4

3

2

4

2

3

5 3

1

1 4

2 4

4

3

1

poco piu forte

5

4

2

5

1

40• Pianist 85

3

2

1

1

3

2

3

Enrique GRANADOS (1867-1916)

TRACK 6

INTERMEDIATE

Cancíon de Mayo, No 3 from Cuentos de la juventud op 1

1

39

1 1

41

1

5 1

3 2

5 2 1

2

1

2

3

5

1

2

4

5

poco rall. 1

5

2

4

3 5

5

2

1

1

3

44

3

2

3

5

1

3 1

2

47

5 2

R.H. 3 2

dim.

3 1

2

1

1

2

5

49

rall.

R.H.

R.H.

5

2

41• Pianist 85

1

2

1

4

R.H.

Adolf von HENSELT (1814-1889)

TRACK 7

INTERMEDIATE

Repos d’amour, No 4 from 12Etudes charactéristiques op 2 In 1837-8, in the early years of his marriage, German composer and pianist Adolf von Henselt wrote two volumes of Etudes charactéristique s, opp 2 and 5, both containing tremendously passionate pieces such as ‘Repos d’amour’ (‘Love’s repose’). Henselt is said to have had a very wide hand span, as this piece perhaps shows. Playing tips: Here is a piece where the LH carries most of the melody for a change, and the RH the light accompaniment. You will see though, that we suggest some hand distribution (e.g. bars 9-10, bars 15-16, etc). At those moments, a listener

must never be able to tell that the melody is changing hands. There are some lovely points where you are expected to slow down – closel y observe the various ritardandos throughout. You will also notice the marking ‘tardando’ (bar 18), which means ‘delay’. Things get trickier later on, in places such as bar 30 where the LH must carry the melody and cope with quite a bit of stretching at the same time. ry for a shallow pedalling technique. Pedal tips: Four changes per bar (every beat). T Sometimes, when the harmony is the same, you can hold the pedal over two beats.

Al le g ro so st en ut o

con anima 1

3

2

1

2

1

1

1

3

2

3

4

molto cantabile e portando la melodia sim.

5

3

2

1

9

1

2

1

1

5 3

cresc.

1

1

3

2

1

2

4 2

1

cresc. assai

1 1

2

1

1 2

1

3

4

4 42• Pianist 85

1

Adolf von HENSELT (1814-1889)

TRACK 7

INTERMEDIATE

Repos d’amour, No 4 from 12 Etudes charactéristiques op 2

rit.

13

1

1

2

1

2

1 4

17

cantabile

a tempo

4 2

4 2

1 2

4

4

tardando

1

1

1

2

marc.

1 2

3

1

1

3

2

ten.

21

5 4 5

4 3

1 2

5

4

5

5

4

5 4

3

3

4

1 5

1

2

1

3

2

3

5

con anima. 25 3

cresc. 2 1 2

43• Pianist 85

1

5

Adolf von HENSELT (1814-1889)

TRACK 7

INTERMEDIATE

Repos d’amour, No 4 from 12 Etudes charactéristiques op 2

5

29

4

3

5

3

4

2

33

5

3

3 2

sempre cresc. 1 2

1

1

5

1

4 2

2

2

1

2

5

5

4

3

4

5 2

4

3

3

4

3

5

2 1

poco ritenuto 2

1

5

4

4

2 1 1

2

2

3 1

4 5

37

5

4

3

4

3

5

4

3

4

3

4 2

cresc. 1

1

2

perdendosi

41

5

2

4

3 1

3454

5

4

3 1

2

2 1

3

1 4 44• Pianist 85

4 1

dim.

1 3

2

2

HANS-GÜNTER HEUMANN

AZE R TY

BEGINNERS zerty XXXX (XXXXX)

KEYBOARD CLASS

LESSON 13: FIFTHS, SIXTHS AND SEVENTHS On these four pages,Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Günter Heumann. Lesson No 13 looks at the intervals of the fifth, sixth and seventh, which you will find in most pieces you play. You may want to refer back to Keyboard Class Lesson 1, inPianist No 73, which introduced the intervals.

That Sound Is So Lovely

From the opera The Magic Flute by Wolfgang Amadeus Mozart (1756-1791), arranged by Hans-Günter Heumann Add an interval of a fifth or a sixth in each bar marked with an arrow. Use minims (half notes), semibreves (whole notes) or crotchets (eighth notes) to complete the missing rhythm. You will find that you are able to hear which chord sounds best just by trying it. The sign at the start (below) is another way of writing 4/4 time. Note the instructionmarcato, which means marked or emphasised.

asasasasas

Interval: Sixth Onthepiano:

Melodicinterval:

Harmonicinterval:

= distance of 6 notes

45• Pianist 85

PLAGE

HANS-GÜNTER HEUMANN

PLAGE

Allegretto op 139 no 7 A

KEYBOARD CLASS

Z ERTY

Carl Czerny(1791-1857), from100 Easy Exercises op 139 There are many examples of sixths in this short piece.

XXXX (XXXXX)

zerty

A

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

Carl Czerny (1791-1857)

Country: Austria Period: Classical/Romantic Works: Over 1,000

Carl Czerny was a pupil of Ludwig van Beethoven and a teacher of Franz Liszt. He is well known by pianists today primarily for his technical exercises, although he composed in many musical genres, including symphonies, sacred music and chamber works. He was highly regarded as a pianist and piano teacher as well as for his pedagogical works. Among Czerny’s best-known compositions are: 100 Easy Exercises op 139, School of Velocity op 299, 40 Daily Exercises op 337, School of Piano op 500, First Instructor op 599, The Art of Finger Dexterity op 740 and Preliminary School of Velocity op 849. Czerny was one of the first composers to use ‘etude’ (exercise, study) as a title.

Technique Tip Ensure that your wrist remains relaxed while playing sixths. Take regular short breaks to avoid tension. To relax, let your arms hang loosely by your sides and shake them gently.

46• Pianist 85

HANS-GÜNTER HEUMANN

KEYBOARD CLASS

Waltz

AZE R TY

There are many sixths in this waltz byA nton

XXXX (XXXXX) Diabelli (1781-1858), as well as

zerty

two sevenths. The interval of the seventh is described below.

Continued overleaf...

Interval: Seventh Onthepiano:

Melodicinterval:

Harmonicinterval:

= distance of 7 notes

Octave transposition sign Play the note or notes that appear above this sign an octave (Italian: ottava) lower than written. This applies for the duration of the dotted line. 47• Pianist 85

Play the note or notes that appear below this sign an octave higher than written.

PLAGE

HANS-GÜNTER HEUMANN

PLAGE

Waltz (continued from previous page)

KEYBOARD CLASS

AZ ERTY XXXX (XXXXX)

zerty

A

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

Practice tip It is important to focus on problem passages and transitions when practising. If you practise these parts frequently and do not always start from the beginning of the piece, you will save yourself a lot of unnecessary frustration and time. In this way, you can divide the piece up into sections, so if you do go wrong, you will be better prepared to pick it up from that point and continue.

sf or sforzato = a very strong accent This applies only to one note or chord. Vivace = lively, fast

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

48• Pianist 85

Franz SCHUBERT (1797-1828)

TRACK 8

INTERMEDIATE

German Dance D783 no 7 Composed in 1823-4, this light-hearted dance is one of some 400 less serious solo piano gems that Schubert wrote throughout his life. Though not himself a keen dancer, he was always happy to compose and play dance music for his friends. We have presented previous dances from this collection in Pianist Nos 73 and 76. Playing tips: Even though this waltz-like dance is extremely short, there’s a lot you can do with it. And it’s not as easy as it seems. Firstly, find that special lilting quality. Too much of it, however, and it will feel a bit too ‘oom-pah-pah’, and too little, it will sound flat. The LH has to move quickly over the keyboard. It’s definitely worth

practising the LH on its own, trying not to look at the keyboard (‘blind’ practice, as it’s known). Voice the chords in the RH carefully, making sure to emphasise the top notes. The second section should be louder and more joyous. For those with smaller hands, the repeated chord in the penultimate bar in the RH will be a challenge to play, as the stretch between the second and fifth finger is wide. In such instances as this, as soon as you’ve played the chord, relax and ‘close’ in the hand, in order to avoid injury. Pedal tips: Pedal up on the third beat.

Moderato 5 3 1

5

3 2 1

4 2 1

5 3 1

11

49• Pianist 85

5 3 1

4 2 1

4 2 1

ISS ’T M AN’S DONNEWM JANET SONE SHIS PIEC LE O N T A GE

TRACK 9

Henryk PACHULSKI (1859-1921)

INTERMEDIATE

Prelude in C minor op 8 no 1

P 6 2

Composer and pianist Henryk Pachulski was of nobl e birth and was born to a forester and his family who worked onthe estate of Nadezhda von Meck, Tchaikovsky ’s patron, which may be why young Henryk was able to study with excellent teachers in Warsaw and Moscow.This prelude comes from a set of six published in 1891. Playing and pedal tips: This tender, romantic piece is in A-B-A form, with the LH being the accompaniment throughout and with the RH taking the pining, singing

An da nt e mo lt o

= 54 4

5

1

melody. Make sure to dig the notes gently but firmly into the keys for a deep singing tone. Try to make the LH do this too – there’s a lot of chromatic movement in the LH chords, and it’s nice to be able to hear that inner movement. The B section, which starts at bar 15, should be more agitated, before returning to the A section again at bar 23. Pedalling is marked onto the score. Read Janet Newman’s step-by-step lesson on this piece on page 26.

1 2

2 1

2 4

1 3 4

1

5

5

1 3 4

sim.

4

5

3 5

4

1

2

1

4 2 1

2 3 5

1 2 5 - 1

1 3 5

1 2 4

5

2 3 4

7 2

5

2

1

3

2

5

cresc.

2 3 5

1 3 4

2 3 5

1 3 4

10 1

2

3

4

3

1 5

dim.

5

1 2 5

1 2 5

4

3 5

1 3 5

50• Pianist 85

1

1 3

1 2 5

Henryk PACHULSKI (1859-1921)

TRACK 9

INTERMEDIATE

Prelude in C minor op 8 no 1 13

un poco agitato

3

2 5

3

2

5

1 3

3

4 2 1

5 5 1 5

4

5

5

17 2

3

2 4

20

2

1 2 5

1

5

2

5

1 3

2

4

rit.

3

4 2 1

5 5

23

5

1 2 5

5

1 3 5

1 3 5

1 4 5

Tempo I 5 1

2 1

2 4

1 2 4

4

1

1 3 4

3

2

5

1 3 5

51• Pianist 85

1 3 4

1 3 5

Henryk PACHULSKI (1859-1921)

TRACK 9

INTERMEDIATE

Prelude in C minor op 8 no 1

26

5

4

2

1

1

1

2

3

2 4

3 4

1

4 2 1

1 2 5 - 1

2 3 5

29

2

5

32

2 3 5

5

5

1

1 3 4

2

5

2 3 5

1 3 4

32 2

1

3

3

1 5

1 2 5

4

ri te n . 35

5 3

5 2

3

1

4

5 5 1 5

5

52• Pianist 85

1

pi ù l e n t o 5 2

5 1

2

4

3

Jean-Philippe RAMEAU (1683-1764) La Villageoise from Pièces de Clavecin

TRACK 10

A leading figure of the French Baroque era, Jean-Philippe Rameau came from a family of keyboard players, which is no surprise when you consider his vast output for keyboard, including several volumes of the Pièces de Clavecin. Rameau was also well known as a theorist and the creator of operas for the court of Louis XV. Playing tips : We suggest that you practise this piece at a snail’s pace, hands separately at first. This will ensure clean playing, and a strong rhythm. Rhythm is the essence here – it should sound forthright and precise, with a slight clipped feel

Moderato

2 3 2 2

2

5

to the articulation. Listen to the CD for guidance. Half of the challenge in learning this piece will be with the ornamentation (and on our CD, pianist Chenyin Li uses a lot of extra embellishments!). However, the notes themselves are not overly challenging, and they fit well under the hands. A new section appears at bar 49, where you should make the semiquavers fluid, but still with that slightly detached articulation. We are sure you will enjoy playing this piece, so persevere! Pedal tips: Very little – just a dab of pedal on the odd important note/end of phrase.

= 112

2

5

5 1

1

5

3 2 5

2 1

3 2 3

2 5

1 2

1

2

5

4

3

5

1

3

5

1 4

1 3

10

15

INTERMEDIATE

2 5

1

2

5

1

1 2 1 3

2 3 2 4

5 2 1

53• Pianist 85

Jean-Philippe RAMEAU (1683-1764) La Villageoise from Pièces de Clavecin

TRACK 10

INTERMEDIATE

20 3

24

2 3 2 1

4

2

29 5

33

38

54• Pianist 85

4

3

4

Jean-Philippe RAMEAU (1683-1764) La Villageoise from Pièces de Clavecin

TRACK 10

INTERMEDIATE

43

47

2

1

5

4

51

4

1

4

1

2

1

54

57 1

3

4 5

55• Pianist 85

2 1

3

Jean-Philippe RAMEAU (1683-1764) La Villageoise from Pièces de Clavecin

TRACK 10

INTERMEDIATE

60

4

2

5

2

63

4

2 5

66

2 5

5

3

3

1 5

1 4

69

72

56• Pianist 85

5

TRACK 10

Jean-Philippe RAMEAU (1683-1764) La Villageoise from Pièces de Clavecin

INTERMEDIATE

75

78

5

3

4

82

85

89

2 3 2 2

57• Pianist 85

1

4

2

ISS ’T M M’S RHA DON Y PA LUC E PIEC THIS ON PAGE

L ES

TRACK 12

SON 24

Frédéric CHOPIN (1810-1849) Etude in A flat op 25 no 1

ADVANCED

This étude, nicknamed ‘Aeolian Harp’ by Robert Schumann, is the first in a volume A certain rotational technique is required in both hands, as well as a light ‘plucking’ of études dating from 1836. technique to the inner notes, as Lucy explains. This is a wonderful piece and if you take your time learning it, you will definitely be rewarded. Playing and pedal tips: Everything is spelled out for you when you read Lucy Parham’s article on page 24. But as you can see, there are a lot of notes on every apge! Read Lucy Parham’s step-by-step lesson on this piece on page 24.

Al le g ro so st en ut o

= 104

3 4

3

5 3

4

7

5

3 4

60• Pianist 85

3

4

3 5

TRACK 12

Frédéric CHOPIN (1810-1849) Etude in A flat op 25 no 1

9

11

13

15

61• Pianist 85

ADVANCED

TRACK 12

Frédéric CHOPIN (1810-1849) Etude in A flat op 25 no 1

ADVANCED

17

19

21

rit. 23

62• Pianist 85

Frédéric CHOPIN (1810-1849) Etude in A flat op 25 no 1

TRACK 12

ADVANCED

a tempo 25

27

29

1 2

2

3 5

3

3

31

poco a poco cresc.

4

63• Pianist 85

Frédéric CHOPIN (1810-1849) Etude in A flat op 25 no 1

TRACK 12

ADVANCED

33

appassionato

35

dim.

37

39

dim.

64• Pianist 85

Frédéric CHOPIN (1810-1849) Etude in A flat op 25 no 1

TRACK 12

41

ADVANCED

4

smorzando

leggierissimo

43

45

47

65• Pianist 85

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Featuring music from: Brunei • China • Goa • Indonesia • Japan • Korea • Malaysia • Mongolia The Philippines • Singapore • Taiwan • Thailand • Vietnam The Christopher Norton Eastern Preludes Collection BH 13083 · Edition with CD · £ 10.99 2• Pianist 85

www.boosey.com

PIANI

ST AT WORK

Moment by

moment catches up with jazz pianist Tom Hewson, the latest winner of the

Erica Worth

NottinghamtoInternational Pianohas Competition, find out howJazz victory affected his ‘slightly peculiar’ life

H

as winning this competition changed things? Yes, in the sense that it’s given me some new things to work towards. Winning the competition coincided with my CD release, and then part of the prize was a headline gig at Ronnie Scott’s. at’s a first for me. How did it feel to win? It was brilliant! Playing solo in jazz is quite a special thing, especially on a big beautiful Bösendorfer Imperial and in a great space like Nottingham’s Albert Hall, where the finals took place. [One of Tom’s winning performances is featured on this issue’s covermount CD.] Did you have to do lots of preparation? I’d put quite a lot of work into it. But I tried not to over-prepare, as I may have done in the past. Particularly for a jazz musician, you need to have a spirit as if you don’t know what’s going to happen next. On the stage, you need that unpredictability and immediacy. If you can surprise yourself, then you are going to surprise the audience. You do a lot of work, a lot of preparing, a lot of theory, a lot of getting inside the music, then when it gets down to it, only five per cent of what you’ve worked on actually gets in there. Ninety-five per cent is generated based on that. Were you classically trained? I learned in a very structured and classical way from age 5 to 18, with a great teacher in Ashford, Kent, called Stephen Dandridge. en I went to university – to New College, Oxford – and continued, but broadened out into composing. I was interesting in composing and not just playing. I

Tell us about the track Slightly Peculiar, which is featured on our CD? It’s the title track of my 2012 solo album, Slightly Peculiar. I wrote it to say thank you to various people for supporting me in my ‘slightly peculiar’ way of life. It’s in 5/8 time, and it has the kind of glitches and odd twists that I tend to use in my compositions to keep things slightly surprising and not predictable.

wanted the whole musical experience – the history, the context. All this persuaded me to do a music degree as an academic thing. Classical piano performance was just one element of the degree. What made you take the jazz route? I’d always done some jazz during school, but I never had any lessons; I never studied it in a structured way. My dad was into rock ‘n’ roll, jazz and blues, and threw guitars my way (I play cello, bass and guitar). At school I was playing Ravel and Beethoven in the days, and bass in a funk band at night. After my degree, I did a masters in jazz at Trinity. People often assume that all jazz musicians can improvise naturally, but is it something you have to work at? Absolutely! ere’s this perception that we pluck things out of thin air. Improvisation, in itself, is making things up. But always it’s informed by so much that you’ve studied. You are composing in the moment. at’s the defining aspect of being a jazz musician: when you go to a jazz gig, you should feel like it’s happening there and then – yet on another day, it will be quite different. Are you always learning? Yes. In the last few years, I have broadened what I study and listen to. ere’s something to learn in any piece of music. I have spent a lot of time learning about 20th-century harmony, forms, composing – learning how the the music works. In college you learn tools of improvising and harmony basically. But now I feel that I am beginning to learn more about the things you really search after – such as shape, why you love the music you love, atmosphere, character, honesty, and then trying to get those elements into your music. You try to learn a deeper element. 67• Pianist 85

Listen to ‘Slightly Peculiar’ on this issue’s CD. Tom Hewson will appear at the London Jazz Festival on 16 November, and at Ronnie Scott’s also in the autumn (date tbc). His new album, Treehouse, will be out in October on the CAM JAZZ label. For further details, go to www. tomhewson.com.

Do you have to work on your technique, like a classical pianist does? Classical pianists’ first reaction to jazz pianists is often, ‘What on earth are they doing?’ ere is a thought that we have flawed technique in some ways. e demands of playing jazz in a group change the way that you have to play. From a practical point of view, a lot of the pianos are not very good, and they are miked up or put through a PA. Tone, sustain and depth of sound can go out of the window! If you’re playing with a drummer, classical technique doesn’t get you heard, so you have to find a way to get heard. You are often part of the rhythm section and you always have to be generating a rhythmic feel. Sometimes delicacy and touch are not what it’s about; it’s about a swing, rhythm, a percussive feel. Also, it’s easy to let the left hand ‘slip’ because it’s not doing as much dexterous stuff in a jazz group as it would with a Chopin étude. at’s what’s nice about playing solo jazz – you need to keep the technique on top form. You’ve got there’s both hands theuse whole piano and more across space to your whole technique, more variety of touch. Anything exciting coming up? I’m launching my new album with my trio Treehouse at the London Jazz Festival on 16 November, performing alongside John Taylor, who is also on the bill. He’s a big inspiration. ■

MIND &

BOD Y

Flex Time Can a yoga-inspired piano method bring greater focus to your playing and help small hands stretch further? Inge Kjemtrup talks to Russian concert pianist GéNIA, the creator of Piano-Yoga iano-Yoga’ – the term conjures up an image of a leotard-wearing pianist striking an intricate pose with a piano; perhaps with one foot on the stool, the other on a pedal, with one hand gripping the lid. Sounds awkward. ‘Some people do think it’s yoga next to the piano,’ says GéNIA, the founder of Piano-Yoga, when we meet at Steinway Hall in London. In fact, Piano-Yoga has nothing to do with doing the ‘Downward-Facing Dog’ position on top of your piano but everything to do with making best use of your specific anatomy, strength and flexibility to help your playing. Piano-Yoga aims at being nothing less than a ‘holistic approach toward playing the piano’, as GéNIA writes in her book, Transform your hands: A complete ten week course of piano exercises. It was her own experience as a concert pianist with small hands that led GéNIA (her one-word name is a creative variant of ‘Evgenia’) to look more closely at aspects of strength and flexibility that might help her play what she wanted to play on the piano – music by the maestro of big hands himself, Sergei Rachmaninov. It all started when asked to perform Rachmaninov’sRhapsody on a eme of Paganini with an orchestra. She couldn’t say no – even though her teachers had warned her that smallhanded players like her couldn’t (or shouldn’t) take on such a massive work.

‘P

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For more than three months, GéNIA researched the problem of small hands playing hand repertoire. obvious solutionbig emerged. She knew No better than to get into Schumann territory with complicated stretching devices, and she began to consider what she already knew. ‘My hands are not flexible,’ she says. ‘I was doing lots of yoga then, and I felt taller and stronger afterwards. So I created exercises that enabled me to play the piece for the concert.’ It’s perhaps unsurprising that this daughter of scientists (both parents are mathematicians) would develop a systematic method like Piano-Yoga. Music is also part of her DNA, however. Born in Kharkov, Ukraine, GéNIA is the great-granddaughter of Regina Horowitz, sister of the famous pianist Vladimir. She studied with Regina (the dedicatee of her book), and then with Sergei Yushkevitch at the Kharkov State Institute of the Arts. She arrived on British shores after winning a scholarship to the Guildhall School, first focusing on the fortepiano, and then on the piano, taking lessons with Joan Havill. She left the Guildhall having won the Premier Prix, and went to the Trinity College of Music, where she studied with Douglas Finch. Winning an audition for the Park Lane Group, a charity that supports young artists and composers, brought her into contemporary music. She recorded an album featuring four contemporary Russian woman composers, including Sofia Gubaidulina. More recently, she has delved more seriously into composing. ▲ But Piano-Yoga is an abiding occupation.

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MIND &

BOD Y

After successfully playing the Rachmaninov concert, GéNIA began developing her Piano-Yoga method, teaching it one on one and in workshops. Already an enthusiast practitioner of yoga, she then spent two years to become a qualified British Wheel of Yoga teacher, studying anatomy as part of that training. Tis understanding evidently proved useful to her. Near the start of ransform your hands, there’s a ‘Hand Map’, a photo of a hand with some of the parts marked out. ‘Skin creases reflect the range of movement at each joint,’ reads the text below this striking image.

exercises based on various types of seventh chords. In her book, GéNIA explains that most exercises in the book must be done with flat fingers. Tis advice, she tells me, is often overlooked by pianists eager for quick results. I observe that playing with flat fingers doesn’t seem like good technique, so why must the exercises be done this way? ‘Te idea of flat/straight fingers comes from yoga: you lengthen first, and then build strength,’ replies GéNIA. ‘Playing with flat fingers will activate three sides of the hands.’ Unsurprisingly, a number of pianists have come to GéNIA because they have

Range of music alking to GéNIA, I quickly realize there would be nothing like a hands-on experience to get a better sense of Piano-Yoga. I put down my notepad, and she takes me through some of preliminary exercises, such as her ‘Digits’ exercise (see box, opposite). I then sit down at the Steinway grand, where she shows me the steps for finding the right sitting position at the piano. First, I’m asked to put my feet on the floor and to lift up my toes, before slowly putting them down, ‘ideally one by one’ (an instruction I am unable to comply with successfully). Ten I have to raise my heels as high as I can and lower them, again slowly. GéNIA guides me further in exercises to align shoulders and fingertips, and asks me to play. I have a sense of released tension, although I’m not sure if that isn’t partly that I’m trying to please someone who is clearly a fine teacher. So far, we’ve just touched on exercises in the ‘Preliminary Stage: Foundation Piano-Yoga’ in the first part of her book. GéNIA advises spending at least a week on this seemingly simple stage before advancing to ‘Stage One: Core Piano Yoga’. Tis is followed by sections for players with small hands (and another for large hands) and then two further stages for intermediate and advanced pianists. Some exercises are based on photos and text, but most at the later stages are based on printed music. Tere are also recommended pieces to play at each stage. ‘Exercise Six: Flat Fingers’ in the Preliminary Stage presents several

some of injury their playing. Tere kind are two sides tofrom injury, she tells me: the actual physical injury and the psychological injury, which might mean that even though the physical aspect is healed, the mind-set that caused the injury is still there. Unless bad habits and behaviours are re-examined, the possibility for physical injury remains, lurking in the background. Many of her injured pupils share a similar profile: professional pianists in their early thirties who work non-stop. What they also have in common, she says with a note of exasperation, is that they are ‘people who don’t know how to relax and take breaks.’ Between performing, composing and teaching, GéNIA must lead a non-stop life too. Piano-Yoga takes up a good part of her time, with teaching, plans for more books (‘I have another three books half-written’), videos and training of other Piano-Yoga teachers as well all in the mix. raining new Piano-Yoga teachers will be a challenge, she says. ‘Tey have to be credited musicians,’ she asserts. ‘Tey’d have to study anatomy, philosophy, technique... for me, music is philosophy, then you need technique.’ Tis autumn, GéNIA is launching a club on the first Wednesday of the month at Schott Music in central London. ‘Te aim of the club is to spread the teaching of Piano-Yoga and to connect like-minded people,’ she explains. ‘Te activities will include some practical physical exercises that pianists could use in their practice routine, a short presentation from me on a specific topic, and question-and-answer sessions.

Try it! ‘Digits’ – a Piano-Yoga exercise Aim: o make your fingers stronger. Initial position: Put both hands on your knees so the palms cover the kneecaps. Lift both arms off the knees, keeping the hand position exactly as it was when when on your knees. Make sure that the tips of your thumbs are bent towards the palms. Ten, while still keeping the hands in their srcinal position, turn them so your thumbs are on top, above your little fingers. Each hand should look like it is holding a ball (see photo). Exercise: Your fingers are divided into three parts called phalanxes . Te proximal phalanx is the bottom part of the finger nearest your palm, followed by the middle phalanx , and lastly the distal phalanx located on the top part, the finger tip. Concentrate your attention on the bottom (proximal phalanxes) of all your fingers. ense them for three seconds, then relax. Do this three times. Proceed in the same manner to concentrating on tensing the top parts (distal phalanxes) of all your fingers. Tis is a slightly trickier task. Once you feel that you are doing it correctly, proceed to the most advanced stage. Concentrate your attention on the middle phalanxes of fingers two, three, four and five. ense them for three seconds, then relax. Can you feel all the different phalanxes of your fingers? Benefit: Tis exercise involves thought process and visualisation techniques, as it is impossible to isolate each joint separately. If you do this exercise regularly, after one week you will not only become sensitive to different parts of your fingers, but also start building up their strength.

Tis is an edited excerpt from ransform your hands: A complete ten week course of piano exercises, created by GéNIA.

Previous page: PianoYoga founder GéNIA demonstrates one aspect of finding a good sitting position at the piano; a stretching exercise on the keyboard This page: GéNIA leads a group Piano-Yoga class; the ‘Digits’ exercise

Tere will be some time for people to perform as well, although this won’t be necessary to attend the club.’ If after reading this article, you’re intrigued by Piano-Yoga but you can’t make it to London, GéNIA’s book might help. As one of the endorsements in the front of her book says of PianoYoga: ‘Te exercises increase strength and coordination between different parts of the finger and hand, but also focus on the the whole complex relationship between body and mind in the act of performance.’ ‘Te idea is that the book is like a little gym,’ says GéNIA. ‘An hour of PianoYoga can save you hours of practice.’ n o find out more about Piano-Yoga, GéNIA’s book or the new Piano-Yoga club, go to www.piano-yoga.com.

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LEGENDS

SVIATOSLAV

ICHTE (1915-1997)

R A

R

The precision, musicality and creativity of Sviatoslav Richter’s playing won him fans worldwide. Claire Jackson looks at the enigmatic Russian pianist who loathed the recording studio

t ze u o v a B m a flf -E n a e J sy te r u o C ;s la P je r /A a c c e D ©

sk any music fan to name their top five pianists from yesteryear and chances are that Sviatoslav Richter will make the shortlist. e Russian pianist blended academic precision with an intense musicality that made him one of the most significant artists of the 20th century. Richter – whose centenary we celebrate this year – is particularly beloved for his wideranging tone colour and variegated

have claimed that he taught Richter ‘almost nothing’, Richter was quick to acknowledge his influence, declaring: ‘Neuhaus would take out your soul, make some experiments on it and return it to you – enriched and beautiful.’ Richter won the USSR music competition in 1945, the Stalin Prize in 1949 and performed over 100 concerts a year throughout the Soviet bloc during the Cold War period. Rough recordings of Richter’s performances began to make their way outside the Iron Curtain, and interest in his pianism was growing. In

touch, which(see livebox, on inopposite his vastpage). discography By today’s standards, Richter was no wunderkind. His German parents were musical, but Richter did not have formal training until he was 22, when he enrolled at the Moscow Conservatory as a pupil of Heinrich Neuhaus, who taught many of the world’s greatest pianists. Although Neuhaus is said to

1960 he was permitted to travel internationally as a People’s Artist. His first performance was in Finland, followed by a tour of the US. Richter’s appearance in America was hugely anticipated – and his fans were not disappointed. Baltimore-based music critic and pianophile Stephen Wigler remembers going to see the pianist’s first performance at Carnegie Hall. ‘I had 72• Pianist 85

Right: Sviatoslav Richter’s signature on Jean-Efflam Bavouzet’s

Prokofiev Eighth Sonata score

never heard anything like it in my life.’ Wigler attended several more recitals when Richter returned to the US in 1965 and 1970. ‘Americans went nuts,’ he recalls, ‘His playing was even better than I remembered. You’d see pianists in the audience, ones you would only ever see on stage – Horowitz, Ashkenazy. Richter was as popular in the US as Cliburn had been in Moscow in 1958.’ The enigma explained

What was it about this enigmatic performer captured everyone’s attention? that Wigler suggests that Richter’s choice in repertoire may have played a part. ‘At that time all-Beethoven recitals were rare and the Prokofiev sonatas were virtually unknown in the West,’ he explains. ‘I can’t think of any major pianist – with the exception of Horowitz – who played this music. Richter played Debussy in a way that was electrifying.

He made it sound gigantic, like an entire orchestra was playing. I couldn’t believe how beautiful it was. Usually it takes a while to get a feeling for unknown works, even masterpieces, but when Richter played music that was unfamiliar – the Prokofiev sixth and eighth sonatas, for example – it was tremendous. o this day when I hear a Prokofiev sonata I’m always listening in the shadow of Richter’s performance in Carnegie Hall.’ It is perhaps unsurprising that Richter was a renowned interpreter of Prokofiev, given that he worked closely with the composer. Richter gave the premiere of Prokofiev’s Sonata Nos 6, 7 and 9,

speaking to people if they did not abide by the composer’s wishes.’ Legend has it that after attending a recital given by Murray Perahia, where the younger pianist performed Chopin’s Sonata No 3 without observing a first movement repeat, Richter called for a meeting with the soloist backstage so that he could discuss the omission. Richter was a big man – almost six feet tall – who had huge hands. A generous handspan does not automatically indicate a gift for challenging intervals and articulate phrasing, but there was an obvious physical aspect that took his playing to a higher level. Wigler once

the latter of he was dedicatee. He made hiswhich first –and lastthe – appearance as a conductor to premiere Prokofiev’s Symphony Concerto for cello and orchestra. Te cellist was Mstislav Rostropovich, another important collaborator. Richter appeared regularly at the Aldeburgh Festival, and in 1965-67 he performed with Benjamin Britten as a piano duo. In 1966 Britten wrote to Richter (in German, their common language): ‘Es war ein freude und ehre mit dich zu spielen, und ich habe nie vorher solches Klavierspielen gehört – wie in Liszt, Schubert, Chopin, Scriabin!’ (It was a joy and an honour to perform with you, and I have never before heard such piano-playing – in Liszt, Schubert, Chopin, Scriabin!).Richter also worked with David Oistrakh, Elisabeth Leonskaja and the Borodin Quartet, as well as soprano Nina Dorliak. Dorliak, whom he first accompanied in 1945, went on to become his life-long partner. Tey never married, and it was widely rumoured that Dorliak provided a social front for Richter’s homosexuality. Richter never formally came out and Dorliak stayed by his side until his death, dying herself just a few months later. Richter lived during a period when homophobia was deeply ingrained within society; outing himself as gay could have led to imprisonment or even worse. Although Richter seldom discussed his personal life, a new biography by the Danish composer Karl Aage Rasmussen, Sviatoslav Richter: Pianist fills in many of the blanks, as well as openly describing the pianist as being gay. Clearly, this fact is irrelevant to Richter’s musicianship. However, it’s worth noting because some accounts assert that Richter was

discussed the amatter with Curzon, also Richter fan.Clifford ‘Clifford had big hands but he held his hands up and said that Richter’s were bigger than his. Richter dwarfed the piano. He was a phenomenal personality.’ French pianist Jean-Efflam Bavouzet has been an admirer of Richter’s pianism since, as a 16-year-old conservatoire student, he first heard the Russian perform in Paris. ‘At that time it was possible to sneak in during the intermission,’ he smiles. ‘Missing the first half is one of the biggest regrets of my life. I remember every single gesture at the opening of the “empest”; it was a revelation. [Richter played Beethoven op 31 no 2 ‘empest’ and op 31 no 3 in the second half.] I had no idea that it was possible to play the piano this way. Te emotional range was almost unbearable. Even thinking about it now I have goosebumps.’ Richter did not return to the US after his New York recital with David Oistrakh in 1970 was disrupted by anti-Soviet protests. He continued to perform in Europe and Japan, and embarked on a six-month tour of Siberia as late as 1986. However, like many concert pianists, he tired of the travel and had a life-long dislike of flying. Perhaps surprisingly, given his spiralling discography, Richter did not enjoy the recording process. Jacques Leiser, a concert manager who worked with Richter for 37 years, told the New York Timesthat Richter ‘found studio recording unnatural and highpressured. But even when we recorded him onstage, he insisted that he not be able to see the microphones. We would have to hide them in potted palms and among vases of flowers.’ Some critics

Richter valued his fans. Bavouzet remembers an occasion when Richter gave seven encores: ‘At one point he said “I’m sorry, I have no more pieces to play!” Tere were still 20 people in the hall so he said, “Well, if you don’t mind I am going to practise for my concert tomorrow” – and the audience stayed to listen.’ Interestingly, Richter did not give autographs immediately after concerts. ‘Te tradition was that you gave him the programme or score after the performance and then you got it back at his hotel the next morning,’

withdrawn, and– even prone to unfriendliness it’s possible that he was coping with a complex personal situation, which deserves empathy. Despite his introverted nature, Richter was not afraid to stick his neck out when it came to musical accuracy. ‘If someone did not play all the repeats he would go berserk; he was a very exacting musician,’ says Wigler. ‘He was known to stop

have highlighted how varied of Richter’s performances were in terms quality. ‘If ever I am not satisfied with my playing I always think about Richter,’ says Bavouzet. ‘When he was inspired he was on top form but at the same time he gave recitals that were not that good. Tat must have been so difficult for him. I can imagine that he might not have had an easy life for that reason.’

explains Bavouzet. ‘He specific places within thealways music;signed at thein place he loved the most. For example, when I sent him the complete Prokofiev sonatas he signed at the recapitulation of the first movement of the eighth.’ Richter spent much of his later life in Paris and Germany, performing until illness struck in his eighties. He died of a heart attack in Moscow at age 82. n

Generous gifts

73• Pianist 85

LISTEN TO THE LEGEND Sviatoslav Richter: Complete Decca, Philips & DG Recordings (Decca 478 6778; 50 CDs plus bonus CD) To celebrate what would have been Richter’s 100th birthday, Universal has gathered hisnearly complete Philips and DG recordings – spanning fourDecca, decades (1956-1992) – into one collection for the first time. Universal has done whatever it could to find the srcinal recording dates and locations for nearly all of the CDs in the collection. Richter never liked the recording studio. He was also not the easiest for a conductor to work with: the Karajan partnership in the Tchaikovsky Concerto here is a good example, where it’s obvious that both have their own very different ideas. He accompanied singers a few times (a fine example is his partnership with Dietrich Fischer-Dieskau – just listen to the wonderful SchubertWinterreise) and his chamber recordings often come from li ve recordings (e.g. the unmissable Franck Piano Quintet with the Borodin Quartet), as do the majority of the solo recordings in this set. This collection offers pianism of a truly gigantic level. Best are his Mantua recordings of a handful of Haydn sonatas, ideally recorded but shortly afterwards dismissed by the pianist. Don’t miss his Prokofiev and Beethoven sonatas or his Prokofiev No 5 and Rachmaninov No 2 concertos. Sony has released its Richter Complete Album Collection, neglecting to shout from the rooftops that this release includes, for the first time on CD, Richter’s 1960 OctoberDecember Carnegie Hall recitals (including two recitals with the same programme recorded two days apart). These recitals show Richter at his most stunning (though again, the artist was dissatisfied). We can but hope that Warner collects every bit they have from their EMI archives, including the tapes from innumerable live concerts. Marius Dawn

HISTORY

mystic traveller Alexander Scriabin 1872-1915

Listeners are strongly divided about Scriabin’s dense, complex music. But with the centenary of his death, it’s time for a re-evaluation of this remarkable Russian composer, writes Michael Quinn

HISTORY chronologically through the music from the early, Chopin-influenced piano pieces to the later Daedalian sonatas and the astonishingly taut but dangerously unstable orchestral works, and a sense emerges of a composer pulling in two directions, simultaneously drilling into subterranean specifics while pitching for cosmic universality. Choose to work backwards and the experience is very different indeed. ‘If you get to know the beauties of the two first sets of études and the first three sonatas,’ explains Donohoe, ‘you will find a composer who is very definitely entrenched in the Romantic tradition.

world to occupying a decidedly otherworldly position all of his own. Dating from as early as 1892, the first three sonatas sit comfortably alongside similar exercises by Rachmaninov and Chopin, although even from the First, with its darkly exhilarating Russian funeral march and unrelenting sense of despair, you catch a glimpse of what the future would produce. Composed in the feverishly creative summer of 1903 that produced a remarkable 40 piano works, the compact, eight-minute-long Fourth Sonata marks a crossroads in Scriabin’s creative direction. Invoking ‘the flight to a distant

at will leadortolater fear sonatas when you the Seventh as hear Scriabin’s world becomes more arcane.’ Scriabin’s own advice to the parents of the 11-year-old Vladimir Horowitz offers some insight into the composer’s view of himself and his vision for his music. ‘Your son will always be a good pianist, but that is not enough,’ he told the prodigy’s guardians. ‘He must be a cultured man, also.’

star’, it finds on the edge of his own leap him into clearly the unknown worlds of mysticism – his association with the theosophical creed popularised by the occultist Madame Blavatsky and, not least if most disturbingly, his growing conviction that he was God – and the peculiar scientific oddness of synaesthesia, the association of sounds with colours. So prevalent became Scriabin’s fascination with the notion that in his 1910 symphonic poem Prometheus he included a part for clavier à lumières Passionate preoccupations (‘keyboard of lights’). Although he For Scriabin, culture was clearly both employed conventional musical an all-encompassing intellectual concern notation, the passage was intended to capable of accommodating, even project colour rather than sound. embracing, faddish ‘isms’, and an e sonatas get progressively thornier, aesthetic notion that prompted the each more intricately gnarled, fervidly idiosyncratic technical preoccupations intense and taxing than the one before, and philosophical eccentricities that the incandescent ‘White Mass’ that is the colour and shape the later music. More succinctly, Peter Donohoe describes it as Seventh notwithstanding. e ‘Black ‘a preoccupation with something not fully Mass’ Ninth and the Tenth Sonatas are explicable to anyone apart from himself’. cast in searing arcs supported and kept aloft by a virtuosity not seen since Liszt Citing Chopin, Debussy, Ravel, and seldom encountered again afterwards. Shostakovich and Rachmaninov as ‘all Scriabin’s early death from septicaemia unique, and all with voices that feel very means, of course, that we will never know different to play,’ Donohoe confidently in what direction and to what end he adds Scriabin’s name to the list. ‘When might have taken his music. (Just as it will one starts to learn his music there is a remain a tantalising ‘what if’ to consider definite piano style (a harmonic as well how different a composer he might have as an instrumental one) that you don’t been had he not become so transfixed and find in any other composer. He is one of those composers with a unique voice and consumed by his mystical visions.)

Sviatoslav Richter described Scriabin’s music as ‘a heady liqueur on which you can get drunk periodically, a poetical drug, a crystal that’s easily broken’ it makes him seemat, like afor genuinely important figure. me, is the sign of a great composer.’ Covering the whole of Scriabin’s creative life, the ten piano sonatas offer telling stepping-stones in the development of Scriabin’s musical (and extra-musical) preoccupations. ey reveal a composer moving from being squarely rooted in an already inhabited

Perhaps Scriabin’s premature death robbed us of something else: a clear lineage of succeeding generations of composers whom he might have influenced. Messiaen aside (and that largely due to his fascination with synaesthesia), it is difficult to think of others who share any commonality of language with him. Sorabji, perhaps, but only, surely, in terms of a shared 76• Pianist 85

SCRIABIN ON DISC Complete Etudes Piers Lane Hyperion CDH55242 Complete Mazurkas Eric Le Van Music & Arts CD1125 Complete Poèmes Pascal Amoyel Calliope 9360 Complete Sonatas Marc-André Hamelin (2 discs) Hyperion CDA67131/2 Complete Préludes Piers Lane Hyperion: Vol 1 CDH55450, Vol 2 CDH55451 24 Préludes op 11 (with Sonatas 4 & 10) Mikhail Pletnev Erato 5099962865128 Vers la flamme

(plus solo piano works) Vladimir Ashkenazy Decca 478 8155 Piano Concerto Yevgeny Sudbin, BergenPhilharmonic Orchestra/Andrew Litton BIS SACD BIS2088 Scriabin Edition (complete works) Various artists Decca 478 8168 (18 discs)

predisposition towards hubristic idiosyncrasy and over-reaching scale. But the current anniversary offers the perfect prompt to listen again to Scriabin’s music to test whether or not his reputation for impenetrability is deserved by one of the most esoteric of all composers. If there is a lineage to be found, then surely it is somewhere in the vibrant extremes of jazz music rather than the classical repertoire, a thought not lost on Peter Donohoe. ‘It’s true that there are plenty of jazz chords and jazz rhythms to be found in Scriabin. Playing the second movement of the Fourth Sonata, you can so easily end up sounding like Art Tatum.’ A one-off the beginning 20th century,from perhaps, finally, at of thethe beginning of the 21st century with its abundant and accommodating plurality, Scriabin is about to come more clearly into focus. Maybe he will no longer be regarded as an outsider, someone who, in the words of another great musical iconoclast, Stravinsky, was ‘a musical traveller without a passport’. ■

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COMPETITIONS

The Leeds Legacy Dame Fanny Waterman, the Leeds Competition founder and guiding force, is retiring. John Evans asks Dame Fanny (and others) what’s next for this prestigious event

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his year, 54 years since she woke her sleeping husband to tell him she’d had an idea for an international piano competition in Leeds, Dame Fanny Waterman – 95 years young – steps down from the helm of the great British institution she helped to found. I put the scenario of a ‘Leeds’ without its long-time leader to Nick Westerman, head of operations at the Leeds International Piano Competition (LIPC). Of all the challenges the LIPC has faced in its 54 years, surely this is the greatest? ‘Without question, it is,’ he says. ‘However, helpfully, Dame Fanny said she would not leave until her successor has been found. We are getting close and I am confident that towards the end of this year, we will be in a position to name that person.’ Rather than attempt the surely impossible task of identifying and recruiting someone cast in the same mould as Dame Fanny, Westerman says he and his colleagues are keen that the role fits the person. ‘Dame Fanny is unique and wears many hats – fundraiser, judge, publicist, administrator, campaigner and so on – but we are looking at various different models for the role her successor will take on. Different candidates bring different qualities but the heart of the

never in Leeds. Te city fathers also struggled with the concept of an international piano competition on Competition their doorstep. Tey considered the idea elitist but their argument crumbled Opposite, clockwise from when Jack Lyons, a Leeds businessm an Above: Leeds Town Hall

No-nonsense attitude

during the 2012 Leeds

Born in the city in 1920, Fanny Waterman is a Leeds girl through and through. Despite all her achievements and high-society connections, she speaks with a Yorkshire accent and, true to her

International Piano

top left: Dame Fanny with

job is to legacy sustainfor and Fanny’s thenurture benefitDame of musicians and audiences today, and in the future.’ It’s a phrase Fanny Waterman herself might have used all those years ago when telling her husband of her idea to launch a piano competition in her home city. Perhaps still fuzzy with sleep, he said the idea might work in London but

with Leeds co-founder Marion Thorpe, with Dr Geoffrey de Keyser on their wedding day and with the 2012 finalists (winner Federico Colli is on her left)

and national his artsdonation benefactor, threatened to withdraw of £1,000 if the city refused to match it. It shamed them into action and, albeit reluctantly, they found the cash. oday, says Westerman, the city and the region couldn’t be more supportive. ‘It’s a relationship that works for us and for them, as well for the whole region, and we’re proud of it.’ 78• Pianist 85

region’s traditions, is direct– and no-nonsense. Her parents a RussianJewish émigré father and English mother – were poor (she recalls her mother crying when couldn’t afford to pay the grocery bill) but did everything they could to nurture their daughter’s burgeoning talent for the piano. ‘No one had central heating then, so it might be bitterly cold when I was

practising and I would have to wear a coat,’ she remembers. ey encouraged their daughter’s musical interests and took her to concerts at Leeds Town Hall where she saw many of the greatest musicians of the day, among them Kreisler, Heifetz, Arrau and Schnabel. At the age of eight she saw Rachmaninov. ‘I remember the atmosphere as much as the playing,’ she says. ‘It was magic.’ In 1940 Waterman became a piano student at the Royal College of Music, and while there, scooped up Among a succession of major awards. her proudest achievements was performing at the Proms in 1942 (the programme notes reassured the audience that should an air-raid warning sound, they would be told immediately, but that the concert would continue). Although she may have avoided the bombs, inevitably Fanny could not avoid the call-up; her choice the women’s land army or a reserved occupation. ‘I was no gardener, so I became a piano teacher,’ she says. She had found her destiny and was back in Leeds for the remainder of the war, and throughout the post-war years, she taught at home and travelled widely giving concerts. However, by the late 1950s, Fanny Waterman found herself growing frustrated with a society that appeared not to care much for its young pianists. Her plan to launch a piano competition took hold but. as she recalls, it was her husband’s scepticism that morning in 1961 that made it a reality. ‘e minute he said it would never work, I became determined to prove him wrong,’ she says. ‘at’s where my courage and my ambition came out.’

Federico Colli, the winner of the previous Leeds, in 2012, is in no doubt about the place the Leeds now occupies in the world of piano competitions. ‘It is in the world’s top five along with the Tchaikovsky, the Van Cliburn, the Chopin and the Queen Elizabeth,’ he says. ‘If you win the Leeds, or any of the other four, you cannot enter any other piano competition. It wouldn’t be logical; you are already at the top.’

Federico Colli: ‘The Leeds is in the world’s top five competitions and if you win it, you cannot enter any other piano competition. It wouldn’t be logical; you are already at the top’ ese qualities, plus an inexhaustible appetite for work, have never left her. ey have been the fuel that, along with her supporters (among them her close friend Marion orpe, Countess of Harewood, and the competition’s first patron, Princess Mary) have helped power the Leeds to success.

It’s a status that is not lost on Dame Fanny herself. During the winners’ dinner Colli remembers a conversation with her during which she emphasised the significance of his success – and his responsibility as a Leeds winner. ‘She told me that now I had a lot of responsibility on my shoulders,’ says 79• Pianist 85

Colli. ‘She said I was no longer like my fellow competitors; that now I stood in comparison with the greatest pianists. She told me to choose engagements that reflected my position, and always to go on stage in the right physical and mental shape.’ Dame Fanny is equally clear on this point. ‘Our competition is for young professionals who have suffi cient repertoire to take on a career,’ she says. ‘Our engagements are the finest in the world. To play with the four London orchestras, the RLPO and the Hallé… at’s what has put Leeds at the top, and we’ve got to the stay there.’ It wasn’t always so. e first Leeds, held in 1963, became mired in controversy when it was revealed that the winner, boy Michael Roll, was a pupil of thelocal competition’s founder. ‘It was very embarrassing,’ admits Fanny Waterman. ‘He was a pupil of mine, and he’d won the first competition.’ To make matters worse, she’d given him a piano lesson on the morning of one of the rounds. ‘He was playing Beethoven’s “Appassionata” and I gave ▲ him a quick lesson on it,’ she says.

COMPETITIONS

‘Later the same day, at the end of the round, Clifford Curzon dashed out of the hall and told me Roll’s performance of the piece was one of the greatest he had ever heard. ‘After the final round, when the jury declared he had won, it was very, very diffi cult. I thought, ‘What have I done?’” Today, Michael Roll says the drama went right over his head. ‘I was only 17. and my biggest concern was learning enough repertoire to go touring,’ he says. ‘It was the age of the Iron Curtain and I guess some people were I beat Ithe secondplacedfrustrated Russian. that However, recently found out that eight of the 10 jury members voted for me. Curzon, Anda and Britten were especially enthusiastic about my playing.’ Roll says that looking back on it, his win was a double-edged sword. ‘It thrust me into the limelight when perhaps I wasn’t prepared but it gave me the opportunity to work with some of the biggest names in music: Britten, Giulini, Barbirolli… I even played Britten’s piano concerto to him in his house. ese opportunities were mind-blowing. Without winning the Leeds, I might never have gone into the profession. I owe it so much.’ e competition’s reputation for identifying ‘stayers’ in the piano world, artists whose talent and individuality would secure them legendary status and a long-term career at the very top, was forged in 1969 with Radu Lupu. He was followed, in 1972, by Murray Perahia. ‘Perahia looked like he needed a good meal,’ says Waterman. ‘After his

Michael Roll: ‘Winning the Leeds thrust me into the limelight when perhaps I wasn’t prepared, but it gave me the opportunity to work with some ofthe biggest names in music. Without winning I might not have gone into the profession’ performance, the jury wiped their eyes and were stunned into silence.’ e Leeds’ knack for discovering stellar talent continued. In 1975 it was the turn of Dmitri Alexeev (with Mitsuko Uchida second and András Schiff third) and in 1978, Michel

Above: the 1987 Leeds finalists, including Simon Rattle, Noriko Ogawa and Boris Berezovsky Below, l-r: Leeds winners Radu Lupu (playing in 1969’s finals), Michael Roll (1963) and Murray Perahia (in 1972’s finals) Opposite: recent winners Sunwook Kim (2009) and Federico Colli (2012)

Dalberto. Since then, Jon KimuraParker, Artur Pizarro and, from the younger generation, Alessio Bax and Sunwook Kim have all emerged in the competition’s glare. Federico Colli says the experience has been life changing. ‘With the responsibility and the weight of expectation on me, I think so much harder about the music I play. It is one thing to arrive at the top of the mountain but it’s more important to stay, so I am working hard to be a more rounded musician. ‘For example, when I study a piece of Debussy, it is no longer enough for me just to know the piece in isolation; I must know the context and the period in which it was written. is is very important to me. ‘A lot of pianists are very good, very quickly. But the Leeds is looking for something else, and it is this quality of historical as well as musical insight that I am workinghas hard to few develop.’ Waterman said of the competition’s past winners stay in touch. So far, Colli is proving to be the exception. ‘Dame Fanny is like my second grandmother. When I have doubts about repertoire for specific audiences, I can call her and she will help me. Her advice and support are very important to me.’

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Listening to Colli speak about the Leeds and Fanny Waterman, one can’t help feeling a degree of sympathy for those charged with finding her replacement. Westerman may appear to be confident, and his plan to recast the position’s role to suit its holder’s skills and talents, sounds wise. However, so often, the departure of an institution’s powerful, charismatic and single-minded founder who may, on occasion and by necessity, row against the tide (Fanny Waterman’s husband said her greatest quality was her ‘unpredictability’), can herald a period of real uncertainty. Jessica Duchen, the music criticwho andis contributor to Pianist magazine, a great admirer of the Leeds, wonders if it can survive without Dame Fanny. In her blog, Duchen wrote: ‘e Leeds puts Britain on the map for young musicians from all over the world. While certain other competitions are up to their armpits in gossip about jury corruption, it has survived with a squeaky-clean reputation (comparatively speaking), and a name for choosing superb musicians as its winners. It’s the one everyone wants to win. Dame Fanny has a sure touch for everything from inspiration to fundraising to musical judgment. People are asking who might step into her shoes. I wonder whether the competition can survive at all without her.’ Eyes on the f uture

Westerman has no such concerns a nd, like his outgoing boss is, instead, looking to the future and to this year’s competition (26 August-13 September) in particular. ‘We will be streaming all the rounds live so that people can enjoy it wherever they are,’ he says. ‘e core repertoire will always be at the heart of the Leeds but we will be encouraging entrants to go “off piste” a little. For example, this year, one entrant is playing one of his own compositions. I take my hat off to him! Also, we will be doing much more to encourage and develop younger audiences.’ You could say Fanny Waterman has been doing just that, all her life, in her teaching, her tutor books (they have sold over two million copies) and her support of young musicians, In fact, central to her plans post-Leeds, is encouraging young people to enjoy listening to, as much as playing, classical music. ‘I’m very concerned about the lack of music in schools,’ she says. In an interview with this magazine in 2008, when she was 89, Dame Fanny insisted her energy was undimmed. ‘If you don’t use it, you lose it,’ she said. ‘If you want to keep going, keep going. You don’t stop working because you grow old. You grow old because you stop working.’

Today, at the age of 95, she still claims to work 10-hour days. Dame Fanny’s shoes will be hard to fill but whatever direction her successor takes the Leeds in, he or she could do worse than heed her clear justification for its existence: ‘As a young pianist, you’ve made a decision that this is the moment you’re ready to take a risk. Have you got the courage? Are you prepared not to succeed where you had hoped? Are you going to be put off completely by the result or will your attitude be, “I’ll show them”?’

It’s an approach that has served Dame Fanny Waterman well, and it’s one that whoever ends up as her successor might also benefit from. ■ For more about the Leeds, go to www.leedspiano.com. Pianist will be reporting on the winners in the next issue. Dame Fanny’s autobiography ‘Dame Fanny Waterman: My Life in Music’ comes out in September (Faber Publishing; ISBN: 978-0571539185). Read an interview with Lang Lang, LIPC’s Global Ambassador, on page 8.

READER COMPETITION One lucky winner will receive a pair of tickets to the Prize Winners’ Gala Recital on 13 Sept at 2pm at the Great Hall, University of Leeds, where each of the six finalists will give a recital. Plus, the winner is invited to a pre-gala drinks reception and gets an overnight stay at the Doubletree Hilton, Leeds. One runner-up will receive a pair of tickets to the Prize Winners’ Gala Recital. Simply answer the question below: In which UK city was Dame Fanny Waterman born? A: Nottingham B: Bristol C: Leeds ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM

Postcard entries also accepted. Please send to: Lauren Beharrell, COM PIA0116, Pianist magazine, 5th Floor, 32-32 Park Row, Leeds, LS1 5JD. Competition closes Friday 28 August. Quote PIA0116 and remember to put your name and telephone number on the postcard as well as your answer.

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91 Pianist 85

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MAKERS

Piano round-up London has been the scene of plenty of piano action over the past couple of months. some of the noteworthy happenings and interesting innovations

Gez Kahan cherry-picks e’ll kick off our round-up of latest news from piano makers with one of those ‘and finally…’ items from the national news – the unveiling of a new brand with a famous name. Just as our last

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issue was going to press, concert pianist Daniel Barenboim was holding a special lunchtime event at the Royal Festival Hall in London to present his new piano, the Barenboim-Maene concert grand, to the media. Tere are only two of these pianos (currently) in existence. One belongs to Barenboim, who commissioned it after playing a restored piano from Liszt’s time – Barenboim was struck by the alternative musical possibilities the older piano’s design offered. Te other belongs to Chris Maene, a Belgian instrument maker and restorer who Steinway recommended when Barenboim approached them with his concept. It’s uncertain whether more will be built – or what they might cost. From the outside, save for the maker’s name, the instrument is barely distinguishable from the Steinway grand one generally associates with Barenboim. Tat’s no surprise, since so many of the components werethere supplied by Steinway. Inside, though, are striking and significant differences from the standard cross-strung design that has dominated piano building for more than a century. Barenboim’s epiphany was not just to listen to the sonic possibilities of a Liszt-era piano but to realize that many of its design ‘flaws’ – problems projecting in larger concert 84• Pianist 85

Clockwise from top left:Pianist Editor Erica Worth with Annekatrin Förster at Peregrine’s Pianos in London; Steinway’s new Fibonacci model; Steinway UK’s ‘Louis XV’ and the Barenboim-Maene piano at the launch

halls or surviving the robust playing of performers such as Liszt himself – could now be overcome by using modern materials and techniques while retaining the srcinal straight-strun g design. While that approach isn’t completely revolutionary – Stuart & Sons and Richard Dain with his Phoenix are among those not so much thinking outside the box as thinking more deeply within it – Barenboim’s venture and its attendant publicity (including a series of Schubert recitals on the new instrument) have reminded the world that innovative piano design needn’t be a thing of the past. Even if the production run of the Barenboim-Maene instrument never happens, perhaps it will spark a more general interest among makers to revisit some of the characteristics of earlier instruments with the benefits of contemporary engineering. And now, from Steinway players to Steinway player pianos. Spirio is the company’s new baby, digitalin system, available in thea built-in UK currently 211cm ‘B’ and 180cm ‘O’ models (in the USA the ‘B’ and ‘M’ models), which means your piano can play itself. Before you – as a Pianist reader – dive in to ask why you’d need that when you can play your piano perfectly well for yourself, consider how many hours that piano is unused. It could be entertaining you

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PIANOFORTE TUNERS’ ASSOCIATION

Do you: Need a piano tuner? Need advice about purchasing a piano? Want to join the Association? Want to become a piano tuner? during your evening meal, for example. It could be inspiring the non-musicians in your household to take an interest in the piano (as happened, many years ago in the age of the bellows-driven pianola, to this writer). And it could be helping improve your own playing. How so? Te Spirio’s big selling point is its library of performances by Steinway Artists – which includes the majority of today’s concert pianists, along with top-notch jazz and pop players. Tis is not just a matter of being able to enjoy a Chopin recital by an acknowledged maestro in the comfort of your own living room, complete with all the richness and dynamic nuances of a real piano. You can also compare interpretations of the same piece by different players and learn from the differences. And, of course, you can get your piano to play works that you love to hear but have not yet had time to learn. Te system is only available factory fitted – there’s no retrofit option, even for a Steinway instrument, and, obviously, putting a Spirio system, complete with Steinway Artist performances on a different brand would make no sense at all. Meanwhile, the company continues to turn out regular pianos and has just notched up its 600,000th instrument. o mark this milestone, it went to

‘Louis XV’ has a black satin finish with gilt carvings, inspired by styles from the Rococo period. It’s yours for just £350,000. But Steinway hasn’t been the only game in town in recent weeks. Annekatrin Förster was the guest of honour at Peregrine’s Pianos promotional event and musical soirée in its Gray’s Inn Road, London, showroom. Annekatrin Förster, now director of the company, is the fifth generation ofi Förster family to be involved in the business since August Förster was established in 1859. Based in Löbau, a small town in Saxony, Förster gained a fine reputation, especially in eastern Europe – a vintage model was one of the authentic instruments used in the Oscar-winning movie, Te Pianist – but suffered, like many other brands, under Communist control after World War II. Since German reunification, the company, now back in the hands of its founding family, has flourished. During the event, Ms Förster, on her first visit to London, presented Peregrine’s Pianos with a certificate as one of August Förster’s five best dealers worldwide in 2014. As we end this round-up, Pianist is planning a trip to the new Blüthner London showroom later this week. We’ll let you know all about it in the

town on the(named design after – thethe caseFibonacci of the ‘Fibonacci’ spiral incorporated in its veneer) is made entirely from natural Macassar ebony. Having been shown first on the Steinway & Sons stand at the Masterpiece London fair in June, it is now travelling the world. Steinway’s UK showroom has also commissioned its own ‘art’ piano. Te

next issue. o find out about Steinway’s new Spirio, go to www.steinwayspirio.com; for other Steinway pianos including the Fibonacci, go to www.steinway.com. Tere’s more about August Förster at Peregine’s Pianos (www.peregrines-pianos.com) and www.august-foerster.de. Blüthner news can be found at www.bluthner.co.uk

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85• Pianist 85

Visit www.pianotuner.org.uk or contact the Secretary on 0845 602 8796 The Association provides the music profession and general public with a first class professional service in which they trust.

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REVIEW

CD

Marius Dawn praises Grieg from Fialkowska, Moog and Perianes, but it’s Gabriela Montero’s heartfelt lament that is the real stand-out this issue Pianist star ratings: ★★★★★Essential – go get it! ★★★★Really great ★★★A Buy these CDs from thePianist website.Visit http://pianistm.ag/cdreviews

BAVO U Z E T & G U Y

Editor’s

★★★★★

CHOICE Rachmaninov: Piano Concerto No 2; Montero: Ex Patria and Improvisations YOA Orchestra of the Americas/Carlos Miguel Prieto ORC100047 Orchid Classics

is release is Gabriela Montero’s lament for Venezuela. Her falling-out with the present government has made it impossible for her to visit her homeland. As the extensive booklet reminds us, it is sadly not uncommon for composers to be expelled, flee or seek refuge outside the country they were born. Rachmaninov made a dramatic exit from the Russia he sorely missed, and when listening to his Second Piano Concerto on this disc, one can hear a clear sense of nostalgic longing and universal sadness. Yet it’s interesting to note that the work was composed when Rachmaninov still believed he could remain in Russia. Montero holds the Concerto in rhythmic restraint, playing down the virtuosic passages, yet keeping a forward momentum . is works well, even if there are many other versions of the Concerto that are more extrovert. e slow movement, with some fine woodwind playing from the youthful orchestra, bears a strong resemblance to Montero’s own composition for piano and orchestra Ex Patria, where she cries out her desperation and frustration in her remarkably fine opus No 1. ere’s a final treat with her threeImprovisations – an art once dished up by pianists of the Golden Age. Montero is a master pianist, composer and improviser. What Venezuela has lost, the rest of the world has gained. JO S E P H M O OG

Schumann: Kreisleriana; Symphonic Etudes; Toccata op 7 Zig-Zag Territories ZZT352

JANI NA FIAL KOWSKA

Transcriptions for two pianists. Works by Debussy, Stravinsky & Bartók Chandos Records CHAN 10863

GABRIELA MONTERO

N E LS O N G O E R N E R

fine release ★★Average ★Fair

Grieg: Lyric Pieces (selection) ATMA Classique ACD2 2696

★★★★

★★★★★

Comparing Jean-Efflam Bavouzet and François-Frédéric Guy’s new recording of Stravinsky’s four-hand version of Le sacre du Printemps with Barenboim and Argerich’s version is unfair, because the latter are such towering musical personalities. But no comparisons are necessary with Bavouzet’s successful arrangement of Debussy’s Jeux. In Jeux, the virtuosity of the two players is never in doubt, and the razor-sharp rhythmic drive and pistol-clear attack of the syncopated chords is breathtaking in its relentless drive towards harmonies Debussy more or less invented in his last great orchestral composition. For Jeux alone, this is worth having.

On the heels of Stephen Hough’s release of a selection of the Grieg Lyric Pieces [Editor’s Choice,Pianist No 84] comes Janina Fialkowska, with her own selection from all ten books. Where Hough’s Grieg isfull of elegance, Fialkowska’s is more down to earth, which might be more of what the composer had in mind. But the music can take both types of interpretation. Fialkowska’s opening ‘Arietta’ draws us straight into the cosmos of the Lyric Pieces, and she is robust and boisterous in outgoing pieces such as ‘March of the Trolls’ without losing the intimate charm required. With only a handful of duplicates, this CD can sit next to Hough’s Grieg on your CD shelf.

JAVIER PERIANES

Moszkowski Piano Concerto in E; Grieg: Piano Concerto Onyx ONYX4144

HOWARD SHELLEY

Grieg: Piano Concerto ; Lyric Pieces (selection) BBC SO/Sakari Oramo Harmonia Mundi HMC 902205

The Romantic Piano Concerto Vol 66: Henri Herz piano concertos Tasmanian SO/ Shelley Hyperion CDA68100

★★★★★

★★★★★

★★★★

★★★★

I have always thought Nelson Goerner’s playing to be on a very high level. His reliable and deep musicality always comes to the forefront of his interpretations, and he always lets the composer come first. Examples of this can be found on his Chopin discs, which bear repeated listening. On this disc,

In most recordings the Grieg Concerto is coupled with the Schumann (the opening bars of the concertos do resemble each other.) Here, though, Joseph Moog pairs the Grieg with the entertaining Moszkowski E major Concerto, an innovation that is worth five stars on its own. Other recordings of this

It’s almost impossible to come up with a precise discography of recordings of the Grieg Concerto, because a new one pops up every month. Perianes’s version is from a live London concert where he had the luxurious support of the BBC Symphony and Sakari Oramo. is version will give pleasure to those

e Tasmanian Symphony Orchestra with their versatile conductor and pianist Howard Shelley have unearthed so many Romantic piano concertos that one fears they’ll run out. Luckily not! Here the less-thansrcinal Henri Herz is treated with as much gravitas as his fellow composer and friend Chopin might

Goerner takes plus on two Schumann’s greatest works the of devilish Toccata, the latter tossed off without the slightest strain. His Kreisleriana is among the finest ever recorded, and the Symphonic Etudes – with the posthumous studies inserted organically – also receive a sovereign interpretation. One of the finest Schumann releases this year.

concerto are and cast committed aside by Moog’s charm, élan musicality. Orchestral support from the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern and Nicholas Milton is lively and the recording is clear and well focused. If the Grieg is a tad lacklustre, the disc is nonetheless a gem for Moog’s excellent Moszkowski.

who wantconcerto. an unfussy, virtuosic ebrilliant first and movement cadenza is especially successful and the finale really dances. e CD also includes a studio recording of a dozen Lyric Pieces, showing the pianist fully understands the idiom. It is all well recorded and performed, and only lacks a final ounce of excitement.

be. Herz’s crowd-pleasers played withshowy such elegance and are security that they sound better than they are. ere’s nothing wrong with the light music when the standard is this high. Concerto No 2 is fine, but the real fun starts withthe two Grande Fantasies on popular operas and the sparkling Polonaise where Shelley lets his hair down to splendid effect.

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REVIEW

SHEET MUSIC

New editions of Scriabin and Schubert from Bärenreiter, lm scores, ABRSM’s favourite

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Chester Music ISBN: 978-178305-810-5

CONCERT FAVOURITES Wilhelm Ohmen Schott ISBN: 978-3-79579881-9

Tis edition isedition practically the Schirmer thatidentical has beento around for over a century. Te music (60 exercises) is the same. Te text – Teodore Baker’s translation of the srcinal French – is also precisely the same, though printed in a more modern font. It is spread out on the page in exactly the same manner for the first 45 exercises, and then with minute variations. Tere are just two features that distinguish this edition from Schirmer’s: firstly, the musical engraving is smaller (a little too small for my liking) and sharper. Secondly, it comes with an access code that allows you to download recordings of all the exercises by Chris Hopkins. If you think these qualities are worth an extra £5, this edition is for you. Otherwise, stick with Schirmer’s, or choose Alfred’s similarly inexpensive edition for its fold-flat spiral binding.

Schubert referred Fantasy innever C (D760) as to thehis ‘Wanderer’, but the name has stuck, due to the resemblance of the second movement’s theme to his song of the same name. Bärenreiter’s new edition is based on the Urtext of their New Schubert Edition, initially prepared by Christa Landon, and completed in this instance by Walther Dürr. Te music is beautifully presented; no fingering or pedalling indications are included. A few pages of historical information and performance practice notes round out a very affordable and impressive package. For double the price, you can buy a Bärenreiter volume that also has Schubert’s two earlier fantasies – the five-page Fantasy in C minor (D2) and the so-called ‘Graz Fantasy’ in C (D605).

Tis collection of 32 caters to those who want to pieces play music heard in films, V shows and documentaries. Several pieces (e.g. those from Intouchables, Marie Antoinette and Te Hours) were srcinally piano solos, and are presented in unsimplified form. Te other pieces either contain some instrumental backing to the piano in the soundtrack (e.g. music from Waltz for Bashir and Between Strangers) or are completely orchestral (Barber’sAdagio for Strings; music from the BBC’s Frozen Planet and Planet Earth). Tey are found here in solo arrangements at Grade 4-7. One minor blemish, which doesn’t detract from the book’s appeal, is that the alphabetical index doesn’t quite correspond to the order that the pieces appear in the book nor on the downloads page.

Te front‘Te cover of this book says contains Finest Concert andit Encore Pieces’. Tis is debatable, but it does have a good collection of popular encore pieces. Tere is a satisfying amount and variety of music here – 21 pieces (just over 120 pages) – that have all been edited, and in some cases arranged, by Wilhelm Ohmen, a German pianist and teacher. Tey include favourites such as Sinding’s Rustle of Spring , Rubinstein’s Mélodie , Couperin’s Le ic-oc-Choc and a few transcriptions by Liszt, as well as lesser-known works by Reger, Strauss and Gottschalk. Te main attraction is that that the book gathers together a diverse range of interesting and enjoyable material in a clear, easy-to-read edition. Te main drawback is its price, because it’s not cheap (£20/€24).

SIBELIUS

SCRIABIN*

CONTEST WINNERS FOR THREE, VOLS 1-5

ENCORE, BOOKS 1-4*

Piano Pieces Breitkopf ISMN: 979-0-00418445-5

Alfred Music ISBN-10: 978-073909-927-8 (Bk 1); -928-5 (Bk 2); -929-2 (Bk 3); -930-8 (Bk 4); -931-5 (Bk 5)

Complete Piano Sonatas Vol IV Bärenreiter BA9619 (ISMN: 9790-006-53693-1)

ABRSM ISBN: 978-1-84849847-1 (Bk 1); -848-8 (Bk 2); -849-5 (Bk 3); -850-1 (Bk 4)

In 1996, the National Library of Finland and the Sibelius Society of Finland began creating a complete critical edition of Sibelius’s works. Te solo piano section of the project (four volumes) was finished last year, and Breitkopf has already published selected opuses. Te material for this collection of 18 pieces is drawn from all four volumes, representing a sample of Sibelius’s output from across his career. One frequently

o date Bärenreiter has published three volumes (Vols I, II, and now IV) of Scriabin’s piano sonatas, all edited by Christoph Flamm. Tis fourth volume contains the last two sonatas, No 9 (op 68 ‘Black Mass’), and No 10 (op 70). Te first edition (1913) is the basis for this edition. Reference is made to the autographs and to the 1926 edition by Nikolai Zhilyayev; editorial decisions are noted in the Critical Commentary.

Piano trios (one piano, six hands) are great fun, and offer students of similar abilities the chance to experience playing as part of an ensemble. Te likes of Christopher Norton, Melody Bober and Robert Vandall have contributed to this proliferating genre. InContest Winners for Tree, Vandall and other well-known American educational composers such as Joyce Grill, Martha Mier and Carrie Kraft offer

In 2007, Faber published a set of five books called Te Best of Grade… , advertised as having the ‘best piano pieces ever selected by the major examination boards’. Te ABRSM’s new set of saddle-stitched books include the ‘best-loved ABRSM piano pieces’, so it’s interesting that these sets have only two pieces in common. Each book contains music covering two grades (seven to 11 pieces per grade), with most pieces

played – the Romance op 24 no 9 – piece is included, but the remainder will be unfamiliar to all but Sibelius specialists. Fingering is not provided, most pieces are under three pages long and difficulty is Grade 6-8. A commendable and charming potpourri of Sibelius, then, that will pique the curiosity of those wanting to go beyond the well-known works.

Scriabin’s first for the Ninthaborted is printed as autograph an appendix and there’s a 12-page preface on the works’ genesis. When combined with Bärenreiter’s high production quality and clarity of presentation, it’s easy to see why this edition is endorsed by no less a performing artist than Marc-André Hamelin; its quality is reflected in its price.

srcinal creations of familiar tunesand (e.g.arrangements Yankee Doodle, Greensleeves). Tere are five or six pieces per book, and difficulty reaches about Grade 4 by the final book – the three parts are equal in difficulty and interest. Younger students will particularly enjoyTree’s a Crowd Rag in Book 3, which involves the top player being pushed off the stool!

stemming the past syllabuses, from i.e. from year seven 2000 onwards. Te range is wide enough to suit all tastes, making these fantastic books for students. Te reliability of the grading means they are also useful guides for new teachers looking to expand their repertoire. Te music is clearly printed with helpful editorial guidance.

• •Pianis 88 85 Pianistt 83 88

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