FREE

OCTOBER-NOVEMBER 2014

WITH EVERY ISSUE

40 PAGES OF
SHEET MUSIC
No 80 55+ ONLINE LESSONS
Helping you become a better player PLUS TUTORIAL CD

WIN!
A ROLAND PIANO
FOCUS ON THE
LEFT HAND
WORTH £2,299! HISTORY OF
LEFT-HAND REPERTOIRE
 TIPS FOR STRENGTHENING
YOUR LEFT HAND

ALESSIO BAX PLUS TWO LEFT-HAND

PIECES TO PLAY!
on Beethoven, fine food and the
joy of playing duets with his wife Inside London’s
famous jazz club

ronnie
12LEARN PIECES TO
ALL LEVELS AND ALL STYLES
scott’s
LEARN THE
3 LESSONS ON
STEP-BY-STEP
Schubert Moment Musical No 1
SINATRA CLASSIC
‘I’VE GOT YOU
Mozart Rondo from Sonata K545 UNDER MY SKIN’
Tchaikovsky The Doll’s Funeral

ON LOCATION
VERBIER FESTIVAL
15320 Steinway PIanist ad_Layout 1 09/09/2014 09:04 Page 1

For information on Steinway & Sons pianos or to arrange a private appointment to visit our London showroom,
please call 0207 487 3391 or email info@steinway.co.uk

WWW.STEINWAYHALL.CO.UK
2• Pianist 77

p02 Ads.indd 2 11/09/2014 09:36

 Pianist 80
October - November 2014 CONTENTS
The next issue of Pianist goes on sale 28 November 2014

72
76
68

14 82
4 Editor’s Note 24 How to Play 2 Lucy Parham on 76 Left hand forward A look at left-
Schubert’s Moment Musical No 1 hand repertoire, its players and the
4 Competition Win three books from (Scores page 60) Austrian pianist Paul Wittgenstein, who
Faber’s Mastering the Piano series, commissioned some of its greatest pieces
signed personally by Lang Lang 26 How to Play 3 Janet Newman on
the Rondo from Mozart’s Sonata K545 80 Subscribe today for just £4.50 an issue
6 Readers’ Letters (Scores page 38) by Direct Debit and receive a FREE piano
book worth £9.99
8 WIN! A Roland piano worth £2,299 27 The Scores A pullout section of 40
pages of sheet music for all levels 82 Before the piano Gez Kahan
9 News Learn the piano with Lang Lang, Plus read about our online lessons! presents an in-depth look at keyboard
Beethoven concerts galore in London, development to uncover how we arrived
going hands on with historic keyboards 45 Beginner Keyboard Class at the modern instrument
Hans-Günter Heumann’s Lesson No 8:
10 Step into the spotlight Pianist and semiquavers (16th notes) 86 CD Review Top marks for Barenboim’s
Schott present a showcase in London this Schubert, Pizarro’s Romantic Concertos,
January – your chance to shine! 67 Pianists on show Photographer Williams’s Wagner and Marshev’s
Amy Zielinski discusses her exhibition of complete Mendelssohn
12 Expert Talk Tim Stein on left-hand concert pianists at Turner Sims – and her
leaps and Angela Hewitt on learning ongoing project to photograph their hands 88 Sheet Music Review New piano
Bach’s mammoth The Art of Fugue syllabuses under scrutiny, plus British Isles
68 Verbier Festival 2014 Erica Worth folk tunes and a Chabrier classic
14 Alessio Bax talks to Jessica Duchen flies to the Swiss Alps to review some of
about his passion for Beethoven, good the biggest names in the piano world, 89 Classifieds
food and Lucille Chung (his wife and including Sokolov and Argerich
regular duet partner)
70 Rachmaninov rocks Behind the
18 How to Play Masterclass 1 scenes at the LPO’s comprehensive
Mark Tanner on the left hand Rachmaninov festival, launching this
October at London’s Southbank Centre
20 How to Play Masterclass 2 and featuring all the concertos – both VISIT THE PIANIST WEBSITE
Graham Fitch on making the piano sing versions of the First and the Fourth
Don’t miss Graham’s online lessons!
WWW.PIANISTMAGAZINE.COM
72 Ronnie Scott’s Nick Shave tells the to sign up for our regular FREE e-newsletters
22 How to Play 1 Melanie Spanswick on story of one of the world’s greatest jazz PLUS Watch our online piano tutorials
Tchaikovsky’s ‘The Doll’s Funeral’ from clubs – from its founding days to the
Album for the Young (Scores page 30) arrival of its latest piano
Cover photo: © Lisa-Marie Mazzucco. Images this page: © David Sinclair (Ronnie Scott’s); © Lisa-Marie Mazzucco (Bax); © Aline Paley (Argerich)
Notice: Every effort has been made to secure permission for copyrighted material in this magazine, however, should copyrighted material inadvertently have been
used, copyright acknowledgement will be made in a later issue of the magazine.

p03_Contents80-FINALish.indd 3 12/09/2014 09:27

8),
n

urn

Editor’s note
cle
u

Pianist
d

B
eing left-handed, I’m occasionally asked whether I have a
,
particularly good left-hand technique. And at those rare www.pianistmagazine.com
w). moments, I scratch my head and say to myself, ‘Have I?
PUBLISHER
I mean, shouldn’t both hands be equal?’ There are many Warners Group Publications plc
right-handed pianists, though, who feel that that their right hand is Director: Stephen Warner
definitely the stronger and they need help with their left. Here’s where Publisher: Janet Davison
we step in, with articles, advice and Scores – all devoted to the left hand. EDITORIAL
6 Warrington Crescent,
First up is Mark Tanner’s Masterclass (page 18), where he presents London,W9 1EL, UK
two pages on the merits of strengthening your left-hand technique. Tel: +44 (0)20 7266 0760
In Scores, there are two left-hand pieces to try: the reflective At Dawn Fax: +44 (0)20 7286 0748
Editor: Erica Worth
by Frank Bridge and the tumultuously romantic Etude by Moritz editor@pianistmagazine.com
Moszkowski. (You can listen to Chenyin Li play the Bridge on our Deputy editor: Inge Kjemtrup
deputyeditor@pianistmagazine.com
Pianist TV channel.) There are other pieces in the Scores that require Designer: Nathan Ward
diligent left-hand study, such as the tender Jensen Lied.
ADVERTISING
On page 76, Inge Kjemtrup looks at left-hand repertoire and talks Gareth Macfarlane, Advertising manager
to two concert pianists who play this repertoire (one out of choice, garethm@media-shed.co.uk
E the other out of necessity). Both pianists come to the conclusion that there’s a wealth of beautiful left- Lottie Day, Advertising executive
lottied@media-shed.co.uk
hand piano music for all of us to discover. In fact, when I attended the Verbier Festival this summer (see Tel: +44 (0)845 226 0477
my review of some world-class pianists on page 68), Spanish pianist Joaquín Achúcarro chose to play Fax: +44 (0)845 226 0377

Scriabin’s Nocturne for the Left Hand as an encore.

3 of If focusing on the left hand isn’t what you want right now, then how about a multitude of hands? Turn READER SERVICES
t to page 67 to read about Amy Zielinksi’s exhibition at Turner Sims concert hall of her images of concert
pianists. She’s also photographed some 150 famous pianists’ hands to date (and she says she’s still got about UK & WORLD SUBSCRIPTIONS
ten more to snap). There’s more hands-on discussion in Gez Kahan’s illuminating article about the different (EXCEPT USA & CANADA)
types of keyboard instruments that came before the modern piano. You didn’t just run your fingers over these Pianist Subscriptions Department
Warners Group Publications plc
instruments – you blew them, squeezed them, pedalled them – you name it! West Street
Bourne, PE10 9PH, UK
Before I sign off, I’m hoping you have already noticed the great photo above of me with Lang Lang, which Tel: +44 (0)1778 392483
was taken at the recent London launch of his new series of books for Faber (see below). I can’t resist a good Fax: +44 (0)1778 421706
Email: subscriptions@pianistmagazine.com
photo with a knockout pianist!
USA & CANADA SUBSCRIPTIONS
You can subscribe online, via email,
P.S. Don’t forget to enter our fantastic competition on page 8 – fax or by telephone:
it’s your chance to win a Roland piano worth £2,299! Website: www.expressmag.com
Email: expressmag@expressmag.com
Toll-free number: +1 (877) 363 1310
ote ERICA WORTH, EDITOR Tel: +1 (514) 333 3334
Fax: +1 (514) 355 3332
as
Make sure that you keep in touch with me – what I’ve been up to, which DISTRIBUTION
To find a shop near you that stocks Pianist,
pianists I’ve spoken to, exclusive extra articles and interviews – by registering for contact our distributor:
Tel: +44 (0)1778 391150 ,
our FREE e-newsletter. All you need to do is go to www.pianistmagazine.com Email: vickyb@warnersgroup.co.uk

BACK ISSUES
To purchase back issues, write to
C O M P E T I T I O N ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM Pianist Back Issues Department,
Warners Group Publications plc
West Street
WIN BOOKS 1-3 OF LANG LANG’S SERIES ‘MASTERING THE Bourne, PE10 9PH, UK
Tel: +44 (0)1778 392483
PIANO’, SIGNED BY THE PIANIST HIMSELF Email: backissues@pianistmagazine.com

FOR ALL OTHER ENQUIRIES

Answer the question below correctly, and you could be the Contact Janet Davison, Publisher
Warners Group Publications
lucky winner to receive books 1-3 of Faber Music’s new Fifth Floor, 31-32 Park Row,
series ‘Lang Lang Piano Academy: Mastering the Piano’, Leeds, LS1 5JD, UK
Tel: +44 (0)113 200 2929
as written about in this issue’s News (page 9) Fax: +44 (0)113 200 2928

In which country is the Verbier Festival located? Registered Address :Warners Group Publications,West Street, Bourne,
Lincs, PE10 9PH. © Warners Group Publications plc. All rights reserved.
A: Switzerland B: Germany C: France Reproduction in whole or in part without written permission strictly
prohibited. Every care is taken in compiling the magazine and no
ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM responsibility can be taken for any action arising from information given
on the papers. All information, prices and telephone numbers are
© Andy Griffin Photography © 2014

correct at the time of going to press. No responsibility can be taken for

Postcard entries are also accepted. Please send to Erica Worth, Editor, COMP PIA0109, Pianist,
6 Warrington Crescent, London W9 1EL, UK. Competition closes 28 November. Quote PIA0109 and
remember to put your name, address and telephone number on the postcard as well as your answer.
Answer to the page 4 competition in Pianist No 78: A: Images. Congratulations to the three lucky winners:
Jodie Harvey (Staffordshire), Marc Smet (Ghent, Belgium), Jennie Tsai (Liverpool)
unsolicited manuscripts, photographs or transparencies.
Printed by Warners Group Publications plc.
Pianist ISSN 4200395 is published bi-monthly (6 times a year / February,
April, June, August, October, December) by Warners Group Publications
c/o USACAN Media Corp. 123A Distribution Way, Building H-1,
Suite 104, Plattsburgh, N.Y., 12901 U.S.A.. POSTMASTER: send address
changes to Pianist, c/o Express Mag, P.O. BOX 2769, Plattsburgh, N.Y.,
U.S.A. 12901- 0239.

4• Pianist 64 ISSN 1475 - 1348

p04-editorial80-FINALish.indd 4 12/09/2014 12:26

 Silence is
GOLDEN
Turn your old piano into gold
From 1st September 2014 to 15th January 2015 you can get as much as £2000 extra part
exchange allowance when you trade in your old digital or acoustic piano for a beautiful new
Yamaha Silent Piano.
All Yamaha Pianos are available with the Yamaha Silent System - Uprights and Grands.
Ask your dealer for more information.

5• Pianist 77
uk.yamaha.com/silentpiano

p05 Ads.indd
#41083 5
- Silent Promotion 2014 ad UK - Pianist.indd 1 11/09/2014
10/09/2014 09:37
10:47
 Readers’
Letters
Get in touch
WRITE TO:The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK
OR EMAIL: editor@pianistmagazine.com
STAR LETTER wins a surprise CD. Letters may be edited.

STAR LETTER Northamptonshire and Rutland and am willing

to travel a reasonable distance.
Stretching horizons Keith Folwell, Leicestershire

As a piano student in the UK in 1960, I had a lesson from a Hungarian teacher who was working We had a lot of feedback on the piano clubs article,
in England for six months on a teacher exchange programme. After I played my scales and so it clearly hit a nerve with many readers. We
arpeggios for a warm-up, she stopped me and introduced me to a completely different exercise for don’t know of any clubs in the Leicestershire area,
warming up, suggesting that I do some finger stretching prior to any playing of scales or studies. unfortunately. Keith might want to check with
My task was to stretch a full octave between each finger, placing the thumb on middle C, and then local teachers, other pianists, music shops and
stretching my forefinger up to the note C an octave higher. To my amazement I was successful. music societies – or he could set up his own club,
Stretching a full octave between the remaining fingers was the next step. Continuing with the as discussed in the article. Any pianist who would
forefinger (then third and remaining fingers), the hand must be tilted to the left, with the side like to join a club in the Colchester/Chelmsford
of the finger resting against the note D, then slide the third finger. I had considerable difficulty area please send an email to the Editor (editor@
between the fourth and fifth of course, but it could be done. This exercise was then repeated with pianistmagazine.com) who will forward it to Jane.
the left hand (only turning the hand to the right). 
A word of warning: only stretch as far as your finger allows. The elusive third pedal
Michael Charles Scholfield, Calgary, Canada Can Pianist include an article or demonstration
(perhaps by Graham Fitch) on the third pedal
Thanks for telling us about this unusual way of stretching the fingers. Our editor Erica Worth says [‘sostenuto’ middle pedal] and its special uses?
she cannot imagine being able to do this with most of her fingers! (Readers will want to keep in mind For instance, I would suggest that the third
Michael’s word of warning before trying this for themselves.) A surprise CD is on its way to Michael. pedal is essential when playing the Prelude opus
3 no 2 by Rachmaninov. In the second and third
bars, for instance, the C sharp in both hands
More praise for exams Congratulations on your pianistic achievements needs to be sustained until replaced by the A
Further to Joseph Laredo’s letter in Pianist No 79 and your continuing musical ambitions. If you’re while at the same time in bar 3 the C sharp, E
about piano exams, I was struck by the parallels willing to travel to London on 23 January, you and D sharp chords – marked ppp in my copy –
with my experience. Having started lessons at can take up another performing opportunity: the need to be separate but with a touch of the right
seven, I continued reluctantly until achieving Pianist/Schott Piano Showcase (see page 10 of this pedal on each. The short rest before those three
a modest Grade 5 at 13. I started again in my issue for details). Alan Rusbridger’s book is indeed right-hand chords is necessary to avoid the third
mid-thirties, obtaining Grade 7 with Distinction, inspiring – in an interview in Pianist No 71 he pedal affecting the first one of them and seems
followed by Grade 8 with an ordinary pass. My talked about the story behind writing the book. to emphasise that the composer wished them to
teacher and I agreed that I should re-sit Grade 8 sound quite individually and entirely divorced
at the next opportunity and I managed to achieve Pianists clubbing together from the action of the third pedal.
a Distinction that time. I’m a new subscriber to Pianist and I was thrilled The overall effect cannot be achieved by use of
I played for amusement until retiring from to find in my first issue an inspiring article the right pedal only. Of course this third pedal
work, when I decided to sit the Associated Board about setting up a piano club (issue 79). My has to be applied to each of those lower octave
Performance Diploma, which I duly failed. duet partner and I have been trying to get a notes individually and correctly also sustains the
However, I was awarded credits on three of the group of people together to play – we have corresponding single notes in the right hand.
four sections, which I was able to carry forward mainly been accosting fellow adult competitors I am sure others can explain this more clearly
so that I could just re-sit the Performance at music festivals, but without much success. but I am sure you see what I am trying to get
Section, changing two of the three pieces. To my Playing to other people is such an important across. An article on this topic would be very
amazement and elation, I passed and feel I really part of learning any instrument, but pianists helpful to readers.
benefited from the experience. in particular can be very isolated. Piano clubs Donald Delany, Suffolk
At the age of 68, I have decided against trying give us much encouragement and focus,
for an LRSM, but we are very fortunate in this without the pressure of public or competitive Wrong note & wrong piano
part of Lincolnshire in having a local concert performance, as well as a group of new friends. Two updates from Pianist No 79: Firstly, Inge
group, Allegro Appassionato, which promotes free Your article has given me many ideas and a huge Kjemtrup’s enthusiastic description of Yamaha’s
lunchtime concerts at which performers of all ages amount of encouragement. We will definitely Trans-Acoustic launch at Abbey Road Studios
are welcome. Planning to play on a concert such set one up, and I would be delighted to hear was marred by the reference to the new piano
as this gives an excellent incentive for practising from anyone in the Colchester/Chelmsford area being based on a ‘U2’ upright when it is based
and also allows one the freedom to choose a interested in joining us. on the U1 upright, as was made clear in the
programme of varying degrees of technical Jane Bellingham, Colchester main article. Secondly, our thanks to readers
difficulty which one can really enjoy playing. Roy Lewis and Margaret Dews for pointing out
As a footnote, I would like to draw readers’ I found the article on piano clubs extremely that on the covermount CD Chenyin Li played
attention to Alan Rusbridger’s excellent book interesting and I would like to join one. I have a D natural instead of a D sharp in bars 22 and
Play it Again, which is an inspiration to all been online researching to try to locate a fairly 23 of the Mendelssohn Song without Words
amateur pianists – especially those with busy local piano club but have been unsuccessful opus 30 no 3. Chenyin apologises profusely, but
work schedules! and wondered if you would be able to help me. in fact, the D natural sounded rather nice (even
John Elliot, Lincolnshire I live in Leicestershire near to the borders of if Mendelssohn might beg to differ).
6• Pianist 80

p06_letters80-FINAL.indd 6 11/09/2014 14:10

Marjan Kiepura Performs Chopin Mazurkas and more

“This CD makes a
strong, individual and
lasting impression”
Pianist Magazine

Pianist Marjan Kiepura’s Chopin CD, entitled

Images of a Homeland, is now released as MP3s LISTEN
and streaming. The CD, which has been Chopin Mazurka in
A minor op 68 no 2
previously issued, has been critically acclaimed
in five countries and features 14 mazurkas. It WATCH
also comprises the ‘Raindrop’ Prélude, ‘Military’ Chopin Mazurka in
Polonaise, E flat Nocturne op 9 no 2 and three B flat op 7 no 1
waltzes including the op 69 no 1 ‘L’Adieu’.
Tap the buttons to start/stop playback

Visit www.patriamusic.com for more information

or tap one of the links below to purchase
 RE AD E R CO M PE T I T I O N

WIN!
A ROLAND WORT
H
£2,299
PIANO

R
oland and Pianist have teamed up to give one lucky learning to read music and build finger
Pianist reader a Roland HPi-50. With a built in screen skills) are all designed to help children
that displays digital sheet music and a host of interactive have fun while learning about music.
exercises, the HPi-50 is a truly unique instrument that takes
the fun and enjoyment of making music to new levels. A wide variety of notation-based
programs are built into the HPi-50 to
This model, in elegant Rosewood, is a unique interactive piano that brings help piano students improve their skills.
the fun and joy of piano playing to the whole family. First and foremost a The Visual Lesson course scores your
piano, the HPi-50 combines Roland’s SuperNatural piano engine, Acoustic performance and helps you identify the
Projection speaker system and Ivory Feel keyboard action to replicate the sections that need improvement, while
sound and feel of a world-class concert grand piano. The HPi-50 integrates the Finger Training course helps players
these grand piano attributes with a powerful built-in Digi-score system develop dexterity and more even playing
that offers both adults and children, whether beginners or advanced, an technique in both hands. The ‘Medal
unparalleled music learning experience. Collection’ provides virtual medals
(gold, silver, or bronze) based on your
Using the built in large colour screen, Digi-score displays the notation of accuracy while playing along with the
nearly 400 built in songs – songs that can be downloaded, or even your built-in songs.
own performances. Up to 48 measures of music can be displayed on a single
screen at 32nd note resolution. Digi-score will even turn the page for you From children to adults, students to
automatically. performers, beginners to experts … the
HPi-50 invites all family members to
Children will love the video game-like feel of Wonderland. Games such experience the joy and fun of playing
as Flash Card (for developing a sense of tone) and DoReMi course (for the piano. The HPi-50’s built in Digi-score screen

WIN THIS ROLAND PIANO FOR CHRISTMAS! To enter answer the question below
Enter online at www.pianistmagazine.com/competitions
QUESTION: How many measures of music can the HPi-50 display?
A. 16 B. 32 C. 48

To enter by post, simply send a postcard to: Lauren Roberts, Roland Competition (PIA0108), Warners Group Publications, 5th Floor, 31-32 Park Row, Leeds, LS1 5JD.
Please include your full name and contact information. Please mark on the postcard if you do not wish to receive information from Pianist or Roland UK. Closing date
28 November 2014. UK entrants only
8• Pianist 80

p08_PIANO comp-EW.indd 8 12/09/2014 09:01

 News SHEEP THRILLS?
All the latest news from the world of the piano

Angela Hewitt at the

Two Moors Festival – plus
Beethoven or bust in London

For concert pianists, playing all of Beethoven’s

sonatas in a cycle is a much-coveted goal, so they
may well envy Welsh pianist Llŷr Williams, who
gets to perform the cycle at Wigmore Hall over
three seasons. Williams, who received praise for a
2010 Beethoven cycle, starts on 3 October with the

LEARN WITH LANG LANG!

three opus 2 sonatas alongside the ‘Appassionata’.
‘I find some of his early sonatas are strikingly
individual and very quirky, while the late piano
pieces take so much more out of you emotionally Maria João Pires
and physically,’ Williams commented in a Wigmore
Hall announcement. He continues the cycle on
25 February (includes the ‘Moonlight’) and 30 May
(with the three opus 31 sonatas and the opus 101).
Wigmore’s latest Portrait Series celebrates Maria
João Pires, who turns 70 this year, in three concerts
throughout the season. With her frequent musical
partners, violinist Augustin Dumay and cellist
Antonio Meneses, she’ll perform some of the
Beethoven piano trios (27 & 28 October), and will Llŷr Williams
return to Wigmore for a solo recital (20 Feb).
More Beethoven, the opus 111 Sonata to be
precise, from Pianist No 79 cover artist Daniil
Trifonov, who makes his debut at the International
Piano Series at Southbank Centre on 30 September.
Mitsuko Uchida presents the monumental Diabelli
Variations in her ISP recital (16 Oct), while Russian
star Arcadi Volodos serves up Brahms, Schubert and
Schumann (28 Oct). The remaining early autumn
© Felix Broede/DG (Pires); © Benjamin Ealovega (Williams); © Sussie Ahlburg (Cooper); Andy Griffin Photography © 2014 (Lang Lang)
Imagine taking a lesson with one of the most famous pianists in the world.
That is now (almost) possible thanks to a new series from Faber Music called
Lang Lang Piano Academy: Mastering the Piano, in which the charismatic
pianist shares his ideas about basic piano technique, offering ‘a more creative
way to study the piano that appeals to the next generation of pianists.’
Mastering the Piano is made up of five progressive books, from elementary
to intermediate level (Grades 1-5). Inside there are exercises, a range of
repertoire (arrangements and original pieces), playing tips from the superstar
– plus close-up shots of him demonstrating on the keyboard.
This new educational series was a ‘dream come true’, explained Lang
Lang, who appeared at the London launch where he spent a lot of time
talking about the importance of scales. ‘When you do really well with scales,
you can play incredibly because you have 100 per cent control. I always
begin slowly, though! When I was a kid I practised scales every day, one hour
and 30 minutes, in all different ways. I was really crazy about playing scales
(even though I know my neighbours don’t like it so much).’ He also shared
his thoughts on staccato (‘think of a pouncing cat’), legato (‘a lurking
gecko’), how to hold your hand (‘feel an orange inside’) and the overall
importance of inspiring kids to learn the piano.
Of course, any personal appearance by Lang Lang wouldn’t be complete

ISP recitals come from Alexandre Tharaud (4 Nov) Imogen Cooper
and Alexei Volodin (26 Nov).
If you’d like to avoid the London autumn season crush and instead enjoy
first-class music in a different environment, head for the Two Moors
Festival (the two moors being Exmoor and Dartmoor), running this year
from 15 to 25 October. Pianistic highlights include Angela Hewitt (see this
issue’s Expert Talk) in a recital of Scarlatti and Granados (17 Oct) and
Imogen Cooper (22 Oct) in works by Schumann and Schubert.
For full concert details, go to wigmore-hall.org.uk, southbankcentre.co.uk and
thetwomoorsfestival.co.uk
if he didn’t sit down to perform. He offered up three treats: Burgmüller’s
Arabesque opus 100 no 2 (Level 2), an arrangement of a traditional Chinese
melody Jasmine Flower (Level 1) and finishing in true Lang Lang style with
Mozart’s Rondo alla turca.
Lang Lang Piano Academy: Mastering the Piano, Levels 1-5 (Faber Music).
Levels 1-3 are available now with Levels 4-5 arriving 2 October. Further details
at www.langlangpianoacademy.com and www.fabermusic.com
READER COMPETITION: Turn to page 4 of this issue for your chance
to win three volumes of Mastering the Piano signed by Lang Lang

OPEN DAY FOR PIANISTS AT FINCHCOCKS MUSEUM

Experience keyboard history at your fingertips
Ever wonder why every one of Beethoven’s piano
concertos was composed for a different type of
keyboard? Find out for yourself on 12 October
when the remarkable Finchcocks Musical Museum
flings open its doors to pianists to let them have a
tactile experience with this extraordinary collection
of keyboards and learn more about the history of the
instrument from the experts.
In a jam-packed schedule starting at 10.30am,
the Open Day offers a detailed tour of the
Kent-based musical museum, with discussions and
demonstrations coming from the likes of keyboard
expert Gary Branch, harpsichordist Steven Devine
and period piano expert and the Museum’s owner,
Richard Burnett. Participants will have two sessions
of personal tuition on the instrument of their choice
and can also take part in a concert with other like-
minded players.
Even if you can’t make the Open Day, a visit to
Finchcocks on any other day is a treat, that brings
to vivid life the keyboard history that you can read
about on page 82 of this issue. There are more
than 100 keyboards on display, ranging from the
keyboards that pre-date the piano – spinets,
harpsichords, clavichords and so on – through to the
famous names that developed keyboard technology
to create the instruments we know today.
Finchcocks Musical Museum Open Day for Pianists is
on 12 October. To register for the Day or to plan a visit,
go to finchcocks.co.uk

9. Pianist 80

p09 news80-FINAL.indd 9 12/09/2014 09:22

 News All the latest news from the world of the piano
Step into the (friendly) spotlight
This January, Pianist and Schott Music are presenting a piano showcase that will give you the opportunity
to perform in public – no matter what your level. Editor Erica Worth has all the details
P
erforming in front of an audience
can be a thrilling experience. Just
the act of putting your fears to one
side and having to play your piece
from beginning to end – without
any breaks, away from the practice
room, and in front of an audience
– will help you learn so much about the piece and
about your playing overall. It’s the kind of
experience that can shift your playing up a gear.
Where, though, to strut your stuff? You could find
your supportive audience in your front room, your
teacher’s recital evening or your local piano club, if
you have one (see article in the last issue on piano
clubs). But I constantly receive correspondence from
readers who are in search of a friendly platform to
perform. That’s one reason that Pianist has run
amateur piano competitions in the past and has
supported other amateur performance-type events.
Our latest project is a unique partnership with
Schott Music. On the evening of 23 January 2015,
at Schott Music’s recital hall in the centre of
London, we’ll be jointly presenting our first Piano
Showcase. Performers will play on a beautifully
maintained Steinway Model M baby grand.
Schott has run three previous showcases. In May,
I went to the latest one, which was under the
direction of concert pianist Samantha Ward, who
is also artistic director of Wales’s Piano Week. Ward
told me about some of the participants. ‘We had a
man in his thirties who works at Credit Suisse,’ said
Ward. ‘He played the Allegretto Grazioso by Gurlitt
from Schott’s Romantic Anthology Book 1 (that’s
Grade 1 standard). He was very nervous when he
played the first time around, but he played it again
and did really well. Then we had a woman in her
forties who played a Brahms waltz from Romantic
Anthology Book 3. It was the first time she had played
in public! She was terrified beforehand, but she did
really well. They were both so happy they’d taken up
the challenge. And they played brilliantly. The
showcase gives adults a platform to play informally
for each other,’ Ward said. ‘It’s a social thing and
people become friends and support each other.’
p10 news Schott-FINAL.indd 9
Tempted yet? Here’s what you need to know if
you want to take part. First of all, it’s free, for
participants and attendees. As a participant, you
can be any level, though you must be over the age
of 18. You’ll choose a piece from Schott’s wide-
ranging repertoire list, which, again, covers all
levels. You don’t have to memorise your piece;
playing from a score is fine. Space is limited, so you
will want to reserve your place now by going to the
easy-to-use website listed in the box below. Bring
along a friend, family member, anyone you like.
By the way, if you’re not up to performing quite
yet, you can still come along purely as an audience
member – though numbers are limited.
Refreshing repertoire
So what kind of music will you find on the
repertoire list? Schott has devised a very diverse list
with both familiar and less-usual pieces. I talk
through the repertoire with Wendy Lampa, Schott’s
Head of International Publishing, who explains the
thinking behind the list: ‘We are highlighting our
main authors and composers, such as Hans-Günter
Heumann and his The Classical Piano Method
[Heumann writes Pianist’s current Keyboard Class].
Other books with arrangements by Heumann are
the Get to Know Classical Masterpieces series, which
includes Carnival of the Animals, Peer Gynt and
Carmen. They’re not for complete beginners – I’d
say intermediate level. Some are easier than others,
though, and we find that teachers often use them for
students’ recital pieces.
‘Then there’s the On the Lighter Side series by
John Kember, which includes Latin, ragtime, blues,
spiritual, rock and soul pieces. Kember also has a
beginner book called Starting Out. Another choice,
with all original pieces, is Nils Franke’s Classical and
Romantic Anthology series, with four books in each,
by level, with two grades in each book.’ I’m familiar
with the Anthology series and know it contains an
abundance of much-loved favourites, including
some pieces that you might even be playing already.
‘We also have Tim Richards’s blues, jazz and Latin
piano series,’ Lampa continues. ‘They all include
10. Pianist 80
some standards within those styles as well as his
original compositions. There’s a lot of diversity, as
you can see! There’s also a series called Classics Meet
Jazz and Tango Meets Jazz. In those you get the
original piece, and a jazzy or a tango version. There
are some duets too that we’re offering, and some
great contemporary collections such as Dances of
Our Time, consisting of pieces by all the Schott
contemporary composers. There’s the World Music
series – Scottish, English, Irish, Welsh, Brazilian and
Argentinian. We will have a Klezmer piano book too
very shortly.’ Surely there’s got to be something in
this long list that will inspire you.
Study the repertoire list for yourself at the website,
but get your name on the performing list soon.
Remember, this event is on a first-come, first-served
basis. Also, the end of January is not so far away –
that means you’ll want to get practising now!
This is going to be a friendly and supportive
event, and if you’re looking to test your performing
skills, it’s ideal. As Lampa says, ‘Performers can be
complete beginners, as long as they’ve practised their
piece (for their sake as well as the audience!). If
someone’s been learning for a few months, and they
want to play, that’s great. It’s motivating for them,
and the audience is sympathetic and encouraging.’
For my part, I will be proud to see some of my
loyal readers perform. Remember, this is not a
competition. You can play the simplest 12-bar
prelude, or the hardest 10-page etude. Don’t be shy.
I’ll be there to spur you on. And we can all have a
catch-up over a glass of wine afterwards. n
Pianist and Schott present 
THE PIANO SHOWCASE
23 January 2015, from 6pm to 9.30pm
Schott Music Recital Hall
Schott Music Shop
48 Great Marlborough Street
London W1F 7BB
For full details, go to
www.schott-music.co.uk/schottpianoshowcase
12/09/2014 09:23
 11• Pianist 77

p11 Ads.indd 11 11/09/2014 10:32

“ EXPERT TALK
The pros share their views
Q&A
with Tim Stein
I’m having difficulty
playing left-hand leaps
accurately. Can you
suggest any tips? I’m
learning the Merikanto
waltz that appeared in
Pianist No 78.
People find left-hand parts difficult to play for
a number of reasons, and when the left-hand
pattern involves a leap of any description, the
difficulties are compounded. With any kind of
leap in the left hand, particularly when you are
going from a single note up or down to a chord,
all too often you can end up rushing to the next
note in a struggle to get there in time.
There are a number of useful tricks to
improve this, and they can be applied to any
piece that uses a similar pattern. When it comes
to the beautiful (and popular) little Oskar
Merikanto Valse lente you are working on, you
likely already noticed that there are very wide
jumps in the left hand, for example, in bars 7,
14 and 16. To begin with, when practising
any kind of leap, it is essential to know your
fingering. If your fingering isn’t 100 per cent
secure, then you cannot practise accurately.
Once you’re feeling confident with your
fingering, start by practising the movement,
leap, jump or whatever it is silently over the
keyboard. You can even do this away from the
piano – on a table top, for instance. Try to
imagine exactly where you are going and get
the fingers into position. Then you can apply
this by actually striking the keys. First, practise
the leap from the bottom note to the highest
note. If the highest note is part of a chord, leave
the other notes out. Do this very slowly at first,
making a kind of smooth arc shape (or semi-
circle) with the hand and forearm. You basically
want to hover over the notes, so don’t jump
too high. You can then practise jumping up to
different notes of the chord. In bar 14 of the
Merikanto, you would first practise getting to
the high E flat, then the C and then the G. But
remember to maintain the chord position of the
hand, so in effect the other fingers are moving
to their notes but just not playing.
Eventually you will start to feel the distance
between the notes, and a kind of finger memory
will take over. Once you can do this well at a
slow speed, you can try to increase the speed
bit by bit. But remember to avoid rushing and
landing with an accent on the higher notes,
unless the music explicitly asks you to do so.
Another tip is to make the same leap again
but without looking at your hand. This takes
quite some time to master, and needs to be
done very slowly at first. Practising this way is
a really useful way to achieve accuracy, and
with time (hopefully) it will get easier to perfect
your left-hand leaps.
Go to www.pianistmagazine.com to watch Tim’s
online lessons for beginners, and visit Tim’s own
website at www.pianowithtim.com
p10_expert talk80-FINAL.indd 12
”
WRITE TO: The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK
PIANIST AT WORK
Angela Hewitt
Angela Hewitt talks to Erica Worth
about learning The Art of Fugue, warming
up with a hot water bottle and owning
six pianos on two continents
Why did you decide to learn The Art of Fugue?
So many people were writing me asking me to do
it that I finally gave in! I presented it in the 2012-
13 International Piano Series at the Royal Festival
Hall, London (the first half in the autumn; the
second half in the spring), giving me time to learn
it over a year. I’m very happy I did it that way.
Did it help to know all the other Bach works?
Of course! I can’t imagine that I really would
have understood The Art of Fugue without having
done all the rest. The Well-Tempered Clavier and
the Goldberg Variations seem like child’s play in
comparison. As Bach waited until the last decade
of his life to present the world with this, I think
it was a good idea for me to follow suit and hold
off until I had learned all the rest.
 
How long did it take you to learn?
One is never finished practising such a piece, but
it took me almost exactly one year from the time I
started to first performing it. I was doing a million
other things then, but I worked incredibly hard at
it – hour after hour, figuring out the fingering and
making the texture clear in my brain.
 
What’s it like to perform the work in public?
It’s a once-in-a-lifetime experience to hear it all at
once without a break (90 minutes). It demands a
lot from the audience but it’s worth the effort. I’m
sure it will remain in my repertoire.
Do you need a special technique to play Bach?
To play Bach successfully you need almost
everything: a keen musical intelligence, great
discipline, beautiful tone, an understanding of
musical form, beautiful phrasing, perfect evenness
and independence of every finger in both hands.
Do you think about the sound/feel of the
harpsichord when playing a modern piano?
Not a lot. I think more of a Baroque orchestra,
of an organ, of a violin, an oboe and especially a
singer. Playing ‘cantabile’ was very important to
Bach (as he wrote in the Preface to his Inventions)
and you can do that so much better on the piano.
But you should have the clear touch necessary to
play the harpsichord. It can’t be flimsy at all.
Which Bach works would you advise an
intermediate-level pianist to try?
Start with the Little Preludes, then some of the
easier dance movements from the French Suites.
Then the Two-Part Inventions; then the Three-
Part. Only then would I begin to approach The
12• Pianist 80
OR EMAIL: editor@pianistmagazine.com
Well-Tempered Clavier. You can’t play well in four
voices until you can play well in two or three.
 
What’s your typical practice day like?
An ideal day would be to have eight hours free
to practise on all sorts of repertoire. But of
course on so many days I travel or give a concert
(and I save my energy for the concert, so I only
rehearse maximum 90 minutes during the day).
But when I can, I am happy to do my eight
hours! One still has to practise, even after more
than 50 years of playing the piano.
 
Do you do any warming up?
I hold the hot water bottle tightly to my chest
before a concert when there is no piano to
warm up on. It is always in my suitcase, along
with a travel kettle to boil the water. As I get
older, I realise the importance of warming up,
especially on cold days. So I start practising very
slowly (which I do anyway) and gradually the
fingers and arms become agile again. It’s also
very important to keep your body in shape with
stretches, massage and if necessary osteopathy.
 
What piano do you own?
I suppose I own six pianos in total. In Canada,
where I grew up, I still have the first piano I
learned on: a Heintzman pedal piano (with
full pedal board like on an organ) made for my
organist father in the 1930s. It’s quite a relic!
I own two Yamahas (a G2 now with friends in
London and a C3 in my flat in Ottawa). I have
three wonderful Faziolis: a F183 in my London
flat, and two concert grands (F278), one on each
side of the Atlantic (Umbria and Ottawa). These
are the pianos I use for my recordings, and they
are stunning. The one in Italy has four pedals.
Angela Hewitt’s recording of The Art of Fugue is out
on 1 October on Hyperion (CDA67980, 2 discs).
She plays two Bach bonus tracks on this issue’s
covermount CD. For further information about
© Bernd Eberle
Angela Hewitt, go to www.angelahewitt.com
11/09/2014 14:10
2014_09_Pianist_Piano Magazine 10/09/2014 15:33 Page 1

NEW RELEASE International

Piano Series
2014/15

Maurizio Pollini ©
Philippe Gontier/ DGG
Mitsuko Uchida © Decca Justin Pumfrey

Mitsuko Uchida © Decca Justin Pumfrey

Alice Sara Ott & Francesco Tristano
© Marie Staggat Photography

CDA67980
(2 compact discs for the price of 1) Daniil Trifonov Ivo Pogorelich
Tuesday 30 September 2014 Tuesday 24 February 2015
Bach, Beethoven and Liszt Liszt, Schumann, Stravinsky and
Bach The Art of Fugue Mitsuko Uchida
Brahms

Angela Hewitt’s much-awaited recording of Bach’s ultimate masterpiece, Thursday 16 October 2014 Sunwook Kim
The Art of Fugue, is destined to be the crowning achievement of her Bach cycle Schubert and Beethoven Tuesday 3 March 2015

for Hyperion—a revelatory recording and performing project which has taken her Bach, Beethoven and Mussorgsky
all over the world and won her millions of dedicated fans. With decades of experience Arcadi Volodos
Tuesday 28 October 2014 Maurizio Pollini
behind her, she breathes fresh air into the most complex keyboard-writing of Bach, Tuesday 17 March 2015
Schubert, Brahms and Schumann
bringing it to life with crystalline clarity and thoughtful sincerity. Schumann and Chopin
Alexandre Tharaud
ANGELA HEWITT piano Tuesday 4 November 2014 Jonathan Biss
Tuesday 31 March 2015
Schubert, Mahler, Couperin and
Ravel Berg, Schoenberg, Schumann and
Downloading music from www.hyperion-records.co.uk Alexei Volodin
Beethoven

Hyperion and Helios recordings are available for download. The download catalogue includes Wednesday 26 November 2014 Yundi
many recordings no longer available on CD and many that are unavailable for download Schubert, Chopin and Schumann Monday 13 April 2015
elsewhere. Hyperion downloads contain as much additional information as possible. This Chopin
includes cover artwork and, wherever possible, commentaries, sung texts and translations. Dejan Lazic
(Please note, however, that not all media players read all of this information; it is all freely Thursday 11 December 2014 Stephen Hough
available on our website, as are complete PDF booklets.) CPE Bach, Britten, Tuesday 28 April 2015
D Scarlatti and Bartók Debussy and Chopin
BACH THE ART OF FUGUE
Reading Denis Matsuev
Tuesday 20 January 2015
Yevgeny Sudbin
Wednesday 13 May 2015
booklets on Tchaikovsky, Liszt and Haydn, Beethoven,
your phone Rachmaninov Tchaikovsky, Chopin,
Scriabin and Saint-Saëns
or tablet Louis Lortie
you also get an ePub Thursday 29 January 2015 Alice Sara Ott & Francesco
—ideal for an iPad— If you’ve ever tried reading a Fauré and Scriabin Tristano
and you get to choose booklet PDF on your phone, or Thursday 11 June 2015
the size of the print! even on a tablet, you’ll know Lukáš Vondráček Ravel, Debussy, Tristano
how unsatisfactory this can be. Tuesday 10 February 2015 and Stravinsky
But did you know most downloads Graham Lack, Schumann, Liszt and
from Hyperion now come with full Rachmaninov
texts, translations and even sleeve
notes actually embedded into the SERIES SAVINGS
audio file in all the available BOOK 3 – 4 CONCERTS AND SAVE 10%
formats? Ideal when you’re
learning the words to songs, BOOK 5 OR MORE CONCERTS AND SAVE 20%
or just to pass the time on
long journeys. There’s also an
ePub version of the booklet BOOK NOW
included with the download. southbankcentre.co.uk/ips
0844 847 9929
The International Piano Series is
OTHER LABELS AVAILABLE FOR devised, co-ordinated and developed
DOWNLOAD ON OUR WEBSITE CDs, MP3 and lossless downloads of all by Harrison Parrott
our recordings are available from
www.hyperion-records.co.uk
Media Partner

Gimell
13• Pianist 80

p13 Ads.indd 13 11/09/2014 14:22

 INTERVIEW

Alessio Bax
Perfect blend
Music is clearly the food of love for Alessio Bax,
for whom Beethoven, fine dining and Lucille Chung
(his wife and duet partner) are his greatest passions.
Jessica Duchen meets the charming Italian pianist

14• Pianist 80

p14_interview-FINALish.indd 14 11/09/2014 14:40

 ave piano, will travel’: Alessio Bax’s blog
has the ultimate concise title to sum up the
life of a concert pianist. Log on to it, though,
and you might be surprised to find yourself
reading a recipe for Sea Urchin Spaghetti, or reflections on the superior
quality of fish in Iceland. Bax, 36, appears to have found the perfect blend
for a satisfying life as international musician.
Well grounded, pragmatic and with an ever-charged sparkle in his
brilliant blue eyes, Bax seems better adjusted than any performing musician

should have a right to be, especially one of whom Gramophone once
declared, ‘His playing quivers with an almost hypnotic intensity.’ He and
his wife Lucille Chung, herself a superb pianist, have both an established
duo and a new baby daughter, Mila; and whether he is on the road,
teaching at Dallas University or at home in New York’s Upper West Side,
Bax can charm his way into the hearts of friends and fans alike with his
sheer zest for life and all the best things in it.
You can’t not ask if he is related to Arnold Bax, the English composer – but
the answer seems to be ‘no’. ‘I think we would have known about it, as he
lived not so long ago,’ he points out. ‘The name does come from England,
though. There are very few Baxes in Italy and they are all related to each
other. The theory,’ he adds with a grin, ‘is that there was an English sailor
who came to Italy and stayed. Perhaps there is some research to be done.’
Bax was born in Bari, Puglia, the remote and enchanting part of southern
Italy that forms the heel of the country’s boot-like shape. ‘My parents were
not musicians, but they always loved music,’ he recounts. ‘I only started
music by chance, together with my brother, who is three years older. They
bought me a gift of an electric keyboard, and I just fell in love with it and
tried to figure out by myself how it worked.’ His parents found good teachers
for him from the start. ‘I went to the conservatory at nine years old, and at 14
I won a scholarship to study in Dallas with Joaquín Achúcarro.’
This distinguished Spanish pianist became Bax’s chief mentor. ‘To this
day he’s an incredible pianist, still very active,’ Bax enthuses. ‘I love his
playing, first, and then there is the realisation that he’s not just a God-given
talent, but really knows the piano inside out and is able to communicate
everything about it so freely and so easily. He has an incredible sound, and
knows exactly how to produce this sound – and that is what really attracted
me to study with him. It’s a continual amazement to me that he always tries
to learn something new and his playing keeps on developing.’
Bax has never forgotten the masterclass he took with Daniel Barenboim,
staged as part of the documentary film Barenboim on Beethoven, directed
by Andy Sommer. ‘That opened a whole new world,’ he says. He played
the gigantic fugue of the ‘Hammerklavier’; the pressure of performing it
made incrementally more intense by the fact that Barenboim, whom he had
not met before, was sitting next to him under the scrutiny of five cameras.
‘It felt intimidating,’ he admits, ‘but there’s something wonderful about
Barenboim. He has a special curiosity about music in general, which is
inspiring. Of course his suggestions were wonderful, but they weren’t the
sort that make you think “what a genius he is,” but more like “why didn’t I
think of that myself? It’s common sense, it’s logical.” That triggered a lot in
my mind. Now I try to think more analytically about my own playing.’
In 2000, when he was 22, he entered the Leeds International Piano
Competition for the second time (his first try was in 1993). He went home
with first prize. ‘I’d won the Hamamatsu Competition in Japan three
years earlier and I hadn’t wanted to enter any more – except for the Leeds,
because of everything this competition represents and the inspiring people
who’ve won it,’ he says.
‘Today it still has the reputation of being a musician’s competition. I
loved the selection of programmes, so I decided to enter and ended up
winning. I was a little bit under pressure, but I knew that at my age I had
time to enter more competitions and I just wanted to get to the final,
because the most exciting thing was getting to play the Brahms First
Concerto with the CBSO and Simon Rattle! At that point you really forget
it’s a competition because it’s such a thrill.’ Bax laughs with delight at the
memory. ‘We had only half an hour to read through some spots in the
concerto before the final – that would be difficult to do now, and back then
All images © Lisa-Marie Mazzucco
UpALESSIO
close
BAX
If you could play only one piece in the whole repertoire from now
on, what would it be?
The ‘Hammerklavier’ Sonata.
If you could play only one composer from now on, which would it be?
Beethoven, on a human and intellectual level. But for sheer beauty
and emotion, Schubert. I’d be sad to lose either.
One pianist, dead or alive, you’d travel long and far to hear?
Rachmaninov.
One concert hall you’d love to play in?
The Berlin Philharmonie.
Any technical struggles?
When I was little I didn’t like to practise scales. There are usually a
couple of times a year when I regret this.
What would be your advice to amateur pianists about how to
improve their playing?
An amateur by definition loves music, so already has a visceral
connection to it. So when you are trying to solve a problem, try
making an intellectual link to your job: make a parallel with the way
you would solve a problem there.
If you weren’t a pianist, what would you be?
A chef.
One person you’d love to play for?
Franz Liszt.
One composer you’re not quite ready to tackle?
I’ve played quite a lot of Chopin, but I still feel I don’t yet have
something special to say in this music. I would like to study it more
deeply first, get all the layers of false tradition out of my head –
we all know every note too well – and look carefully at what he
actually wrote.
What other kind of music do you like to listen to?
I love jazz – and the cutting-edge jazz scene in New York is incredible!
NEW!
Alessio Bax’s latest all-Beethoven CD, which
features the ‘Hammerklavier’ and ‘Moonlight’

sonatas, was released in September (Signum

I didn’t have so much experience, but with musicians of that calibre Classics SIGCD397). Listen to him play
it hardly seemed to matter.’ Brahms and Rachmaninov on this issue’s
There was no doubt that the Leeds victory helped to open doors, but Bax covermount CD. Visit Alessio Bax’s website:
points to a vital way that his success sparked a shift in his attitude. ‘It was www.alessiobax.com
something Fanny Waterman said, and I didn’t think much about it at
the time, but over the years it has kept coming back to me. She said to
▲

15• Pianist 80

p14_interview-FINALish.indd 15 11/09/2014 14:40

 INTERVIEW

ALESSIO BAX ON… FOUR HANDS, ONE MARRIAGE

My wife, Lucille Chung, and I have made an album of four-hands music together, consisting of
Stravinsky’s complete Petrouchka, the Brahms waltzes and some Piazzolla tangos. There’s some
great repertoire for piano duo, especially for four hands at one piano. We love to play together and
travel together, so now we’re at a stage where we can play exactly the repertoire we want to do
and it still feels like a holiday! We do two or three tours together every year.
The repertoire for four hands is some of the most special music there is – from Mozart, Schubert
and Brahms to later 20th-century pieces. It’s intimate in scale, written for the players to enjoy for
themselves and among friends, and there are many incredible pieces, like the Schubert Fantasy in
F minor: very intimate music that can be really hard to pull off.
I play chamber music mostly as part of the Chamber Music Society of Lincoln Center and at
summer festivals with a range of colleagues. But when you play piano duets you’re sharing the
same instrument and you know how it sounds when it’s wrong – it’s a very unforgiving medium!
Lucille and I often swap places, but we decide who will play which part for the piece before we
start. We change round for fun sometimes, or just to try to understand each other’s part a bit more,
but we never switch halfway through learning a new work.
Not every married couple of musicians can actually work together, and in that sense it is really
good that we are both pianists. For example, if I were a violinist I’d need a pianist to work with,
and if my wife were a pianist and I wanted to work with her, but she didn’t want to work with me,
that would be very uncomfortable! But as two pianists there isn’t that pressure; we don’t have
to play together. Similarly we never have to play a piece that we don’t really love. I’m so happy
it works the way it does.

us that from now on, “all you finalists are going to be compared with this
or that young talented performer at the competition, like Murray Perahia –
and you have to live in a real world.”’ In other words, the competition prize
is the beginning, not the end, and thereafter it is up to the finalists to make
everything they can of themselves and their playing.
The Hamamatsu Competition had a different impact on Bax’s life, because
that’s where he met a French-Canadian-Korean fellow contestant named
Lucille Chung. ‘We coincided there for a while, competing against each other
and 90 other pianists, then went back to our lives,’ he remembers. A year later
they started exchanging emails. A year later still, they found they had been
exchanging emails every day. They were married in 2004.
The pair have always enjoyed playing four-hands piano music [see
box above] – and their first recording together centres on Stravinsky’s
Petrouchka in its duet version. The work has been a lifelong obsession for
Bax. He wrote eloquently about it in an article for the Huffington Post in
which he recalls begging his father to buy him the music for Stravinsky’s
extraordinarily difficult solo arrangement, Three Movements from Petrouchka,
when he was only eight: ‘I vividly remember the wide-eyed response of the
‘I really love sitting down
border. Playing Petrouchka across the vast expanses of Russia, with anywhere
from 13 to 40 hours of travel between each performance, was ‘quite
amazing – and you kind of get used to it, because the important thing is
the two hours you spend giving each concert. The halls were great, the
pianos were good and the audiences were fantastic.’
Early starts
Back at home, Bax has turned to Beethoven for his latest recording for
Signum – no less an effort than the ‘Hammerklavier’. ‘It’s daunting to
record something like that,’ he admits. ‘Still, I’ve been close to Beethoven
from the beginning, and maybe this sonata in particular. I’ve lived with it
on and off for almost 20 years now. I was guided to it by my teacher early
on and I’m very grateful for that.’ His teacher was criticised for giving him
the work, recalls Bax, who says she was asked, ‘“Why do you give such a
piece to such a young person?”’ His pragmatic sense of humour bubbles up
again: ‘But the earlier start you can get on such a piece, the better!’
His regular round of activities includes plenty of chamber music with
the likes of violinist Joshua Bell and the Chamber Music Society of Lincoln
Center; and he has a teaching post at Dallas University, where he gives
masterclasses and coaches chamber ensembles. He blogs if and when he has
time, and is a keen photographer, besides admitting to being quite a social
media addict. But he has one favourite way to let off steam: cooking. Plus,

having a nice meal with of course, eating.

‘I’ve always loved food,’ he beams. ‘My mother is an English teacher at a

friends after the concert – it’s
a little like the carrot at the
end of the stick’
shop attendant. With my small baby hands I would not have been able to
play even the first chord,’ he writes. But today he still does not play the
Three Movements, mainly because he feels they have been disconnected from
the ballet’s story.
The complete ballet in its duet arrangement has taken him and Chung
on some fairly wild adventures, including a project with a Korean puppet
theatre and a trans-Siberian tour by train in the middle of the Russian
winter. ‘Nineteen days in three weeks on the train – and I wouldn’t call
it “Express”!’ he laughs. He has also made a solo tour of Russia, when, he
says, ‘At times I felt abandoned on the edge of the world, but these are such
special places.’
The duo’s tour started in Moscow and from there they travelled east,
east and further east, as far as Khabarovsk, 30 kilometres from the Chinese
16• Pianist 80
culinary institute and I remember when I was nine going from my school
to hers to see the final exams, where they had to make main meals of six or
seven courses. Apparently I was very picky and discerning! Now that I travel
so much, good food is one of my greatest joys.
‘Usually I don’t get hungry until I see food, and I think more clearly
on an empty stomach, so I always eat after my concerts. It’s not great,
because there’s usually a 6am flight the day after the concert – but that’s
fine, it’s part of it. I find if there’s food in front of me before the concert
it’s an absolute disaster, because I eat anything and everything; and in
places like Japan there will be an incredible spread backstage of Western
food, Japanese food, sweet food and savoury… and soon there’s nothing
left! I really love sitting down having a nice meal with friends after the
concert – it’s a little like the carrot at the end of the stick.’ At home he loves
to cook for friends and proudly recalls an evening when a meal in
his apartment for two musicians from the Berlin Philharmonic transformed
itself into a gourmet feast for 14. ‘It was one of the best evenings of my
life,’ he announces.
This season Bax tours the UK with the Royal Philharmonic Orchestra,
performing Beethoven’s ‘Emperor’ Concerto and Rachmaninov’s Concerto
No 2. But while you are waiting to hear him, do try that spaghetti recipe,
if you can find any sea urchins. It looks seriously good. n

p14_interview-FINALish.indd 16 11/09/2014 14:40

 137 years of internationally
respected music exams

New Piano syllabus

2015–2017 Available now
Our Piano syllabus offers the choice and flexibility to allow candidates to play to their
strengths, enabling them to gain recognition for their own unique skills as performers.
◗ Brand new repertoire lists featuring a wide range of styles and genres, as well as
new technical work
◗ New graded repertoire books featuring all new pieces and exercises, including previously
unpublished works submitted in response to a worldwide call for repertoire
◗ New scales and arpeggios books and a new book of teaching notes
◗ High quality recordings of repertoire and exercises available on CD
◗ Flexible exam structure offering unparalleled choice
◗ Uniquely diagnostic mark scheme providing detailed musical feedback

Teacher support
At the heart of our activity in music education is teacher support. We hold events all over the world
and offer free teaching resources, articles, forums and more through our online learning platform.
Find out more at www.trinitycollege.co.uk/support

To find out more visit

www.trinitycollege.co.uk/music /TrinityCollegeLondon @TrinityC_L
17• Pianist 80

p17 Ads.indd
Pianist 172014 (230x300).indd 1
mag July 11/09/2014
10/07/2014 09:47
15:02:31
 play HOW TO

The importance of the

LEFT HAND
Acquiring a reliable left hand is vital for almost all music, especially Romantic repertoire, says pianist
and teacher Mark Tanner. Sharpen up your left-hand skills by following his practical advice

L
eft-handers constitute
roughly 10 per cent
of the population.
Arguably, in everyday
life, ‘lefties (or
‘southpaws’, as the
Americans call them),
are passively discriminated against:
I’m thinking of mundane things like
scissors and pens. Doubtless, the
likes of Horowitz, Rubinstein and
Barenboim – all left-handed virtuosos–
would shrug their shoulders and
wonder what all the fuss is about, but
conceivably other left-handers may feel
a little short-changed, since most juicy
melodies are plucked from the upper
half of the piano register, i.e. ‘north’
of middle C, by the right hand. As a
right-hander, I’m naturally inclined to
believe the division of labour is entirely
logical, the left hand conventionally
being allocated octaves, wide-spaced/
arpeggiated chords, Alberti bass-type
accompanimental figures, textural
material and, of course, bass lines.
Needless to say, there turns out to be so
much more to the business of ‘which
hand does what’ than the mere question
of melodic designation.
From the 19th century onwards, the
increasing requirement for piano music
to sound rich in harmonic texture from
the bass register through to the tenor
stylistic reasons Scarlatti can appear Mark Tanner’s solo
somewhat more right-hand biased appearances include London’s
than Bach). By the time Schumann and Wigmore Hall, South Bank
Busoni were being themselves fascinated Centre and St John’s, Smith
by piano fugues, they instinctively Square. He appears regularly in
designated much of the gritty, dramatic recital on cruise ships, having
writing, such as octave-doublings, to given recitals on all of the
the left hand. Cunard, P&O and Saga lines.
Over time, shifts in compositional His recordings have received
approach have inevitably affected widespread critical acclaim,
how pianists set about learning the and he has made world
instrument, so that our two hands premiere broadcasts on BBC
have evolved strengths and flexibilities Radio 3 and Classic FM.
specific to each. Although standard Spartan Press has published
technical exercises frequently place nearly 50 volumes of his music,
emphasis on the acquisition of and his Lullaby for Prince
equivalent motor skills in each hand George, which appeared in
(scales, arpeggios, etc.) in countless issue 75’s scores, was featured
real-world scenarios, a reliable left hand by Alan Titchmarsh and John
will function entirely differently from Suchet on Classic FM. Find out
a well-oiled right hand. more at www.marktanner.info
A simple exercise demonstrates how
each hand is routinely called upon to hand at a time). You’ll likely find that as
function according to different logic soon as the music involves any degree
systems. Start by positioning your seat of hand-shifting or complexity, your
far to the left of centre, so that the right hand will encounter difficulty
right hand is aligned with the bottom in accomplishing the required effect.
couple of octaves (stroke the cat with Wholesale changes to the fingering may
your temporarily redundant left hand). well become necessary too, and even
Now, using your right hand, try playing then it may not lie as comfortably as
the left-hand part of any piano piece it did when played by the left hand as
you have lying around (teachers often written. Were you to swap around, that
do this kind of thing in lessons when is attempt to play right-hand material in
pupils can only cope with playing one your left hand (having first shifted the

predisposes the left hand to have to fend
for itself. Composers of Romantic piano
music lost no time in packing more and
more into the left hand’s role; music
by Brahms or Liszt will often reveal a
quasi-orchestral conception in which
much important material is entrusted
to the left hand.
A common pianistic device is the
trapping of bass notes with the left
hand’s little finger in conjunction
with pedal, before gliding the whole
hand deftly towards the middle of
the instrument in order to flesh out
the remaining harmony. This leaves
the right hand free to finesse its way
around melodic lines and dispatch
embellishments in the higher register.
Even in Baroque keyboard music, where
the contrapuntal detail tends to be
more evenly spread between the hands,
there is nonetheless often a specificity
to the demands made of each hand (for
5
TOP
TIPS
BRINGING YOUR LEFT HAND TO RIGHTS
1 Although the left hand is a mirror image of the right, its function
in piano playing is often vastly different.
2 Cultivate a strong, flexible and independent left hand – a wide
stretch, supple wrist and arm, nimble Alberti-bass facility and
powerful octaves/tremolos will prove indispensable.
3 Practise the left hand on its own, with pedal as appropriate, to
build an awareness of how a typical piano piece’s harmonic,
rhythmic and textural details can all come together.
4 Enjoy chances to take melodies in the left hand, especially in the
delicious tenor register and when hand-crossing opportunities
naturally arise.
5 In duets, always be prepared to take certain right-hand notes in
the left, and vice versa, to ease difficulties.
18• Pianist 80
seat – and the cat – over to the right),
a similar set of issues would strike you
straight away. A blindingly obvious
fact here is that our left thumb is on
the right side of the hand and the right
thumb is on the left, so all of the hand-
positioning and weak/strong finger
allocations that have been painstakingly
weighed up by the composer aren’t
likely to transfer across tidily. This
makes the accomplishments of Scriabin,
et al, all the more impressive, for their
ambition was to traverse the entire
instrument using just the left hand,
while giving the illusion of two hands
playing simultaneously.
It’s one of the many ironies of
playing the piano that much of our
attention gets diverted to practising
material which turns out to be relatively
unimportant – after all, no one ever
came out of a recital whistling the
Alberti bass of a Mozart sonata!

P18 HTP Tanner-FINAL.indd 18 11/09/2014 14:11


Nevertheless, the entire thrust behind
the piano’s development over a period
of centuries was to endow it with a
compelling sonority throughout its
register: the power to project, to sing,
to evoke intoxicating soundworlds.
Out of this ambition for ever-
greater colour and intensity grew the
prerequisite for a sizeable stretch in
the left hand. Upwardly arpeggiated
chords (CGE, played with fingers 5-2-1,
is a commonplace configuration) will
require you to effect a bold left-to-
right wrist movement, in this example
targeting the E with the thumb. A
workaround for those possessing smaller
hands is to employ appreciably more
lateral wrist movement. Though a
little awkward at first, if approached
with a really loose arm and wrist, this
technique will contribute invaluably to
the Romantic pianist’s gamut of skills;
besides, without it, Chopin’s F minor
Etude opus 10 no 9 will surely remain
tantalisingly off limits.
Stretched out
Acoustically speaking, composers and
performers have to be rather more
attentive to issues of balance when
dealing with important melodic
material situated deeper in the piano
register. Yet when we think of how
Rachmaninov – and Chopin before him
– re-imagined the role of the so-called
accompaniment, to the point where its
traditional function became somewhat
blurred, we are forced to reconsider
the conventional notion of tune and
accompaniment altogether. In theory, it
is perfectly possible to envisage a piano
with bass notes to the right and treble
strings to the left, just as we might
come across left-handed golf clubs,
though I suspect most pianists (left-
handers included), would consider the
instrument’s conventional orientation
central to our understanding of it, just
as the arbitrary notion of east and west
seems ineradicably imprinted upon the
world in which we live. The thought
of re-learning to play the piano on a
left-handed instrument fills me with
dread; nevertheless, left-handed pianist
Christopher Seed has done just that
(check out his fascinating YouTube
video). A number of well-known
pianists found themselves suddenly
without the use of one hand and had
to come up with a plausible alternative
means of negotiating the instrument
in order to continue performing. [See
article on left-hand pianists, page 76.]
So, of what relevance is this to folk
with two able hands? The acquisition of
a reliable left hand – and a good stretch
between fingers, especially 5-2, 5-1 and
2-1 – is indispensable in realising the
musical priorities built into virtually
any piece. Bearing in mind that
the piano’s lower notes are assigned
P18 HTP Tanner-FINAL.indd 19
increasingly heavier keys due to the
chunkier action designed into this
register of the instrument, the left hand
needs to be capable of attacking with
appreciable force when called upon.
It’s a good idea to cultivate powerful
octaves/repeated chords in your left
hand. For octaves I like to imagine a
hawk targeting its prey in slow motion,
swooping in gracefully with wings
tucked in before unfurling its claws at
the moment of strike. Of course, the
speedy dispatch of octaves and chords
regularly crops up in the right hand
too, but you’ll particularly struggle with
repertoire from Beethoven onwards if
you’ve not evolved a workable solution to
all those strenuous left-hand octaves and
tremolo passages (the Allegro movement
in Beethoven’s ‘Pathétique’ Sonata is
a splendid example). It may well be
that while the left hand is extrovertly
pounding around in the nether regions,
the right hand is called upon to perform
intricate leggiero passages, and this is
where piano playing becomes a decidedly
complex, demanding task, with the
upper body working overtime to assist
the left hand and a ‘quiet’ wrist needed
to govern the right.
I’ve mentioned in previous articles
that the central tenor register of the
piano might be considered its ‘sweet
spot’. Indeed, the urge to position
important melodies in this region of
the instrument was one that proved
irresistible for composers from the
early 19th century onwards. This is
where a versatile left thumb will prove
particularly indispensable (Schumann’s
Romance opus 28 no 2 inside the
last issue is a perfect example).
Furthermore, in much music from
this period you will doubtless find the
two hands passing important melody
notes between them in this luscious
region of the keyboard. Don’t shy away
from such opportunities, for they are
moments to cherish. Incidentally, one
of the main reasons composers involve
hand-crossing in their distribution
of melodies (Liszt’s Un sospiro and
Brahms’s Rhapsody in G minor spring
to mind) is because they are acutely
aware of how each hand functions
best, hence it usually makes good sense
to consider such implications if you
are going to make a plausible job of
tracing out the musical progression.
Arguably, making full sense of the final
subterranean melodic statement in
Liszt’s Consolation No 4 only becomes
possible if you follow the composer’s
line of thought by coaxing it out with
your right hand.
Irrespective of whether you happen
to be left- or right-handed, as a pianist
your left hand will need to be reliably
strong and flexible in fulfilment of
its individually conceived role. By its
very design, pedalling tends to affect
19• Pianist 80
MASTERCLASS
LEFT FIELD
Mark Tanner’s advice for getting the best out
of your left hand in 3 of this issue’s scores
1 Jensen Lied opus 33 no 10 [Scores page 50]: This is a serenely
romantic, song-like piece which, given its teneramente ed
affetuoso marking, requires an especially tender and contoured
right-hand (RH) melody. Your left hand (LH) will have to be on its best
behaviour throughout, for even though it never gets to ‘sing’ as such,
it provides essential harmony, texture and sense of gentle movement.
In the many places where the hands have to operate closely together
in the central register of the instrument, balance and pedalling issues
inevitably surface, while at bars 9-12 and similar places, finger-pedalling
detail has been carefully calculated by the composer to achieve an
easily overlooked subtle new colour.
2 Frank Bridge At Dawn [Scores page 53]: At Dawn is an
atmospheric character piece written in 1918 as one of Three
Improvisations, skilfully integrating melody and accompaniment in
the LH. Bridge achieves this by enterprising use of the keyboard
register, daring dynamic shading and the subtlest of pedal/half-pedal
changes. When you can elegantly tie together all of these elements,
make the fioritura (a ‘flourish’, such as in bars 3-4) sound effortlessly
light and shape off the melodies with sensitivity, you will have a
performance well worth all the effort!
3 Moszkowski Etude for the Left Hand opus 92 no 4 [Scores
page 56]: Paderewski once commented that Moszkowski was
the second most intuitive composer for the piano – praise indeed,
given that he awarded the number-one slot to Chopin! This etude
is a splendid example of the need to be free in the wrist and
able to pass fingers over the thumb without undue bumpiness or
unevenness in those endless chains of semiquavers. Pedal will
need to be exactly timed so as to trap essential bass notes, while
permitting melodies to cut through the texture clearly at all times.
The balance at bars 25-28 will require your utmost care, since there
is an ever-present danger of muddiness.
the left hand’s notes more than the
right’s, so time spent practising the
left hand in conjunction with pedal
will never be wasted. Finally, it’s worth
pointing out that there are differing
degrees of ‘handedness’; in reality, one
might be orientated anywhere on the
spectrum from right-handed, to ‘lefty’,
to ambidextrous. A person’s dominant
hand for one task might not be so when
it comes to another task (my father
writes left-handed, but holds his knife
in his right hand and also plays golf
and cricket right-handed). One thing
is for sure, although the left hand has
had to become increasingly adaptable
as a consequence of the instrument’s
evolution in parallel with the music
written for it, it has always been just
as central to what is heard. Besides,
I’m not sure many pianists give much
thought to which hand is ‘harder’ when
playing any more than cellists do, for
in reality a natural symbiosis occurs
right from the earliest months of
learning the instrument. ■
In the next issue Mark Tanner discusses
how to stay motivated.
11/09/2014 14:11
 play HOW TO

How to make the

PIANO SING
Good sound comes from correct touch, explains teacher and performer Graham Fitch,
whose techniques for tonal control will help you get the beautiful singing sound that you are after

A
sk a group of pianists to play on the same piano, one after the
other, and you will doubtless notice that each one makes the
instrument sound distinctly different. How is this possible?
Part of the answer to the riddle lies in the full name of our
instrument itself – ‘pianoforte’. When Bartolomeo Cristofori
invented the prototype piano in the early 1700s, the term gravicembalo col
piano e forte (‘harpsichord with soft and loud’) was used to describe it. On
this new instrument, unlike the harpsichord, it was possible to control the
volume of each note by the speed with which the player depressed the key.
one hand and staccato in the other simultaneously. If we practise doing this
using a scale or a Hanon (or other five-finger) pattern, we can also combine
two-note slurs with our basic legato and staccato touches. We are forming
the basis of pianistic skill. In this extract from the Rondo of Mozart’s Sonata
in C K545 [inside this issue’s Scores on page 38], not only do we need to
play the right-hand (RH) stronger than the left-hand (LH) Alberti bass, the
top line also needs to be clearly phrased and articulated:
2.
f. f. f. f.
f1 #f f f
3
f4 f #f f 3 2 1 3

&
On our sophisticated modern piano this same basic principle still holds

{
true: the faster the key is depressed, the louder the sound.
However, there is an additional and far more elusive factor we need to
consider when discussing tone, and that is tone quality. We have heard
f f f f f f f f f f
it said that Mr X’s tone is ‘thin and brittle’, whereas Ms Y’s is ‘deep, ? f ? #f
sonorous and rich’. The secret of beautiful sound lies in controlling the
tonal relationships between one note and the next. This applies between the 4 1 2 1 5 5 1 3 1
successive notes in a melodic line, among the notes of a chord or between
the various layers of texture that happen simultaneously. In this article, I’m
going to explore how to achieve that most elusive and revered of pianistic
f4 f3 f2 f1
#f2 f f f 1f #f nf f f4 #f f f
qualities – a beautiful singing tone. 5
I have discussed the subject of touch in previous articles, but let me just f4 f f f
&

{
go back over some of the salient points. The way we touch the piano has
a direct bearing on the sound we produce. If we play with tension in our
arms and hands, we will produce a stiff and wooden tone; if we hit the
f f
keyboard from above or jab at it, an unmusical and jarring percussive tone
? f f f f f f f f f f #f f f f f ‰
J
results. Good sound comes from correct touch: using the right conditions
of the arm and fingers for the type of sound we want. If we want a brilliant
4
or percussive tone, we use striking movements from the tips of the fingers, 5 1 3 1 4 1 2 1 4 1 2 1 3
which need to be curved. A singing tone in a legato line requires a flatter
finger position. Instead of striking movements we use stroking, caressing or The next task is to develop independence of the fingers within the one
even grasping and squeezing movements from the pads of the fingers. The hand, in order to gain control over different levels of tone and types of
flatter position enables us to feel that the finger is an extension of the arm, touch. It is a very good plan occasionally to practise specific exercises for
and instead of controlling the key drop with an individual finger stroke, we this purpose – scales and exercises in double notes are excellent ways to do
control it with the arm as a whole. The arm needs to be loose and free at this (see my article in Pianist No 73). Here is an exercise I like to give to my
all joints, and it is most important when producing a singing tone that the advancing students. The exercise is given in the major, and then the minor –
wrist especially be flexible and never stiff. However, knowing the mechanics you might continue with diminished, and then dominant seventh positions
of piano playing is of no value whatever unless we listen very attentively to (see my online video demonstration):
what we are doing – it is ultimately the ear that controls the adjustments
3 3 3 3 etc.
& f f f f ff f f f f f f f bff f f f
we make in our hands to produce the sounds we have in our imagination.
Without a clear idea of the sounds we wish to make, anything that comes
out of the piano will be an accident. f f
From the beginning stages of piano study, we start developing
independence between the two hands so we can play a melody line stronger
than the accompaniment that goes with it. Next, we explore different
touches and how to combine them, so that we are able to play legato in etc.
Graham Fitch is a pianist, teacher, & ff f f f ff f f f ff f f f bff f f f
writer and adjudicator. He gives
masterclasses and workshops on
piano playing internationally, and is 3 3 3 3
in high demand as a private teacher
in London. A regular tutor at the Play the top line piano and the lower line forte, then reverse this on
Summer School for Pianists in the repeat. You can also play the triplets legato and the duplets staccato,
Walsall, Graham is also a tutor for reversing this too. Naturally, practise this in the LH as well, and try with
the Piano Teachers’ Course EPTA both hands together (transposing into other keys for variety). Consider
(UK). He writes a popular piano blog, learning some repertoire for one hand alone, as this will significantly
www.practisingthepiano.com. increase dexterity and technical control of sound. Since it is usually the
LH that is weaker or neglected, I can highly recommend two LH pieces
20• Pianist 80

P20 HTP Graham-FINALish.indd 20 11/09/2014 14:41

 MASTERCLASS

in this issue’s Scores – Frank Bridge’s delightful At Dawn [page 53], and like a voice. We will need to factor in the varying lengths of the notes from
Moszkowski’s Etude opus 92 no 4 [page 56]. long to short. In general, we give longer notes more weight than shorter
Sometimes the melodic line is formed from the top notes of a progression ones. If we play the sextuplet group in bar 2 on the same tonal level as the
of chords, as in this example from Schubert’s Moment Musical No 1 [page 60]. longer notes, they will sound like machine-gun fire. So, we play them
We call on the weaker fourth and fifth fingers to project this line, ensuring the very delicately. Start the crescendo in bar 3 very softly, so that we can build
stronger fingers (thumb, second and third) play somewhat softer: the line (remember that crescendo means ‘soft’). In bar 6, really listen to
5
the decay from the dotted crotchet E to the quaver D and match up the
5
5 5 4 4 4 5 4 4 5 4 tone on the D (play this note especially carefully so that it blends with

f f f f f f bff
3 2

& bff
4 3 2 2 2 4 2 2
the remains of the long note). Thereafter, we will need to come back up

b ff. b >ff bff ff #ff >ff f

ff

{
ff ff ff to a mezzo forte on the C sharp in the next bar in order to make the
f. f. f. f. f. diminuendo. In a musical phrase there is almost always just one climax,
one high point where the line moves towards (this happens to be the highest

bf f f >f f
pp
?
cresc.
note, B, in bar 4). Make sure to save your strongest sound for this note. In

f f f f b
f . f. . . >f b f general, the LH (the accompanist) needs to be quite a bit softer than the
RH (the singer, and the star of the show):
2 4 2 2 3 3

43 5 (The L.H. light) (evenly)

### 2 f
4
f
5
FF ™™
2 2 3

& bfff nff

6
fff ™™™
4 1

nffJ
3

#f ffffff
mp 1 4

& 4
p
F™ f

{
f

{
>
ffj
fp p mf pp
? f ff ff ™™ F™ f f f f
f ™ F™ ? ### 42 f f f nf f f f fff f f
>f f
3
4 4
An excellent way to practise this is first to play the top line alone, with con ped.
(climax)
the fingering you will use in performance. Make sure to shape it beautifully
and project the sound. Later you can play the top line while miming the f
### f f f f f
(pp) mp
lower notes of the chords (touching the keys but not allowing the notes to
f
1 3 2 p 3 mp
sound). Lastly, practise the whole chord and, while holding onto the top
& f f

{
note, tap the lower notes twice very lightly.

ff f f
The singing line cresc.
f f ff fff
? ### f f f f f f f
Producing a beautiful singing tone starts, then, from an ability to control
the levels of sound not only between the two hands but also within each f f f f f f
hand. This is because one hand often has to take care of the melodic line
as well as the accompaniment or background material. But a singing line is 2 3 4 1 2 1
much more than the ability to play the notes of a melody louder than other
notes – we need to know how to blend the notes in a line to imitate a voice
or a melodic instrument, such as a violin, cello or clarinet. Chopin advised ( ) mf
his students to listen to the great bel canto opera singers, so that they would ### f ™ 5
mp
f f
4
f
& f
1
learn how to play in a singing manner. An overlapping legato touch, tonal
J f

{
shading and colouring as well as a sense of timing are all integral to the
singing line. Let’s look at how we can develop these. (MATCH)
mf
f f f f f f f f f
Firstly, we need to keep in mind an important fact about piano sound: after
we play a note, the sound begins to decay. So how, then, can we produce a
beautiful singing legato line that imitates the rise and fall of the voice? Only ? ### f f f f f f f
by illusion! We have to factor in the decay of the sound from one note to
another and either match what remains of the note we are holding to the start 2 2 3
of the next note, or play the next note louder or softer. An excellent exercise
in listening and control of tone is to take a scale in one hand and play just In addition to controlling all the levels of tone, timing is also crucial.
one octave very slowly, grading each sound from loud to soft: When I speak of timing, I am not talking about note values, but a sense of

###
how notes are placed within the rhythmic framework. We need to feel the

&
f f
f f f f
f f
ppp
This is not as easy as it may seem! Listen really carefully and you might
notice bumps (where one note was too loud) or dips in the sound, or two
notes that were on the same dynamic level. Try also with a diminuendo
from loud to soft, and at a variety of different speeds from slow to fast.
Listen intently as you grade and control each sound. Experiment also with a
legatissimo touch – release the key only after the next note has sounded. This
will give a very connected effect that is very much a part of a singing tone.
Let’s take a real piece of music, Adolf Jensen’s Lied (Song) opus 33 no 10
[this issue’s Scores page 50], and find out how to make the RH line sound
ebb and flow of the music (where it wants to move imperceptibly forwards
and then relax backwards) and to use agogic accents (delaying an important
note very slightly) where appropriate. And let’s not forget how important
sensitive pedalling is in blending sounds together.
f (or ff) Another very important feature of our instrument is the different
qualities in resonance from register to register. All notes begin to decay the
moment the note is sounded, but treble notes fade much quicker than bass
notes. The notes in the top treble, while brilliant and zingy have virtually
no sustaining power, whereas the lower bass strings will boom for many
seconds. We need to keep this in mind when balancing a singing cantabile
line in the top register over a full and active LH. The LH, even though it
is the accompaniment, needs to be practised extremely carefully, each note
graded and controlled by finger and pedal.
In my next article, I am going to take this a step further and look at how
to control texture. Knowing how to do this will give your playing real depth
and dimension. n
21• Pianist 80

P20 HTP Graham-FINALish.indd 21 11/09/2014 14:42

 play HOW TO
FULL SCORE ON PAGE 30
TRACK 3

7
7
7 &

{{{
b bb
b ff-
7 & bbb f
& bbbbb fff-
& f-
DON

{{{
? b fff- #nff-

13 bb
13

13& b f

{{{
13& bbb
b
3
5
3
5
3
’T MISS

? bbbb fff #nnfff

? b
? bbbbb fff #nff
b
1
2
4
1
2
1
4
2
1
4
2
44

4
NIE
MELA K’S
N
SWIC

LESSO
SPAN

b2

#f
PIECE
ON THIS E

? b 2 FFFF

ff
PAG
22

& bbb 42Grave

? bbbbb 442 °
5
3
5
b F

ff-
fff--

f ™ f f- f-
& bbbbb ff ff ™™ ff ff- ff-
4

& fF f ™ f nfF- f
? b FFF
? bbbb FFF
? b
4
Grave
Grave

4
2
4
2
4
2
4
2

1
3
1
3
1
3
1
3
°
°
°
3

& bbb 42 f f ™ f f f ™
& bbbbb 42 pp
& 4 pp
? b 2 pp
? bbbb 442 pp
3
3

F
3
5
1
3
1
5
3
1
5
3
5
Pyotr Ilyich TCHAIKOVSKY (1840-1893)
The Doll’s Funeral, No 7 from Album for the Young op 39

Inspired by Schumann’s Album for the Young, Tchaikovsky decided to write his own
collection of short character pieces designed to be played by children. Containing
24 pieces, Tchaikovsky’s Album for the Young was completed in 1878. Pianist has
previously presented others from the set, including No 15, Italian Song (issue 74);
No 21, Sweet Dreams (issue 70) and No 14, Polka (issue 64).
Playing tips: This is a great exercise in learning to master soft chord playing.
Playing any kind of music pp (pianissimo) is not easy. You need to know exactly how

Grave q™ = 50
f f™ f f f™
3

f f f f f

n FF-
n FFF-
nF
n FF--
F
F
F
3
1
3
1
3
1
3
1

2
2
2

nFF
nF
q = 50
q = 50
q = 50

fFF f ™ f FFf f ™
FF

4
4
4

F- -
-
FF
F
FFF
ø
ø
ø
ø

5
5
5
°
°
f
f
pp
f
3

3
3
3

1
2
1
2
1
2
1
2

fFF
pp
pp
pp

°
°
FFF
F
3

3
3
3

FFFF
1
3
5
1
3
1
5
3
1
5
3
5 3

F
F-
F
Œ-
Œ
3
3

F--
3
™ f ff n fff
f ff n fff
f fff nn ffff
f f

f™
f™
f ™™
f
f f
ff
f f
fff f
f
3
1
3
1
3
1
3
1

2
3
2
3
2
3
2
3

ff- ™™ ff fFF
f
f
f
f
much weight is needed to depress the key in order to make it sound, but sound as
quietly as possible. You will need to think of the phrasing too – the tempo indication
is ‘grave’, which means very slow, but it still needs to move forward.

fff-- ™™™ fff FFFF

Pedal tips: Some pedalling suggestions have been added into the score. But only
add the pedal once you’ve worked on your finger legato.
Don’t forget to read Melanie Spanswick’s detailed step-by-step lesson on this
piece on page 22.

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

5
5
5

fFF

f
f
f
FF
FF
FF
1
2

ø
1
2
1
ø
2
1
ø
2

ø
°
°
°
5
3

FF
5
3
5

FFF
3
5
3

1
3
1
3
1
3
1
3

°™

Œ
Œ
Œ
Œ
F
FF
FF
F
FF

f
f™
f ™™
f
f ff n fff
f f-
4

f
4

f
4

f
4

fFF
1
2
1
2
1
2
1
2 3
1
f™ f f f™
f™ f f f™
f™ f f f™
f ™ f nfFF f ™
FFF
FF

f fff- nn ffff-
f ff- n ff-

3
f-
ff
f
fffø
ø
ø
ø
nf f ™ f f nf ™
F
ø
ø
ø
ø
f-

f-
f
f
fø
ø
ø
ø
npf f ™ f ff n f ™
3

nf f ™ f f nf ™
3

npff Œf ™ f f n fŒ ™
pf
p

ff ŒŒ
f
3
1
3
1
3
1

2
3
2
3
2
3
2
3
nFF
nF
nFFF

ff Œ
f
ø
ø
ø
øF
F-
FF
FFF--
F-
FF
F
FF
ø
ø
ø
1

ø
1
1
1
4
2
1
4
2
4
1
2
4
1
2
1

5
5
5
3

3
3
3
4

4
4
4
4

4
4
4

1
3
1
3
1
3
1
3 5
3
5
3
5
3
5
3

1
3
1
3
1
3
1
3 2

2
2
2
3

3
3
3
BEGINNER/
INTERMEDIATE

f
f
f
f
3

f
3

f
3

f
3

4
4
4

TCHAIKOVSKY
? bbbbb FFFø nFFF Œ f™ f
ffff- ™™™™ ffff FFFF fff ŒŒ
1 1 2 1

Œ
ff Œ
2 3 1 5 3

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

ø
1
4 1 2 2 1
2 3 1
4 5 3

19 bb ø
ø
19 1
4
2
1
3 4 2
21 4 5 3 452 5 4 1
3 3

b
4

19& b
43 2 3 2 12 2 3 1 2 3 2 1

ff

{{
24

ff ff ff-
4 4 5 3 4 5 4 3

19& bbb n f - n f- n F- n ff ff ™™ ff ff ™™ - n FF-

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

& bbb n f nF n ff ff ff f™ ff ff ff n FF
3 2 3 2 1 2 3 1 2 3 2 1

& b b n f-- nn ff--

f™ fff-- fff--
4 2 4 5 3 4 5 4 3

n F-- n fff fff ™™™ fff fff fff ™™ fff n FFF--

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

{
? b n ff- n ff- n FF- nf Œff ™™ f ff ff ™ ff ff- f- n F-
? bbbb ff ff FF f Œ ff ff ™™ ff
ff
ff fff F
? b ff F
? bbbbb ff f
fff F ° Œ fø f™
fff ™™™ f ffø fffø
2 1 2 1 1 2 1 2

ff Œ Fø
5 3 5 5 3 5 4 3

b f FF fø f
5

°
2 1 2 1 1 2 1 2
5 3 5
f 5 3 5 4
ø 3
ø ø
°
2 1 2 1 5 1 2 1 2

ø ø ø ø
5 3 5 5 3 5 4 3

°
2 1 2 1 5 1 2 1 2

ø ø ø ø
5 3 5 5 3 5 4 3
5

The Doll’s Funeral from Album for the Young op 39

30• Pianist 80

p30 SCORES Tchaikovsky-FINAL.indd 30 10/09/2014 16:20

Teacher and author Melanie Spanswick shows you how to develop subtle legato, an excellent tone
and a good balance between the hands so you can play this melodic Romantic miniature beautifully
Ability rating Beginner
Info Will improve your
Key: C minor 3 Legato playing
Tempo: Grave 3 Sound gradation
Style: Late Romantic 3 Balance between the hands
A cycle of 24 piano miniatures,
Tchaikovsky’s Album for the Young
was dedicated to the composer’s
favourite nephew, Vladimir Davydov.
It is subtitled ‘24 simple pieces à la
Schumann’, in a nod to the German
composer’s Album for the Young.
This sombre yet melodic little piece is
full of drama and pathos. ‘The Doll’s
Funeral’ succeeds ‘The Sick Doll’, and
appears fairly straightforward, however,
it does have several challenging elements
that make it an excellent study for the
beginning or even intermediate pianist.
With a time signature of 2/4, the
piece has the distinct feel of a march,
albeit a slow, stately one. The key of
C minor adds to the bleak character,
and it could conceivably be played very
slowly for a tragic, melodramatic effect.
You will likely find the metronome
marking of crotchet equals 50 beats per
minute to be a suitably solemn speed.
Start by listening to house pianist
Chenyin Li’s recording of this piece
on the covermount CD. This will
provide the necessary overview with
regards to pulse, rhythm and dynamics.
Examine the key of C minor carefully
before you start, playing the scale and
arpeggio a few times, noting where
all three flats occur and particularly
observing the sharpened seventh.
Even if learning the notes doesn’t
prove too difficult, you’ll have several
issues to surmount to master this work
musically. ‘The Doll’s Funeral’ consists
of four-bar phrases, and the dotted
rhythm in the melody needs rigorous
articulation to sound convincing, in
a way that resembles the music for a
funeral procession. Try sub-dividing
the crotchet beat into semiquavers by
counting four regular beats to each
crotchet (or set a semiquaver metronome
pulse). When you count out loud, be
© Fabrice Rizaato
Melanie Spanswick is a classical pianist, teacher, adjudicator, author
and presenter. She regularly conducts workshops and masterclasses
in Germany as well as for EPTA (European Piano Teachers
Association). She adjudicates for the British and International
Federation of Festivals and curates the Classical Conversations
Series, where she interviews eminent classical pianists on camera.
These interviews are published on YouTube. Her book, So You Want
To Play The Piano? has been critically acclaimed.
Find out more about Melanie at www.melaniespanswick.com
and www.soyouwanttoplaythepiano.com
two in bars 1 and 2, and many times Once chords are fluently joined, they
thereafter) that you play the semiquaver will need careful voicing or balancing.
precisely on beat number four. Lighten This is particularly important in the right
this semiquaver in each phrase, playing it hand (RH), where the top of the chord
with slightly less force. This will also help is the melodic line. At bars 3 and 4, and
to phrase each musical sentence. at bars 29, 30 and 31 (the climax), you
will need strong fourth and fifth fingers.
Slow works such as this call for When practising, play on the tips of your
excellent tonal balance and sound fingers and arch your hand accordingly,
variation. Fingering is crucial, and some as the fingers should move independently
of my suggested fingering are in the from the knuckles and the hand must
score. Once you have assimilated the not appear collapsed (imagine you are
fingering, learn the piece hands grasping a ball). Balance the hand so
separately, ensuring every single note in there is plenty of weight directed at the
both hands is entirely joined and
smooth. There should be very few gaps in
the sound. This may prove tricky where
Learning Tip
chords are concerned, and is especially Experiment with colour – find out
true in the left hand (LH), where much just how softly you can play while
of the passagework is chordal. Aim to ensuring all the notes sound
join all the notes without using any
pedal, as this will be added later. weaker fingers (bars 4 and 5). Playing the
Working without the sustaining pedal is notes in the chord separately can help,
a very useful exercise and will improve but you’ll need secure coordination and
your legato playing immeasurably, imagination to project, highlight, and
encouraging attentive listening right ‘sing’ the melody effectively, above and
until the end of each note. beyond the other musical material (keep
the LH chords soft).
One way of practising perfect chordal
legato and balance is to employ a very Observe the musical directions
flexible, free wrist. Make a circular throughout. Close attention to the
motion with your wrist as you move crucial crescendo and diminuendo
slowly from one chord to the next. Try markings (bars 5-8, 22-32), as well as
to find the point in the key bed where to the overall dynamics and the phrase
the sound actually manifests (it’s akin to marks will enhance your interpretation.
finding the ‘biting point’ of the clutch in If you are a more advanced player, try
a car). Once you have found this point, adding the una corda pedal to the first
practise taking the keys (or notes in each phrase, for a muted opening.
chord) up and down with precision and
total coordination, so that all the notes Aim to achieve a good legato with your
sound at exactly the same moment. fingers alone. This will suppress the desire
Experiment with colour, noticing the for excessive pedal. A little sustaining
amount of arm weight and movement pedal creates drama, space and clarity
required to play pianissimo and similarly without obscuring harmonic progressions.
fortissimo. Grading the sound in this way It’s so easy to over-pedal in a Romantic
can be a useful technique allowing for miniature, but a cleaner approach with

sure that whenever you encounter the copious tonal possibilities. Much of the efficient finger legato allows for clearer
rhythmic pattern of dotted quaver- piece is quiet, so it’s worth exploring as articulation and ultimately a more
semiquaver in the melody (on beat many soft dynamics as possible. compelling performance. ■
22• Pianist 80

P22 HTP Melanie-FINALish.indd 22 11/09/2014 14:46

 April 2014, recording of the Beethoven “Emperor Concerto”, Sir Neville Marriner and the Academy of St. Martin in the Fields, Cyprien Katsaris with Steingraeber E-272

„The magnificent Steingraeber E-272 has proven once more to be an „Such a pleasure to work with Steingraeber instruments.
ideal companion … The sound is always perfect and never gets hard.“ Perfect for the soloist, the orchestra and the conductor!“

Cyprien Katsaris www.steingraeber.de Sir Neville Marriner

NEW
Piano Syllabus
2015 & 2016
Featuring pieces by Alwyn, Bartók, Chopin and lots more! Take a
look inside the syllabus from 3 July at www.abrsm.org/piano15

Grade Piano Exam Pieces 2015 & 2016

2 Grades

1–7
Piano Teaching Notes
Exam Pieces on Piano Exam Pieces

ABRSM Grade 2 2015 & 2016

Selected from the
2015 & 2016 syllabus

1
Grade

Piano
Exam Pieces
The complete
2015 & 2016
syllabus

Piano Exam Pieces and recordings are available

from your local retailer or www.abrsm.org/shop
23• Pianist 80

p23 Ads.indd 23 11/09/2014 09:50

 play HOW TO

SCHUBERT
Moment Musical No 1
As you learn this popular piece, remember that Schubert was a great song composer, advises
concert pianist and teacher Lucy Parham, who helps you find the right legato and cantabile
Ability rating Advanced in bars 1 and 3 are not squashed in any The forte in bar 13 is sudden and
Info Will improve your way. They are an inherent part of the the phrase is repeated twice for
Key: C major 3 Cantabile tone melody and should be included as such. extra effect. The B major chord at the
Tempo: Moderato 3 Overall structure of a piece
Style: Late Classical 3L ight-footed pedal work The RH has the melody alone in bar 3.
In bar 4, the LH enters with its own
Learning Tip
This gem of a piece is the first in a special character. When you play the In order to find the right tempo,
set of six Moments Musicaux for solo LH entry, note the slurs on the second first look at bar 30, where the
piano. The pieces were composed by and third notes (the two semiquavers) triplets must not sound rushed
Schubert in 1828 in Vienna and have and try to articulate them. Also
remained extremely popular with both articulate the staccato notes that follow beginning of bar 15 intensifies the
professional and amateur pianists since – they should match the RH staccato dramatic feeling, so make sure you really
their initial publication. quavers in terms of touch. There are so grip this chord and voice every note.
Lucy Parham performs many different types of staccato, but I I suggest you practise the jump from
Don’t be fooled by the apparent Rêverie at the Quartz suggest the staccato here should not be the triplet to the fz chord (i.e. from
simplicity of the Moments Musicaux – Festival in Taunton with in any way spiky or too short. Really beat two to beat three). The last beat of
they are all exceptionally tricky pieces Henry Goodman (Oct 9) ‘grip’ the RH chords, and when it comes bar 16 needs to sound enormous: whip
to pull off. Although not as technically and at St John’s Smith to bar 5, make it less (dynamically your hands off the key so the silence of
challenging as the eight Impromptus, Square, London with speaking) than the previous bar. See if bar 17 becomes all the more dramatic.
they nevertheless pose their own unique Simon Russell Beale (Oct you can make a perfect echo. Always
set of problems (and pleasures). I advise 19), part of her Sheaffer ensure you can hear the top note of Make sure to count precisely through
glancing at all six pieces before you Sunday Matinee Series. the chord – imagine that your fifth the rest in bar 17. The temptation to
start learning this one, as they form a The series concludes finger has a steel tip at the end of it! cut it short must be quashed! Listen
coherent unity and are most frequently with Nocturne with Juliet Crescendo through bar 6 and make sure to the silence you have created. The
played as a set. You don’t need to learn Stevenson and Alex you observe the accents on the first and following bar is one of the most
them all of course, but it’s good to look Jennings (Nov 23). fifth quavers. There is a sense of arrival heavenly moments in the piece and it’s
at them as a whole. And if you enjoy Parham’s recording of when you reach the second beat of worth spending a lot of time trying to
learning this one, I am in no doubt that Odyssey of Love with bar 7 but that is immediately dissipated work out the perfect decrescendo. It
you will enjoy some of the others too. Henry Goodman and by the ensuing piano. The repeats are needs to melt into bar 20 where the
Juliet Stevenson has very important in this piece, which RH must observe the slurs beautifully.
The ‘Moderato’ marking is crucial. just been released by means you should do something slightly Imagine they sound like perfect
This piece must not sound hurried in Deux-Elles. different the second time around. sighs! Against this, the projection and
any way, but you do need to keep a real Parham’s season emphasis of the LH must be exact.
sense of line and direction throughout of Sunday morning In bar 9 there is a sense of canon, Constantly ask yourself if your RH is
the whole work. Coffee Concert at Kings i.e., the theme is entering at alternate too loud against your LH.
Place commences on times in either hand. Keep an eye on
Schubert was a perfect composer of 7 December with a where the theme is, because that will Judicious peddling is called for in
song, so melody and line are two of celebrity gala. help your focus. Make sure the triplets bars 20-24. Try to ensure you do not
the most crucial points to bear in For other dates and are all seamlessly legato, as there must pedal over the triplets (i.e. beat number
mind as you start out on this piece. details, please visit not be any suggestion of ‘prodding’ the two), otherwise you will smudge them
Another important point to remember www.lucyparham.com  notes out one by one here.  and clarity is very important. A light
is to strive for a good quality of foot is needed here. In Schubert’s music,
cantabile and legato. Always go to like that of all Classical composers,
the bottom of the key bed and aim for it is essential that your pedalling is
a warm and sonorous tone. harmonically adjusted, and clean. Of
course, there are always exceptions to
Take your tempo from bar 30. In this this, but not here. Above all, use your
bar, the triplets must not sound rushed, ear to tell you where to pedal.
so it will be a very good guide.
Play the four bars that start from
The opening statement is a very bar 26 hands separately. The reason for
simple theme, almost innocent in this is that the LH requires some extra
character. It therefore needs to be precision. You could try it with some
delivered without any excess rubato. dotted practice in the LH (that is, play
Although the two hands are playing in each chord twice in a dotted rhythm)
unison, pay particular attention to the and try to focus on the descending line
© Sven Arnstein

left hand (LH) line, as it is more likely with the lowest finger in the LH. Try
to get overshadowed by the right hand also to phrase over the barline for a real
(RH) line. Make sure the grace notes sense of continuity.

24• Pianist 80

P24 HTP Lucy-FINALish.indd 24 11/09/2014 14:49

 ’T MISS
DON PARHAM’S
N Franz SCHUBERT (1797-1828)
LESSO
LUCY
TRACK 12 PIECE ADVANCED
ON THIS E
PAG No 1 from Moments Musicaux D780
24

Schubert’s Six Moments Musicaux are among the most often played of his piano works,
although the collection’s title came from the publisher. It has become a popular name
for a collection of short piano works; Rachmaninov wrote his own Moments Musicaux,
for example. We’ve presented Nos 2, 3 and 4 from the Schubert set in past issues.
Playing and pedal tips: Even if there seems to be lots of repetition in this beautiful
work, almost every bar contains so much to absorb – attention to detail is needed. You
will also need to employ your best singing tone. We suggest that you read Graham
Fitch’s Masterclass on page 20, the subject of which is ‘making the piano sing’. There
are no pedal markings on the score, but, as Lucy Parham advises in her lesson on page
24, your ear should tell you where to pedal, bearing in mind that Schubert’s piano
music requires a very subtle and advanced use of pedal.
Read Lucy Parham’s step-by-step lesson on this piece on page 24.

FULL SCORE ON PAGE 60

Moderato
>F
3
5
3
3
f
5
f ‰
3 3
&4 f r
2 5

f f f f™ J f r
f f

{
f
f f
f f
f
p
f >F
? 43 f
r
f f f f™ f
f
J ‰ ∑
2 3 3 1 1

5 5 4
4
j ‰
5 5 5 4 5 5 4 4 4 4 5

f #ff ff bff
4 5 2

& ff
4 4 3 2 4 3 2 2 2 4 2 2 3

f bff f f ff f
b >fff bff

{
f f f ff f >f f
f. ff. ff. fff. ff. f. ff. ff. fff. ff. b f.
? j f f >f f
pp cresc.

f. f f f. f. f. ‰ f f f f. f. f. bf
. bf bf
4
2
>
4 2 2 3 3

. .
4 3 5 5
r
4
7
f
5 5 5
FF ™™ ™™ ™™ f f f f fr f f3
2 2 3 5 3

& bfff nfff fff ™™™

3 3
f
f f f
4

nJff F™ ff #f ff #fff
f
ff

{
f
> 3

ffj
fp p
? f ff ff ™™ FF ™™ ∑
r 3
™™ ™™ f f f f f
f >f ™ f f
3 3 2 1
(2 1 2 3)

11 2 4 5 >f
f
4

f r r
3
f ≈
5 3 5 3

& nfff ff ff f f f f
5 3
f ff f
f f f f f

{
f f f
>f
f ff # ff ff ff
3
ff f
f r
f f f
? f f f f
r f
f f ≈
3 2 4 3 2(2) 3(1) 4(2) 2 3 1 2
4(3) 5(4) 2(3)

60• Pianist 80

P60 SCORES Schubert-FINAL.indd 60 10/09/2014 16:27

The next eight-bar section runs D in the RH (the dotted minim

from bars 30 to 37. When you reach
this section, try to feel one long line
and observe the hairpin dynamic
in the middle of bar 32. At bar 32
you must be very melodic and really
shape this very beautiful four-quaver
phrase, while letting it be flexible and
elastic, too. When that same phrase
is repeated in bar 36 make sure your
top line is legato – use fourth and
fifth fingers to enable this.
Practise the LH separately at bar 38
and always use a rotational
movement. Rotation is a crucial
part of piano technique; it prevents
stiffness and makes many passages
much easier to play. [See Graham
Fitch’s lesson on lateral movement
in issue 72 for more on this subject.]
Give due weight and attention to
the C© in the LH in bar 39. Again,
try not to chop the phrases up – the
RH is in two-bar sweeps. The tempo
in general here should not become
stagnant. Now use both hands to
make a powerful crescendo from
bar 45 until you arrive at bar 48.
There is a real sense of unwinding
for the next several bars until you
reach the double barline at bar 44.
At bar 55, really sing out the top
with the accent). Use the weight of
your whole forearm to project this
note. As the LH descends lower
(almost sounding like a distant
rumble, yet with clear articulation)
from bar 59 to bar 60 you feel that
you are melting away to nothing.
Make sure that your articulation
of the dotted notes in the RH is
played in perfect rhythm.
At bar 75 try to find a different
colour for this repeat of the first
section. At bar 77 don’t let the
RH overshadow the LH. In bar 79
make sure you prepare the leap from
the end of the triplet on the second
beat to the beginning of the third
beat (i.e., from the E to the G).
You could try practising this
section with your eyes shut, or even
practising the exercise of ‘doubling
the leap’ (that is, going up an octave
higher to make it more difficult – to
the G the octave higher).
When you reach the penultimate
bar, really ‘lean’ into the accent on
the second beat, almost as if you are
playing this chord for the final time.
Let the last chord gently die away, as
if you are preparing to go straight into
Moment Musical No 2. ■ 

Pianist’s pianist Chenyin Li on Schubert

Schubert’s music is probably the ultimate challenge for musicians. When you
play it, there is just no room for you to hide. Every note has to breathe music.
Even the rests are important. You need the highest level of musicianship, and
that’s why all the greatest artists play Schubert throughout their lives. 
His musical language has a lot of depth. It’s never over complicated but it
always grasps a certain sentiment that, a lot of the time, you simply cannot
put into words. There are moments of absolute ecstasy and then in the next
moment, desolation. It’s like a smile with tears. 
When playing his piano works, try to think vocally, as if you are playing one of
his songs. The accompaniment should never be exactly just accompaniment. It
has to rise and flow with the tune, breathing with it. It helps to know what it’s
like accompanying singers, because when it comes to the solo pieces, the one
hand is doing the melody and the other the accompaniment.
Think carefully about the grace notes and dotted rhythms. They cannot be
dealt with in a simplistic way. For example, in the Moment Musical No 1, for
the opening theme with the second beat grace note, think about whether it’s a
passing note or whether to lean on it a bit more. There’s no rule to say what’s
right or wrong. It’s the same with the dotted rhythms. Often in Schubert’s music
you see a dotted quaver/semiquaver against a triplet. Sometimes you should do
as written. But other times you need to play the quick semiquaver together with
the last triplet. Use your judgement to think about what’s more appropriate to do.
You can always discover something new about Schubert. His D960 B flat
Piano Sonata is a milestone; the piano quintet (‘Trout’) and the C major string
quintet are both wonderful, and one cannot overlook his many string quartets!

P24 HTP Lucy-FINALish.indd 25 11/09/2014 14:49

 play HOW TO
FULL SCORE ON PAGE 38
TRACK 6

4
&4 Œ

4 & nf f f4 f .

{{{
4

{
? f
?
J
4

4 & nf f f f .
4
JANET

{{{
2

? nff f f‰ f Œ
&
4 3

& nffJ f f‰ f Œ
4

J ‰ Œ
3
’T MISS S
DONNEWMAN’

LESSO

? fJf #f‰ f Œ f. 9 f
2
N
PIECE
ON THIS E

2 ff ff ffJf.
? 442Allegretto
&

{
? 42 Œ
Œ
? 2 ff. ff. fff.

.
? 2 Πff ff ffff
PAG

.
ff ff. fJ
2

. . f.
2

. J
26

Allegretto
& 4Allegretto
. . f
& 4RONDO
ff5. ff.

1
fJ
5

J.
f5

Jff
. 5
. . f ‰
f. f. J

ff.J ff. ffJ ‰ f fJ f f

5

ff. ff. fJ. ‰. f f f f

. f
1

ff ff fffJ.
5

ff ‰ fJf ff‰ ff ‰
1

J
f ‰ f. ‰. f ‰
Jf Jff
f ‰
5

f.
Wolfgang Amadeus MOZART (1756-1791)

Mozart was a mature composer when he wrote this sonata; he described it as being for

f
3

2
2

2
J. .
f ‰
fJf ‰ Jff. ff. Jff
J
3

ff ff J
2

J
2

fff f#f f ff. . ff. . f . . fff ™™

.f
‰
ff ff fJf ‰ f f f f f f f #f
‰
‰ff.
fff ‰f fff. ‰ff. fff f ‰f f ff ™ f f #f

‰
‰
ff‰.
ff
‰f.
f
J
.
ffJ. ‰ff. fff ff ffJ f ‰f f f ™

ff.
ff.ff ff. ‰ f ff. ff.f fff f f ‰ f f ™ f

ffJ. ff. fff. ff. ffJ f f f ff ™™ f f f

ff ff fff. f
ff‰.
ff ‰
J
55

5
‰
5

5
5

#f
5

#f
f
f
Rondo from Sonata in C K545

beginners (it’s also known as the ‘Sonata facile’). Pianist presented the first movement
of this charming sonata in issue 14 and the second in issue 3, so it seems long past due
for this final movement to make its appearance in the magazine!
Playing and pedal tips: What a wonderfully happy piece this is. You should have no

RONDO
Allegretto
ff5. ff.
RONDO
2RONDO ff ff. ff. f f f f f f f f #f
5

™
™
2

2
2

2
3

3
3

3
f f f #f
f™

#f f f f f nf f
3

#fff ™™ f f f f nf fff
2
4

f nf f
4

5
fJ
f nf fJ
ff
f
f
J
2

2
5

5
1

1
2

2
3
5

3
5
3

3
1

1
3

3
4

1
4

1
4
1

f f f f
1

f f f f
1

1
f
f f ffJ f
J
f
J
f f f‰ ™™
J
f fJ ‰ ™™
2

f ffJ ‰ ™™
Jf f ™™
f
f f f‰ ™™
Jf
f fff f
f ™™
INTERMEDIATE

difficulties adding a bit of humour to it! For example, just look at the playful pause at
bar 52. A more technical aspect to notice is that halfway through bar 8, both hands
jump to the treble, so you will want to have your hands in the right place as soon as
you’ve finished playing the repeat of the first section. Very little pedal is needed.
Read Janet Newman’s step-by-step lesson on this piece on page 26.

f f f f
3

3
1

MOZART
4

f f f ffJ
3 1

f ‰ f ff f ‰ f
24 2 3 1 2

f f ff ™™
3 2 5
1 3 2 5 1 3 45 4

& .
f J#f f f. f. J f. f. f f
4

f #f f f 9 f

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

& .
2 2
f f f 3 41
f f f
f #f f f. f. f. f. f f
5

f #f f f 9 f
5 5 4 3 1
3 2 4 2

f ff
1 3 2 1 3 4

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

{{
& f ff ff. 9 f f f f f f ff f
4

ff #f #f ?#
3 1

f f f
2
f
3 2 4

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

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

? #f
4 5 1 3 1

f f f f f
5

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

. .
4

. .
5 1 3 1

f
5

#f f f f f #f nf f f #f f? #f ff f ff f fff f ff f ff f #fff
5 5

ff ff f ff
3 4
11 1 2 1 5 1 3 31 4

f . .
24 5 4 4 21 11

& . .
f f ff#f ff f ff ff ffJ ‰ ff ff #ffJ ‰f
1 5 3

f f
5

11&
#ff f f ff f #f nff
5 5

f f f f

{{
3 4
2 5 4

. .
3 4 2 1

. .
f f #f f f ff ff ffJ ‰ ff ff #fJf ‰
1

11&
#f f f f f #f nf
1 2 1 5 5 1 3 1 4 5

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

J ‰ J ‰
1

&
? f f f f #f f f f
‰ ffŒ. ff. & fff ff ff. j ff‰. #ff ff j ‰ ?

{{
f f
f fJ #f f
5 5

# f f n . . fj f f‰ f?
? f #ff # f
f f #f
3 4

fJ ff‰ f. j ‰ #Jff. ff‰.

f f
11 5

‰ f Œ
2 4 3 4 2 1

f
1

& f f f J & f
1

. . f. j ‰ . . ffj ‰ ?
4 1 2 4 1 2 1

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

‰ Œ
5

f & f f #ff ff
J
1
f. f. ff
1

ff
4 1 2 4 1 2 3

. .
3 3

.
5 5

? f f f f #f f f f f ‰ Œ j
f. ff. ff ‰ #ff. ff.
j ‰ ?
4 1 2 1 4 1 2 1 3 3 3 5
& f
5

J . ff

Rondo from Sonata in C K545

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

38• Pianist 80

P38 SCORES Mozart-FINAL.indd 38 10/09/2014 16:22

Teacher and performer Janet Newman reveals how you can find a range of expression even
within the boundaries of the Classical style to infuse real joy into this sparkling movement
Ability rating Intermediate the two hands be playful and simple.
Info Will improve your The semiquaver run that follows is best
Key: C major 3 Finger dexterity thought of as melodic and singing.
Tempo: Allegretto 3 Lightness of touch Play into the keys and use your fingers
Style: Classical 3 Interplay between hands very precisely. Also make sure that the
little LH figure is absolutely rhythmic
and carefully placed with the RH part.
This little Classical piece epitomises
many of the demands of Mozart
Although this seems very straightforward,
for less-experienced pianists, this kind
playing within a miniature context. of stripped-down playing can reveal
Precise, clear and sparkling fingerwork problems with coordination and
are allied to a joyful, playful melody, synchronisation just when least expected!
and every note matters – this is what
makes Classical playing so demanding. In general, this kind of Classical
If you listen to the many wonderful playing benefits from keeping fingers
Mitsuko Uchida recordings of the curved. Try to play on the fingerpads,
Mozart sonatas or concertos, you will not the ‘flat’ of the fingers. This is
hear Classical playing at its absolute especially true when you have runs and
best. Her limpid, delicate touch is semiquavers, as you have a far greater
completely at home within this style control over evenness and tone as a
and yet she manages to reveal the result. In bar 8, the first two quavers
enormously expressive qualities of in the LH are to be detached – and
the music without ever forgetting the at any other corresponding moments
boundaries of the period. such as bars 16, 17, 18, 28 and 60. The
LH phrasing in bars 32-34 and bars
The Rondo comes from the Sonata 45-46 are usually played legato. These
No 16 in C major K545 and was moments contain some of the more
unpublished in Mozart’s lifetime. expressive elements of the music, so
It has since become very well known, work on this hands separately in order
especially the first movement, with its to have control over the tone and shape.
simple melody and scalic passagework.
The last movement, written in rondo After the double bar at bar 8, practise
form, has a lively, mischievous quality the RH alone so that you have a real
to it and is a worthwhile piece to grasp of the fingering. The first three
study. Apart from the simple pleasure semiquavers are slurred – the third one
of playing such music, it will also do should be staccato, like the one that
wonders for your technique in general. follows (fourth). If you adhere to the
printed fingering, this will help you to
There are no pedal markings in the show the phrasing that Mozart wants.
score. There is not an outright ban Try to relax on the slurred notes by
on pedalling in Classical music and of pulling down with the wrist, and then
course, there may well be moments in coming up slightly in the wrist on the
this piece where a dash of pedal would detached notes. If you also imagine
be just perfect, but it is best to use that you are ‘plucking’ the key surface
pedalling sparingly, like any powerful with your fingertip, this helps gives a
seasoning! That is why I have not lightness to the sound and also keeps
put any pedalling in the score, as the the articulation alive and rhythmic.
little you may choose to use will be a
personal choice – for example, the final There can be a tendency to rush
chord. On no account use it through passages like these throughout the
any runs or passagework, as this would piece, so use different rhythms to
be ruinous to clarity and precision. help you to gain security. If you count
Janet Newman is Head
this passage in four quavers and then
of Keyboard at the Royal
The opening rondo theme in C major hold up the second and fourth quavers
Grammar School in
should be evenly detached. Keep your by turning them into crotchets, this
Guildford. In addition to
fingers nicely ‘braced’ and prepared makes you very aware of every single
her teaching, she is in
for the light staccato touch. Make sure note in the phrase and prevents you
demand as a freelance
that they all have the same quality of from practising automatically by just
pianist and is an examiner
sound – no accents on the first beat, for constantly playing through. Do this on
for the ABRSM.
example – and let the interplay between the first and third quaver beat too, then
26• Pianist 80
mix it up by holding up only the fourth
beat, then second and so on. Be able to
play these passages in all of the possible
permutations as well as good old-
fashioned slow practising – something
that can get forgotten!
Learning Tip
Listen out for a good balance
between the hands – don’t let the
LH rule the roost!
You will also have noticed there are
no dynamic markings in the piece.
This does not mean that you do nothing
with the musical shape. It’s left to you,
the performer, to choose how you wish
to colour the music, bearing in mind
that in Mozart’s time, the limits of the
instruments would have meant that
the dynamics were never going to be
vast ranging. I would keep the Rondo
theme quiet throughout, and then
‘warm up’ the tone after the double bar
(halfway through bar 8 to the first beat
of bar 12), then drop back to a muted
dynamic in the theme’s return later
in the piece. [Listen to Chenyin Li’s
account of this piece on the covermount
CD to see what she does in this place.]
When the music moves into the
relative minor key at bar 29, there
is a slightly less positive mood for
a short while. Keep the dynamic quiet
at the start of this phrase and then have
a crescendo from bar 32 through all of
the semiquavers into the E major phrase
at bar 36. I feel that the dynamic here
is bigger, but then drops again at bar 40
before another build-up beginning at
bar 46. This subsequent phrase could
also drop away, ending at piano again at
bar 52 – which leaves an element of
surprise in the rather sudden ending.
Aim to create expectation here and
make the most of the pause bar so that
the cheekiness of the Rondo theme
brings a welcome sense of return.
Practising the coda – bar 60 to the end
– in differing rhythmic patterns will
help you control both the articulation
and coordination between the hands.
Bring a feeling of exuberance and
impetuosity to this passagework. Finish
with a very firmly placed final chord, as
this should bring the whole piece to a
happy, sparkling close. ■

P26 HTP Janet 79-FINALish.indd 26 11/09/2014 14:50

 Pianist80
{
{{
&
?
&
27
27

&bb ˙™
27

27 b - .
&
? b œ˙™

b
b
{
{{
?
&
?
&
24

-
˙™
-
-
˙™
b b

œ
œ œœ nœ.
24
Track

bœ
bœ.

? bœ . œ. œ. .œ œ

b
b
.
œ
.
? bœ . œ. œ. œ œ Œ
.
&bb bœ bœ. bœ. œœ . . œCla
24 8

24 b œ. b .œ b . . .

œ
Œ
Œ
œ

œ.. nœ.. œ. œ. . .œ-

nœ .
.
.

.
.

. bœ. bœ. . œœ. The

œ. œ. œ. œ.œ. œœ œ.œ œ.-œ . . œ5 . œ

. . . œ- œ .
.
œ

œ œ
.
. ude
œ œ. œ. œ. . DE
œ. œ œsnow
bœœ œœ.. œœœ. œœœ. œ.œœ. œ.œ. œ.œœ. .œ . w
œ .
& b . bœ. bœ.Œ. . . .œ. œ. œ. œ. œ. bœœ. bœœ œ.œ œ. .
.œ œ Œ œ œ.œ œ. œ.ŒŒœ. œ. . œ. œw
. . œisœdanc

.œ. . œ. œ. .œ œ Œ.

-
Œ

.
.
œ œ œ. œ.œ œ. œ. œ5 bœ.. bœ.œœ . .œ. . .
.

. œ . œ. œ. wing,
œ

. œ
œ

5.

? œ-œ. œ. œŒ. œ œŒ œ œ. . œœ. œ. œ. œ. .œ. œ. œŒ œœ œ w œ. . nœ. . œus. .theœ.nearest

Œ . Œ. . œ-œ. œ. .œ. œ. œŒ œ œ.
.
.
œ
œ. w bœ. No

œ.

.
BU SSY (18

.
.
.

? œœ-. œ. œ. œ œŒ œœ œ-œ œ. œ. .œ. bœ. bœ.ŒŒœ. œ.œ. œ.œœ.. .œ. .Œœœ.. . œœ.. œ œ-. œ.œ. nœ.œ the
.

.
.
.
Œ

- œ œ . bœ bœ. œœ. œœ.œ œ. œ..œœ œ. œ. w

b -. œ. . nœ.ŒŒœ. œ. œ. œ.Œœ.. . œ.. .œ.œ. œœœ. œ œ5œ. . bœœœ. bœ.œ. . œ.œ. œ.œœ. œ.œ œ.œ . . w-
œ
bœ. . œ. 62-
bœ. bœ. 4 œœfrom

.
œ
.
Œ.
. . œ. œ. .œ. œ Œ œ œÓ œ. œ. . œ. . œ. œ˙œ. .œ. .Œœ.. 
œ
œ
. œ. Child

œ. œ. œ. œ. œ. œœ. œ.œ œ.œ œ. più

.

.
Ó
œ œ
. œ. œ. œ œ -2
Ó
. . œ. œ. œ œ. œ5

.
.
.
bœ bœ . .Ó. . œ œ . . œ œœ. œ.œ-˙ œ.œ œ. .
191 8)più
œ. œ. . œ. ˙˙- . .
œ. œ. ren’sœœ. Corn

. œ œ . œ. œ. w œœ.. nnœœ. We
. œ œ
œ œ œ . . w
. . œ. œ
.

-
-
5
-2

œ. œ œ. the
b
b


œ


œ œ

- p  For Examp
più p

. . œ-2.5 œ. œ œ -œ œ  œŒ œ. œ.   

œ
b
b

œ Œ   œ.
œ
œ


. piùerbœ. bœ. œ.  œ. ˙4-4 INTE

œtrack
-
œ
- 13b

˙ p.


pœ bœ . . ˙

.
.
.
.
œ

œ5-2. . œ. œ. -œ. œ.  œŒ  œ     

. 
Œ
 - 


œ
October - November 2014

œ  4. . œ œœ. œ.
.
.  - . œ œ. 

œ
œ
œ
4

- (Track 13) I’ve

Œ œ œ. ˙. .  .Œ.  .     

œ

œ  Œ. . 

œ. areœ. œ. howœ. the

œ. œ.seeing
Now let’s 

œ fourth


œ.œ. 
œ.œ. essentia
second general


consider

œ. 
œ. toœ.the
and


œl.œ.bluesœ.œsound

œ

œ
.

œ. œ. œœ. frequen
.
le 3

. 


     

.



œ
œ

 . . 
the entirety

ly being

. desired


œ. fifthœ.thatœ.œœ.is (this
. RMED
.



- œ œ œ. œ.


œ



œ


.


JOHN





œ    
œ


.
IATE


œ. t use of chord


œ. . 
 of 
œ. is Sometim

omitted . 


the blues

œ. effect
of importa




KEMB


added a few 
more notes

 
  


    

 
scale.
es, though,
also the case


IV togethe

with Exampl



       

b





r with 

In any key,


ER Ke

     

  


    
 

the 
as in Exampl blues







        

the A (minor

scale
e 3 above,

 

yboa

for the RH, 

but still keeping


              


  


 third)






is more



          
 


  
rd c


to a simple 





        

        

influenc


minor

 e the ‘blue-ne


  ss’ of tone.
than
major,
lass

repeate

 
   



d motif:

{


Track 10
LUCY PARHAM

oN tHis

Brahms was
111 when

      Adagio

  # 3 œ3


 

   & #83




  °


#

he

mf

& #8 œ œœ œ œ œ5 œ
p
DON’T MISS
’s

PiECE
leSS

57 years old

pp
SSON
page 24

œ œœ
ON

in 1890 and
to this resolutiresolved to give up compos
collection of on, instead produci
three Interme
piano pieces,
Brahms biograph
opus

5
Joh ann es

had just complet

ø
and are very

con molto
œ
œ

œ
Ϫ
J Jœ œ
BR AH MS
Intermezzo

ing altogeth ed the String Quartet

ng some profouner. However, he did
zzi and a conclud116-119 (1892-1

  Clara Schumann, writing nald describes this

 you know
noting that
them?
er Malcolm
ing Rhapso
dy.

veiled,
d last works,
893). The including
opus 119 set

 They look as if they wereto Brahms, likenedInterme

MacDo
zzo as ‘ravishin
it to ‘a grey
precious.’

pedale
œ
4
pearl.

œœœ
4
op 119 no

opus
not stick
the

Do to do

œ
Ϫ
?J œ œ
(18 33- 189

J
1

Playing tips:
execute this It’s often said that

really good
controll
piece. Its deep,
comprises sound, colour, phrasin

through

œœ œœ œ
out
g,

’s in-depth

5
7)

you need to
introverted

g pp –
voices. Trying
be a real

with musical this piece. So the reason to keep the notes

See Lucy Parhamissues than flashy
lesson on

≈ œ ≈ œœ œ#œ œ œœ œ œ 1

≈œ œ œ
°ø ø
it is classifie
finger techniq
this piece
ue.

≈ œ ≈ œ nœœ#œ œ

œ
Œ
J 1
5
right

on page 24.

œ
ADVANCED

quality requires musician to successf

for practisin rather than just playing
the
the perform
er to think
g’, challenging sound in the inner never easy to get exactlynotes accurately. It’s of
ully

– and it’s goodalso

even and soft for
d as Advanc

œ œ
is a
ed has more
Scores
Contents
 the major 

 nce to the e9  despite 

. . .œ. œ. œŒ œ. w . œ. theœ. ‘perfect ø ø 5 ø1 etc.


 pianist. Unlike on the opposite page). third is used each the sixth

{
œ. 

{
- œ. are
 time in chord note and the
œ
 
that we 
œ. slaid– œ.out
 other jazz It
Examples

can 
achieve

 instruments is the careful use I
4-7  
with  of the extra without losing -
Œ . œ œ
our  the pianist
- œ
fixed-pitch 1

. w. . œ. note œ. referred
’ interval below.  instrum is unable note
Examp  to ‘bend’ notes between
Œ

œ. The

œ. toC inhas
the scale. 
are le 4 (Track ent.
 
œ.
unchan
œ 


{{
 ged, while 14) is the and this gives
.
b   
.
bracket the blues scale
s around
 and the seventh 
third  
of F. Here
30 Exampl es 5, 6 and –
it that’s

because  notes are 
the fourth

 extra note  
and


b
 it is an flattene
 fifth notes
ises the #
30 7. 6
&b 2. . . . 1
In Examp d, which
 above
the key note
œtone
2  squeezed 
further
# ‘extra’
les 5-7 

bœœ ofœnœ œ œ œœ œœ œ œ
  emphas
& œ œ œ œ 1
(Track
&It is the
 betwee

œ. œ. œ. œ. -œ^-^. œ.. œ. œ.. . . .

passing note (either 
s 15-17)  
 n the fourth –
accented  , that  and the fifth. minor
≈
extra, 
œ
or not) or‘in-betw
≈ œ

œ
a C , as it
^ ≈ n
b

œ##œœ nœœ ≈ œ œ œ
een’
 
≈œ
would look   
œ. œ œ. œ œ. œ. œ. œ.. -^. . . . 1 2. . .  
30 as a grace note

– the  
œ#œ œ œ œ
show the clumsy and
pp^ 2
 note. flattene
  

note  unnecessarily Note: In Exampl 
d

nœœ œ œ œ œ œœ œ œ
fifth – is an

30 b
. 
additional
enharm


  

& . . 
e 5, I have 
^ œ œ œ œ -œ^. œ. œ. œ. ≈≈1 2. . Examp
onically
ppœ .
 awkward 
. œœ œ. œ. œ. 1
, and
. . 
much to read as  interval that is
œ œ œ œ w œ bœ œ. œ.le ≈4 (Track

LEARN MORE
written out
?
clearer to

? b w-^wœ-. .2 œ.. œ.œ. œœ. œœ. œ1-^. œ. œ.œ œ. œ. œ^ . . .

 b a C grace
  
read the best

. œ.14)œ. œ.
 note followed by a flattened fifth as a B used as a
as such.
 œ #œ œ™ œ
& wv œ bœ œ œ ≈ œ   ? # better to œ œ
§ C . For this §
 rather than

bpp51 œ œ. œ. . œ. . -^œ. œ. œ. wœ-. œœœ. œœ. œœ œ.œ -^ . œ œ œ ≈

 

    # ≈ œ
exercise, it’s
œ


.. œ . . ≈1v 2. . .  . œ œ. œ œ    œ

.  .    
.œ . tracks
? ppw-^œ5.1 œ. œ. œ œ œ. œ œ. . œ. w-^ œ. . œ. œ. œ. œ.. œ. œ.. ^œœ.. œœœ. œœ. œ14-17w .  
-. . . . œ. . œœv1. œ2œ. bœ. œ. œ. ≈ œ œœ. œ. œ
Example
     & nœ œ œ
5 (Track
b . . œ. œ. œ ^œ. œ œ œ ‹œœ#œ
15)

? w-œ51. œ. œ. œ œ . w- . œ. œ œ1 œœ œ œ œ w≈. œœ.. bœœ. 



. œ.. œ. œ.. .

≈      nœ œœ
1 
œ œ œ




 œ
Ϫ


œ2. œ œ. œœ œ œœ œ 


b . . œ. œ. œ œ. œ . . . œ


. w- . œ. œ œ1 œ . œ. œ. œ 2 œ5..
v

  
     J Jœ œ ?

{
. œ
Ϫ

{
. . . œ. œ œ .  œ
J J nœ


. œ
1

. œ œ. œ. . œ

1


5

. œ. 


5 1   

œ. œ2 Examp 

{{
. le 6 . œ œ.    
. œ5 œ. (Track œ 116)  
33 1

&bb ≈ .. .. .. .. ≈ . . . . Cédez un œpeu     . .

Cédez un 
2 
33
. 
peu 
. . . .
  & ## œ œ œ ≈
12
& ≈ œ bœ œ œ ≈ . . . . Œ 5   1      . .
w œ. œœ. œœ. œœ. œœ.. œ.. œ.. œ.. œ. œ-33 -2


v œ bœ œ œ œ œ œ œœ Céde


   


w


œ
Example
   ≈ # œ ≈

28 LEOPOLD MOZART 45 KEYBOARD CLASS

œ œ œ Œ œ œ œ œ. œ- -œ2 ˙-1   œ
≈# œ ≈ nœœ ≈ œ œ
33 7 (Track
v       
≈ . . . . . .
17)

33 b pp œ nœ ≈#œœ ≈nœœ ≈œ œ 4 - 5
 5

& œ ˙-  

WITH OUR
pp z un peu 1  4

 œœ œœ œ
 -5

œ. œ bœ. œ œ ≈ . . . Céde
? pœ. un .peuœ. en. 3 . . 3
3œ
      #œœ ≈ œœ œ
rit.
? b ≈œw
3

un peu enœdehor


Œ. z un ppeu 3œ œ s . .     ≈ œœ #œ œ ≈ œr #œ 1 3
.v .œ. . . œ. . œ.œ. œ.œ. œ pp dehors œ 3œ œ. œ œ


-3 -2 1 


&  # #œ œ. j
pp 

?
w œ œ.bœœœ. œœ œ œœ≈.. œœœ. œ œœ œ. œ&. Œ . .. œ... 3œ. ..œ. œ.. œ. .œ. œ.. . .. 3 2œ ˙-
b pp  œ. ≈œnœ œ œ # œœ œ ≈ œœ œœ ™™ œ
n œœ ™™ œ
œ 33œ œ #≈ .
≈ œ œ #œ.


? pp œv . œ. & ≈œ œ bœ œ pœun peu œ en .dehor 3 .

. 3œ .œ œ-. -. 1. 
b . œ . œ. . pp ≈4œ. .œ b3œ..œpœ.œ3œ œ œœ œ≈œ 3œœ œœ œs œœ œ œœ œ œ. bœœ. œ˙-. œ.. .. . œ. œ .  ≈ œ œ nœ ≈#œœ ≈#œœ ≈ œ
? œ. . œ. œ œ. œ. . œ & pp 4 . . 2.un peu. .. en≈.dehor . .s.œ . .3œ .œ œ≈ œœbœ œ œ œ œ œ œ œ œ. œ. 3 œ.œ œ #œ œ œ ≈
Burlesque Semiquavers (16th notes)
p
35 2 . .
b œ. . œ . œ b .
. œ. œ ≈. œ œ.5œ œ. œ œ. œ œ œ . œ . œ . . .. ... ..œ . .œ ≈œ. .œ œ.œ œ 3œœ œ œ ≈ œ ≈ œ ≈ nœœ œœ œ
5

œ.
5

œ. œ & 4 . .
œ≈ 5œ bœ3 œ œ2 . œ . Pianist ≈. œ . œ . œ . œ œ bœ œ . œ . . .. . . ..œ
p45-48_K 46• Pianist
R œ
œ
J
œ œ œ œ. œ œ. œ . œ . ≈..œ . œ . œ . œ ≈œ. œ œ. œ œ . œ .
eyboard-F 65
INAL.indd
p49-65 Scores2-F 54• 46 p49-65 Scores2-F 63• Pianist

4 .
≈ .
65

œ
INAL.indd 65 INAL.indd

. œ œ œ . . . œ
54 63

. b œ œ œ
5

. . . . œ . .
. ≈ . .œ œ œ ≈œ œ œ œ. œ œ. œœ.
5 3 2

. . . .
5

. . 5/3/12 16:08:20

VIDEO LESSONS
5/3/12 16:12:00 6/3/12 09:17:03

29 PAGANINI 49 BEETHOVEN
Caprice No 24 (arrangement) Bagatelle in A op 119 no 4

30 TCHAIKOVSKY 50 ADOLF JENSEN

Go to the Pianist website to find The Doll’s Funeral, No 7 from Lied op 33 no 10
an array of video lessons – Album for the Young op 39
from the basics of playing to more 53 BRIDGE
32 HUMMEL At Dawn, No 1 from Three
demanding technical issues. Scherzo in A Improvisations for the Left Hand
All you need to do is go to
www.pianistmagazine.com/tv 36 HANDEL 56 MOSZKOWSKI
Allemande in A minor HWV 478 No 4 from 12 Etudes for the
to get started with the complete Left Hand op 92
piano learning experience! 38 MOZART
Rondo from Sonata in C K545 60 SCHUBERT
No 1 from Moments Musicaux
Our latest videos include: 42 COLE PORTER D780
I’ve Got You Under My Skin
Tim Stein and John Maul have made some 30-plus
lessons for Pianist, all devoted to the basics of learning
the piano. Tim’s most recent lessons are on slurs,
rhythm and using the thumb. Past video lessons
include the basics of chord playing, sight-reading, READ PIANIST ON THE GO
fingering for beginners, how to sit, geography of the
keyboard and more. These beginner-level lessons are Enjoy Pianist as a digital edition wherever you are in the world!
demonstrated on a Roland. 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 has sound files from
Graham Fitch continues his Masterclass series – this our tutorial CD, so you can still listen to the scores on the go!
time on how to acquire that perfect singing tone.
Watch him demonstrate a number of techniques and Why not download our FREE Pianist app and then view our
see him focus on three of the pieces inside the Scores – FREE sample edition by visiting
the Mozart Rondo, the Jensen Lied and the Schubert www.pocketmags.com/pianist
Moment Musical. Graham’s lessons come directly
from Steinway Hall, London, where he demonstrates The Pianist app is available on iPad, iPhone, Android Tablet,
on a Model D concert grand. Android Smartphone, Kindle Fire, PC and Mac.

WE AIM TO MAKE TOP QUALITY PIANOS - AFFORDABLE TO ALL

Buy Direct from Piano Maker and Concert Pianist
Typesetting by Spartan Press
Rent a quality new piano for only £10 a week Music Publishers Ltd
with the option to buy
All the money paid in rent may go
towards the buying price

www.pinkhampianos.co.uk - Telephone: 0845 070 3833

OUR AIM IS TO GIVE YOU THE FINEST SERVICE AND VALUE FOR MONEY

p27_Scores_Intro-FINAL.indd 23 11/09/2014 14:12

 TRACK 1
Leopold MOZART (1719–1787) BEGINNER
Burlesque from Notebook for Wolfgang

Wolfgang Amadeus Mozart was fortunate not only in his great musical talent but RH, it’s a great exercise for scale practising. And for the LH, you will need to
also in his father, Leopold, who helped him develop his talent and guided his practise the technique of rotating the wrists for the octaves. Notice all the staccato
career. This Burlesque, from a collection of pieces by Leopold for his son, was (detached) notes, the slurs and the dynamics. There’s a lot to absorb within this
given to the young prodigy on his seventh birthday, 31 October 1762. delightful, sprightly piece.
Playing tips: Good finger articulation is needed throughout this piece. For the Take a look at the technical tips within the score.
Keep the RH notes nice and even, remembering
Allegro means to play staccato (detached) whenever you see a Try to think in long four-bar phrases. Lower the dynamics
‘fast’, but start Allegro dot over a note. suddenly here to ‘p’ (soft).

# 2Allegro f f. f f. f f f f. f f f f f f f f f
off practising 4
1 3 4 4 2 1 1

ffff
very slowly, and
hands separately.
& 4Allegro fff f . .

{{
# 2Allegro f f. f f. f f f f.. f f f f f f f
. .
1 4 3 4 4 2 1 1

& # 4 f f f pf f f f
2 f f f f f f
f ff f f. f f f. f f f f f. f f f. ff f f. f f f f f f ff ff . . f f
The key is 1 4 3 4 4 2 1 1

& # 4
f
f f f f
2 f
G major (note
?&# 424 fff f
1 4 3 4 4 2 1 1
the F sharp).
f ff f f f. f f. f f ff pf f

{
f f f f f f
? # 42 f f
f f f f f f p
f
? # 42 The f f
f LH hasf the samefrecurring f f f f f f f f f ff f f f f ff
f p

? # 42 Feel f f
pattern f
throughout: slurredfpairs of quavers.
f f f
f the down/up (down
isfalways on the firstf
on the first quaver, up on the second).The emphasis f
f should be 5-1.f f f f Now make f the RH sing out,
quaver. Fingering f f f f
f as you have long crotchets to

# isf.a straight .
5
.
play, and one needs to hear
f f f f f f f all the way
4 3 4 4 2 5

5&
This repeat of the first four bars.
f f f f f f f f f f them sound
. .

{{
. f . f
through to the next note.
# f f f . f
5& # . f f. f f f
4 3 4 4 2 5
f. f f f f f f f
5
f
.f f f f. f ff f f ff. ff f f. ff f f. f f f f ff f
f . . f f
4 3 4 4 2 5

& #
f
?&# f
4 3 4 4 2 5

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

{
f f f f f
?# f f f f f
f f f
f f ff ff
?# f f f f f f f ff f ff ff f
?# f f f f f f f f f
f need to be quieterf too, this time around.f f f f f f f
The LH notes
f
#f
9
fto ‘p’ here. Get thef hand ready f f f f f
As with bar 5, there’s the sudden lowering
4 2 1 5

9& f. f f f. f f f infordynamic . . f

{{
#f
this.You will need a lighter touch.
f
4 2 1 5

9& # f
9
f. f f f. f f f 4 2 1 5
f f. f f f. f f
f
&## f f f. f f f. f f f f f f
p
f
f f f ff. ff f f. f f
? f
4 2 1 5

& f . f f. f f ff pf . f f. f f

{
f f f
?# f f f
f f pp ff f f f
f
?# f f f f f f f f f f f f
?# f f f f f f f f f f f f f f f ff
f f f f f f f f
f f
# . f f. f f f U
poco rit.
.
13
f
1 4 3 4 4 2

13& f f f f f f f f
f a small ‘pocofrit.’ means you must make
fdownf. towards
f the
f . slowingrit. f-
The
f end.U

{{
13 # . .
poco
f. f f . f f f f . U
1 4 3 4 4 2

ff f f f f. f f poco
Now play ‘forte’ (loud) again, in both hands.
13& #
poco rit.
f f f f f f f. f rit. f f. f f U f- U
. .
1 4 3 4 4 2

& # f f f f f f f f
? f
&# ff f fff f f f ff
f f f f ff
f f f f f. f f f. f f f. f ff ff- f
f f f f
1 4 3 4 4 2

f . . - U

{
f f f f
?# f f f
f f
f
f f f f U
f
?# f f f f f f f f f f f f f f f f f f f f f ff U
?# f f f f f f f f f f f
f f f f f f f f f f
f
The curve with the dot inside it (known as ‘fermata’),
indicates that you should pause on the notes below it.
28• Pianist 80

P28 SCORES L Mozart-FINALish.indd 28 10/09/2014 16:19

 TRACK 2
Nicolò PAGANINI (1782-1840) BEGINNER
Caprice No 24 (arrangement)

Paganini was one the greatest violinists of all time, a dynamic performer, who, like
his friend Liszt, extended the technical possibilities of his instrument. His famous
and notoriously difficult 24 violin caprices date from around 1805 – and inspired
composers such as Liszt, Schumann, Brahms and Rachmaninov.
Playing tips: The two short sections in this arrangement are characterised by a
distinctive rhythmic figure. Its combination of staccato, legato and accentuations
must be adhered to. The second and third notes of the melodic cells ricochet off the
abrupt first note, while the rocking pairs of notes in the left hand provide a contrast.
We suggest practising hands separately, as both parts are very different.
Take a look at the technical tips within the score.

The RH carries the lively melody. Notice all the accents and the dotted notes – it’s important to bring these out.
Pay attention to the quaver rests; lift the hand away. Also, try to shape the four slurred quavers.
Brillant
Brillant
2j
>>f. j >>F
‰‰ jj #f #f .
5

ff3. ‰‰ ff2. j ff. j

5

CCBrillant ff. ‰‰ ff ff ff ŒŒ
3 2 1 3 2 1 2 1 3 2 1 4 2 1 3 2 1 1

& ff ff ff ff >ff. >FF

5 5
Brillant
ff
3 1 3 2 1 2 1 3 2 1 4 2 1 3 2 1 1

& j # .j

{{
f f f ff
>. . ‰ f.. j f #f ##ff f >>f.. ‰ f f f
f 5 5

& C ff>f. ‰ f. j f ff f f >f. >F Œ

1 3 2 1 2 1 3 2 1 4 2 1 3 2 1 1
Nice easy key
f. j f
‰ f. j f #f #f f >fF. ‰ f f f
of C major. 5 5

C >fF. ‰ f. f f f f Œ
3 2 1 3 2 1 2 1 3 2 1 4 2 1 3 2 1 1

&
? ##FFF f. f ##FFF

{
f. fF f >FF ff
? CC ff>FFF FF F FF f ŒŒ
? C FF F F
F
F
FF #FFF F #FFF f Œ
F
? C Practise #F #F
1 5 1 5 1 5 1 5

the LH onFits own. Make sure the notes are secure

Fbefore adding the RH.There’s a lot ofFjumping f Œ
2
1 5 3
1 5 2
1 5 3
1 5
2 3 2 3
1 5 1 5 1 5 1 5
around
2 the keyboard, so you need to know
3 the geography of the piano well and 2plan ahead. 3
1 5 1 5 1 5 1 5
2 3 2 3
5
j >>f. j >>F
. j
5

ff. j ff. j
5

‰‰ ‰‰ ‰‰ ŒŒ
5 3 2 1 3 2 1 2 1 3 2 1 4 2 1 3 2 1 1

& ff ff ff ff
>ff. ff. j ff ##ff ##ff >FF
5 5

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

& .j .j

{{
5
>>. ff >>. ff
.j
5 5

‰ >f. ‰ ‰ >F Œ
3 2 1 3 2 1 2 1 3 2 1 4 2 1 3 2 1 1

& f f f f
f
>f..
f. j f f f. j fF #f #f f
>f..
f. j f f
5 5 5

‰ ‰ f ‰ ff Œ
3 2 1 3 2 1 2 1 3 2 1 4 2 1 3 2 1 1

& f f f f
?
f. fFF f f. ##fFF #f #f f. fFF f ##ff

{
> F FF f > F FF ŒŒ
?
?
FF FF
FF F #FFF FF FF
FF F #fff Œ
? F #F F #f
5 1 5 1 5 1 5 1

F F Œ
5 2
1 5 3
1 5 2
1 5 3
1

F F
2 3 2 3
5 1 5 1 5 1 5 1
2 3 2 3
5 1 5 1 5 1 5 1

>>f. . bf >>f.
Dynamics should 2 be lowered at bar 9, to Always remember to articulate every RH note and imagine
. f
2 that

>>f.
3 3

>>f.
4

f>. ‰ ffJ. ff b f ff..

3

ff
3

f>. ‰ ffJ. ff f ff
piano or44 ‘mp’33(‘moderately
ff . ff..
9 mezzo 3 soft’).
2 you are bouncing4 off the
3 keys on the5 staccato accented4notes.
3

ff ff
4

.
1 3
ff ff
3 4 1

‰‰ ff ff ‰‰ ff
2 1 2 2 5 4 3 2 4 3
9
™™ >ff. ff ff
1 1 2 2

. ‰ J. b f
4 3 3

& >ff.
4 1

JJ. . ‰ J. f
1 2 2 2 4 3

JJ.
4 1 2 2

&
3

>ff. ‰ fJf. ff b f f
3

{{
™
4 3
f >ff. ‰ fJf. ff f ff
9 2 5 4 3

f f
1 4 3 3
f f
4 1

>f. ‰ f. f f ‰ f
2 4 3

>f.
1 2 2
™™ f f f
4 1 2 2

&
3

f
3

fJ
4 3
f Jf.
9 2 5 4 3

f f
1 4 3 3

mp ‰ J . f f
4 1

‰ f. f ‰ J f.. ‰ f
1 2 2 2 4 3

™™ f. f
1 2 2

& ##nff.
mp

? J ff. J ff.

{
? ™™
#nnfff. ŒŒ FF ŒŒ ff Œ ŒŒ
f. ff. ΠFF f.
mp
™ FF ff FF
? #nff. Œ Œ ff. Œ
ff Œ
™™ ff.
mp

? F F F ff.
5 1 5 1 5 1 5 1

™™
5 3
1 5
Œ
3
1
F Œ
5
F 3
1
Œ
5 3
1

F Œ
F
3 3 3 3
5

5
1
3
5 1
3
5
F 1
3
5 1
3
Remember to lift the LH13 from the piano for the
5
crotchet rests. 13 5 1 5 1

>>f. the crescendo sign below.You need>.to crescendo throughout ff..

Going from bar 153into bar 16 is the trickiest moment in5 3the piece.

jj f fourf .
f. so‰‰don’tff..do itffall atffonce!ffGradeff the crescendo
>ff. ‰ gradually.
13 Practise it very
4 slowly, hands separately, out 1of context.This
5 could

‰‰ ##ffJ. ff nf
5 1 5 4 2

JJ.
5

‰‰ ŒŒ
13 4 3 1 4

nf ™™
5 1 2 2 3 5 4 2
2
be a 4good 1place to start your work 1on this piece!
& ff
2
Notice 5 actually
1

& f.> >f. ‰ f.. j ff f f

f ff FF
1 2 4 3 2 1 4 3
f .
2

JJ.
2

>>f..
f
1

{{
ff ™
‰ #JfJ.
5
13 bars,
f nf
5 5 4 2

Jf.
5 1

>f. ‰ f f f f f >. ‰ f. j f f f ‰ Œ
4 3 1 4 4 1
™™
1 2 2 2 3

& cresc. f
2 1

f F
5

f. ff.. f f f f ‰ f. ff.. f f
13
‰ #fJ f nf
5 5 4 2

cresc. ‰ J
f
1

>f. J
5
f ‰ Œ
4 3 1 4 4 1
™™
1 2 2 2 3

& f
2 1 f
f ##ff..
fF
? J ff Π>FF. fF j

{
ff ŒŒ ŒŒ ‰‰ ŒŒ
? cresc.
FF . FF f. F ff. j
™™
f Πf
#ff. fFF ™
? F
cresc.
ff. Œ F . Œ F Œ .j ‰ Œ ™™
? F
f
f #ff. FF f. j
5 1 5 1 4 3 1

f Œ Œ F Œ ‰ Œ
5
F ™™
5 3
1 5 2
1 4 5
3 2
1 5

f.
3 2 5 2
5 1 5 1 4 3 1 5
3 2 5 2
5 1 5 1 4 3 1 5
3 2 5 2
Notice the crescendo in the last bar. It’s very
short.You will really need to project the last
dotted quaver notes in both hands.
29• Pianist 80

P29 SCORES Paganini-FINAL.indd 29 10/09/2014 16:20

 S
MIS
N’TANIE
TRACK 3
DOM EL ICK’S
SW
N
Pyotr Ilyich TCHAIKOVSKY (1840-1893) BEGINNER/
ESSO
SPAN INTERMEDIATE
L HIS P
IECE The Doll’s Funeral, No 7 from Album for the Young op 39
ON T AGE P 2
2

Inspired by Schumann’s Album for the Young, Tchaikovsky decided to write his own
collection of short character pieces designed to be played by children. Containing
24 pieces, Tchaikovsky’s Album for the Young was completed in 1878. Pianist has
previously presented others from the set, including No 15, Italian Song (issue 74);
No 21, Sweet Dreams (issue 70) and No 14, Polka (issue 64).
Playing tips: This is a great exercise in learning to master soft chord playing.
Playing any kind of music pp (pianissimo) is not easy. You need to know exactly how
much weight is needed to depress the key in order to make it sound, but sound as
quietly as possible. You will need to think of the phrasing too – the tempo indication
is ‘grave’, which means very slow, but it still needs to move forward.
Pedal tips: Some pedalling suggestions have been added into the score. But only
add the pedal once you’ve worked on your finger legato.
Don’t forget to read Melanie Spanswick’s detailed step-by-step lesson on this
piece on page 22.

Grave q = 50
4

b 2
q 3 2 5
Grave
b
= 50
& bb 42Grave
3 3 1 1 3 4 4 3 3
Grave q = 50
4

{{{
FF
2 5

fq™ f™ n fff f f™ f f f™ f
3

& bbbbb 42
f3 f f f ff
3 1 4
1 3 4 4 3 3
= 50 3 2 5

FF
4

& bbb 42 pp ™ f ™™ n fff f f™ f f f™ f

3 3 1 1 3 4 4 3 3

f f™ f f f ff
3 2 5

& 4 pp n ff FF f f™ f f f™ f
3 3 1 1 3 4 4 3 3

f f™ f f f™ f ff
? bb 42 pp fFF f f fFF f f ff n ff FF FfF f™ f nfFF f™ f
? bbb 42 pp
FF FF f f FF FF nFF
? bbb 42 FFFF FF ff F FF nFF
? bbb 42 ° FF ff f FF nFF
1 1 2 5 1 1 1

FF
b FF ff f
3 2 3 3 2 3

ø ° ø ø
5
1 1 2 5 1 1 1
3 2 3
f 3 2 3

° °
1 1 2 5 1 1 1
ø ø ø
5
3 2 3 3 2 3

° °
4

b
7 1 1 2 5 1 1 1
ø ø ø
5 4 5 3 2
2 3 3 5

& bbb
3 2 3 3

ff ° °™
3 2 1 3 1 1 3

ø ø øF
5 4

ff
7

{{{
2

n FF- f™ n fff
5 4 3 3 5

& bbbbb -f f f f f f ff F-
ff-
3 4
1
7 3 2 1 1 3

ff- n fff-
5 4 3 3 2 5

FF
3 4

& bbb ff- n FFF- f ™™ f ™™

7 3 2 1 1 1 3

ff- f f f f FF-
5 4 3 3 2 5

ff- n ff-
3

& ff- pp
n FF-
3 2 1 1 1 3

ff- #nfff-- f f™ f f f™ f FF-

? bb n F- fFF f f fFF f f ff- n ff-
FF-
pp
FF f- f-
? bbb
fff nf pp
FF
ff ##nfff F FF ff
pp
? bbb F FF F
? bbb ff #nff FF FF ff f
1 1 2 1 1 2 5 1
2 3
F 3
FF
2 3
ffø fø
3
FF
b ° ø ø
4 5
1 1 2 1 1 2 5 1
2 3 3 2 3
f 3

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

13 bb °
13 1 1 2 1 1 2 5 1
ø ø ø ø
4 5

Œ
24 3 3 3 2 3 3

13& b f
b °
4 5 3 1 3 4 2 4

ø ø ø ø
4 5

{{{
b f™ f f- f- F- f Œ nf f nf ™ f
13& bb f
4 4 5 3 3 1 3 4 2 4

f™
& bbbbb ff f™ f f- f- Œ npf
4 4 5 3 3 1 3 4 2 4

f- F- f Œ f™ f f nf ™ f
& fF f™ f f- nf
4 4 5 3 3 1 3 4 2 4

f nfFF- F- f f f nf ™ f
? bb FFF f™ f- F-
Œ fff- ™™™ fff fFF npff f™
fŒ ™ f ff n f ™ f
nFF ff-- ™™ FF f Œ
? bbb FFF pf
p
nFF Œ fff FF ff Œ ff Œ
? bbb FF nFF Œ ff- ™™ ff FF Œ ff Œ
? bbb Fø
1 1 2 1

Œ fff ™™™ Œ ff Œ
1

ff FF f
2 3 5 3

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

ø
1
4 1 2 2 1
2 3 1
4 5 3

19 bb ø
ø
19 1
4
2
1
3 4 22
1 4 5 3 42 5 4 1 3
14 25 3

19& b
b
43 2 3 2 2 2 3 1 3 2 1
24
ff

{{
ff ff ff
4 4 5 3 4 5 4 3

19& bbb n f n f- n F- n ff ff ff ™™
ff- n FF-
ff-
- ff ™™
3 2 3 2 1 2 3 1 2 3 2 1
4 2 4 5 3 4 5 4 3

& bbbbb n f- n F- n fff ff ff ff ™™ ff n FFF-

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

n f- ff ™™ ff- ff-
4 2 4 5 3 4 5 4 3

& n f- n F- n ff ff ff ff n FF-
3 2 3 2 1 2 3 1 2 3 2 1

n f- ff ™™ ff ™ fff- ff-

{
? bb n ff- n FF- nf ff ff ff ™ ff - n F-
n ff-
? bbb ff FF f
Œff ™™ ff ff ff ff- F
? bbb f ff ff Œ f ff ™™ f ff ff F
? bbb f ff F ° Œ fø ff ™™ f ffø ffø
2 1 2 1 1 2 1 2

ff Œ Fø
3

ff ff ™™
5 3 5 5 5 4 3

b f FF fø f
5

°
2 1 2 1 1 2 1 2
5 3 5
f 5 3 5 4
ø 3
ø ø
°
2 1 2 1 5 1 2 1 2

ø ø ø ø
5 3 5 5 3 5 4 3

°
2 1 2 1 5 1 2 1 2

ø ø ø ø
5 3 5 5 3 5 4 3
5

30• Pianist 80

p30 SCORES Tchaikovsky-FINAL.indd 30 10/09/2014 16:20

 TRACK 3
Pyotr Ilyich TCHAIKOVSKY (1840-1893) BEGINNER/
INTERMEDIATE
The Doll’s Funeral, No 7 from Album for the Young op 39

b
25 4 4 4 4 5 5 3 3 3 3

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

f™ f f f ™ f fF f ™ f fF ff ™™ ff

{
F nF > f f
mf

? b FF FF F F f f™ f f ff ™™ ff
bb F bF n>f f ™ bf f
1 2 1 4 1 1 2 3

°
2

ø ø ø ø ø ø
3 4 5 5 4 5 5 5

b
31 2 1

& b b #ff
3 4 4 3 2 1
2 1 3

ff f f nf f f

{
nf f f™ f f f ™ f ff n fff FF
Π- - -
pp

? bb f FFF FF FF
b f f ff Πff
f
3 2 1 1 1 2 5 1
5 5 3 2 3 3

ø ø ° ø °
5

b
37 5

&b b
3 3

ff

{
f f™ f f f™ f - ff n FF- f f™ f f f™ f
-

? bb FF nFF fff nf
#f F FFF FF
b
1 2 1 2 3 1 1

°
3 4 3 4 3 2

ø ø ø ø
5 5

b U
43

&b b Œ

{
ff n fff FF f f™ f f- f- F f
- - -
? bb ff FF FFF nFF- fff- ™™™ fff U
FFF
b Œ
2
f
5 1 1 1
3 3 2 3 1
2

°
4

ø ø ø ø
4

31• Pianist 80

p30 SCORES Tchaikovsky-FINAL.indd 31 10/09/2014 16:20

 TRACK 4
Johann Nepomuk HUMMEL (1778-1837) INTERMEDIATE
Scherzo in A

A childhood keyboard prodigy who studied with Mozart, Johann Nepomuk
Hummel was one of the greatest pianists of his age and a well-regarded teacher. As
a composer in Vienna, Hummel was overshadowed by Beethoven, though his works
have been revived in recent years. This Scherzo comes from his three-volume piano
tutorial of 1838, Ausführlich theoretisch-practische Anweisung zum Piano-forte Spiel.
Playing tips: Feel the swing of the sprightly 3/8 – it’s like a quick waltz. Always put
the emphasis on the first beat. The notes need to sound clipped and articulated. Be
observant of the dynamics and the rests. There are some great moments for practising
RH scales, such as bars 33-45, and we suggest that you practise these parts extremely
slowly. Make sure that the piece dies away nicely at the end.
Pedal tips: There are no pedal markings on the score. We suggest using the pedal
very sparingly, if at all – just a dab on the first beat of the bar at the most.

f. f.
f. f
Con brio q. = 72
f f
f. q.
###3Con f
2

f.
2

f f f.
2

f ‰ f. ‰ ‰ ‰
2
f
& # #83Con brio f f f
ff..
brio
f. q.q.
f
= 72 2

ff..
2

f f

{{{
# ff..
2

f =‰ ‰ ff ‰ ff ff ‰
2
f
& #####83 f f f..
= 72
ff
2 2
Con brio 72
ff ff
2 2 2

‰‰ ‰‰ ‰‰ ‰‰
2

& # 38 pf f f
2 2

#
& ## 83 p j j j
& # #83 p j fj fj
ffj ffj
& ######83 pff ™ ff ™ ff ™ ff ff ™ ff
3 ™ ffj ffj
ffj ffjj ffjj
& # 88 ff
& ffj
1

5 ff ™ 2
ff ™ ff ff ™ ff
ff ff f ff ff
1

ff ™™ f ff ™™ ff ™™ f ff ™™ f
2
5 1

f f f f 2
1

### j f.
5

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

f f f ‰
5 4 1 1
f f ff f
2

&# # f ffj
3 2

f f f.
5

ff f f f f f f
5 4
f

{{{
3

5 & ###
f f >ff f ‰
4 1 1
f f f
2

f ffj ff..
5 2

f f f ff ff
3
5
f f f
4

#### ff
ffj
5 3

ff ff >fff ff ‰‰
4 1 1
4
ff ff pf
2
3

& ff
2

fff™
3
ff ff
4 1 1

& ### f
3 2 2

∑ ∑ ? ff™ f >>f ff j
&# #
p
f f Jf & ffj
& ###### ∑ ∑ fff™™
? ff ff p
ff ™
f ff Jf &
p
∑∑ ∑∑ ffj
1
?
&
&# ff ™ ffj
2
? fJ &
J&
1

ffff ™ f
2

™
f.
1

f. f #f
2
1

f. f f f f f
2

### f
5

f f. f. f f
10
f f #f
f. ‰ ‰ ‰
3

& # f f f f f
f ff..
5

10 ##
f ff.. f f
10
f ff # f

{{{
ff.. ‰ ‰ ff ‰
3

10& # # ff ff ff #f ff f
5

ff ff f ff f
####
5

‰‰ ‰‰ ‰‰ f
3

&
cresc. 3

& ### j j j ?
ff ™™
&# #
cresc.
ffj fj fj ff ™™
& ###### ff
ff ?
cresc.
ff ™ ff ™ ff ™
ffjj
ff ™™
ffjj
cresc.
ffj ?
3

&
&# ff ™ ffj ff ™ ff ™ ? f™
5

ff f ff ff ff ff 3

ff ™™ ff ™™ ff ™™ f
5

f 3
5
3

### fj
5
4 4
14
f f #f f
2

‰ ‰ ‰ ‰ ‰
4 2

f
fj
& # f f ff nffJ
14 ##
ff
4

#ff.
14 4

f f #f

{{{
f
2

‰ ‰ ‰ ‰ ‰
2

ffjj
4

14& # # ff f f f f
4
ff ff
4

nffJ
#### ##ff #ff. f
2
4

‰‰ p‰ ‰‰ ‰‰ ‰‰
4 2
4

& ff ff
ff ™™ f
2
ff ff ‰ nnffJ
4 2

& ff ##fff. ff f
? ### f f ‰ ‰f nf. ‰J
ffJ.
1

ff ™™
p
? ### f ff f f. f f
ff ™™ ‰ f ‰ nf. ‰
1
p
? # ff ffJ f
? ##### f™
1
ff2

‰‰
p
f f. ‰‰ f ‰‰
f nnff.
1 3
4
ffJ f ff
4
ff
1
1 2
ff ff ff. .
J .
3
4 4
1 2 3
1 4
2 4 3
4 4

32• Pianist 80

p32 SCORES Hummel-FINAL.indd 32 10/09/2014 16:20

 TRACK 4
Johann Nepomuk HUMMEL (1778-1837) INTERMEDIATE
Scherzo in A

### j j .
≈ f nf nf nf.
19

& ‰ ‰ f ‰ ‰ f ≈ nf f f fJ
3 3

nf J

{
f
‰
f
‰
cresc.

? ### . f nf nff nf f nff

f f f
1

f nf f. ‰ ‰ J J
3 4 3 2
4

### nf
23
f nf f f f f nf
& ≈
1 1

f f f
3
f f f #f f f

{ ? ### nff ™™ ff n fj
#f
4
J
‰
f™
5
ff ff

f.
26

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

f f ‰ f ‰
1 4

& f f f

{ ‰
? ### f ™ ff ff
‰
f™
ff ff ‰
f™ ff ff
‰
f™
ff ff

“”
f.
30

### #f f f f f f #f f.
& f f ‰ f ‰

{ #
‰
? ## f ™ ff ff
‰
f™ ff ff ‰
f™ ff ff

###
1
33
f nf f f f nf f nf
1 2 1

& f f f f f f f f f

{
f

ffj
p sf p
j f™
? ### ff ‰ ‰ nff ™™ 2
f ‰ ‰
J 2
J
4

33• Pianist 80

p32 SCORES Hummel-FINAL.indd 33 10/09/2014 16:21

 TRACK 4
Johann Nepomuk HUMMEL (1778-1837) INTERMEDIATE
Scherzo in A

36
### f f f nf f f f f
f f
2

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

& f f f f f f f f

{
sf p cresc.
f™ ff ™™ ff ™™
? ### nff ™™ f™ f™ ∑

f f f f f
40
f f f f f
### f f f f f f f f f f f #f f f
3 5 5
2 2 4

&

{
p

? ### ∑ ∑ ∑ ∑

. .
44
### #f f f f nf f . f f f f f f
f f f ‰ ‰ ‰
1 4 2

&

{ ? ### ∑ &
ff ™ ff
j
ff ™
ff
j
ff ™
f
f
j

f f f. f f f f f
### f j
48
‰ f f f f f f ff ff
& f f f

{
>
ff™ f f
### j ∑ ∑ ? f ‰
& f
ff ™ f

### f nf
53
f f
2

f f
& ≈
5 5 2

f f
4 5

f f f f f f f

{
f f
mf 3

? ### ‰ ‰ ‰
f f f. f f f.
f f f.
4 4
4

34• Pianist 80

p32 SCORES Hummel-FINAL.indd 34 10/09/2014 16:21

 TRACK 4
Johann Nepomuk HUMMEL (1778-1837) INTERMEDIATE
Scherzo in A

f
5
f f f
### f f f
56
f f f f
≈
4 4

& f f
3
f

{
f f f
f

? ### f. ‰ f f f ?f f f
f f & f f f f f
2 1 1
4 1

### f. f.
5 4
59
f f
2 1

‰ f ‰ ‰
1 2

& f. ff ff f f
.

{
. f
fj fj fj
p

? ### f. f. f. f
2 2
f
ff™ f™ f™
5 2

.
f
f
### f f f f f f f
63 1

‰ ‰ ‰
2 1

&
1 2

f f f.
f
f f .

{ ? ### f
f™
3
f
j 1 3

ff ™
1
f
j f
2

f™
fj f
f™
fj

### f.
67
f ‰ ‰
3

& f.
2 1 1

f f f f

{
f f f f f
pp

? ### f j j j
f ff ™ f ff ™ f
f™

### f. f. f.
f.
70
f
1

‰ ? ‰ ∑
3

& f
1

& f.

{
f f f. f f f. pp

? ### f j j j
f™ f ff™ f ff ‰ ∑ f ‰ ‰
f.

35• Pianist 80

p32 SCORES Hummel-FINAL.indd 35 10/09/2014 16:21

 TRACK 5
George Frideric HANDEL (1685-1759) INTERMEDIATE
Allemande in A minor HWV 478

The German-born Handel made a brilliant career for himself in England as a composer
of operas, oratorios, chamber music and solo works; his keyboard output includes
16 suites. In 1705, Handel was still living in the town of his birth, Halle, when he
wrote this Allemande. An Allemande, from the French word for ‘German’, is a dance
in duple metre that generally has a quick upbeat.
Playing tips: This elegant Allemande should sound stately, bearing in mind that it’s
a courtly dance. Listen to Angela Hewitt play Handel’s music – we think she plays his
works beautifully and in a graceful manner. Remember not to rush – keep steady time
and feel the ebb and flow. At the cadences, such as end of bar 8 and end of bar 18, you
can slow down a very little, as long as you pick things back up again. Both sections
should be repeated. The development starts at bar 9, and there should be a little more
sense of urgency within this section. But it all dies down calmly towards the end. Try
for a detached quality to the LH quavers. Notice how our pianist, Chenyin Li, spreads
some of the chords and adds the odd extra ornament (feel free to try this too, after
mastering the notes). Even if there are no dynamic markings (which was the norm in
Handel’s time), we suggest that you stay within the parameters of mp/mf, adding the
subtle crescendos and decrescendos as called for. This is a gorgeous piece to play.
Pedal tips: Very little pedal necessary. In fact, you can go totally without.

Allemande

C r 5 1

f f f f ≈ f f f f #f f f f ™ ff f
& ff ff f f f f nf f f f f f f ffff
2 2 1 4 2 1

{
f

?C ≈ ff #f #f f f f nf nf f f f f #f f f f f f f f nf
f f f 1 3
2
4 3

Ÿ
4

f f f f f f f f f f f f f f f f f f f f f f f f ™ f ff ™™
4 4 2

f
4 2 5 4

& ff
21 2 1 4 1 1 4

ffffffff f™

{
f

? f f f ffff
f f f f #f f f nf
f f ffffffff
f f f f 2 5 5

7
Ÿ
& f f #f f #f # f f f f f f #ff ™ f f ≈ ™™
4 1 3 4 2 1 5 4

f f f f # f #f ff ™™

{
f f™
f f f
? f f f f
‰ ≈ ™™
f f™ f f f f
5
f

36• Pianist 80

p36 SCORES Handel-FINAL.indd 36 10/09/2014 16:22

 TRACK 5
George Frideric HANDEL (1685-1759) INTERMEDIATE
Allemande in A minor HWV 478

r9 Ÿf ™ f f
f f f ff f nf f f f f f f f f f f f f f ™
5 3

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

{ ? ™™ ≈ f™ #f #f f f ™ f nf
f
4
nf f #f f ™
f ff 1 2
5
f f f f ffffffff
2
4 2

12 2

f f f fff f f f f f fff f f f f
2 2

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

{
f f

? f ff f f f f nf f f nf f f #f f f
fff #f f™ #f f f f
f f™
5 2
f
2
5 5 5 5 5

15
f
5 1 4 4

& f f f f f f f f fff f f f bf f #f f f f nf f f f f f f f f f
3 2 2 3
1 1

{ ? f™
1
nf #f f f™
1
nf f f f™
1
f f #f f f #f f

17
f Ÿ
& f f f f #f f f f3
f
f f f f™
1 2 3

f f f f f #f f f f ‰ ≈ ™™

{
f f
? f #f f f f f™ f fj ≈ ™™
nf f f f
f™
f
1 1 3 1
f
5 5 1

37• Pianist 80

p36 SCORES Handel-FINAL.indd 37 11/09/2014 16:26

 S
MIS
N’TWMAN’S
DOT NE
ON Wolfgang Amadeus MOZART (1756-1791)
LESS
TRACK 6 JANE INTERMEDIATE
IECE
HIS P Rondo from Sonata in C K545
ON T AGE P 6
2

Mozart was a mature composer when he wrote this sonata; he described it as being for
beginners (it’s also known as the ‘Sonata facile’). Pianist presented the first movement
of this charming sonata in issue 14 and the second in issue 3, so it seems long past due
for this final movement to make its appearance in the magazine!
Playing and pedal tips: What a wonderfully happy piece this is. You should have no
difficulties adding a bit of humour to it! For example, just look at the playful pause at
bar 52. A more technical aspect to notice is that halfway through bar 8, both hands
jump to the treble, so you will want to have your hands in the right place as soon as
you’ve finished playing the repeat of the first section. Very little pedal is needed.
Read Janet Newman’s step-by-step lesson on this piece on page 26.

RONDO
Allegretto
5.
ff. ff. ff.
RONDO
f
2Allegretto f f f f
3

f ff ‰ ff ‰ f f f f f f f #f
3 5 3 1

& 4Allegretto
2

ff5. ff.
2 1 4 1

Jf ff. ff.
RONDO
Jf

{{
2 f f f f
3

‰ f ‰ f f f f f f f #f
3 5 3 1

.f f. fJ.
& 4RONDO
2 1 4 1 2

ff. ff.
Jf. . f f f f
2 f f fff ‰ff. f f f f
3

f f #f
5

ff ‰ff ff
3 5 3 1

? 442Allegretto
&
2

ff
2 1 4 1

Œ. . Jf. ‰ J. . J ‰ f
f ™

{{
ff. Jf. .
f
f f Jff f
? 42 Œff ff fff. ff ff ff
‰ff f ‰f f ff ™ f f #f
5 3

‰f. fJ ff. ‰.
3 5 3 1

&
2

fJf ff Jf
2 1 4 1

fJf J
3 5 3 5 3

? 42 Πf ff
‰ f ‰ f™ f
J J J
3 5 3 5 3

4
? 2 f. f. ff. ff. ff.ff .f .f f.f
f ‰ ff f‰ f fff f f ‰ #f f f ™ f nf
Πf f ff
3 55 3 4 5 3

4 & nf f f4 f .
4 3 5 3

‰ f f f‰ ™™
2 1

ff.J
1 2 2 2

. J ff. Jf f fJ f f f f
f Jf ‰ ™™
J

{{
f f f
5 4

4 & nf f f f .
f f ff #f f f
f nf f
4 3 5 3

‰ ff. fJf. ‰. f f f f
2 1 2 2 1 2

ff ff. Jff. ff.

3 5 3 3

f Jff ‰ ™™
5

ff‰. #fff ™™ f f f f nf fff

5 4

n
4 3 5 3

ff ff‰ f
2 1 2 2 1 2

&
? f
f f f‰ f Œ fJ ff ‰ J ‰ Jf f ™™

{{
J . . f . ff. fJf.ff. fff. ff. ffJf f f f ff ™™ f f f
fJ f
? nfJ f ‰ fŒ f ff.
f f f f
nf ffJ
4 5 4

‰ f. ‰. f ‰ #f
4 3 5

f f f‰ ™™
3

ff‰.
2
f
1 2 2 1 2

& f f f fJf Jf f f J f fJ
2 2 3 1

? ‰ Jf f ff ‰ ff ™™
5 5
f
5 4

J ‰ Œ 2
f
J
2

J
3
J 1
f ™™
. ff.f
5 5

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

f f fff f
? ff #f‰ f Œ f. 9 ff
4

ff#f f ™
‰ f f ff f ‰ f ff ™ f f f ffJ
24 2 3 1 3 2 1

f f ff ™™
3 2 5

& J #f f f. 9 f
1 3 2 5 1 3 45 4

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

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

& . f f f
2 2 3 41

f f. f. ff. f. f f f ff
5

f #f f f 9 f #f
5 5 4 1
f
4 3 2
3 2
1 3 2 1 3 4

& ? #f f f f f

{{
& f f ff ff. 9 f ff f f f f f f f f f f
4

#f #f f ? #f f f f
f . . .
f .
3 1

f f f f
2
f
3 2 4

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

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

f f f f
5

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

. .
5 1 3

f
5

f f f
#f f f f f #f nf f ff ff f #ff
5 5

f f #f f? f#f f. f. f ff ff ff f ff
3 4
11 24 1 2 1 5 4 5 1 3 31 4 4 21 11

11& f f J ‰ ff. ff. Jf ‰f

1 5 3

& #ff f f f ff f #f nff ff f

5
5 5

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

{{
3 4

f ‰
2 5 4 3 4 2 1
f 1

J ‰ . .
11& f f f ff ff Jf
1 2 1 5 5 1 3 1 4 5

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

J ‰ j
&
? f f f f #f f f Œf. ff. & ff ff f. f‰. #Jf f
f
‰ j f‰ ?

{{
f f f
fJf #f f‰ f Œ
5 5

? #ff f ff f #ff #f nff f f. . f. j f‰ #ff. f. fj f ‰ f?

3 4
11 2 5 4 3 4 2 1

Jff ff‰ f #Jff ff‰

1

& J &
1

. . . . ff
4 1 2 4 1 2 1

? f f f f #f f f f f
3 3

.j ‰
3 5

‰ Œ j ‰ ?
5

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

? f f f f #f f f f
‰ Œ j ‰ #f f j ‰ ?
4 1 2 1 4 1 2 1 3
f
3 3 5
& f f
5

1
J f f
. . f. f f. f. ff
4 1 2 4 1 2 1 3 3 3
5 5

38• Pianist 80

P38 SCORES Mozart-FINAL.indd 38 10/09/2014 16:22

 TRACK 6
Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE
Rondo from Sonata in C K545

#f f f f nf f f f j ‰ f ‰ f f f f fJ ‰ f f f f
15 2 2 4

& f f f f f J

{ ? ff ™ f #f
j f
f
Œ
ff
f
Œ
ff
f
Œ

f b f. f. #f. nf ff. ff. ff. ff.

19 5 4

ff ‰ f f f f f f f #f f f f f
3 2

J ‰ ‰ ff
1

& J J

{ ? ∑ ∑
ff. ff. ff
J ‰
ff. ff. ff
J
‰ f™ f
J

24
ff. ff. ff. ff. f f f f
#f f f f f nf f f
4

ff ‰
& nf f f f
ff ‰
3 2 1

J J

{ ? fJ ‰ Œ
ff. ff.
ff ‰
J
ff. ff. f
f
J
‰ ff ™™
f
f
J

. f. f. f.
5 5

f
1
f
1
28
f #f f f Πf #f f f f f nf f
4

& fJ ‰ Œ ‰
3 3
f
J

{ ?
ff
f
ff. ff.
3
ff
5
J ‰
ff. ff.
2
#ff
4
J ‰ Œ
f #f f f
2
Œ

32
#f f f f f
‰
4
f f f bf f f f #f f f f f f f f f f f #f
3 2
f
3 2 3 2 3 2 3 3 3 3 3 2

& fJ J

{ ?
f #f f f
2
&f
f nff ff F
f #f f f
5
f
f
j ‰ j ‰?
ff
2 5
2

39• Pianist 80

P38 SCORES Mozart-FINAL.indd 39 10/09/2014 16:22

 TRACK 6
Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE
Rondo from Sonata in C K545

f #f f #f f f f f
f f #f f f #f
5 5 3 5
36
f nf
3 4

f f f f f
1

‰
1 3 2 2 3 2 1

& J
2 2

{ ? f
5
f
#f
3
f f f
f
f
2 3
f
5
f
f
3
f f f
f
2
f
3
f
f
#f
f f f
f
f

f f #f f f f f j ‰ ff. ff. f ‰ ff. ff. fj ‰ Œ

39 3 5 3 5

f #f f f Œ
2 2 5 5 4 3

& f f #f
J

{
f
ff fffff f #f f f f # f f f f. f. f f. f.
? f f ‰ Œ Œ f f f ‰ f f
J J 2 2
1 1
5 5

f #f f f nf #f f f f nf f f f f f
4
3 1 3
2 3 3 3
f f f f f f f f
44
f bf f f f f #f
3 3 4
3 3 1 2 1 2

&

{ ? #ff
J
‰ #ff
3
ff
5
ff
4
&f
f #f
3 4 3
F
f
1
5
f f f ff
f f
?f

j j j
48 3

‰ f nf ‰ f f ‰ f f
3 2 1

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

{ ? f f f f
4
f
f f f
2 1 2 5 2 1 2
f f f f f f f f f f f f f f f f

U ff. ff. ff. ff.

51
f f ff f
‰ f f f f f f f #f f f f
5 3

f f Œ ‰ ff
1 1
f
2 1

& f f f J J

{ ? f f f f f f f U
f Œ Œ
ff. ff. f
f ‰
J
ff. ff. ff
J
‰ f™ f
J

40• Pianist 80

P38 SCORES Mozart-FINAL.indd 40 10/09/2014 16:22

 TRACK 6
Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE
Rondo from Sonata in C K545

56
ff. ff. ff ff. ff. ff ‰ f f f f #f f f f f nf f f f ‰ f f f f
4

& nf f f f ‰
1

J J J

{ ? fJ ‰ Œ
ff. ff.
ff ‰
J
ff. ff.
ff ‰
J
f
f ™
™
f
f
J
ff
f f fff
3

f f f f f f f f f f f. f. f
4

f f f f
4

f f. f.
61
f f f f
4 4
2 4

&

{ ? f f f f f f f f f
f f f f f f f
5 1 3 1
f
f f f
f
f f f

f f f f f f f f
4
64
f
1
f f
4
2 f f f f f f f
4
2
4

& f f f f

{ ?
f f f f
4
f f f f
4 1
f
f f f
f f f f f
f f f
f
f f f

f f f. f. f f . . ff ff ff ff ff. ff.
4 4 4 3
67 2 4

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

& f f f f f

{ ? f
f
f
f
f
f f f f f f f
2 1
f f f f
4 1
4 2 5 3
f
J ‰
f
j ‰

ff
ff ff ff ff ff. ff.
70
f f Œ
& f f f f f f f f f f f

{
f f f f f
f f f f
? f f f f f
J ‰ j ‰ f f f f f Œ
f f f f
f f
41• Pianist 80

P38 SCORES Mozart-FINAL.indd 41 10/09/2014 16:23

 TRACK 7
Cole PORTER (1891-1964) INTERMEDIATE
I’ve Got You Under My Skin

Cole Porter was at the height of his fame in 1936 when he wrote I’ve Got You Under
My Skin, which first appeared in the MGM film musical Born to Dance. The song has
since been recorded by Cab Calloway, Jamie Cullum, Ella Fitzgerald and many others,
but it is Frank Sinatra, who first sang it in 1946, with whom it is most associated.
Playing tips: This piece needs to have a certain whimsical quality to it. Make the
crotchets swing – they shouldn’t be too even (let’s say, they don’t need to be 100 per
cent in time) or the piece will sound too ‘classical’. Listen to the CD and hear the lilt.
Experiment with the rhythm, maybe adding some extra filler notes too.
Pedal tips: As marked in the score, most of the time you can keep to just one pedal
change per bar. Our house pianist, Chenyin Li, tells us that she tends to clear the pedal
during the second half of each bar if she thinks it’s sounding too ‘mushy’. Using a half
pedalling technique should do the trick.

Thoughtfully
> > >
5 poco rit. a tempo h = 66
f
1

b f F f
& b bC
f F
2 2 4
f fF f f f fF ™ f f f FF FF

{
F F™
p
w f w f FF FF
mp
F

I’ve Got You Under My Skin. Words and Music by Cole Porter © 1936 (renewed) Chappell & Co Inc. Warner/Chappell North America Ltd, London, W6 8BS. Reproduced by permission of Faber Music Ltd. All Rights Reserved.
? bb C Œ f F f F FF ™™ f f
b Œ
°
1 2 1
5 5 4

b j j
f f fj w f f fj
6

& b b FFw
5

f FF FF F
4

w FF ™™ w

{
mf

? bb w f™
f f
J f™
f f
J f F f w
w
b f f
ø ø ø ø sim.

b j fw f fj f fj f™
11

& b b f™
4

j
4

ff FF FF ™™ f fw f f F

{
w w f F
mp
? bb f™ f f f f f j
J f™ J
b f f F f w f™
f f
5
1 f

b
16

&b b F ™ Ff f fj f fj w Œ f

{
f FFF FFF FF
F™ f f w
? bb j f f w j mf
f
b f™ f f f f f f f f f
f f 5
f™ 3 3

42• Pianist 80

P42 SCORES Porter-FINAL.indd 42 10/09/2014 16:23

 TRACK 7
Cole PORTER (1891-1964) INTERMEDIATE
I’ve Got You Under My Skin

5
3

j
1

b f f fj w
21 3 3

& b b FF f bfw
4

FF FF FF ™™ f f f f f
w w w

{
p

?b f F f w f f
f™ J f ™
f f
J F
bb f f F
4

b j
f f fj bf ™ j
26 3 3

& b b bFFF nf FF FF ™™ f nff ff ff ff ff ff

{
F F F F™ f f f f f f
I’ve Got You Under My Skin. Words and Music by Cole Porter © 1936 (renewed) Chappell & Co Inc. Warner/Chappell North America Ltd, London, W6 8BS. Reproduced by permission of Faber Music Ltd. All Rights Reserved.

mf

? bb j j f
b f F™ f™ f f f™ f f
1 f f F f
5

b j
30

& b b nfF f f f nfj bf ™ nfj FF j

f f b fj
5 5

FF ™™ nf bbFFF FFFF FFFF

{
nF F
? bb f f f f f f F™
f bf
b F f F f F f

b
35 1 3 3
3
&b b
4
3 3 3
fw f f f f f Fw f f f f Fw
w
f f f f

{
w FF ™™ f w
w mf

? bb j j 3
w w
w
3

b f™ f f f ™ f f f F f F f w
f

b
40 3 3 3 3
3
& b b bFFF
3 3 3
f f f f F f F f fw f f f f f fw f f f f f
w

{
Ó w
w
mp

? bb
3 3 3
w w
w
f F
3

b F f F f F f w

43• Pianist 80

P42 SCORES Porter-FINAL.indd 43 10/09/2014 16:23

 TRACK 7
Cole PORTER (1891-1964) INTERMEDIATE
I’ve Got You Under My Skin

>
3
2

fF f fj f fj w j j
1

b
44 3

ff fff fff fw f f F
5
f
& b b FFF w F nFF f f
3

F Ó f f f f

{
f J J J f f F
f
J
?b f F f w w bf
bb f F f f
w f bf

bb bf ™ fj F fFj f fj f ™ fj F j
49
f f f f
2

b f f Œ f nf f™
3

& w
w F ww F FF Ó

{
F
mf

? bb F Πf f f f f Πf F f
b f f F F w f
1

>
b bfFF™ fj fj f fj nf j
‰ f fj f fj F ™ f nf
54
b
& b ff F F
Ó

{
Πnf f F F
mp
? bb F™ F™ f f
Œ bf f Œ
b f f f f

58
b j <n> w
ww
w bw
ww
w
&b b F f f j ?

{
Œ b FF ™™ f

? bb F j j
b f™
f f f f
F 3
f bf ™ f
4

U
ff
ww bw
? bb ww ww
w FF
61

b & F

{
pp

? bb j U
j
b f™ f f f f FF ™™
f bf ™ f
°
44• Pianist 80

P42 SCORES Porter-FINAL.indd 44 10/09/2014 16:23

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

KEYBOARD CLASS
LESSON 8: THE SEMIQUAVER (16TH NOTE)

On these four pages, Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Günter Heumann.
This eighth lesson covers the subject of semiquavers (also known as 16th notes), with explanations and musical examples to get your
semiquavers into action.

Semiquaver (16th note)

• The semiquaver (16th note) has a filled-in note
head with a stem and a double flag:

• Two or more semiquavers are joined by

ano two beams, as shown here:

ers),
on.

e are

Finger Fitness exercise

Now play this short exercise, keeping the rhythm steady even in the quick semiquaver passages.

45• Pianist 80

p45-48_Keyboard-FINALish.indd 45 12/09/2014 09:21

 HANS-GÜNTER HEUMANN KEYBOARD CLASS

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

A
Félix Le Couppey (1811-1887)
Melody No 28 from L’ABC du Piano
du faux
This textewhich
piece, Bella terra et mari civilia
continues on theexternaque toto
next page, in orbe
mainly terrarum
features saepe gessi,
quavers. But victorque omnibus
be prepared veniam
to play the petentibus
bars with civibus peperci. Externas gentes, quibus
semiquavers.
tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut
remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi
sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus
civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta.
Ex quibus deduxi in colonias aut remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis
militiae dedi. Naves cepi sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot.

Félix Le Couppey Félix Le Couppey was a music teacher, pianist and composer. He studied at
(1811-1887) the Paris Conservatoire with Victor Dourlen and began as an assistant
teacher in harmony classes there at the age of 17. In 1843 he became
Country: France professor of harmony and took over the position of his teacher. Soon after
that he became a professor of piano, and wrote numerous pedagogical
Period: Romantic works for the instrument, such as L’ABC du Piano, L’Alphabet, Le Progrès,
École du mécanisme du piano, 24 Études primaires and L’art du piano.

46• Pianist 80

p45-48_Keyboard-FINALish.indd 46 12/09/2014 09:21

 HANS-GÜNTER HEUMANN KEYBOARD CLASS

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

Turn to the next page for another semiquaver piece to try.

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

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

47• Pianist 80

p45-48_Keyboard-FINALish.indd 47 12/09/2014 09:21

 HANS-GÜNTER HEUMANN KEYBOARD CLASS

PLAGE
The Young Pianist’s FirstASteps
Z E op R T 52
82 no
XXXX (XXXXX)
Y
zerty

A
Cornelius Gurlitt (1820-1901)

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

48• Pianist 80

p45-48_Keyboard-FINALish.indd 48 12/09/2014 09:22

 TRACK 8
Ludwig van BEETHOVEN (1770-1827) INTERMEDIATE
Bagatelle in A op 119 no 4

This characterful piece was composed around 1803, but was not published until 1823,
when an English publisher included it as the fourth in a volume of 11 bagatelles.
Playing tips: This short bagatelle might look and sound rather simple, but
appearances can be deceptive! You need a good technique when tackling the RH sixths
(e.g. beginning of bar 2), making sure that the top notes sound legato and the bottom
notes, played by the thumb, are quieter and the thumb relaxed. Make a change in
mood at bar 9, where everything should sound crisp and more articulated. You’ll also
need good technique for the slurred pairs of semiquavers, making sure the wrist remains
flexible (but not floppy!). If the suggested fingerings don’t work, try alternatives.
Pedal tips: Very little pedal needed, if at all. Just dabs here and there.

Andante cantabile

###cAndante j
5 3
5 4

f nff nff ff f ff f f f f f f f #f f f f ff ff ‰ f f
1 1 5 4
3 cantabile
2 1

f3 f cantabile
& Andante fF52 f f f f
3

###c fF f f j fF
5 3

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

& # # Andante F f f f f f nff nff ff f ff f mff f f f f #f f f f ffj ‰ fF f f

f f f f f f
5 3 3

f cantabile
5 4 1 5 4
1
fF
& ###cmpfF f f fF f f f fff ff nf nf f ff f f f f f f ff f f #f f f f ff ffj ‰ fF f f
3 2 1
3
mp 5 3
5 4

#
1 1 5 4

?
& ### cmpffF ff f fFF f f f fff ff nf nFf ff ff ff ff f mff f ff ff f ff #ff f f ff ffwf™ff ‰fJ ffF ff f
f f f mf f f
3 2 1
3

{
? ###c f F F f f f
ff ff
f f wf™ f f f
#
? ## c f f f f f f f f f f f wf™ Jf f
3 4 1 1

f
5 2 2
mp
f F f F ff f f
mf

? ###c f f f f f f f f f wf™ Jf f
3 5 2 4 1 1
2

F F f ff f f
f f 2. J
3 5 2 2 4 51 1

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

5& #
f f f f ™ j
4

f f f
f f f f f f f f f #ff ff f ffJ ff f #ff 1.f Œ ™ 2. fJ f f f
3 22 3
fF f f f f f nf nf f #ff f
3 5 2
5 4 4 51 11

###
1 5

{{
5 4 3
5 2

f f f f f Jf 1. Œ ™™ 2. j f f
4 3 2 3 5

fF f f f f f nf nf #ff
5 4

&# #
1 3 5 1
5
fF f f f f f nf nf ff #ff f ff f #ff f fff f ffJf ff ff #ffJ 1.f Œ ™™ 2. fJj f # ffŸ f
f f f
5 4 2
f f
5

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

? ###
5

ff f f ff ff f f f f f ff ff f #f f #ff fJ ff #ffJ ff nf fŒ f ™™ ffJj f # ffŸ

1

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

& F ff ff f nf nf f #f f ff
1

? ### f f f fffJ ff ff #f ff ™ ff
™™ fJ f # fŸ
f f f
f ff f # f f f Jf nf f f
? ### f f f
35 1 3 1 2 1 3

#f f f f f f nf f f ™™ f f # fŸ
5

f f f
2 4

f ff ff f
? ### f f
3

f f
35 1 3 1 2 1

#f f f f f f nf f f ™™ f
5
2 4

f
3
f f
35 1 3 1 2 1
ffff
5
f
4
f f f ff
44

###
22 2
9
f f ffff
J
1 3 4 2 1 3 4

™™ ‰ f f f f ‰ Œ ‰ ff fffff ‰ Œ ‰ f f f fffff
2 2 2 4 4 3 4
35 1 3 1 2 1

&# # J
44 4 2 52 2

ffffff
22 2
f f

{{
9
f f J f f
1 3 4 2 1 3 4

f f f f f f f
& ### ™™ mf‰ f f f J ‰ Œ ‰ f f f f f f ‰ Œ ‰ f fff f
2 2
f
4
fffff
2 2 4 4 2 4 2 4 2
2
9
f J fffff
1 3 4 2 1 3 4

# f
™™ Ffmf‰f f f f ‰ Œ ‰ ‰ Œ ‰ f f f f
2 2

9 n Ff
4
f
2
F f F
f
4

& J f f
2 2 4 2

f f f f f
4 4
ffffff
? ### ™™ fFfmf‰ f f n fFff f f ff ‰ FŒ f‰ f f ff Ff f f f f
2 2

{{
J w
1 3 4 2 1 3 4

‰Œ ‰ f f f f f
2 2 4
f f f
2
Ff
4

& Jf f f f f f f f ff
2 2 4 2

™ f
? ### ™™ sfpFfmff n Ff f sfp Ff Ff f Ff f wf f f
fff
? ### f f
1 3 2 4 4 3 5 1

™™ Ff f sfp Ff wf
f n f f sfp
F F
f f F
f f f f f
? ###
1 3 2 4 4 3 5 1

™™ sfp f sfp Ff wf f
sfp f f pocof rit.
1 3 2 4 4 3 5 1

##
sfp sfp
j‰ ™
12

12& # f fF sfp f f nff nff ff f ff fsfp f f f f f f f f #f f poco

1 3 2 4 4 3 5 1

f f f f f rit.
f ™
#
sfp

12 ##
n j

{{{
fF f f f f f f f ff f f f f f frit.
f f f f f #f f f Jf ‰ ™™
poco
&# # f f fF f f f f f nf nf f f f
fF f f f f f f f f j‰ ™
nff f ffrit.
12& # f fF f f f f f nf nf ff f ff
≈ f f f f f f poco
f # j nf f fjj ™J
mp
f f f f f r mp f f
? ######
4

fF fFf f f f f f f ff f f ff ff f f f ™
2 3 2

f
4

f f f f f‰ #f≈r n≈fRmp f f f f f f f f ff ff ff ff ™#f #f ffj nff™ f fJfj ‰ ™

1 2 3

&
4
f f Ff ff f fFF f f f f ff nf nFf f f f ™

{
fF fFf
2

? ### f
3 2

f #fr n≈f Ff f F
4

f f ff ™#f f j f™ Jfj ‰ ™™
1 2 3
ff f F
4

f f f
2

? ### ‰ ≈ f f
3 2
f f f f #f n≈Rfmp Ff f f f f
2 4
2 1

# j ‰ ™™
1 2 3 1
f Ff f F F f f f
3

f j
5

f f f f f‰ ≈r R f
4
f f f f f f f f™ f™
2

? ###
3 2
Ff ff f f
2 4
2 1
f #f nf Ff # f™ ‰ ™
1 2 3 1
f F F f f ™
3

f
5

‰ ≈ R f f
2
2 1 1
3 5
2
2 1 1
3 5

49• Pianist 80

p49 scores Beethoven-FINAL.indd 49 10/09/2014 16:24

 TRACK 9
Adolf JENSEN (1837-1879) INTERMEDIATE
Lied op 33 no 10

Pianist, composer and teacher, Adolf Jensen was born into a family of professional
musicians in Königsberg, and applied his trade all over Europe, including Russia,
Poland and Denmark. He’s best known as the composer of songs in the Schumann
vein. This Lied comes from an 1866 collection for keyboard, 20 Lieder und Tänze.
Playing tips: This gorgeously romantic piece, which appears with kind permission
from ABRSM, is in the new ABRSM Syllabus (Grade 5). It is all about bringing out
a lush RH melody sound and controlling the calm but also melodic accompaniment.
When you listen to this piece on our CD, you may notice that the repeats are not
observed. The ABRSM says: ‘The lack of repeats on the recording is explained by our
policy with regard to the exam: All da capo and dal segno indications should be
observed but all other repeats (including first time bars) should be omitted unless they
are very brief (i.e. of a few bars) or unless the syllabus specifies otherwise.’ Mark Tanner
gives some hints for playing the LH of this piece in his Masterclass on page 18.
Pedal tips: It is marked ‘con ped’, so use pedal freely.

Teneramente ed affetuoso q = 52
### 2 f
6 1
f f
f f f f
3 1 3 2

& 4Teneramente #f q = 52 f f f 6f
f ed affetuoso
1 4

{{
### 2Teneramente
f
3
ed affetuoso q = 52
1

f f f
1
f f f
3 2

& # # 42 f f #f f q = 52 pp
1 4
mf
f f fff 6f f cresc.
ff f ff
? #### 4422 mfff f f nf f f #f f f pp
Teneramente ed affetuoso 1

fff ff f
3 1 3 2

&
1 4
f f f 6f 1
f f f f f
3 2

{
3 1

& 4 f f f #f f f f
1 4
f fff f f cresc.
f
f ff
? ### 42 mf f f
f f f f nf f f f f f f f pp
f f f f f f f f f
mf 4 pp 4 2 cresc. 3

? ### 42 f f f f nf f f f f f f f f f f
f
con ped.
f f
cresc.
f f f f
f f f f
? ### 42 con ped. f nf f f f f f f4
f 4
f
2
f f f f
3

4
### f 4 4

f™
2 3

Lied (Song) op 33 no 10, by Adolph Jensen. Edited by Lionel Salter © 1990 by The Associated Board of the Royal Schools of Music. Reproduced from ‘More Romantic Pieces for Piano, Book III’ by permission of ABRSM.
f f
con ped. 3
f
5

4&
f J
4 4 2 3

{{
con ped.

### f f™
f f
3
f
5

4& # #
4 f f f f f f mf
f f f Jf
? #### ff f f fff f f ff f f™ f
3

f f f
5

& f f™ f Jf f

{
3
f
5

& f
f f Jf
mf
f f f f f f f f f
? ### 4
f f f f f f f f f f f f f f f f 1 2 1 mf
f
2
f f f f ff f f
2

? ### f f f f f f f f f f f f f f f f mf
f f f f f f ff
? ### 4
f f f f f f f f f f
1 2 1 2
f 2

###
7 4 1 1. 1 2 1 2. 2 2

‰ ‰
4
f f f ™™
7&
f f™ f™
4 1 2 1 2 2

{{
###
1 1. 2.
‰ ‰
4
f f f ™™
7& # # f ff f™ f™
7 1 p
1. 2. p

& ######
f f f f ‰f f f f ‰f
4
ff ff f ™™
f pfff ™™
?
1.
f 2.
ff ™ f
f f ff
1

ff ‰ f ‰ f

{
&# f f
4
f ™™ p ™
f
f f pf f f f f f f f f f f f
? ### f f f f f p
f f f pf f f f f ff f ff ™™ f f f f ff f ff
3 4

? ### f f f f f f f f f f f f
p
f f f f
f f ™™ f f f
? ### f f f f 3
f f f f ™™ f f
4

### j
9 3
3 4

9&
f™ f
3 4

f f f f f f

{{
f
### 3

f™ j
9& # #
9
f f f fj pf f f f
& ####
3

f™
f f f ffj
f f f f ff ff f ff
f f
3

? ###
& fff ™™ f f f ff f f ff ™ f pf f
ff f f f f f

{
f F f p ™™
? ### f f f f f Rf fF f f f f f f
ff ™™ f
f f f f Rf
ff ™™ f f ff
2 3 p

? ### ff ™™ f f ff f ff f Rf fF f
f
f f f f
f f f f
f
f ff ™™ ff f f
f f f Rf
? ### f f f R fF f f f R
ff ™™ f ff ™™
2 3
f f
R 2
2
3
3
R
50• Pianist 80

P50 SCORES Jensen-FINAL.indd 50 10/09/2014 16:24

 TRACK 9
Adolf JENSEN (1837-1879) INTERMEDIATE
Lied op 33 no 10

### f
12 5 3 4 2

& f #f f

{
f f f
cresc.

? ### fF f f f f f f
f f f f
f f #f
f
f f f f nf bf
3 1 2
f nf

###
15

& ‰ f f
1 2 3 2 1 2

f™

{
j
f f f f™ f j
f
mf
f f
f #f f f f
f
? ### f
f
f
f
f f
f f f nf f f
f f nf f f
Lied (Song) op 33 no 10, by Adolph Jensen. Edited by Lionel Salter © 1990 by The Associated Board of the Royal Schools of Music. Reproduced from ‘More Romantic Pieces for Piano, Book III’ by permission of ABRSM.

1 2

18
###
6
f f f
& #f f f #f f f f f f f

{ f f f f f f f f f f f f f f f
pp
f f
cresc.

? ### #f f f f f f f

### f
21
f f f f f f f f f f
&
2 2 3 1

{
p

f f f f
? ### fF f f f fF f f f f f f f fF f f f f f f f

### f ™ j
24 5
2

‰
3

& f™ f f f™ f

{
f

f f f f f f f f f
#
? ## f f f ff ™™ f f f fF f f f f f f
4
R 2 3

51• Pianist 80

P50 SCORES Jensen-FINAL.indd 51 10/09/2014 16:24

 TRACK 9
Adolf JENSEN (1837-1879) INTERMEDIATE
Lied op 33 no 10

###
27

& f f f f f f #f

{
f f
p
cresc.

? ### ff ™™ f f f f f f ff fF f f f f f f f f f
R f f f f #f
3 1 2

###
30

& f ‰
f™

{
j
f f f f f™ f j
f

bf f #f f f f
f
? ### f f f f nf f
f
f
f
f
f nf f f nf f f f

### f
33 6
f f
& f #f f f #f f f f f f

{ f f
mf pp
f f f f
cresc.

? ### f f f nf f f #f f f f f f f f f f f
f

### f f f j j
36 3
3 4 2
ff ff ff ff
2
f ff fj ff ™ f
1
f f f
1

& f f J J ™

{ fj f
p
f f f f f f f f f f f fj
? ### f f f f f f fF f f f F f f f f f f
J J

j
5

### j j j f f
2 4
40 5 1
f
ff nff ff ff f ‰ ff ‰ ff ‰
2 3 5
ff f ™ ff
2

& f #f™
J f f f J #f f nf
ff f ff f
J

{
fJ
j mf p

? ###
ff f f f f f f bf f j f
J J f f f f f ff ‰ ff ‰ j‰
f J ff ff

52• Pianist 80

P50 SCORES Jensen-FINAL.indd 52 10/09/2014 16:24

 WATCH CHENYIN LI PLAY THIS PIECE ONLINE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Frank BRIDGE (1879-1941) INTERMEDIATE

At Dawn, No 1 from Three Improvisations for the Left Hand

Playing and pedal tips from Nicholas McCarthy: The improvisatory introduction of
this piece requires you to pay particular attention to the tone of your playing. Try to
achieve a singing, pearl-like quality. Once the theme comes in with the melody and
the ‘rocking’ accompaniment, pay attention to the balance between melody and
accompaniment. The climax of the piece comes at bar 32 where the melody is taken
by octaves. Really take your time here, broadening to create the sense of arrival as well
as helping to make sure the tricky octave leap is cleanly played. In left-hand repertoire
the pedal plays a much bigger part than in two-handed music. So don’t be alarmed
if you find yourself using more pedal than you ordinarily would.
Read the article on left-hand piano music on page 76.

For the left hand. 3 3

3 5 1 3 1 5 1
Poco adagio 1
f 5 1 3
f f
f bf
f f- f-
pp 5 1 3 pp
™ f ‰ ≈ #f ≈ ‰ ‰ ≈ #f ≈ ‰
ten.

2f f fj fj
ten.
f
#f f f ™™ #f f f
R f
&4 F

{ ? 42
p espressivo e rubato

∑ ∑
°
∑
ø
∑

- -
f f #f- r fj™
1

j
5 1 3 2 molto rit.
2 1

& f™ f #f fj f nf
1 2

#f f f

{
f
> dim.
5
mf
f bf
pp dolce

? f #f nf #f nf bf f #f
∑ f f nf
nf 1
f
° ° °
5 3 4 2 5 2 3 1
ø
1 1 2
2 5 5

9 a tempo 2 3
2

& #f ™ f ™#f #f ™ f ™#f

{ > f f
p p espress.
f F #f # f f #f f f f f f f f
? #fj nF f #f # f f #f
1

f f
2 2

≈ f ≈ f
≈ f ≈ ff fJ fJ
J 1 2 5 1
J 1 2 5 1 1 2 5 1
ø 1
2 5 1

° ø ø
2 2 2
5 5 2 5
5

13

nf nf nf ™
2 3 1 3

nf ™ f ™™
1

& #f f f
1 5

{ ? ≈ f
ø
fJ 2
5
#f f f n f
1 2 5
nf

1
≈ f&
ø
fJ #f
f f nf
nf
4 2

53• Pianist 80
5 1
?

ø
f
≈ fJ
2
5
& #f
1
#f f #f f
2 5 1
?

P53 SCORES Bridge-FINAL.indd 53 10/09/2014 16:26

 WATCH CHENYIN LI PLAY THIS PIECE ONLINE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Frank BRIDGE (1879-1941) INTERMEDIATE

At Dawn, No 1 from Three Improvisations for the Left Hand

>
16 F #f #fj
rit.
r
&
j
f F f ™™ R f ™™ nf

{
mf p

nf
f f f f f
? ≈ nnff ≈ fJ & #f #f f #f f ? ≈##ff & #f #f f #f #f ?
J J
ø ø ø
1 2 5 1

19 a tempo

& #f ™ f ™ f f™ f™ #f #f nf ™ f

{ ? ≈ #f
°
# fJ
f #f f #f
#f
≈ #f
ø
# fJ
f #f f #f
#f
≈ #f & #f f
ø
>
# fJ # f nf
f ?

#F
nf
22
f™ #f #f ™™ f #fj F
& R

{
mf

? ≈ #f nf ##ff #f f
& #f f f nf
? ≈ J & #f f f f ? ≈ f &f f f #f f ?
# fJ J
ø ø ø
f fj F
f f bf
25 dolce

& #f ™™ R #f ™™ f
R

{
r
bf f
? ≈##f
p mf pp
f
J f f f #f ? ≈ nnff f ? ≈ nf f
f nf f nf
& #f &
n fJ
ø ø ø
f f
- - # f nf f f bf f #f
r
28
f f
f nf
pp
j
& f f f
#f ‰ ≈ #f ≈‰ ‰ ≈ ≈‰
f ™™

{
#Æf
J
3 3 3 3
cresc. p pp
f
mf
#f f >f™™ n f fj f
? ≈ #f #f f f ? ≈ #ff
f f fj ? R f™™ R
& &
#f J
ø ø ø ø
54• Pianist 80

P53 SCORES Bridge-FINAL.indd 54 10/09/2014 16:26

 WATCH CHENYIN LI PLAY THIS PIECE ONLINE AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Frank BRIDGE (1879-1941) INTERMEDIATE

At Dawn, No 1 from Three Improvisations for the Left Hand

‰ ≈ f f #f ≈ ‰
#f
‰pp ≈ f f f f # f ≈ ‰ f ™#f #f ™ nf ™ nf
j #f
™ f ™#f #f
32
#f
32
& f f f ™ f f
j #f ™ f ™#f #f ™
f™ f ™#f #f nf ™ nf

{
pp

& f ™ f nf ™
#f ™ f™#f #f ™ f ™#f #f nf
f
3 3

nf
mf
fj f f
3 3 f espress. cresc.

#f f f n f n f
j
mf f f f f f f
? f f™ f™ f ff fff ff fff
f espress. cresc.

≈ ≈ ≈ nf
? f™ ≈ ffJ #f
f™ f f f f f f
≈ ffJ f ≈ ffJ f
ø ° fJ ø fJ ø fJ
ø ° ø U>F ø
nf >f fj >F U
36 nf ™ f f ™™
nf nf ™ f f ™™ >f fj F
& nf
36
nf ™ Rf f

{{
& f f ™™
R ff largamente U
lunga

U
lunga

? ≈ f& nf ? ≈ f?
ff largamente
#f f f ? ≈ f f f
? ≈ ff & #f f f nf nf ? ≈ fff &
f f & #f
# #f f ? & f f f f f?
Jf #f nf f
Jf #f # f f # f f f ≈ n f f
nn fJf & f f f f f
ø J ø J #f #f ø nf
aø tempo ø ø -J
-
rit. a tempo
39
#f #fj -a tempo r j
rit. r dolcissimo j j
R - -
a tempo
39
& ™™f ™™ #f #f j f ™™ nf r -
#f #f
dolcissimo
fr j™ f ™ f fj #f fj f

{
& pf dolce R f ™™ nf #f #f f f f f #f f f
p dolce
? ≈ fff # f # f n f n f #f b f nf
#f f #f f ? ≈ #
f
f #f f #f # f n f nf bf f ?
? ≈ Jf & #f #f f #f f ? ≈ ##fJf & #f #f f #f #f
& f #f nf f nf ?
ø J
& #f ø J #f #f ø ø nf
ø ø ø ø
-
43 rit. a tempo
43
& nf - j
rit. a tempo
∑
f #f f f f #f j f f

{{
#f f ∑
& nf f #f f f f #f #f f f f ten.
f #f j nF # f f #f f
?mp bbff f
pp
bf
mp dim.
f # f
nfnf f #f #fj nF≈ nf #f # f f #f f
ten.
#f
#f #f
pp
b
dim.
? f f f
ff f #f #f n f nfnf b f ≈ nfJf
° f ° nf ° bf ° fJ
° ° ° ° “”
# f f #f #f f
# # f # “ ” #f f ‰ U
47
# f
f #f f #f f J
47
& ∑ F f #f f #f #f #f J UŒ
#

{
& pp ∑ F f #f 6 ‰ Œ
f fr ppp f #f
ppp

f™™ f f r j F # f f # # U
? f™™ #
pp 6
f f
≈ f f f f ∑ ‰
? ≈ nn ff f f f f f f F≈ fff #f # f f #f
f f j j U
≈ n Jf Jf ∑ ‰ j
ø J n f ø J
f f
f f
ø ø Pianist
55• 80

P53 SCORES Bridge-FINAL.indd 55 10/09/2014 16:26

 TRACK 11
Moritz MOSZKOWSKI (1854-1925) INTERMEDIATE/
ADVANCED
No 4 from 12 Etudes for the Left Hand op 92

A neurological illness ended the virtuoso piano career of Moritz Moszkowski in the
1880s, but it didn’t stop him from composing many works for the piano, including
this technically challenging set of etudes for the left hand from 1915.
Playing tips from Nicholas McCarthy: This Etude is predominantly based around
arpeggios and it’s really important to shape each one. Imagine the arpeggio is an arc
shape; this will add interest and highlight the melodic line more. Moszkowski writes
some unexpected dynamic changes half way through the piece, so it’s important to
prepare and to know where these happen, it will help you to shape the piece overall.
In bar 39, at the ‘a tempo’, try and create a sense of a strong return. This is the same
theme as the beginning but it is enhanced with a chord and should be played fortissimo.
Pedal tips: See markings on the score.
Note: Mark Tanner offers additional playing tips for this piece in his Masterclass on
page 18.
Read the article on left-hand piano music on page 76.

Allegro moderato
#
& c

{ f- f- f - - -f
p

fff -
? #c f fffff f
3 2 4 2

ff ff f f
2 3 2 2

f
1 1 1 1 4 1

ff ff ff f f ff ff ff f f ff f f ff
f f f f f
° ø ø ø ø ø

#
4

& fff

{
f
f- f
1

-
2

-
1

f#f f f f- f #
4

fff ff fff ff f
1

fff
3 2

?#
2

f f
5 1

#f f
3 4 1 1 4

f f ff ff f bf
1

f f f f f
f
f bf f f
ø ø ø sim.

#
7

& ff

{
ff
- - -
f f- f #f f f f
fnf f fff ff fff ff f
2

?#
3 4 2 3 3
2 5 1 2 3

f f
4

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

f f
f f f
f

#
10

& -
4 2

ffff

{ -
f - -f
f -
fffff f- f f
poco cresc.
# f f #
2

f ff f #f f f f f
2

? # #f f f f f
2 4

f f f f f f f
3 1

f ff
3 1 2 3
1

f
fff bf f f

56• Pianist 80

P56 SCORES Moszkowski-FINAL.indd 56 10/09/2014 16:26

 TRACK 11
Moritz MOSZKOWSKI (1854-1925) INTERMEDIATE/
ADVANCED
No 4 from 12 Etudes for the Left Hand op 92
##
13 espress.

ff--- f --
13 espress.
& #
1 3 1 3 2 2

f
13 espress.
13
& #
1 3
f
f- f f
1 3 2 espress.
2

ff fff ff

{{
& f f f ff f ff fff ff
& dolce ff- fff fff ff fff fff ff- fff fff fff
1 3 1 3 2
f ff
2
1 3 1 3 2 2

ff fff ff f ff
dolcen f f
f f f f ff--- f f f ff--- f f f
ff ff ff
## f ff nn ff ff f f
ff ff fff ff f- ff fff ff ff fff fff fff ff- fff fff fff
f f ff fff fff fff
dolce
? f f f f
4

ff ff
1 3

ff fff
2 2

? n ff
4
dolce 1 3

? #
2 2
f
4

f f ff ff
1 3

ff f fff ff f f
2 2

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

f
°
° øø øø
°
° øø øø

## ff--- nf ff--- #f
16

ff--- f ff--- f
16
& # # f n ff nf
16
& # ##ff nf f
f ff- nnff f f - ##ff ff ff
16

{{
& ff nnff ff ff f f f ff- ff ff f ff- ff
& nf ff# f nf f nf ff ff mf f
ff n f f
ff f f #f ff ff f ff ff f
mf
f f f f ff
##ff nf fff fff ff f mf ff ff f f
mf 1

# ff ff ff nf ff f
4

? #
1 3 3

f ff ff ##ffnnff fff ff
1 4

#
1 1 4 2 3 2 3
f
4

? # n
3 3

# f
1
f f ff ff
1

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

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

f ff fff ffff f f f
1

ff#f ##ffnf
1 4 1 4 1 3 2 4 3 3 2 3

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

øø #f
#f øø
f
f ø sim.
5
f
øø sim.
5 5

øø øø
5 5

ø sim.
5 5
5
sim.

legato
##
19
ff ff
19 legato
f
legato
& ## ff f f fff f f ff ff f f f ff f f ff ff f ff fff fff f nnff ##ff ff fff fff ff fff ff f ff fff ff f fff
19 legato
&
19

{{
&
& ff ff ff ff f ff ff ff ff ff ff fff ff ff fff ff f fff ff f f ff nnff ##ff ff f f f ff fff f ff ff f
f ff f f f f f f f f cresc.
f
3
f
f ff fff fff ff fff ff
5 4 3
2 3 2 3 f
f
cresc.
? ##
3

ff ff fff fff
1 3 5 4 2 2 4 5 4 3 3
2 2 3 2 cresc.
2 ff
?
5 4 3 3

ff f f f ff f f f
3 5 4 2 2 4 2 3
1 2 3 cresc.
?
? ##
3 2 5 4 2 2 4 5 4 3 2 3
1 2 3 2 f
ff f ff f ff f
3 2 5 4 2 2 4 2 3
1 2 2

°
° °
° °
° øø øø
°
° °
° °
° øø øø

##
22
22
22
& ## ff f f f f f f ff
& ff ff f ff fff ff f ff ff f f ff ff f ff
22

{{
& ff ff ff ff
& ff ff f ff ff f f ff f f f ff ff ff ff ff ff ff ff pp
f f dim.f ff f ff
5

ff f fff
2 1

? ## ff f fff ff f fff ff #f ###fff ffpnf nnnfff ##ff fff fff ff f f

5
p 2
2 5
1 1
1

?
2

ff nnff nf ##ff f f ff ff ff ff f f
5

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

ff ff f
dim. 1 2

f f f ff ff f ## ff nn ff f
dim. 1

f
øø #f øø nf
2

f
øø øø øø øø øø øø øø f ff ## ff nn ff ff
1 1
øø øø øø øø øø øø øø øø øø 1
1
1
f 1
1
1

##
25
25
& ##
25
&
25

{{
&
& molto p legatiss.
ff f f ## ff f f ff f f
legatiss.

? #
molto p
molto legatiss.
f f
ff f f ##ff f f f f f f ff bbff f ff f ff f ff f ff ff ff ff fff ff ## ff ff fff ff ff ff fff ff
2
p legatiss.
#
1 2
f
1 2
f f
? #
2

f f
2 2
molto p
? f f #
? ## f fff fff ff fff fff fff ##ff fff fff fff ff fff fff fff ##ff fff ###fff fff ff fff ff fff f bbff fff ff ff ff fff ff nnnfff fff f f f f f f f f f f f
f f f
1 2 2 1 2 2

f f
1 2 1 2 2
2 2 2
1 2 2 1 2 2

ff ff f f f f #f f nf
°f f °
4 4 4 4 3 3 4

°f °
3 3 4

° °
4 4 4 4 3 3 4
4

° °
4 4 4
4 4 4 4 3 3 4

57• Pianist 80

P56 SCORES Moszkowski-FINAL.indd 57 10/09/2014 16:26

 TRACK 11
Moritz MOSZKOWSKI (1854-1925) INTERMEDIATE/
ADVANCED
No 4 from 12 Etudes for the Left Hand op 92
## ff-- f ##ff-- f ff-- f ##ff-- f
28
28 2
28 2 2

ff f f f f
3 4 2 1 4 1

& ff ff ff f ff ff ff ff f-- ff ff ff ##ff ff ff #f-- ff ff ff ff ff ff f-- ff ff ff ##ff nnff ff #f-- ff ff ff

3 2 1 4 1

#
4 2

&# f bbbfff ff
28 3 4 1 4 1

{{
2 2

f ff f ff f f ff f f f ff f #f ff f #f f ff f f ff f f f ff f #f nnff f #f f ff f
28
&
3 4 1 4 1
2 2

& #f f f
3 4 1 4 1

# f f#ff f f ff bf f f #f
ff f f f f fcresc. ff#f f ff f
? # f f f f nnff cresc. f
? # ## ff f##fff f f fff f f f
cresc.

? # f#ff f ff nf cresc. f f f
?# nf cresc. f f f
°
° ø
ø ø
ø øø
° ø ø ø
° ø ø ø
## ff ff ff #f ff ff ff ff ff ™™ ff #f ##ff #fjj#f
31
ff #f
31 1 3
3
31 1 1

f ##ff
3 1

f ff f ##ff f ff f ###fff f ff ™™ ff ##ff #f ##ffjj##ff ff ff

& ff ff
1 1

& ## ##ff ff
31 3

{{
1 1
31
& f #f f f #f f
#f #f #f #f ff ff
1 3

f f f #f f f f
1

& ff #f f f f #f 5

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

?
? ##f ff
3 2 1 1

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

?# f
5

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

? # fø
2 1

f f #f #f #f f
3 1 3 4
2 1 1
øø øø øø øø #f #f f
1 3
2

ø
ø ø ø ø ø
ø ø ø ø ø
##
33
33
33
33
&
& ##

{{
33
&
& ff # f ff ff #f ff ff ff ™™ f # f # fjj
f ™ ff ##ff ## ff ## ffjj ff
? #f ff ff ff #f ff ff ff
? ## ff # f
ff f f ##ff f f ##ff f ff ff ff #f #f
5 1

f f f f f
5 1

f ™ f #f # f # f f f ##ff #f ##ff
? # #f f f f f
5 1

f f f #f f f #f f f f f #f f ff # f n f # f # f
f ## ff nn ff ## ff ## ff
?# ° f
5 1

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

° øø øø øø øø øø #f
° ø ø ø ø ø f #f nf #f #f
° ø ø ø ø ø
>> >> ff >>j
##
35
ff >j >j ff ##ff f ff >>ffjj ff
35
ŒŒ
35
& f ff
& ## ##ff ff ff ff ff ff >fj #f >fj ff #f f f fj f
35

{{
##ff ff f ff ff Π#f f
Œcresc. f ff ffjj #f ffjj ff f #f f f f
35
& f
& #f ff f ff f > #f ff f ff f >f
ff #f f f nn >ff nf ff #f ff >f ff f cresc.f## ff f #f f
1 cresc.
cresc.
1

?
? ## f n >f nff f f >f f fff cresc.
ffffff## ff
1

f
ff##ffff f
ff ##fff f >
1
1

f n >f nfff f f
1 1

?# f f f
# f f f nff f ff fff ##ffff f f f fff ffff
1

?# ff ff#ff f
1

°
1
f
° f ff øø f føø fff øø føø øø
° f ø fø ø ø ø
° “ ” ø ø ø ø ø
>>j f ## ff “f”” f
rit. a tempo
# -- ff-- f--
38 rit. a
a tempo
j f “ f # f #
38
38 # > f f
# f “f”f #f rit.
f
rit.
f f
tempo
ff-- f
38
& f f f # f f
5 5
f
fj f f # f f f #f f f #f f ff f f
5 5

38& # >
rit. a tempo
f
ff f- ff f
5
ff ff- ff f
5
ff- f f

{{
# j f ff- f f
a tempo
& f f f f #f #f f f f f f
f f ff- f f
f
5
f f- f ff
5
ff- f f
& f ff- f f
ff f ff ff
5 5

f# f ff f f f f
ff f f ffff ff f f ff
# f
ff
? f
? ##
f f f f f
# f ff ff fffff ff ff ff ff ff f f ff f f f
f f ff
?# # f f f f ff f f ff f f f
ff f f f f ff f f f f
?# f ff f f f fø f
1
1
f
1
1
f
fø sim. f
1
1
f f
øø øfø f
5
5 5
5 1 1 1

fø fø sim.
5

f
5 5 5 1
1 1 5

ø ø ø ø sim.
5 5 1 1 sim. 1
5
ø ø Pianist ø ø sim.
5 5
5
58• 80

P56 SCORES Moszkowski-FINAL.indd 58 10/09/2014 16:27

 TRACK 11
Moritz MOSZKOWSKI (1854-1925) INTERMEDIATE/
ADVANCED
No 4 from 12 Etudes for the Left Hand op 92
## ff--- ff---
41

ff--- f--
41
41
& ## f #f- nf f
ff-- f ##ff ff ff ff ff f

{{
41
& ff- f ff- f f ##ff nnff f
&
& ff ff ff ff ##ff ff ff-- ff ff ff ff ff f #f nf ff
f-- f ff
ff f f f ff ff f ff
5

? ## f ff ff
5
f
5

ff ff f ff ff f ff fff ff f f
##ff f f ff f f
5

? ff fff ff f ff ff
5 5
5

? f ff
? ##
ff f f ff
5

ff ff f ff
5

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

f ff f f ff
5

ff ff f ff f f ff f ff f f ff ff f
1

f f f f f
1
1
1
1

## > >
poco rit. a tempo poco rit.

ff---
44
> >>f
poco rit. a tempo poco rit.
ff
f>f f f f >>ffff f
44
& ##
44 poco rit. a tempo poco rit.
ff f>ff ff

{{
f f ff- f
poco rit. a tempo poco rit.
&
44
& ff
& >>ff fff ff fff ff ff ff fff ff ff
ff ff ff
f f
> f f - ff-- f #ff-- f f
2

f f f #f ffff-- f f
2

-
1 3
f n f f
4 2 3

ff ff f
2

# f-
2

? # f ff ff f f f - f f
5 2
1 4 3
2 2

ff fff nnnfff fff ff fff fff fff ff fff fff fff ##fffff- fff fff ff
1 4 3 4
ff ff f f ff f ##ff f- ff f ff
4
4 1 3
2
3
2
1 4

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

ff f ff
2 5 4 3 4 2

? # f f
fff f
2
1 4 1 4

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

f
5

? # ff f
2 4
5 1

ff f
5 5 3 4

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

°
3
fø
1 2 5 1
f ø
3
ø ø
°
1
1 1
1

° øø
1 1
øø øø øø
°
1 1

ø ø ø ø
#f ff #f f f f ##ff
1

47 #
47 a tempo
f
5
1
f # # f
1

#
a tempo 3
f f f
ff f ##ff ff ##ff f ff f #f f f ff ff ##ff
5
1

47& # f f f
1
f f
5
47 a tempo 3
3 5
1

f f
1

{{
a tempo
& fff f f f f f ff ##ff ff f
3 1

fff f f
5

&
1
3

& sempre #
1

f f
f ff ## ff f ff >
n f f ## ff f
ff
f
>>f fff
? # sempre ff ff##ffff fff ff ## ff f # f ff ff ## ff
sempre ff
sempre ff
n
nn >ff ffffff
f f f# f f
? ## f #f ff ffff#fff f
1

?
1
#f ff ffff#ffff f f
# fffffff f f f ##ff ff ff#ff
f
1

? # f f ##ff ff ff f f f f f
1
1
f f f
f f f #f f f f fff f
øø øø f f fføø ff f #f f
f f f
3
2 1

fføø f
3
øø øø øø
3 5
3 2
2 1
1
5
2 1
fø f
3 5

øø øø øø øø øø øø
5
2 1

ø ff ## ff fff ff ff
5

f
50 # f #f f #f ff f f f ff ff ff ## ff f ff ff
50
50 # f f # f f f
2
f f
f f f f ff f ##ff ff ff ff ff ff f
f
50& # f ##ff f ff ff #f f f f f #f #
1 5
2 1

f
2

f
# f f f f ##ff ff f n >ff ff #f f ff ##ff fff ff ff ff fff f f #f f f f
f
1

{{
f
5 1

&
1 2
5 1

&
1 5
2 1

& f n
#f f ff n >f f ##ff f
1
f
5
f
1
f
ff f #f f f ff
n >>f f
? ## fff #ffffffff
3

# f f
? fff#ff f fffff##ffffffffffff
4
f
3
f
3

? # f f
3 4
4

?# f##ffff f ffff#f fff

3 4
4

ø ø 1
ffø ø ø ø
øø øø 1
1
1 øø øø øø øø
“ø”” f f # f f ø# f f f ø ø ø ø
1

““” f f # f f f # f f f f
53 # “f”#f f ## ff f f ## ff f f f #f f f
1
53
f f poco rit.
1

# f #
1

53& # f
##ff ff f f f f f
##ff f f f #f f f
1
f f f
poco rit.
53
# f
f
1
f f f f f poco rit.
#

{{
& f #f
poco rit.
& f f f
f ##ff ff ff ff
f f f
& # ff
2

f #f nn ffff ## ff U
1
2
2

? #
∏∏∏∏∏∏

1
2

Πfnn ff Π##fff ΠU
1
f f f Ó
∏∏∏∏∏

? ## ##ff ff f f #f f U
1
2
∏∏∏∏∏∏

? Œ Œ Œ U ÓÓ
∏∏∏∏∏

∏∏∏∏∏∏

# f Œ f f Œ # f Œ
∏∏∏∏∏

?# f f
f f ff ##ff ff f f # f f f Œ ff Œ
∏∏∏∏∏∏

f f
f Œ Ó
∏∏∏∏∏

#f f ff ff ## ff ff ff ff ff
øø øø f # f f ff f° ° ff ° ° °
°
øø øø °
° °
° °
°
Pianist
59• 80

P56 SCORES Moszkowski-FINAL.indd 59 10/09/2014 16:27

 ISS
’T M AM’S
DON H
ON Franz SCHUBERT (1797-1828)
PA R
LUCY
TRACK 12 LESS HIS P
ON T AGE
IECE ADVANCED
P 4
2
No 1 from Moments Musicaux D780

Schubert’s Six Moments Musicaux are among the most often played of his piano works,
although the collection’s title came from the publisher. It has become a popular name
for a collection of short piano works; Rachmaninov wrote his own Moments Musicaux,
for example. We’ve presented Nos 2, 3 and 4 from the Schubert set in past issues.
Playing and pedal tips: Even if there seems to be lots of repetition in this beautiful
work, almost every bar contains so much to absorb – attention to detail is needed. You
will also need to employ your best singing tone. We suggest that you read Graham
Fitch’s Masterclass on page 20, the subject of which is ‘making the piano sing’. There
are no pedal markings on the score, but, as Lucy Parham advises in her lesson on page
24, your ear should tell you where to pedal, bearing in mind that Schubert’s piano
music requires a very subtle and advanced use of pedal.
Read Lucy Parham’s step-by-step lesson on this piece on page 24.

Moderato
>F
3
5
3
3
f
5
f ‰
3 3
&4 f r
2 5

f f f f™ J f r
f f

{
f f f f f
>F f
f
p

? 43 f
r
f f f™ f
f
f J ‰ ∑
2 3 3 1 1

5 5 4
4
j
5 5 5 4 5 5 4 4 4 5

ff ‰ bff
4 4 5 2

& ff
4 4 3 2 4 3 2 2 2 2 3

ff #fff fff
2 4

ff bff ff ff b fff f
b >fff bff

{
ff fff ff fff f
f. f. f. . f. f. f. f. . f. . f >
? j f f >f
pp cresc.
f
f. f f f. f. f. ‰ f f f f. f. f. bf
. bf bf
4
2
>
4 2 2 3 3

. .
4 3 5 5
r
4
7
ff
5 5 5
FF ™™ ™™ ™™ f f f f fr f f3
2 2 3 5 3

& bfff nfff

3 3

ff ™™ ff #ff ff #ff
4
f
nfJ F™ fff

{
f f f f
>f ™ 3

ffj
fp p
? f ff ff ™™ FF™™ ∑
r 3
™™ ™™ f f f f f
f ™
>f f
3 3 2 1
f
(2 1 2 3)

11 2 4 5 >f
f
4

f r r
3
f ≈
5 3 5 3

& nfff ff f f f f
5 3
f ff ff f
f f f f f f

{
f f
>f
ff # ff ff ff
3
f ff f
f r
f f f f
? f f f f f
r f
≈
3 2 4 3 2(2) 3(1) 4(2) 2 3 1 2
4(3) 5(4) 2(3)

60• Pianist 80

P60 SCORES Schubert-FINAL.indd 60 10/09/2014 16:27

 TRACK 12
Franz SCHUBERT (1797-1828) ADVANCED
No 1 from Moments Musicaux D780
>f f r >f ff
###fff
5 3

>f >f
14
3
r
3
f ≈ ≈
5f
r 3
f f ff ≈
& ff f f f
14
fr
f f #f f f f f
≈ ≈ ≈

{
3
f
3

& f f f f f
f >f >f # f f
r >f f fz r
> #f fz
? ff f f f f
# fr
fr
f f f f ≈
fz
f ≈ #f f fz
f ≈
? f
f f ≈ f
f ≈ f
f ≈
3 4 3 2
(3) (1 2)
3 4
(3)
3
(1
2
2)

f
>f
r f
> #f f #fff f f f ≈ ff f ≈ ff
16 5
fr
f ≈ f ≈ ∑ f ≈
3

& f #f f #ff f
16 5
f
f ≈ ≈ ∑ f ≈ f ≈ f ≈
3

{
&
r> # f f fzfz f f f
# fr > f f
fz p
f f
? #f f #f f f
f ≈
fz p
f f
≈ f
f
≈ f
f
? f ≈ f f ≈≈ ∑
∑ ≈ ≈
≈
≈
f f 3 1
f 3 1

f f f f f f f f f f ff ff
19

& f f ≈≈ f f ≈ f f ≈ fff f ≈ fff f ≈ fff f ≈ fff f ≈ ff f ≈ ff f ≈

19

≈ ≈ f ≈ f ≈ f ≈ f ≈ f ≈ f ≈

{
&
dim.
dim. f
f ff f ff
pp
f r f F f
? f f ≈
pp
f ≈ f ≈ f f fr f f™ f F Jf ‰
? f f f f f™
≈ ≈ ≈ f f J ‰
3
3

>F .
f r
f f f f ff fff. fff.. ff.. fff.. ff..
22
f >F f ‰ f
‰
3
r
& f f f f f ™™ f f r
22
f
Jf ‰ f f f f f f f ff ff ‰

{
f
Jf
3
& f f
r
f f f f J f f f f ff
3
3
J
f F
3
f j
3
r
? ∑ f f
r f f f f™ f F Jf ‰ f. j ‰
? ∑ f f f f f f™ J ‰ f. f f ff. f. ‰
3 f. f f . f. f.
3

b f.. f.. f.. >f. f.. f.. f.. >f ™

b f.. b >>f.. bbff >f. ff ff >f ™ nf F™
5

™™ ##
4
ff
5
26 1
. 2
bbff bbff
5
ff ff f f nnff FF™™
f f ff. f ff.
5 4
26
& f bf f f f f f f™
f f . f. bf bf f nfJ F™ ™™

{
1 2

& f . J
. > ff.. b fff.. nf. fp>>f ™ FFF ™™™
f>fff..
fp

bff.. bbf>>ff.. bfff.. ff

cresc.

fff.. #nfff.
pp

? bff.. fff.. fff.. ff.. fff.. fff FF ™™™

cresc.
ff b ff nf. f ™ ™™ #
pp

? bff fff ff fff ff bff bbfff bff ff #nff ff f f f f ™™ Jf ™™ #

3 5 5 5
f
5
3 4 4 4 f f™
4
J 3
3
3 4 4 4
3 5 5 5 5 4
61• Pianist 80

P60 SCORES Schubert-FINAL.indd 61 10/09/2014 16:27

 TRACK 12
Franz SCHUBERT (1797-1828) ADVANCED
No 1 from Moments Musicaux D780
#
30
30 3
™™ ff ff fff ™™™
3

& ##
3
3
f f
4
ff
30 4

™™ >ff f f ff f f ff f f >f f f f f f ff f f f f

{{
3
3
& f f f fff ff fff ™™™ f
30 4
3
™™ >f
3
& f f f f f f f f >f f f f f f f f f ff
4

p> f f f f f f > f f f f f f f f f ff ff f ™ f
p
f
f ff ff ff ™™™™ ff
p 3

f f
3 3

? # ™™ pf f f f
3 4

f33 f f f f f f ff fF
3 4
3
f f f f f f f f f ff f fff ff ff ™ f
3

? # ™™ F ™
4

f f f f f f f f f™ f f f f f f f f ff
3 3

? # ™™ fF ™ f f f ff ff ff ™
4

f f f f f Ff ™ f f f f f f
3

fF ™ F™ f

> >
# >F ™ >F ™
33
33 5

& ## >fF ™ >fF ™

5 3
ff f f f f f f f f
3
fff fff f f
33
fff

{{
5

ff f f f f f f f f f f f f
3

& f f
33 5
fff fff3
fff fF ™ f f f f f f f fF ™ f f f f f f
& ff ff fff ff f f f 2
2
f f f f
1 f f f f 2
f f f
ff
1

?# fff fff
ffff f f f
2
f f
2

f
2 4 3
1 4 3

?#
2
ff fff fff fF ™
4 f f f f f f ff
3
f fF ™ f f f ff f f ff f
ffff
1

?#
2
ff ff ff
4
fF ™ f f
f f f f f f
3
f fF f f f f f f f f
f f fF ™ f f f fF ™ f f f
™

#
4
4 4
4
36 5
36
f f™
5 5
f
4
4 5
5 4
4 4 4 5

f ff ff ™™ ™™ ™™ f
4 4 3

&#
4 4

ff ™
3
ff ff ff ff ™™
36 5 5
ff ff ™™ ff ff ff
4 5 4
f ff
4 4

&# fff ™™™ ™™

4 4

{{
3

f ff ™ f f f
36 5 5
ff ff ™™ ff ff
4 5 4
f f ff
4 4

™™ ™™ >f
3

& f f f™ ff ff ™™ ff ff ff ™
f f f ff ff ™™
ff ™™
f f >ff f™
ff
f
ff
f
?# fff ff ff ff >
pp
pp
f f ™™
2 1
ff ™™ ™™ pp
2 1 1 2
2

fff ff ff ™™ ff ff
1

?# fff ff ™™ ff f f
2 1
™™ ™™ pp
2
f f ff ff
1

?#
2
ff 1
ff
1
ff ff ™™ 2
ff f ff ™ ™™ ™™ ff f ff f ff f ff f ff
ff f f ff ™ f f f f f f f f
f
2
2
2
2
f f

#
39
ff ff
4
39 4

f™ ff f ff ‰ ff ™™ ff ‰
1 4 3

&#
4 3
ff
1

fJf
39
ff
4

f™ f Jf ‰ ff ™™ ff ff ‰

{{
4 3

&#
1

f
39
f ff ™™ f™ ff f fJf
4

f™ f Jf ‰ >fff ff ff ‰
1 4 3

& f™ f f J
ff ™™ f f f™ f J
>f f™ f f
?# >
?# f f f f
?# f
f
f
f f f
f ## ff f #f f f f f f f f f f #f f f f f f ff f
f f f f f f f #f f # >f f f f f f f f f f #f f f f f f f f
f f f f f f f # >f f f f f f f f #f f f f f f
>
#
42
42 5

#ff
5 5
5

ff
1

&#
1 5 2

ff ff ff ff
42 5 2

ff ff
5

#ff ff ff
5

{{
&# ff
1
ff f
5 2

>f F
42 5

#ff >fff ff
>fff ff ff ff
5

ff ff
1

& >f ff
5 2

ff ff f ff ff F
> >f >f f f f f f F
?# > > F
?# f f f f f
?# f f ff f ff f f f f f f f #f f f f f f f f ff f ff f ff f ff
f f f f f f f f #f f f f f f f
f f ff f ff f f f f f #f f f
f f f
f f f ff f ff f f
Pianist 62• 80

P60 SCORES Schubert-FINAL.indd 62 10/09/2014 16:27

 TRACK 12
Franz SCHUBERT (1797-1828) ADVANCED
No 1 from Moments Musicaux D780

#
45
45
&# ff ff ™™™ ff ff ff ff ™™™ ff ff f ff ™™™ ff ff
f

{
& ff ff ™ ff ff ff ff ™ ff ff >fff ff ™
f™
ff
f
ff
f
f f™ f f f f™ f f >
?#
cresc.

?#
cresc.

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

#
48
ff ff ™™
&# ff ff f f ™™
48
ff ff ™™ ff ff f ff ff FF ™™

{
& >f ff ™ f f F ™
f™ f f >fff ff ™™ ff ff FF ™™
f> >
pp
?# f f
f pp pp
pp

? # f f f f ff f f ff f f ff f ff f ff f ff f ff f ff f ff f ff f ff
f f f
5 f f f f
4 f f f 3 f f f
3 f
4 f 4
4
4 3 3 4 4
5

#
51 5 4

bff
5

&# f f ff ™™ ff
51 4 4

f f f f
f f ff ff b f ff f b f ffff
5 4

f f bff
5

{
& >f f b f f ff f f f f >>f f ff ff ™™ ff
4 4

f
p
> bf f f f f bf f bf f f f™ f
bff ff ™™ ff
?# f f f f f ff f f
p
f
? # bfF ™ f f f ff f f f f f bf f ff bf f ff fff bff ff ™™ ff
3

f f f Ff ™ f f f bf f f f f f™ f
bfF ™ bf
3

f f F™ 2 2 1 2
4 3 2 3
2
5 2 1 2
4
4 3 2 3
5
5

>
# >F ™
54

& # bbfff nf
5 5

f
54
fff fff fff Fff ™ f f f
nf
5 5

{
& ff ff fff ff f f f f f f f
f f f
? # bbfff fff fffff fff f f f
1

? # ff ff
1
ff nfF ™ f f f f f f f f
f nfF ™ f f f f f
2
3
2
3
3

>
# >F ™ f™
56
f f f ff
&# fF ™ f ff f f ff f f f ff ™ ff ff ™™ ff ff ™™
56
f ff ff ff ™™

{
& f f f f f f f f f f™ ff ff ™™ ff ff
f f f f f™ f f
ff ff ff ™™ ff ff
? # f f ff f f ff f f ff ff ff f f ™™ ff ff ff ™™ ff ff ™™
? # Ff ™ f f f f f ff ff ff ff ™ f f f™ ™™
F™ f f ff ff ™
63• Pianist 80

P60 SCORES Schubert-FINAL.indd 63 10/09/2014 16:27

 TRACK 12
Franz SCHUBERT (1797-1828) ADVANCED
No 1 from
5
Moments Musicaux D780
#
1 2
59 5
(4) (3)

& ## fff ff ™™
5 4

f
3

ff ff ff ™™ ff ff ™™
1
5 2
59
ff ff
5 (4) (3)

ff ff

{{
1 2
2
ff ™™™ f
59 1 5
(4) 4
(3)

fff fff f ™ f
(4) (3)

&
3

fff f f f™ff ff
5
5 4
4

& pp ff
3
3

f ff ™™ ff ff f fff ™™™ fff fff fff fff ™™™

ff ff
f f f ™ f f f f™f f
? # pp
pp
f f f f f f f f
?
? ## ff
ff f ff f ff f ff f f ff f ff f ff f ff f f f f f
f ff ff ff ff ff ff ff ff ff f ff f ff f ff f ff f
ff ff ff ff ff

#
62 5 4 3 3

& ##
1 2 1 1 3 3

nff nfff ff ™™
62
f5 4 3 3
ff ™™ fff fff

{{
62
62
& ff ™™ f f
1
5 2
4 1
3 1
3 3 3
f ff ff nnfff f f n ff ™™™
5 4 3 3

ff ™™™ ff ff f fff fff

1 2 1 1 3 3

& n
1 2 1 1 3 3

f fff ff ™™™ fff ff ™ fff fff f

ff ff ™
f f f™ f ff f f f™ ff ff
f™
dim.
?# dim.
?
? ## f f f f f f f f dim.
f f f f
f ff f ff f ff f ff f f ff f ff f ff f ff f f ff f ff f ff f f f
ff ff ff ff ff ff ff ff ff ff ff ff ff ff f ff
65
# U n r 3 >F
5
U f >F f ‰ f fr 3
bf nf
3 3
& ## nfF ™™ nfFF ™™ U nn f fr f f33 f f™
65 2
f F ff >F Jf 3 f

{{
‰‰ f frr f f3 f f f3 f
65 5

bbff nnff
65
& F
f ™
& nnFfF ™™™ nnufFf ™ ff ™™
2
5
ff FF f frr f fJ
5

pf ff f f >F f ff ff f f f ff f
2

J
2

F™ f ff
F™ u
U
u F™ r f >F f fff
?# U FF ™™ n pppf fr f f f f™ ff >F Jf ‰ ∑
?
? ## f ff f ff f ff f U F™ nn ff fffrr ff f f ff ™™ fJ ‰‰ ∑∑
f ff f FF ™™ 3f f J
ff f ff f ff f ff ff 3
3

70
j ff
70
& ff ‰ bff f f f #fff fff bff bff nff ff ™™ nffJ
ff ffj b ffff. b >ffff bbfff fff

{{
70
70
ff fff ‰‰ bff ff ff fff ff bbfff bbfff nnfff >fff ™™™
&
& fff. fff. ff. fff. ff. j ff. fff. ff. fff. ff. ##fff >fff nnffJ
f. ff. ff. ff.. ff. bpp ff. ff. bb ffff. bbcresc.
>
fff bff ff ff >>ff ff ff ff >ff ™
pJ
f. . f. f. j f.. f.. f. ff.. f. . cresc.
>f
f f
> >
fp
pfj
? f f ff fp ff ™™
f. j ‰ pp bf. bcresc. f bbff ff f >>f pfj
ffj
pp
? f f f. f f. f.
‰‰ ff ff ff ff ffff ffff ™™™
fp
f. f. ff. j f.
bbff. bb>ff bf f
pp
? ff. ff ff ff.
. ff. ff ff.
. ff. ff.
.
ff ff ff >>ff ™™ ff
. . . f f . . >> >

. .
f frr f f f fr f f33 ff f f.
74
FF ™™ f f
#ff..f
r
& ff ffrr ff f f ffrr f f3 f ff #ff fff. ff nfff f ff ff ff fff f
74 f
FF ™™™ ff f r

{{
74
ff ff ff f fff ff ff f ff
&
& F ™™ 3f f f f f f ff ##fff fff ##fffff fff nnff fff fff ff
f
f
frr
ff
3 f
F f f f f f f f f
f f ff # ff 3 ff ff
? ## fff 33 fff
3
FF ™™ ∑ f fr f r 3
f f f f
r fff fff ff
f333 ff f
3

? FF ™™ fr f f
r f f f f f ff
? ∑∑ ff ffr ff ff f f ff f f 3f
F™ ff 3
3
64• Pianist 80

P60 SCORES Schubert-FINAL.indd 64 10/09/2014 16:27

 TRACK 12
Franz SCHUBERT (1797-1828) ADVANCED
No 1 from Moments Musicaux D780
>f >f f rr ff
>>ff >>ff ###fff f f
79
79
f ffr
r
f
3
3
f ≈ f ffr
r
f
3
3
f ≈ f ≈ ff ff
ffr f fff ≈
& ffr
79
f ff f ff ###ff ff
79
r
≈≈ r
≈≈ ff ≈≈ ff ≈≈
3 3

{{
& ff ffrff
3
f ff ffr ff
3
f ff
& ff ff >f ff ff >f 3
rr f #33f f
3
r
>>ff f r
>>ff f
ff
ffr f ffr f
fz fz
? fff
f ff f f ff
fz
f ### fffrr f ## ff ff
fz
f
r
f ≈ ff r
f ≈ ff ≈# f f ≈
fz fz
ff ffr f ffr f
? f ff
fz fz
? f ff ff ≈≈ f ff ff ≈≈ f ≈≈ ≈≈
3
3 3
3
ff 3
3 ff
3 3 3
3
3 3

f
r f ff f
ffr f #f f
82
#fff ≈ fff ≈ fff
82
r f ≈ ff ≈ ∑ f f f ≈
& ffr ff ##ff f ff
82
ff ##ff ff ff ff
82
≈≈ ≈≈ ∑∑ ≈≈ ≈≈ ≈≈

{{
&
& 3
ff
#33f f f f f
3 fz fz p
## ffr
r f fz fz p
f f f
? r
## ffr ff ## ff ff fz
fz f
ff ≈
fz
fz
≈ ∑
p
p
ff ff
≈ ff
ff
≈ ff
ff
≈
?
? f
ff ≈≈ f f
ff ≈≈ ∑∑ ≈≈ ≈≈ ≈≈
3
3
3
3 ff

f f f f ff ff ff ff ff ff
85
85
85
85
& ff ff ≈ ff ff ≈ ff ff ≈ fff f ≈ fff f ≈ fff f ≈ fff f ≈ fff f ≈ fff f ≈
≈≈ f ≈≈ f ≈≈ ff ≈≈ ff ≈≈ ff ≈≈ ff ≈≈ ff ≈≈ ff ≈≈

{{
&
& dim.
f ff f ff f ff
dim. pp
pp
dim.
r f F f
? ff f
dim. pp
f ffr f f ™
≈ ff f ≈ ff f ≈ f f f ™ ff FF Jff
pp

? ff r
ffr ff ‰
? ≈≈ ≈≈ ≈≈ ff ff f ™ JJ ‰‰
3
3
3
3

>F f rr f ff.. ff... ff.. . ff..

88
88
r
3
f >>F f ‰ ffr f f f ff fff. ff.. ‰
& ff ff ff. ffJ.
3
f f ff ™™
88
f ffr f f ff
ff Jff ffr ff
88
‰‰ ‰‰

{{
F ff ff 3f
3
&
& ff r
ffr ff
3
ff ff ff ff fff ffJ
ff ff f ™ JJ 3
3 3
J
f F
3
f j
3 3
r
?
3
f ffr f
∑ r f f ff ™™ ff FF Jff ‰ f. jj ‰
?
? ∑∑ ff ffr ff ff ff f ™ JJ ‰‰ f. f ff ff. f. ff. ‰‰
ff. ff f f.. ff. .
. .
3
3
3
3

f.. f.. f.. >f ™

b f.. b >>f.. b f.. f.. f.. >f.
>>f.. ff. ff. >> ™ nf F™
f.. bb >ff. bb ff. ff. ff. f.
92
92
bb ff. f nn ff F ™™
FF™
& f f ff. bbff f ff ff ff ™™
92
92
f f. ff. ff ff ff ff
bbff bbff nnJff

{{
& ff ff f.. F™
F™
& ff ff.
. JJ
ff.. > >
f>>ff.. fff.. . FF ™™™
fp
> ff
bff.. bbf>>ff.. . fff.. nf..
pp cresc.
cresc. fp

? bff.. fff.. fff.. ff.. fff.. b fff..

pp

bffff.. n >>ff ™™ FF ™™
fp
#nff. fffff. ffff
fff.
pp cresc. fp
bbff. bbbbfffff. fff. bb fff nnfff.
pp cresc.
Jff FF ™
? bbfff.
? fffff. fff. ff.
ff fff. ff bbff ##nff fff
ff ™™™
fff ™™ JJ
65• Pianist 80

P60 SCORES Schubert-FINAL.indd 65 10/09/2014 16:27

 Try the New Unique Audiovisual Study Tool:

www.pianostreet.com/AST

Bring the magic of Riverdance to life on your piano

Music from Riverdance Selections from

- The Show Riverdance - The Show
20th Anniversary Edition arranged for easy piano
for piano, voice and/or guitar
A collection of 12
A collection of 20 pieces taken pieces taken from
from Riverdance – The Show Riverdance – The Show
arranged for piano, vocal and arranged for easy piano,
guitar, with lavish photography with lyrics and chord symbols.
from the show and introductory
notes from composer Bill Whelan.
Includes American Wake,
Includes Reel Around The Sun, The Countess Cathleen,
American Wake, Riverdance and Lift The Wings and Riverdance
Lift The Wings

979-0-060-12782-3 979-0-060-12784-7

£12.99 £8.99

Available from all good music shops. For more information please contact Schott Music Ltd:
T: 020 7534 0740 | marketing@schott-music.com | www.schott-music.com
Boosey & Hawkes is exclusively distributed by Schott Music

66• Pianist 80

p66 Ads.indd 66 12/09/2014 09:29


C
oncert pianists are an exceptional breed of
human being. They must have innate musical
talent, exceptional coordination, the patience to
continually maintain their skills through endless
hours of practice and study – and then they must
test themselves regularly in the public arena.
Photographer Amy T Zielinski has been snapping
the world’s greatest musicians for several years,
and she has a rare understanding of concert pianists, capturing the focus,
inspiration and intensity of these musical thoroughbreds in photos.
Some of Zielinski’s photos are on show at the Turner Sims Concert Hall
at Southampton University. ‘The concert pianist is the focus,’ she says of the
show, and that’s putting it mildly. The entrance might as well be marked
‘Caution: Pianists at Work’. One photo is of a patrician-looking Imogen
Cooper at the keyboard; another shows an expression of concentration on
Peter Donohoe’s face as he looks at his music; a third finds Gabriela Montero
staring dreamily up at the ceiling as her fingers touch the keys.
I tell Zielinski how charmed I am by a photo in which Alfred Brendel
grasps his head with his hands (below). ‘Brendel’s photo was a happy
accident,’ she explains. ‘At end of a shoot, I say to the pianist that the last
gesture is yours. I love the playfulness about him at the moment.’
Most of the pianists pictured in the exhibition have either previously
performed at Turner Sims or are making their debuts this season in the
Hall, which is celebrating its 40th year. Its 2014-15 International Piano
Series has a dynamic line-up, from the legendary Radu Lupu (25 Nov)
playing variations by Brahms, Beethoven and Mozart and Christian
© David Parry (main); © Amy T Zielinski (Brendel)
67• Pianist 80
p67 Turner-FINAL.indd 67
INSIGHT
Movements
Moments
As Amy T Zielinski’s lively photos of top concert
&
pianists go on show at Turner Sims Concert Hall,
she tells Inge Kjemtrup about her ongoing
project – photographing pianists’ hands
Blackshaw in Schubert’s last three sonatas (14 May), to recent Pianist cover
artist Federico Colli (5 Feb) and Yundi, whose programme includes the
four Chopin ballades and the op 28 Préludes (9 Apr). Other pianists are
Rafal Blechacz, Pascal and Ami Rogé, and Ingolf Wunder.
Though not a pianist herself, the American-born Zielinski knows well
what it takes to play the instrument because her father was a keen pianist. He
attended a conservatoire, but active military duty in the Korean War
curtailed his dreams of being a professional. He became a grade school music
teacher and his love of playing never faded. ‘When I was growing up every
morning I heard scales, Bach and Beethoven,’ Zielinski recalls. In her own
life, drawing and then photography took precedence over music, but later,
‘when I started to listen to classical music, I realised this was all within me.’
For the past five years, Zielinski has been working on a fascinating self-
assigned project: photographing the hands of concert pianists. ‘I’ve always
wanted to do something with hands,’ she says. ‘When my grandmother
died, and she was laid in the casket, I couldn’t recognise her very well, but
when I saw her hands, I knew the hands that had cooked meals and so on.
When it comes to hands, what a better profession than the pianist, whose
music comes through their hands?’
The idea of photographing a pianist’s hands is hardly original, as Zielinski
will readily admit: ‘It’s a natural thing to zone in on a pianist’s hands.’ The
difference is that she has photographed so many hands with such care. What
kind of discoveries has Zielinski made about pianists’ hands?
‘It reveals that there is not one norm of size and shape. You don’t have to
have huge Rachmaninov hands, you could have tiny hands. You may have a
different work flow, but you get there! I think this project will show it takes
all kinds of hands. There will be other things to notice, such as how fingers
and knuckles are shaped. I use a 35mm or 50mm lens, so I’m very close.’
There’s another aspect to the project that makes it very personal. ‘I bring
along a box of sheet music, music my dad worked on, with his notes on
it,’ says Zielinski. She asks the pianist to choose which piece of music they
would like to have their hands photographed with. ‘Some play the music.’
So far, Zielinski has photographed the hands of 150 pianists, including
some of the best-known performers. ‘I still have ten I have been trying to
get,’ she says. ‘I could stop now and have a beautiful collection, but there
are hands that are important to include. This is a bit of a love letter to people
who play the piano.’
Clearly there’s something important to Zielinski about getting it just right
before her hand photos make their public debut, whether in a show, a book
or both. But for now, you can revel in her work at the Turner Sims show. ■
Amy Zielinski’s exhibition of photographs, The Concert Pianist: Movements &
Moments, is at Turner Sims Concert Hall, Southampton University, until
1 December. For further information about the 2014-15 Turner Sims concert
season, please visit www.turnersims.co.uk.
11/09/2014 14:13
 REVIEW

Verbier Festival 2014

Sun-drenched sounds in the rainy Swiss Alps

Rain (and there was a lot of that) or shine, Erica Worth was still determined to
catch some of the biggest names in the piano world at the Verbier Festival

I
t’s the morning of 18 July, the start of the 21st Verbier Festival’s
first weekend. I am zipping off to this Swiss mountain resort to
hear three of my favourite pianists (I’ll keep you guessing as to
which three they might be). My flight has been scheduled so that
I will be able to get there in ample time for the opening concert
featuring Martha Argerich performing Tchaikovsky First Piano
Concerto with her long-time collaborator Charles Dutoit and the
Verbier Festival Orchestra, in the Salle des Combins, the main concert hall.
I’m sure it’s going to be spectacular.
But things don’t always go as planned. My early-morning flight is
cancelled and I’m on standby for the next. Alas, I don’t get on and can only
wave sadly at other Verbier attendees who do. When I eventually get on the
early-afternoon flight (staring at my watch all the way over – are we going
to make it in time for those monumental opening chords?), my luggage
hasn’t accompanied me. I arrive in Verbier at 1am, well after the pianist, the
conductor and everyone else has gone to bed.
Deputy Editor Inge Kjemtrup, who is already in Verbier, does make
it to the concert and shares her reactions. ‘I’ve heard Argerich perform
brilliantly at Verbier before, most memorably in the Shostakovich First
Concerto, but it wasn’t her best night,’ says Kjemtrup. ‘The fingers are still
fleet and the touch still exquisite, but Argerich struggled to get her ideas
across to a less-experienced orchestra than usual – the upper age limit is
26, and I had heard that there had been a big turnover of players this year.
Verbier audiences adore her, though, and insisted on an encore, which she
eventually, and seemingly reluctantly, offered: Schumann’s “Of Foreign
Lands and People” from Kinderszenen. Was there a hidden message there?’
Maybe I didn’t miss the concert of the century then. It’s now day two
and the concert in store for me tonight, again in the 1700-seat Salle des
Combins, is Stephen Kovacevich playing Mozart’s Piano Concerto in
C minor No 24, with the Verbier Festival Chamber Orchestra under the
direction of Gábor Takács-Nagy. Kovacevich plays in the style of old-school
pianism with great tenderness and romantic phrasing and without ever
breaking the flow of the musical line. He makes one sonorous pianissimo
after another, which is sometimes more than the orchestra can respond
to. The first two movements are pure magic. It’s not his fault that he’s not
totally in sync with the orchestra at the beginning of the last movement,
but being the consummate professional, he gets back on track quickly,
and the lively flow of the last movement continues beautifully. There are
so many heartbreaking moments: this is Mozart playing we are lucky to
hear and it’s surely a straight line back to the great days of Myra Hess, with
whom he studied. Kovacevich’s romantic approach to early music manifests
itself in the encore, the Sarabande from Bach’s Partita No 4.

In concert at Verbier: Daniil Trifonov; Martha Argerich; Joaquín Achúcarro; Stephen Kovacevich

68• Pianist 80

p68_Verbier-FINAL.indd 68 11/09/2014 14:31

 Forsyth Est 1857

Grigory Sokolov; Jan Lisiecki

The following morning’s recital, in the more intimate venue, the 500-
seat Eglise (church), is a revelation. Joaquín Achúcarro is probably the most
famous Spanish concert pianist today, as well as a sought-after teacher (our
cover artist Alessio Bax studied with him) and I’ve not heard him perform till
now. His Schumann Fantasy is out of this world; I can’t help but shed a tear
at the beginning of the third movement. The second half is an all-Spanish
programme, which features a very sultry Ravel Alborada del gracioso. His
mixture of encores includes the ferocious Chopin Prélude No 16 in B flat (this
seems to be the ‘must-play’ piece of the Festival – nearly every pianist I hear
either plays it in their programme or has it as an encore!), played with great
passion and authority, and the Scriabin Left Hand Nocturne. The Scriabin
is atmospheric, understated and restrained – and I do admire that Achúcarro Forsyth is the largest
plays a left-hand piece as an encore. independent music
The evening’s hot ticket is a recital by Daniil Trifonov at the Combins. His
first half is a strange programme of Stravinsky, Tchaikovsky (Original Theme
department store
and Variations) and Rachmaninov (the Chopin Variations). Trifonov displays in the UK.
the array of phenomenal techniques that have impressed many, but for this
listener, his tonal range is too restrained in the Tchaikovsky and Rachmaninov Whatever your
– not enough variety to those variations. In the second half, he performs musical tastes, we
the Schumann Etudes symphoniques, a work that I love, but due to the heavy have the best
rain, I can hardly hear anything. What a shame that Verbier Festival’s major
concert hall can’t be better sound-proofed against the fickle mountain weather. selection of pianos
Trifonov though, is 100 per cent focused, and when I speak to him afterwards, for you to
he says he didn’t even notice the sound of the rain. Now that’s concentration. experience and
He plays a few encores (including that Chopin Prélude No 16, which is pretty a wide ranging
impressive: maybe faster than Achúcarro’s, but with less gravitas). collection of
It’s raining heavily yet again as I make my way to the next day’s recital by the printed and
young Canadian Jan Lisiecki back at the Combins. It seems an odd location recorded
for a morning recital, but I hear Sokolov has blocked off the Eglise for the
music for you
whole day to practise for this evening’s recital. Lisiecki’s first half, the complete
Chopin Préludes opus 28, is impressive if a bit bombastic (interestingly, his to browse.
version of the Chopin Prélude No 16 is the one I least like). But when the soft
moments come, they are beautiful. However, unlike Trifonov, Lisiecki is totally Everything is also available via our
stymied by the rain. He stops twice, once saying to the audience ‘ça marche fast and efficient telephone order service or our online shop.
pas’ (‘it’s not working’). Whether it’s lack of concentration or just personal
style, he makes such a long pause in between each prélude that the overall line
© Nicolas Brodard (main photo, Kovacevich, Liseicki); © Aline Paley (Trifonov, Argerich, Achúcarro, Sokolov)

Whether you ask your questions in store, on the phone or

is lost. The rain dies out for the second half, but the focus has gone. I’d like to
hear him again under less stressful circumstances.
online, the same knowledgeable staff will be on hand to
Attend a Grigory Sokolov recital, and you will doubtless be struck as I was make sure you’re happy with your purchase.
by the number of famous musicians in the audience. I spot a whole row of
them including Evgeny Kissin, Mischa Maisky, Martin Helmchen and Kissin’s Official agents for:
teacher, Anna Kantor, whom I notice standing transfixed at the back during
the encores. In an all-Chopin programme, Sokolov somehow manages to use
the instrument like a fully-fledged orchestra. His tonal palette ranges from the
softest strings on a double bass to the penetrating sound of a whole woodwind
section. And it all sounds so natural and effortless. He begins with the Third
Sonata, which at times is wildly overwhelming. But in this interpretation,
one can feel Chopin’s frustrations and agony. Sokolov manages to portray the
many sides of Chopin, not forgetting tenderness and intimacy. This is one-of-
a-kind piano playing – nobody can achieve it or replicate it. What more can I Plus pre-owned pianos by Steinway, Blüthner, Boston and more
say? It’s gargantuan playing. Being one of the most generous musicians there
is, Sokolov continues with a plethora of encores that last almost as long as the
full programme – this time it’s pretty much all-Schubert. I do think he’d have 0161 834 3281 ext. 604 pianos@forsyths.co.uk
happily continued throughout the night.
Rainy weather, delayed flights and all – for this recital (and a couple of other 126 Deansgate, Manchester, M3 2GR
rare treats), I’m glad that I made it to Verbier. n
▲

69• Pianist 80
facebook.com/
Forsyths.Music.Shop F forsyths.co.uk @forsythmusic

p68_Verbier-FINAL.indd 69 12/09/2014 09:17

 O N S TA G E
RACHMANINOV ROCKS
The London Philharmonic Orchestra launches a major season-long festival of
Rachmaninov’s music in October. Erica Worth asks LPO Chief Executive
and Artistic Director Timothy Walker why Rachmaninov is still such a draw
Why do you think Rachmaninov’s music has
retained its appeal with audiences?
There is a very direct emotional connection through
the big melodies that are lavishly orchestrated in
full Romantic style.
 
Do you think Rachmaninov is a truly great
composer? There was a time when his music was
looked down on and the piano concertos were
viewed as just flashy showpieces.
If you look beyond the known works, then you
begin to understand that Rachmaninov is indeed
a greater composer than he has been given credit
for. His greatness perhaps lies in the lesser-
known works, which is what this festival seeks to
uncover. The most popular works are steeped in
the 19th-century Romantic tradition. The more
adventurous works emerge after 1917, when he
was living in exile. There are the influences of
Stravinsky and later Ravel and Gershwin. His
opera, The Miserly Knight, which we will present in
concert version, is a very different world from the
Second Piano Concerto. Within years of his death,
there was an expectation that his music would not
survive at all. How wrong the naysayers were.
 
What are some festival highlights?
For pianists, it will be the chance to hear both the
first and last versions of his First and Fourth piano
concertos. We also have the Second and Third
concertos programmed, along with the Rhapsody
on a Theme of Paganini, but to have both versions
of the First and Fourth will be very interesting.
 
© Benjamin Ealovega (Walker)
What do you hope to achieve by setting his
music alongside that of contemporaries, such
as Szymanowski, Scriabin and Enescu, and
composers who influenced him, such as Wagner,
Richard Strauss and Tchaikovsky?
p70 Rachmaninov-FINALish.indd 70
The idea is to place Rachmaninov within the
period of his writing and that of his influences and
contemporaries. Upon first inspection, his work
may appear to belong to the 19th century, but the
influences of Wagner, Strauss, Ravel, Stravinsky
and Gershwin place him squarely in the 20th.
Are Rachmaninov’s living descendants still
involved in his work?
I have met his children and I know that they have
great pride in what their father established. With
the support of the Rachmaninoff Foundation,
the LPO has been presenting Rachmaninov
Gala Concerts for many years. It was through
my friendship with the composer’s grandson,
Alexander, who established the Foundation, that
we devised this grand project: a celebration of
Rachmaninov that would go beyond just one
concert. Regrettably, Alexander died two years ago.
This festival will be a fitting memorial to him, as
his work was very much centred around revealing
the ‘unknown Rachmaninov’.
LPO Principal Conductor Vladimir Jurowski
has a fantastic track record with Rachmaninov’s
music. Did he help plan the season?
Vladimir was at the forefront in determining what
we should do. Inevitably, one can’t do everything.
It would have been nice to have included the
Vespers, for example, but choices had to be made.
How did you choose the pianists to perform
the concertos?
We chose Alexander Ghindin for the lesser-
known versions of the First and Fourth concertos
because he is one of the few who plays them.
Nikolai Lugansky is a master of all of the
concertos, and it would have been easy to have
him alone. But we felt we wanted to balance the
70• Pianist 80
season, and introduce the new generation. For
the Third Concerto, we have the winner of the
2012 Honens Competition, Canadian-based
Pavel Kolesnikov. We have the winner of the last
London International Piano Competition, Behzod
Abduraimov in the Paganini Rhapsody, and one
of Alexander Rachmaninov’s discoveries, Dmitry
Mayboroda, who will be just 21 when he plays
the First with us in March. Then there is Jorge
Luis Prats who will play the most famous of all,
No 2. He is a pianist with a huge personality.
This will be a concert not to miss.
How long have you been planning the festival?
Five years.
Which is your favourite Rachmaninov piano
concerto and why?
The Second is my favourite because of the
melodies, but for now, I am actually more
interested in the First. ■
Rachmaninoff: Inside Out
3 Oct 2014-29 April 2015
Piano highlights
Concerto No 1: Alexander Ghindin (3 Oct,
original version); Dmitry Mayborada
(25 Mar, revised version)
Concerto No 2: Jorge Luis Prats (11 Feb)
Concerto No 3: Pavel Kolesnikov (29 Oct)
Concerto No 4: Alexander Ghindi (13 Feb,
original version); Nikolai Lugansky (7 Nov,
revised version)
Rhapsody on a Theme of Paganini: Behzod
Abduraimov (28 Nov)
Scriabin Piano Concerto: Igor Levit (3 Dec)
Find full listings at lpo.org.uk/rachmaninoff
12/09/2014 09:12
 playing is believing
We specialise in rebuilding fine pianos. Pure craftsmanship, unparalleled
attention to detail and the highest quality components are our trademarks,
resulting in pianos with beautiful sound at exceptional value.

Come play for yourself. After all, playing is believing.

First in the UK to use Better value than

bronze bass strings. buying new!
“A great improvement over traditional
copper wound bass strings with a warm,
deep and clear sound.”
Mr F. Tahmasebi, repeat customer.

grandpassionpianos gppianos
www.grandpassionpianos.co.uk
info@grandpassionpianos.co.uk
0800 233 5213
Keyboard Skills ad 133.5x90 24/6/08 11:53 Page 1

One hundred years

the standard for the piano tuning profession.
Keyboard Skills
for Reluctant Pianists
Sue Anderson
A crash course
in increasing
practical
confidence
at the piano.
Music Teacher:
July 2007
profession and general public with a first class
professional service in which they can trust. Content includes

• basic harmony
Membership is dependent upon passing at the keyboard
tests in piano tuning and repairs.
• scale playing
made easy
• how to simplify £21 inc CD
enquiries or a list of members in your area, accompaniments ISBN 978-0-9552933-0-6
• 30-week sample Available from all good
timetable bookshops or direct from
www.pianotuner.org.uk Sue Anderson on 020 8670 0982
or sue@sueanderson.co.uk

71• Pianist 80

p71 Ads.indd 71 11/09/2014 14:26

 POPULAR PIANO
ronnie scott’s
For more than 50 years, the legendary London club Ronnie Scott’s has hosted
the world’s greatest jazz artists. Nick Shave tells the story of the club, its
founder, its pianos and the jazzers (especially the pianists) who made it great
W
hen Ronnie Scott opened his
eponymous venue in the heart of
Soho’s red light district in 1959,
he advertised it as ‘the best jazz
club in town’. Yet to pianist Eddie
Thompson, who played on the
opening night, the new club must
have seemed as unrefined and unpredictable as its old upright
piano. Located in the basement of 39 Gerrard Street, the
club had previously been a cab drivers’ hangout and didn’t
have a licence to serve alcohol or proper kitchens in which
to prepare food. But it was the jazz that was the draw, with
Thompson, the Tubby Hayes Quartet and proprietors, Peter
King and Scott himself, forming a line-up that presented
the crème de la crème of British jazz.
72• Pianist 80
p72_Ronnie Scotts-FINAL.indd 72
Since then, the venue has become known for its great pianists
and pianos alike. It was where Bill Evans seduced London
audiences in the 1960s, where Oscar Peterson wowed BBC
television viewers in the 1970s and where Nina Simone
boosted ticket sales in the 80s. It’s where Chick Corea played
his first Elektric Band gigs and where America’s visiting
saxophonists – from Zoot Sims to Roland Kirk to Sonny
Rollins to Stan Getz – were accompanied by the club’s
ever-accommodating rhythm section, featuring house pianists
Thompson (1959-60), Stan Tracey (1960-68) and John
Critchinson (1978-1995). It’s also where, in rather more
salubrious surroundings, the current artistic director and house
pianist, James Pearson, continues the Ronnie Scott’s legacy.
This past August, the club hosted a piano trio festival
featuring performances and workshops from 12 different
leading jazz pianists, including Joe Sample, Julian Joseph and
Jacky Terrason. The second festival of its kind at the club,
it marked an opportunity for pianists to fully explore the
freedoms of the genre, culminating with Pearson’s homage to
Oscar Peterson. The festival also put the club’s new Yamaha
piano, as chosen by Pearson and Ronnie Scott’s regular, Tom
Cawley, under the spotlight. ‘It’s one of our manifestos to
make sure we get the best pianos possible,’ says Pearson. ‘The
piano gets used so much, usually by three or four different
pianists every week,’ he explains, ‘so we have been looking for
one that has lots of durability.’
Since the days of that first upright, Ronnie Scott’s pianos
have varied tremendously in quality, ranging from a robust
Steinway to a sub-standard Kawai to a fabulous yet unloved
Fazioli. So what can visiting pianists expect from the
club’s new CF6? ‘The range of the colours is very strong,’
says Pearson. ‘You can strike a note and get an aggressive,
attacking sound, and you can also get that gentle ballad
11/09/2014 14:54

approach – that’s the hardest sound to get out of a piano, that
even, beautiful sound. This piano responds to that very well,
it’s only just over six feet, but has the richness of a bigger
piano. The action is particularly good, but like a concert
grand piano, you have to be able to play the thing to get the
notes out of it, you have to have the technique.’
How times have changed since Tracey, on recording with
Ben Webster, would navigate the untamed percussive sounds
of an upright, coaxing and jabbing them into oblique shapes.
Back then, the story was the same across Europe and the
US: while the best classical musicians enjoyed the very best
concert grand pianos, virtuoso jazz pianists usually had to
make do. ‘The pianos that Bud Powell used to play and
Oscar Peterson at London House in Chicago were dreadful
compared with modern-day standards,’ says Pearson. Now,
when big-name pianists visit Ronnie Scott’s on Frith Street
(its venue since 1965), Yamaha will install a CFX concert
grand piano: ‘Chick Corea and McCoy Tyner – they always
want to play on a concert grand, even if you explain to them
that you don’t need one,’ explains Pearson, ‘because they’re
used to playing concerts.’
It was the attraction of big-name American artists, and in
particular the arrival of Bill Evans that led to the installation
of the first grand piano at Ronnie Scott’s. Evans had the jazz
world at his feet after his meticulous renderings of modal jazz
on Miles Davis’s Kind of Blue. To meet the demands of one of
jazz piano’s most revered perfectionists, Scott sold the club’s
upright a week before Evans’s arrival with a view to hiring
something better. But he soon found that local dealers had
little time for jazz and saw the club’s basement steps, drinks
© David Sinclair
and late-night hours as a potential liability. At the eleventh
hour, it was pianist Alan Clare who came to the rescue,
arranging for the loan of a grand piano for the show.
73• Pianist 80
p72_Ronnie Scotts-FINAL.indd 73
Opposite page: interior and exterior of Ronnie Scott’s
This page, clockwise, from top left: John Critchinson;
Ronnie Scott’s Jazz Orchestra; Jamie Cullum; Julian
Joseph Trio; Pete King;Tom Cawley
Looking back, it’s hard to believe that Evans, with his
extreme sensitivity and light touch at the keyboard, could
be considered a threat. His unique playing style – with its
impressionist sense of colour and harmony, and its reflective,
profoundly poignant lyricism – marked the first in a series of
landmark performances at Ronnie Scott’s. In his Jazz Journal
review of a Bill Evans Trio performance at the club in 1965,
David Rosenthal wrote: ‘This was jazz as free and as intense
‘It’s one of our manifestos to make
sure we get the best pianos possible.
The Ronnie Scott’s piano gets used
so much, usually by three or four
different pianists every week’
-Ronnie Scott’s house pianist, James Pearson
as anything the avant-garde could create, but made ultimately
sublime by the inner tension and discipline of the basic chord
structure and tempo. In his masterful balancing of form
and freedom, Bill Evans has created a music that is the most
profound and exhilarating experience jazz has to offer.’
Besotted with bebop
But the story of Ronnie Scott’s piano – from its mend-and-
make do upright to its current support from Yamaha –
reflects the country’s changing attitudes towards jazz, and in
particular towards American musicians, who were banned
▲
11/09/2014 14:55
 POPULAR PIANO
from working in the UK after the war. It begins 12 years
before the club opened, when Scott made his first trip to New
York, and, besotted with bebop, resolved to bring the US jazz
club to London. Two years after the club opened, he would
successfully negotiate a new agreement with the Musicians’
Union that would relax the ban on work permits, allowing for
a transatlantic exchange between jazz artists. In return for
Tubby Hayes’s invitation to the Half Note Club in New York
in 1961, then, the UK would welcome the arrival of
American tenor saxophonist Zoot Sims for a four-week
residency at Ronnie Scott’s.
As rhythm sections were too costly to import, Scott was
tasked with finding a rhythm section that could accompany
his big-name stars. It was a tough balance to strike: the pianist
needed to be able to stand his own ground without upstaging
his soloists – and that was where Stan Tracey came in. A
teenage accordion player in the forces entertainment network
ENSA, Tracey had performed on the RAF Gang Show,
directed by comedian and actor Tony Hancock. The pianist
had first met Scott at the Paramount Club on Tottenham
Court Road in the early ’50s. As jazz critic John Fordham
recalls in his book, Jazz Man: The Amazing Story of Ronnie
Scott and His Club: ‘Tracey had a punchy, muscular way of
playing, possessed a receptive and forceful improvisator’s
intelligence and swung furiously.’
On stage, Tracey could be declamatory and sensitive,
drawing from the angular, percussive style of Thelonious
Monk and the lyricism of Duke Ellington. At a time when
US jazzmen would look down on rhythm sections from
Europe, Tracey would earn his visitors’ respect: a successful
run with Sims saw them go on to record together in the first
transatlantic studio collaboration of its kind. After Sonny
Rollins played with Tracey in the mid-1960s, the saxophonist
enthused, ‘Does anybody here know how good he really is?’
Not all, however, were so complimentary: in one memorable

‘It’s one of those clubs that you’re

The Yamaha CF6 grand arrives at the club; James Pearson with the new piano
74• Pianist 80
aware of when you are growing
up. It’s the equivalent of Wembley
to a footballer’
-Jazz pianist Tom Cawley
show of disdain, Sonny Stitt stopped the performance so as to
take Tracey by the hands, guiding them to the correct keys on
the piano. ‘His [Tracey’s] seven years as the house pianist at a
time of frequent musical and racial tension in the jazz world
was often stressful and thankless,’ writes Fordham. ‘It was that
kind of job.’
John Critchinson, who was Scott’s pianist, playing regularly
at the club since his first gig with Scott in 1979, remembers
happier times at the club, playing with George Coleman and
James Moody in collaborations that ‘just worked’. When
pianist John Horler had to call in sick (he was suffering
from detached retinas) Critchinson played two nights with
the great trumpeter Chet Baker. ‘It was wonderful,’ recalls
Critchinson. ‘The one thing that came out of all this was that
the real stars, the jazz stars, didn’t make a big fuss: they just
played standards really, came on stage and called them.
‘I was playing with styles, and if you knew the people
you were up against – such as Ornette Coleman – then you
accompanied them, you played the way you play. And if
they didn’t like it – and I very rarely got any “I don’t like” –
they’d say, “Can you put different changes into that?” Maybe
they would have suggested chord changes and things, but
you coped with what they did.’ And what about Scott, was
he demanding? ‘He was only demanding when it came to
loyalty,’ says Critchinson. ‘In the early days, in 1980-83,

p72_Ronnie Scotts-FINAL.indd 74 11/09/2014 14:55

 I was in another band, [Morrisey-Mullen], but only on the
Sussex Pianos Ltd Sales
understanding that I did Ronnie’s work first.’
Over the years, Scott was responsible for the artistic
Sussex Pianos Ltd Sales
Restoration
Restoration
Polishing
decisions at the club, while King was the powerhouse Polishing
Regulation
behind its administration. Together, they won the support Regulation
Accessories
of the music industry and when the club ran into financial Accessories
Tuning
difficulties in the early ’80s, it was members of the music Tuning
Repairs
industry – among them Chris Blackwell of Island recordings, Repairs
Hire
who famously donated £25,000 – who kept the venue afloat. Hire
Tel. 01323 843900
But not without the help of musicians: among the pianists
who were paid to bring the punters in was Nina Simone,
Sussex Pianos Ltd
Tel. 01323 843900
www.sussexpianos.co.uk
Sales
Restoration
www.sussexpianos.co.uk
who would turn up as though straight from a day’s shopping, How does your grand piano play?Polishing
Too lightHow doesUneven
your to grand
play? piano play?Regulation
dressed in trainers and fur coat.
Since then, the debate over which pianists are playing jazz or heavy? Not responsive enough?
Too light or heavy? Uneven to play? Not responsive Accessories
enough?
and which are merely sales-savvy pretenders has only become Precision Touch Design (PTD) is an innovative technique to improve Tuning the
touch and tone of your grand piano. It will take a new factory spec
Precision Touch Design (PTD) is an innovative technique to improve piano or
thean
more heated as a new generation of jazz artists and styles olderand
piano and
Repairs
touch tone ofenhance it further,
your grand piano. making PTDathe
It will take newultimate
factoryupgrade for or
spec piano any
an
have sat in the spotlight at Ronnie Scott’s. With the UK jazz Precision
piano
older owner.
piano Touch Design
PTD is gaining
and enhance (PTD)
world
it further, is anthe
recognition
making PTD innovative
asultimate Hire
technique
the onlyupgrade
technique
fortoany
revival in the ’80s, the club hosted new bands such as Loose predict
piano the
to improve problems
owner. PTDTel. 01323 843900
theiswith a piano
gaining
touch by analysing
world
and recognition
tone of yourtheasaction andtechnique
the only
grand then advising
piano. to
Itphysical
Tubes, and young British pianists – including Julian Joseph, about steps to improve
predict the
the feel to yourwith
problems requirements.
a piano by It will alsothe
analysing give pianists,due
action and thentoadvising
Jason Rebello, Cawley, Jamie Cullum and Gwilym Simcock impediments,
about will
a new
steps to improve take
lease
the of www.sussexpianos.co.uk
feelatonew
yourfactory
enjoyment specpiano.
from their
requirements. Itpiano or give
an costs
willAnalysis
also older piano
from justtoand
pianists,due £85.00.
physical
enhance it further,from making PTDAnalysis
the ultimate upgrade
– established their reputations there. ‘It’s one of those clubs impediments, a new
How does your grand piano play?
leasewww.sussexpianos.co.uk/PTD
of enjoyment their piano.
for any piano owner. PTD is gaining world recognition as the only
costs from just £85.00.
that you’re aware of when you are growing up,’ says Cawley, no ideawww.sussexpianos.co.uk/PTD
Too light
“You canor
technique
haveheavy?
to predictin tonethe
Uneven
how much toin play?
you have changed
problems
an evennesswith
my life Not
a piano
with theresponsive
transformation of myenough?
bytransformed
analysing
piano.
the action
who first played there in 1998, taking part in a week-long With the huge difference and and pressure, this has my playing and feel as if
“You can have no idea how much you have changed my life with the transformation of my piano.
Precision Touch
I'm absolutely Design
on (PTD)
top form is anAnneCampbell
once again” innovative technique
(Brighton) to improve
and feelthe
residency after winning the Young Jazz Musician of the Year and then advising about steps to improve the feel to your requirements.
With the huge difference
touch and
in tone and and
tone of your
I'm absolutely
an evenness
on topgrand
in pressure,
piano.
form once
this has transformed
It AnneCampbell
again” will take a new
my playing
factory spec piano or an
(Brighton)
as if

Award. ‘It’s the equivalent of Wembley to a footballer.’ It will alsoolder

givepiano
pianists, due toitphysical
and enhance impediments,
further, making a newupgrade
PTD the ultimate lease of
for any
As well as supporting new British acts, the club has also enjoyment from piano their
owner.piano.
PTD isAnalysis costs
gaining world from just
recognition as £85.00
the only technique to
embraced the global proliferation of fusions – from Acid Jazz predict the problems with a piano by analysing the action and then advising
to Nu-Jazz to Soul-Jazz – that comes with this ever-expanding about steps to improve the feel to your requirements. It will also give pianists,due to physical
territory. Clearly the new styles are a long way from the jazz www.sussexpianos.co.uk/PTD
impediments, a new lease of enjoyment from their piano. Analysis costs from just £85.00.
that made this club great, so where does Pearson draw the www.sussexpianos.co.uk/PTD
line when choosing which acts should play? ‘It’s sad because “You can have no idea how much you have changed my life with the transformation of my piano.
there are not that many jazz venues now in the whole of the With the huge difference in tone and and an evenness in pressure, this has transformed my playing and feel as if
I'm absolutely on top form once again” AnneCampbell (Brighton)
country – especially that have decent pianos,’ he says. ‘The
reality is that some people don’t even like the idea of jazz
and the word puts them off. So all venues have to be slightly
open-minded about bringing in the other types of jazz-
influence: funk, rare groove, obviously blues. Providing there’s
improvisation to it, you could, if you’re a barrister, argue it’s Sussex Pianos.indd 1 07/11/2013 09:30

got jazz, but it’s about the musical language.’

Pearson believes that the future of jazz piano at the club
Unlock The Pounds
lies not only in remaining open to new styles, but most
importantly in appealing to young audiences and players. In Your Piano
In recent years it has hosted Big Band in a Day Sessions – a
free one-day monthly workshop in which young players form -The best way to sell your piano today is at auction-
a band, performing on stage in the evening – and its late- It’s now simple and easy
night jam sessions continue to attract young pianists. ‘In the
late sets, young kids are coming out with these new things
and you get inspired by hearing them play,’ he says. ‘Ronnie
Scott’s attitude was very much like, “Make sure you have
musicians in the building; you can’t have a jazz club without
musicians,” and that’s what we’ll continue to do.’ n

To find out who is playing at Ronnie Scott’s, go to the Club’s

website, ronniescotts.co.uk

ON FILM The UK’s central piano auction house invites you to

Call or email us today and unlock the potential in your piano
Watch James Pearson and
Tom Cawley (left) talk about ( 0161-977-0075
how they selected the new piano
for Ronnie’s. * info@britanniapianoauctions.com
8 www.britanniapianoauctions.com
pianistm.ag/ronniescotts
Bechstein – Bluthner – Steinway – Kemble – Chappell – Yamaha - Fazioli – Hoffmann – Essex - Kawai – Bosendorfer
Boston - Challen - Welmar - Broadwood – Petrof – Samick – Allison – Schimmel – Knight – Pleyel

BRITANNIA FULL.indd 1 09/09/2014 15:11

75• Pianist 80

p72_Ronnie Scotts-FINAL.indd 75 11/09/2014 14:55

 R E P E R TO I R E
Left hand
forward
One hundred years ago, pianist Paul Wittgenstein lost his right arm in the First World
War – a tragedy that led him to commission some of the greatest piano music for the left
hand. Inge Kjemtrup looks at the left-hand repertoire and talks to two of its players
P
iano music composed for the left hand alone remains
something of a novelty in the concert hall, even though
many pianists and discerning audience members are familiar
with works such the Ravel Concerto for the Left Hand, the
Godowsky Chopin arrangements and the Brahms left-hand
setting of the Bach Chaconne. That’s a shame, because
the left-hand repertoire is large, diverse and worthy of
exploration – and because of the pioneering efforts of Paul Wittgenstein (of
whom more later), it also includes some 20th-century masterpieces.
Happily, left-hand repertoire is in the spotlight once again, thanks to
several pianists, none more determined the young British concert pianist
Nicholas McCarthy. Born in 1989 with a complete left arm and hand, but
with a foreshortened right arm, McCarthy was 14 when he had a piano
epiphany after hearing a friend play the first movement of Beethoven’s
‘Waldstein’ Sonata. ‘I became piano-obsessed!’ laughs McCarthy. ‘Quite
naively, I said to my parents that I wanted to be a concert pianist.’ He says
his non-musical parents supported his ambition, providing him with a small
digital keyboard, all the while assuming it would only be a passing fad.
Paul Wittgenstein commissioned left-hand pieces from Ravel, Britten and more
76• Pianist 80
p76_Left Hand-FINALish.indd 76
But McCarthy was soon spending hours on the keyboard. ‘I found that
I could play the tune with my little arm [the right]. The Mozart C major
Sonata was good because the left hand is an Alberti bass and the right hand
has the melody.’ [The Rondo movement is presented in this issue’s scores.]
It was two years into his study before McCarthy turned to the left-hand
repertoire, thanks to the ‘inevitable knock-back’, when he was denied a
place at a specialist music school due to a head’s scepticism about his ability
to play scales. Later McCarthy was accepted at the Junior Department
of the Guildhall School on the condition that he specialise in left-hand
repertoire. In 2012, he became the first left-hand alone pianist to graduate
from the Royal College of Music.
In his life as a one-handed concert pianist, McCarthy can point to some
illustrious predecessors, most notably the Austrian pianist Paul Wittgenstein
(1887-1961), who lost his right arm in the First World War but continued
his career as a left-hand player, commissioning pieces from some of the
greatest composers of his age. ‘Without Paul Wittgenstein, I wouldn’t have
much of a career,’ says McCarthy. ‘Britten, Strauss, Ravel, wouldn’t have
composed that music.’
Paul Wittgenstein was born into an extremely wealthy and deeply
eccentric Viennese family (revealed in all its gossipy glory in Alexander
Waugh’s The House of Wittgenstein: A Family at War). Even more than
his musically knowledgeable and quarrelsome siblings, who included the
famed philosopher Ludwig, Paul was entranced with music and studied
with a noted teacher, Theodor Leschetitzky. His businessman father, Karl,
opposed his ambitions, forcing Paul to take a job as a banker. It can’t be a
coincidence that Karl had recently died when Paul finally made his public
concert debut in Vienna in 1913, age 26, playing four concertos in a row.
The following August, in the opening month of the First World War,
Paul Wittgenstein was serving as an Austrian officer in Poland when his
right arm was shattered by a bullet and had to be removed. After enduring
terrible deprivations as a prisoner of war, he made his way back to Vienna,
determined to continue as a concert artist.
He took inspiration from the one-armed pianist Count Géza Zichy,
the composer Joseph Labor (the first to write him a left-hand piece) and
Leopold Godowsky, a pianist-composer whose arrangements for left hand
of 22 Chopin études is a cornerstone of the repertoire. The rebuilding of
Wittgenstein’s technique went slowly. ‘It was like trying to climb a mountain,’
he said. ‘If I could not reach the summit by one route I would climb down
and start again from the other side.’ Three years almost to the day of his first
11/09/2014 16:47
 TRANSACOUSTIC
The new Yamaha U1 Transacoustic In stock now!
Please call us for a VIP appointment to listen and to
experience this amazing new concept in pianos.
We also stock a wide range of new and expertly restored
pianos, both grands and uprights from the finest piano makers.

Nicholas McCarthy says he’s only covered one-third of the left-hand repertoire

concert, Wittgenstein made his one-handed debut in a programme including

Labor’s now rarely performed Konzertstück and several Chopin/Godowsky etudes.
Wittgenstein began a search in earnest for the left-hand music, scouring ‘the
antiquarian music stores of Paris, Vienna, Berlin and London,’ writes Waugh.
His finds included original works by Scriabin, Dreyschock, Saint-Saëns and
Alkan. He also made his own arrangements of Mendelssohn, Liszt, Wagner
and Mozart, but it was soon obvious that what was needed was more original
music. Wittgenstein was uniquely placed to become the initiator of this new
repertoire – he had the knowledge, connections and financial resources. The
long list of his commissioned works include Ravel’s Concerto for the Left
Hand, Strauss’s Parergon and Panathenäenzug, Hindemith’s Piano Music with
Orchestra, Korngold’s Piano Concerto and Britten’s Diversions.
Yamaha Hybrid Piano Specialists
Many of the resulting pieces show innovative efforts by the composers to for the South East of England
overcome the acoustical challenge of a lone hand playing a piano against a large
orchestra. But Wittgenstein was a tricky customer. He insisted on exclusive
performing rights for the first several years. He re-wrote his own part and

‘The pedal is key. As a left-handed

pianist, I’m creating the illusion of
two hands playing. You pedal more
than you would otherwise’
-Nicholas McCarthy
the orchestral parts in many of his commissions, or, in other instances, never
played the pieces in public (the Hindemith was locked away and only received
its first performance in 2004 by Leon Fleisher and the Berlin Philharmonic).
After he made alterations to Ravel’s score, Wittgenstein’s tussles with the
composer were ferocious. In a 1932 letter to Ravel, Wittgenstein put his
cards on the table: ‘As for a formal commitment to play your work henceforth
strictly as written, that is completely out of the question. No self-respecting
artist could accept such a condition. All pianists make modifications, large or
small, in each concerto they play.’ The Ravel, nonetheless, was a huge success.
Later composers took note of Ravel’s experience. Prokofiev’s accompanying
note to Wittgenstein along with the Fourth Concerto included this plea: VERVE HOUSE, LONDON ROAD (A30),
‘I have tried to make it as straightforward as possible; you, for your part, SUNNINGDALE, SL5 0DJ
must not judge too quickly, and if certain passages seem at first indigestible,
do not rush to judgement, but wait a while. If you have any suggestions of SALES@HANDELPIANOS.CO.UK
TEL 01344 873645
improving the work, please do not hesitate to tell me them.’ Wittgenstein never
performed the concerto.
Wittgenstein gave the premiere of Britten’s Diversions in 1942, but not WWW.HANDELPIANOS.CO.UK
before having a similar scuffle with its composer. Britten wrote in a letter
to a publisher, ‘I’m having a slight altercation with Herr von Wittgenstein WWW.FACEBOOK.COM/HANDELPIANOSLTD
▲

77• Pianist 80

Handel vert.indd 1 10/07/2014 14:28

p76_Left Hand-FINALish.indd 77 12/09/2014 14:48

 R E P E R TO I R E
over my scoring – if there is anything I know about, it is scoring so I am
fighting back. The man really is an old sour puss.’
Given all this, McCarthy admits to having a ‘love-hate relationship’ with
Wittgenstein. ‘The fact that he had wealth behind him meant he could get
repertoire of pieces that people will play. For me it’s a fine line with Paul
Wittgenstein. I feel I’m in his debt, yet I could throttle him for things he
did, like keeping the Hindemith score hidden away.’

Originals and arrangements

Some pianists come to the left-hand repertoire out of necessity, such as
McCarthy and Wittgenstein, and those suffering a right-hand injury, such
as Leon Fleisher, Gary Graffman and Yehudi Menuhin collaborator Paul
Coker. Two-handed pianists often come to it out of curiosity. One pianist
in the latter category is Ivan Ilić, who recorded an album of the Chopin/
Godowsky left-hand études in 2012.
Ilić came to left-hand music in an indirect way, via a teenaged ‘obsession
with Nathan Milstein’s recording of the Bach Sonatas and Partitas for solo
violin.’ Once his second cassette of the recording was worn out, he says,
‘I learned the Brahms transcription as a way of getting deeper into the
music. I was surprised, a few years later, when I finally saw the original
violin score: Brahms had changed very little. He brought Bach’s original
work down an octave, and, most important, he came up with a few
ingenious ideas to fake the difficult violin passagework. In those tricky
passages Brahms manages to imitate both the sound and the physical
gestures of the original violin Chaconne, a remarkable achievement.’
So how much music is there for left hand alone, if you take into account
original works, arrangements and transcriptions? ‘I have only covered a third
of repertoire,’ says McCarthy, who spent much time at the RCM researching
this. (Two good sources of left-hand repertoire are Theodore Edel’s Piano
Music for One Hand, which lists over 1,000 works, and Donald L Patterson’s
One Handed: A Guide to Piano Music for the Left Hand.)
I ask McCarthy and Ilić to name some of their top pieces. ‘My favourite
piece, which I’ve played in every single concert, is the Scriabin Nocturne,’
says McCarthy. ‘Ravel studied this score when writing his concerto.
Scriabin is an absolute master of writing for left hand.’
‘For me, the greatest solo left-hand music is Godowsky’s set of 22
Chopin Studies, which are essentially variations on 22 of Chopin’s 27
Etudes (opus 10, 25, and the posthumous set),’ says Ilić. ‘For pianists and
music lovers who know Chopin’s études intimately, the Godowsky Chopin
Studies can be rather disconcerting at first. Your expectations are constantly
thwarted by Godowsky’s quirky harmonic additions. It’s like returning to
a small town where you grew up after a 20-year absence; you recognise
everything, but at the same time everything has changed.’
McCarthy also cites Frank Bridge’s Three Improvisations for the Left
Hand (the first movement, At Dawn, is in this issue’s scores). Bridge wrote
the piece in 1918 for his student and friend, Douglas Fox, who lost his arm
in World War I. Then there are Moszkowski’s 12 Etudes for the Left Hand
(No 4 is in this issue’s scores). ‘It’s quite standard Romantic writing,’ says
McCarthy. ‘He realised importance of developing the left-hand repertoire.’
Saint-Saëns wrote Six Left Hand Etudes, which are intermediate level and
in a neo-classical style. ‘They’re lovely,’ says McCarthy.
When it comes to the concertos, Ilić is a big fan of the Prokofiev
Concerto No 4. ‘Prokofiev takes the opposite approach to Ravel; he doesn’t
shy from blending the one hand of the piano with the orchestra. The
Fourth Concerto is an exciting, high-adrenalin affair for everyone involved;
the first and fourth movements are electrifying.’ McCarthy says, ‘I really
enjoyed performed Britten’s Diversions. ‘It’s 25 minutes long and it goes by
so quickly! It suits my technique; there are lots of fast octaves.’
Technical matters
© Raymond George (McCarthy, previous page); DH Kong (Ilić)
Ivan Ilić has recorded the Godowsky left-hand arrangements of Chopin études
exam and the stool was like a rocking horse. I was going so fast in the
Godowsky that I had to stop and get a new stool!’
Ilić lists some of the reasons that two-handed players might want to explore
this repertoire: ‘It will make your left hand more agile, it will make you more
aware of the different registers of the piano, your pedalling will improve,
your left hand will become more expressive, and your two-handed sound will
become more rich, because you will develop a more attentive way of listening
to the bass. But the best reason is that the music itself is wonderful. You can
certainly play the Bach/Brahms Chaconne with two hands if you like, but it’s
a lot more fun to try to play it the way Brahms intended!’
For his part, McCarthy has something of a missionary’s zeal: ‘I’ve been
waking people up to the repertoire. Sixty per cent of my audience are people
who’ve seen me on the telly, but after one of my recitals, they are more
knowledgeable about left-hand repertoire than the critics. I give them stories
before I play; there is quite an interesting story behind many of the pieces.’
Playing a piece for one hand alone also has a definite audience appeal.
‘Left-hand music is a fantastic way to introduce visual contrast into any
programme, an aspect that is so obvious that it’s little discussed,’ says
Ilić. ‘When you play a piece with one hand, the audience immediately
becomes curious and engaged. There is a buzz, you can feel it.’ It’s a buzz
that is definitely getting ever louder in concert halls everywhere, thanks to
the likes of McCarthy and Ilić. n
Find out about Nicholas McCarthy’s War and Remembrance tour in November at
nicholasmccarthy.co.uk; for more on Ivan Ilić go to ivancdg.com. Watch Chenyin Li
play Bridge’s ‘At Dawn’ on the Pianist website,www.pianistmagazine.com/tv
More left-hand pieces to try
3 choices from Ivan Ili’c
Scriabin Prelude op 9 Tinged with a kind of Chekhovian nostalgia
and melancholy, this is a lovely piece that deserves its fame. Technically,
it’s not very difficult, but there seems to be something elusive about
it: I’ve heard many, many different versions, none of which has ever
been completely satisfying. Either the tempo is too slow, the rubato
is awkward, or something else is wrong. There’s a challenge to Pianist

readers out there! [This piece appeared in issue 47.]

A different technique is required to play the left-handed piano repertoire.
First and foremost, says McCarthy, ‘the pedal is key. As a left-handed
pianist, I’m creating the illusion of two hands playing. You pedal more
than you would otherwise.’ He also positions himself an octave higher
than the usual ‘belly button to middle C’ spot. ‘I feel there is a difference
between someone playing left-hand repertoire who has two hands versus
Paul Wittgenstein and me. You can almost hear when someone is playing
from necessity instead of choice.’ One reason might be that two-handed
players can grip the stool with their right hand as they play with their left.
Not being able to do that has made McCarthy very particular about his
choice of stools. ‘In my second year at the RCM, there was a technical
78• Pianist 80
Saint-Saëns Bourrée, No 4 from Six Etudes for the Left Hand
op 135 This piece has a delightful rhythmic lilt to it, and he does
so much with so few notes. Those who like Bach will love it, and it’s
short enough to not be too intimidating.
Godowsky Meditation A sensual, romantic piece that’s almost never
played. It’s less than four minutes long, and the tempo is on the slow
side. The difficulty is in trying to sort out the different layers of sound,
which is typical of Godowsky’s music.

p76_Left Hand-FINALish.indd 78 11/09/2014 16:47

 THE LEEDS
I N T E R N AT I O N A L
PIANO COMPETITION

...giving an outstanding opportunity

for young international pianists to
advance their careers and become
the artists of tomorrow.

26 August -
13 September 2015
Applications close February 1st 2015

www.leedspiano.com
PianistOct14.ai 1 07/09/2014 13:03:35

Peregrine’s Pianos
“Peregrine's Pianos is one of "I would like to thank you for
my favorite London treasures” our beautiful piano which is
now the pride and joy of our
music department”

“Peregrine’s Pianos is a
business with friendly staff
C
who are driven by a genuine
M
passion for pianos”
Y

CM

MY

CY

CMY

K
“After trying out dozens of “Owning a grand piano was a
instruments around the long held dream. Peregrine's
country, I found my dream Pianos were able to make it a
piano at Peregrine's Pianos in reality”
London”
Peregrine’s Pianos is here to sell and hire out fine, modern
upright and grand pianos: we are the exclusive dealer in London
for Schimmel pianos and Britain’s only August Förster dealer.
Quotes are unsolicited and taken from our website:
www.peregrines-pianos.com

Peregrine’s Pianos, 137A Grays Inn Road, London WC1X 8TU Tel: 020 7242 9865

79• Pianist 80

p79 Ads.indd 79 11/09/2014 10:05

 Sign-up for a FREE LOAN
of a Casio Digital Piano.
Casio are delighted to offer piano teachers a
FREE 3 month digital piano loan scheme.

Register at www.casio.co.uk/loanpiano
or call 020 208 7829

“Exceptional feel and

a precise sound.
Casio Digital Pianos
are ideal for piano tuition
and students.”
Natalia Posnova,
Classical Pianist and Composer
casio.co.uk/loanpiano
7• Pianist 77

p07 Ads.indd 7 11/09/2014 09:38

 Feeling is believing

lays

ty

NU1
AvantGrand N1
AvantGrand N2
AvantGrand N3

Yamaha AvantGrand and NU1

To the pianist, novice or professional, touch and feel is vitally important to the
performance. Using specialised actions based on those found in our premium
acoustic instruments, our AvantGrand and NU1 hybrid digital pianos deliver a
stunningly authentic natural playing experience, capturing every nuance, from
pianissimo to fortissimo, and reproducing it with flawless sound quality.

Trade in your old acoustic or digital piano Discover how we combine piano traditions with digital innovation at your local
and receive up to £850 in part exchange Yamaha dealer, or visit our website at uk.yamaha.com
on a new Yamaha hybrid piano. Plus get
an extended 5 year guarantee.*
* Terms and conditions apply.
Offer closes 15.01.2015. Visit uk.yamaha.com for details. 92• Pianist 80

#41076 - AVG Upgrade

p92 Ads.indd 92 ad - Pianist.indd 1 08/09/2014
11/09/2014 14:21
10:20
 MAKERS

Before the piano

How did the piano come about?

Gez Kahan presents an overview of
keyboard development to uncover how
we arrived at the modern instrument
82• Pianist 80

p82_Piano History-FINAL.indd 82 11/09/2014 14:57

 P
eople have been trying
to make the perfect
keyboard instrument
for more than 2,000
years. The story of how
we ended up with the
piano we have today
is really the story of polyphony and
compromise. Keyboard instruments lack
the breath control of a wind instrument
or the fluidity of a bowed string
instrument, and they can’t match the
mix of individual timbres, expressions
and personalities within, say, a classical
orchestra. But they are the best way
yet devised for a single musician to
produce multiple notes.
The organ, that important piano
predecessor, started life in ancient
Greece (organon is Greek for
‘instrument’) and its environs. The
organ’s ancestor was the syrinx, or
panpipes, a series of reed stems cut to
different lengths to make a scale. To
turn this into a polyphonic instrument,
you need to add a container for the
wind, bellows to fill it and levers
operated by keys to activate which of
the multiple pipes will sound. That
is the principle underlying the first
primitive organs (and other instruments
such as the bagpipe and accordion).
We don’t have hard evidence of
the earliest bellows-driven organs,
but we do have detailed descriptions
of a later water-driven instrument
developed in Alexandria in the third
century BC, when sophisticated
hydraulic engineering was being used
for all manner of machines. This organ
was called the hydraulus or hydraulis
(from the Greek words for water and
pipe) and originally needed two people
to play it – one to control the flow of
water which provided compressed air
to the pipes, the other to operate the
keys that selected which pipes would
sound. The instrument lasted into
Roman times, and though it fell out of
use with the fall of Rome, it survived
in Constantinople – as did the bellows
organ, which gradually found its way
from there back into Western Europe.  as virginals, spinets or harpsichords
Organ builders soon began to
experiment with the design of pipes
with different timbral characteristics
and stops to control them, additional
keyboards in the form of manuals and
pedals, and devices such as the swell
pedal. The result was an instrument
capable of tonal variety and overall
volume changes. What wasn’t possible
was control over the dynamics of
individual notes.
Wind instruments weren’t the be
all and end all, however. Stringed
instruments have been around since
prehistoric times too, as have different
ways of making them sound: mediaeval
instruments included the likes of bowed
fiddles, plucked lutes and hammered
p82_Piano History-FINAL.indd 83
dulcimers. And naturally inventors
looked for ways to mechanise them and
make them polyphonic.
The idea of a keyboard-operated
bowed instrument can sound slightly
alien to those who’ve grown up with
the feeling that the piano is at least a
close relative of tuned percussion. That,
though, is the essence of the hurdy-
gurdy. The right hand turns a handle
attached to a rosined wheel (effectively
a circular bow), while the left operates
the keys. 
While popular culture has tended to
equate it with the barrel organ, which
largely displaced it as a Victorian street
instrument, the hurdy-gurdy – also
known as the vielle à roue in France,
the organistrum in its large version for
church use, and a host of other names
in German and Italian – requires
much more skill from the performer.
Instruction books were written
for aspiring players, several French
composers wrote suites, sonatas and
concertos for it in the 18th century, and
Haydn wrote three concertos and eight
nocturnes for two hurdy-gurdies plus
chamber orchestra. There’s also a related
Swedish folk instrument, the nyckelharpa
or, in its Italian version, the viola a
chiavi, which are played with an actual
bow in the right hand instead of a wheel,
while left-hand keys control the pitch.
Strings and keys
More familiar is the concept of using
a keyboard for plucking strings – the
harpsichord being the obvious example.
The instrument was certainly known by
the 15th century, although the earliest
surviving examples date only from the
16th century. In its simplest form, the
virginal, there’s a series of single strings
each operated by a key. Depressing the
key causes a wooden ‘jack’ fitted with a
plectrum to rise and pluck the string in
passing (with an escapement to prevent
the plectrum from plucking the string
again as the jack falls back).  sounded by blowing a current of air past them
Depending on the shape and other
factors, these keyboards could be known
(see glossary). The more complicated
versions have more strings per note and
often a set tuned an octave higher, two
(or sometimes three) keyboards, and
occasionally a pedal keyboard, together
with stops and levers to allow coupling
for added volume and grandeur.  member of the harpsichord family. Possibly named from
The drawback with keyboards that
either vibrate (i.e. bow) or pluck the
strings mechanically is that, like the
organ, they lack significant control of
dynamics. That becomes much easier
when the string is struck by a hammer,
where the player has direct control over
the force of impact. That was the big
advantage of the clavichord.  (c.1665); the ‘Lépante’ clavichord (16th century); a clavicytherium (1752)
The big bang, sadly, was just what
the clavichord didn’t have. It did,
▲
83• Pianist 80
More key words in keyboard history
Celesta A keyboard instrument using hammers to strike
tuned steel plates suspended over wooden resonators.
Most famously heard in Tchaikovsky’s Dance of the Sugar
Plum Fairy
Celestina A treadle-operated horsehair ribbon used to rub
the strings of a harpsichord. Suitable, according to Thomas
Jefferson, who owned a celestina-equipped harpsichord, for
slow movements and to accompany singing
Cembalo Short for clavicembalo, an alternative term for the
harpsichord
Clavicytherium An upright harpsichord (i.e., a vertical
soundboard)
Clavier Generic word for keyboard. Bach’s Well-Tempered
Clavier does not specify the instrument it is to be performed on
Eschiquier or chekker A 14th-century instrument said
to resemble an organ that sounds by means of strings. No
details of its construction or operation are known
Geigenwerck Similar in principle to a hurdy-gurdy, this had
several rosined wheels operated by keys. Its maker, Hans
Haiden, claimed it could recreate the sound of an ensemble of
viols, with dynamic control depending on key pressure 
Gravicembalo A corruption of ‘clavicembalo’
Harpsichord A stringed keyboard using ‘jacks’ mounted
plectra or quills to pluck the strings. The harpsichord proper
may have two or more manuals, each with two or more sets
of strings and associated plucking mechanisms playable
individually or coupled to change loudness and tone colour
Hurdy-gurdy A stringed instrument using a handle-operated
rosin wheel to vibrate strings and a set of keys to control pitch 
Hydraulis/Hydraulus An early organ using water-generated
compressed air rather than bellows to fill the pipes
Lautenwerck A harpsichord strung with gut instead of metal
to imitate the sound of a lute
Piano éolien A stringed keyboard where the strings are
Spinet The term ‘spinet’ is strictly applicable only to a type
of virginal, winged-shaped but smaller than the harpsichord
proper. The name may derive from the Latin word for a thorn,
spina, in reference to the quills (plectra) that plucked the
strings. ‘Spinet’ is now also used to describe a small piano
Virginal A stringed keyboard designed to sound the strings
by plucking, this was the simplest and probably oldest
the Latin virga, meaning ‘rod’ and referring to the wooden
shaft that held the plucking mechanism. Sometimes built as
a pair of virginals, a smaller, higher pitched keyboard being
mounted over the main one. Often used as a generic term for
any member of the harpsichord family
Opposite, clockwise from top left: Gerrit Dou: Woman playing a clavichord
made by Albert Delin; Vermeer: Woman at a muselar (c.1672; a muselar
was a type of virginal from Northern Europe)
11/09/2014 14:56
 MAKERS
How the keyboard was standardised
The earliest keyboards often didn’t resemble the arrangement of notes
we’re familiar with today. They started off as simple natural-note scales with
no sharps. There was no standard width. Some instruments had keys so
large that they were fist-operated, while some organs had keys of variable
widths according to the size of the organ pipes they controlled. But as modal
plainsong began to give way to more chromatic music, sharps appeared,
although it wasn’t until the late mediaeval period that the modern 12-semitone
scale became the norm.
Even then, there were exceptions. One such was the ‘short octave’. The lowest
note on many early keyboards would be an E, while some music might call for
the C or D below that. The solution (given that low F© and G© were unlikely to
be required in the repertoire of the time) was to tune the E down to C, the F©
down to D and the G© down to E, giving a nine-note octave from C–C, with B¨
as the only non-natural.
Complicating matters, this was before the introduction of the equal-tempered
tuning system that we take for granted today. Previously A# and B¨ had been
different notes, as had C© and D¨, D© and E¨. This made it impossible to play in
a key requiring sharps (such as A or B) followed by a key requiring flats (such
as B¨) without retuning. To get round the problem, some keyboards had ‘divided
sharps’, with the front half of the raised keys sounding the appropriate sharp
and the back half sounding the equivalent flat.
By the time virginals and clavichords appeared, the width of the keys was
becoming standard, although it still varied between six and seven inches per
octave (the octave span on a modern piano being about 6½ inches or 16.5 cm).
Early instruments were single octave; by the 15th century they were between
two and three octaves (30–37 keys). By Beethoven’s time, five octaves (61 keys)
was usual.
The modern colour scheme (white for naturals, black for sharps) wasn’t
standardised until the beginning of the 19th century – black naturals with white
sharps being commonplace for earlier French and German instruments.

however, have a high degree of control
over the dynamics of individual notes.
Instead of having one or more strings
per key (as with the harpsichord and
the piano), this instrument had a
limited number of strings with the keys
configured to cause a flat blade called
a ‘tangent’ to strike them in different
positions to produce the different
pitches. The principle is similar to
the way a guitarist or violinist selects
pitches from a limited number of
strings with the left hand.
Although the clavichord could play
polyphonically, in practice the
combinations available were limited by
Page 82: © Gérard Janot (clavichord; clavicytherium); this page: Sander van der Wel (hurdy-gurdy)
the number of strings available (just
as guitarists are limited to playing a
maximum of six notes at once).
Furthermore, because the string would
only continue to vibrate while in contact
with the tangent, true legato could only
be achieved between notes using different
strings. On the plus side, it was a simple
design (which made it affordable) and it
was popular as a teaching instrument,
especially as it allowed for a great deal of
dynamic expression. This wasn’t confined
to the moment the key was struck.
While holding a key down to sustain a
note, the player could vary the pressure
to produce a vibrato or swell effect. On
Above: A harpsichord the minus side, it was so quiet as to be
originally constructed unusable except as a solo, domestic
by Andreas Ruckers in instrument – hence the adoption of the
Antwerp (1646), then harpsichord as the default instrument for
remodelled and ensemble playing.
expanded by Pascal By the beginning of the 16th century
Taskin in Paris there were plenty of keyboard instruments,
Below: A hurdy-gurdy all of which were deficient in some way.
Organs, hurdy-gurdies and harpsichords
were not touch sensitive enough,
clavichords were not loud enough, and
some of the elaborate inventions of the
15th century (and later) were not
economical enough. The pursuit of
keyboard perfection continued for the
next 200 years until Cristofori’s
gravicembalo col piano e forte appeared.
For the first hundred years or so,
Cristofori’s invention existed alongside
the harpsichord: most of Mozart’s piano

works were really written for harpsichord,

while the title page of Beethoven’s Sonata
No 14 (the ‘Moonlight’) specifies that
it is for clavicembalo (harpsichord)
or pianoforte. But by then the piano’s
dominance was assured.
Of course it wasn’t (and still isn’t)
perfect. A piano is incapable of volume-
changing effects such as swell or sforzando
followed by piano, or pitch-changing
effects such as vibrato or portamento. But
that’s to pick holes. No instrument has all
of the above, plus ten-fingered polyphony
(and more with the use of a sustain
pedal), enough power to fill a concert
hall and – most importantly – touch
sensitivity. As a compromise, the piano
pretty well answers the brief. ■
84• Pianist 80

p82_Piano History-FINAL.indd 84 11/09/2014 14:57

 PC 15 ad AAF new spec:Layout 1 27/11/2013 19:56 Page 1

the 5th manchester International Piano

concerto competition for young Pianists

Jean-Efflam
Chetham’s School of Music & University of Manchester

august 2015 Winner 2013: Sophie Dee

BAVOUZET
EntRy catEgoRy In association with
• 22-and-under

EmInEnt jURy of
IntERnatIonal
concERt PIanIStS NEW SERIES
under the chair of

Haydn Piano Concertos

murray mclachlan

PRIZES
Participants perform
for prize money,
scholarships, and
an impressive series www.alink-argerich.org

of engagements in
the UK.

Further information -
call: (+44) 1625 - 266899
email: info@pianoconcertocompetition.com
www.pianoconcertocompetition.com

Printed by greenstret Publisher.

15:40PM 20/10/108
File SMH - Pianist 1008.dtp, page 1.
Adobe PDF

When you need printed music,

just visit the Hound ...

CHAN 10808

... and see for yourself why so many customers

from around the world return to ...
“A true meeting of minds between soloist
www.sheetmusichound.com and conductor results in a thrillingly
individual approach to each of these
three utterly charming concertos.”
an established leader in print music one-stop
 Gramophone Magazine
shopping EDITOR’S CHOICE
over 400,000 competitively priced scores

listed online
used by music librarians across the world


www.chandos.net
www.theclassicalshop.net
(24-bit studio masters, lossless, MP3)

+44(0)1667838
Email: hound@sheetmusichound.com - Tel/Fax:+44(0)845 455701
1760
Sheet Music Hound Limited – Drumdelnies, Delnies, IV12 5NT STAY IN THE KNOW
85• Pianist 80 New releases • Reviews • Special offers • Artist features

p85 Ads.indd 85 11/09/2014 14:35

 REVIEW CD
Marius Dawn has praise for Daniel Barenboim’s supreme Schubert, Llŷr
Williams’s wordless Wagner and Artur Pizarro’s Romantic obscurities
Pianist star ratings: ★★★★★ Essential – go get it! ★★★★ Really great ★★★ A fine release ★★ Average ★ Fair
Buy these CDs from the Pianist website.Visit http://pianistmag/cdreviews

KIRILL GERSTEIN
Edit o r’s
LUIZA BORAC
Chants Nostalgiques. Imaginary Pictures.

C HOI C E
Music by pianist-
composers including
Godowsky, Silvestri,
Rachmaninov, Liszt
DANIEL BARENBOIM & Borac
Schubert Piano Sonatas (the 11 complete Avie
sonatas) AV2316
Deutsche Grammophon ★★★★
DG 479 2783 (5 discs) ★★★★★ Luiza Borac is one of the finest
Romanian pianists today. I enjoyed
Daniel Barenboim has recorded at least three versions of the complete her Dinu Lipatti CD, and her Enescu
Beethoven sonatas, but this, surprisingly, is the first time that the pianist, recordings are worth seeking out.
now in his early seventies, has recorded the Schubert sonatas. He’s excluded With this disc of transcriptions and
the incomplete sonatas, however, we don’t miss them when there is such a original works by pianist-composers,
wealth of musicality in this five-CD release. Barenboim conveys a profound she faces stiff competition from
musical understanding of Schubert’s sonatas, offering us unfussy playing others who are also in love with
that is emotionally deeper and musically higher than anyone else offers. Liszt’s arrangements of Schubert’s
He perfectly sustains the natural flowing line throughout the sonatas – the songs. A singing tone, well-judged
three A minor sonatas (D537, D784 and D845) are excellent examples of tempos and fine pedalling put Borac
this. The fine A major sonatas (D664 and D959) never drag and the tense G high on the list of Liszt players, and
major sonata (D894) has probably never received such gravitas as it gets here. her recording of the Silvestri pieces
Barenboim reigns supreme in late Beethoven, and there’s an obvious invites repeated listening. This thread
parallel between his mastery of those architectural complex works and his is broken by several pieces featuring
performance of Schubert’s final sonata (D960) here, in which his forward- the beautiful tenor of Ion Buzea in
moving pulse secures a logic harmonic progression over which the melody, which Borac delivers a short piano
rich in sonorous tone, can sing. The recordings are natural-sounding and introduction and afterlude to the
the Steinway is in superb condition. There is a reason why Barenboim looks original recordings. Interesting, but
so contented on the front cover. He has every right to be! it’s the Liszt that is still the main draw.
Mussorgsky: Pictures
at an Exhibition;
Schumann: Carnaval
Myrios Classics
MYR013
★★★★
Kirill Gerstein is a lion at the piano.
He swallows whole the gigantic chords
in the Mussorgsky Pictures, creating a
sound that is vast in its sonority. He is
not one for fiddling with details and
he characterises Mussorgsky’s
impressions with enormous generosity.
Not that he skips a single note, but it
is the overall sweep of his paws that is
most impressive – this may well be
how Mussorgsky would have wished
to play it. Schumann’s Carnaval
presents more complex musical ideas.
Gerstein keeps his tone under control,
never forcing his way with the faster
movements. It is not the Schumann of
the intimate salons, but one for the big
halls. Refreshingly different and a fully
acceptable view of this epitome of
a Romantic composer.

BENJAMIN GROSVENOR OLEG MARSHEV ARTUR PIZARRO LLŶR WILLIAMS

Dances. Solo piano Mendelssohn: The Romantic Piano Wagner without
works by Albéniz, Complete Works Concerto Vol 64: Words. Original
Bach, Chopin, for Piano and Orch. Henrique Oswald & works by Wagner,
Granados, Schulz- South Denmark Artur Napoleão plus transcriptions
Evler, Scriabin, etc Phil/David Porcelijn BBC NO of Wales/ by Liszt, Glenn
Decca Danacord Martyn Brabbins Gould & Williams
478 5334 DACOCD 734-736 Hyperion Signum Records
(4 discs) CDA 67984 SIGCD388 (2 discs)

★★★★ ★★★★★ ★★★★★ ★★★★★

This may be the only slightly negative
review you’ll come across of this new
recital disc by the popular Grosvenor,
so let me be clear from the start – he
is still a super talent. However, he is
up against pianists who can produce
a more sonorous fortissimo in the
Chopin polonaises and more charm in
the Granados Valses poéticos. The Bach
Partita is the most satisfactory, possibly
because there are few heavy chords to
balance. The Scriabin works shimmer
with fine shadings of pianissimo, while
the quicksilver light of the Schulz-
Evler piece shows fingerwork that is
a marvel. Presentation and recording
are first class, but is that enough,
considering how impressive his recent
live performances have been?
Following on from his complete
Chopin works for piano and
orchestra, Oleg Marshev turns to
Mendelssohn, making what turns out
to be the first-ever complete recording
of all the works for piano and
orchestra by the same pianist. We are
treated to the three piano concertos,
the two concertos for two pianos and
the one for violin and piano. This
is consistently high-level playing,
which we have come to expect from
Marshev, and his various partners
in the double concertos follow suit.
It’s great to hear the early concerto
for piano and strings. Orchestral
support is sharp and attentive and the
recorded balance perfect. A four-CD
set to cherish.
Volume 64 in Hyperion’s Romantic
Piano Concerto series dishes up
two composers totally forgotten
today. Both were born in 1852;
one is Brazilian (Oswald), the other
Portuguese (Napoleão); and their
music represents everything we love
in the battle between an orchestra
and a grand piano: sweeping tunes,
glittering passagework and romantic
swagger. The slow movement of
the Oswald and the opening of
the Napoleão are unique in their
mesmerising hushed inwardness.
For those moments alone it is worth
getting this disc. Pizarro plays with
crystalline clarity and the orchestra
has a field day. Can we have the rest
of the Napoleão concertos, please!
This two-CD set features original
Wagner piano works along with
transcriptions and arrangements from
his operas. Williams squeezes the
originals in between the arrangements;
a refreshing idea that makes them
something like intervals in an opera.
Williams is a master accompanist and
you can hear his own fine
compositional skills in his reworking
of scenes from Parsifal, undoubtedly
the release’s highlight. He also
modifies the two Glenn Gould
arrangements, which are both
musically very convincing. It is fine to
have the original Wagner pieces
dispersed here and there, however the
Fantasy and the Sonata surely outstay
their welcome. The rest is pure bliss!

86• Pianist 80

p86_CD Review-FINAL.indd 86 11/09/2014 14:58


Sergei Rachmaninoff
New Urtext Editions for Piano
Prélude c k minor op. 3 no. 2
Ed.: Dominik Rahmer · Fing.: Marc-André Hamelin
HN 1211
Possibly the most famous late Romantic piano
work and now finally also available in Henle Ur-
text! First published in 1892, the work also soon
became well known abroad, in particular due to
lays the concert tours given by the pianist Alexander
Siloti, Rachmaninoff’s cousin. And even Rach-
Sergei Rachmaninoff
maninoff himself was soon no longer able to per-
form any concerts in America, without someone
ty in the audience crying out “C sharp minor!” at
the end …
24 Préludes
Ed.: Dominik Rahmer · Fing.: Marc-André Hamelin
HN 1200
Based on the Prélude in c sharp minor Op. 3
No. 2 written in 1892 that quickly became world-
famous, Rachmaninoff composed a further two
collections of Préludes in the years up to 1910.
These were also published as a complete volume
in 1911. A final highlight of late Romantic piano
music, which no pianist can ignore!
Pianist_GB_October.indd 1
p87 Ads.indd 87
www.he
www.henle.com
enlee.co
com
Études-Tableaux
Ed.: Dominik Rahmer · Fing.: Marc-André Hamelin
HN 1202
With his Études-Tableaux Rachmaninoff continued
down the path that Chopin and Liszt had already
set out on with their concert etudes: the most de-
manding technical tasks are presented in the form
of expressive character pieces.
Corelli Variations op. 42
Ed.: Norbert Gertsch · Fing.: Marc-André Hamelin
HN 1206
Rachmaninoff wrote his well-known piano cycle
in 1931, at a time when his great works for piano
solo and the piano concertos had already made
him very famous. Yet it is by no means the “work
of an old man”. The composer’s variations on the
theme “La folia” (taken from a sonata by Corelli)
are like a series of fireworks on the piano.
now!
Join us erlag
/henlev
04.09.14 16:55
87• Pianist 80
11/09/2014 14:35
 REVIEW SHEET MUSIC
Michael McMillan looks at the brand-new piano syllabuses from ABRSM and Trinity
College London, plus Chabrier’s Habanera and folk tunes of the British Isles
ABRSM PIANO EXAM PIECES 2015 & 2016 SYLLABUS EMMANUEL CHABRIER So
ABRSM Habanera Pi
ISBN: 978-1-84849-649-1 (Grade 1); Bärenreiter
-650-7 (Grade 2); -651-4 (Grade 3); ISBN: 979-0-006- Tr
-652-1 (Grade 4); -653-8 (Grade 5); 54223-9
Pi
-654-5 (Grade 6); -655-2 (Grade 7);
-656-9 (Grade 8)

Piano exams accounted for more than half the total number of instrumental exams conducted by the ABRSM last year, Chabrier’s Habanera is on the C list
and the instrument’s popularity has ensured that its graded syllabus receives the fastest turnover in the ABRSM’s catalogue. of ABRSM’s new Grade 8 syllabus. It
Every two years, a new set of 150-odd pieces are introduced into the examining syllabus across eight levels of graded was composed in 1885 at the behest of
difficulty, replacing all the ones that have been in use for the previous two years. This biennial refreshment helps to keep Chabrier’s publishers, who had asked
teachers (and examiners) on their toes, while also allowing a wide range of sometimes neglected repertoire to come to light. him for relatively easy piano music,
The new piano syllabus comes into play from the first examining session of 2015, and nine of the 18 pieces at each and he turned to the popular Spanish
grade are printed in these books (Grade 8 is the only exception – it contains 12 from a total of 32 pieces). The pieces are dance for his inspiration. Habanera
divided into three lists (A, B, C) according to their musical period and style, and if you were preparing for an exam you is written on three staves throughout
would be required to pick one from each list. The repertoire is diverse, and sourced from all over the world. In the first two (the left hand covers the bottom two),
grades alone, Italian, German, English, Austrian, Norwegian, Catalan, Polish, Hungarian, Russian, American, Lithuanian, is seven pages long and takes roughly
Japanese and Czech composers are represented. At Grades 5, 6, and 7, there are also three Chinese pieces (or four, if you four minutes to play. Chabrier was a
count Morton Gould’s China Blue) that reflect the examining board’s expansion into the Chinese market. fine pianist, so it comes as no surprise
With such a wide range of styles included to cover all tastes, there are, perhaps inevitably, a few pieces that are unlikely to find that the music lies comfortably
to attract many candidates. From a teacher’s perspective, however, I don’t anticipate significant difficulty in finding a under the hand, with no chords
motivating selection of music for students at any grade, especially when the alternative pieces on the syllabus are taken requiring a stretch greater than an
into consideration. My favourite discoveries include a beautiful piece called Shui Cao Wu (The Dance of Watergrass) octave. Cortot dismissed Habanera as
by Mingxin Du (b.1928) in Grade 7, the toccata-like Carousel by Sylvie Bodorová, also at Grade 7 and the playful first ‘feeble’, but its popularity is evidenced
movement of Dussek’s Sonata in B flat opus 24 at Grade 8. On the alternative list, look out for Carl Vine’s Threnody at by the various arrangements later
Grade 6 and Alkan’s transcription of Bach’s Siciliano at Grade 7 – these will surely appeal to sensitive candidates. published for a range of instruments,
The books can be bought with or without a CD. [The versions with CD are listed above; teaching notes are available as and the fact that Chabrier was moved
a separate volume]. Or, if you know which three pieces you want to play, a cheaper option is to visit abrsmdownloads.org to write an orchestral version.
and download the individual MP3 tracks. All other syllabus requirements (sight-reading, aural tests, scales/arpeggios) are
the same as the current syllabus. [The Jensen Lied opus 33 no 10, on page 50, is in the Grade 5 syllabus.] ENGLISH, SCOTTISH,
WELSH & IRISH FOLK
TRINITY COLLEGE LONDON PIECES & EXERCISES FOR 2015-2017 EXAMS TUNES FOR PIANO
Trinity College London Arranged by Barrie
ISBN: 978-0-85736-327-5 (Initial); Carson Turner
-328-2 (Grade 1); -329-9 (Grade 2); Schott
-330-5 (Grade 3); -331-2 (Grade 4); ISBN: 978-1-84761-
-332-9 (Grade 5); -333-6 (Grade 6); 326-4 (English); -322-6
-334-3 (Grade 7); -335-0 (Grade 8) (Scottish); -314-1
(Welsh); -313-4 (Irish)

In 2012, Trinity College London discontinued the use of its Trinity Guildhall brand, which had been formed in 2004, Each of the four books here contains
and decided instead to offer all its exams under its own name. This has not resulted in sweeping changes to the examining 32 folk tunes that were collected
syllabus, structure or processes. The exams themselves are totally unaffected and it really is only the name that has changed. from different parts of the British
Trinity’s syllabus at each grade (Initial to Grade 8) contains 18 pieces, half of which are included in these books, which Isles. All the tunes have been edited
can be bought in versions that include CDs and teaching notes. From Initial to Grade 3, a candidate can pick any three and arranged by Barrie Carson Turner,
pieces to play in an exam, while from Grade 4 upwards, the pieces are divided into two groups, and a candidate must who writes in his introduction that he
pick at least one piece from each group. This format gives a candidate considerable freedom to focus on their tastes and has ‘tried to make the arrangements
strengths – for example, at every grade except 6 and 7, it is possible to construct a programme consisting entirely of pieces of the pieces straightforward, and
written by contemporary composers. approachable for the average pianist’.
There are a few general observations to make about the syllabus repertoire. Firstly, it has a modern feel because just over True to his word, almost all the
40 per cent of the music has been written by composers born in the 20th century. Secondly, the selection of pieces at each pieces fall between Grades 3 and 6,
grade is typically motivating – take a look at Grade 8, for instance, which includes Debussy’s Golliwogg’s Cake-walk, Grieg’s and the music rarely asks for chords
Notturno opus 54 no 4, Field’s Nocturne No 4, the first movement of Bach’s Italian Concerto (if you fancy a challenge!), greater than an octave. On the whole,
Poulenc’s Novelette No 1 and one of my favourite discoveries of the series, Kaski’s luxurious Nacht am Seestrand. Thirdly, the arrangements do not stray far
there’s a piece in the Initial and Grade 1 books with an optional duet part. And finally, some pieces strike me as being a from the norm, but just occasionally
little soft for the grade at which they appear – Grovlez’s Petites litanies de Jesus at Grade 7, for example, or Chopin’s ‘Minute’ (such as in Country Gardens), there
Waltz at Grade 8 and Casella’s Galop Final at Grade 6. are eyebrow-raising harmonisations.
At the back of each book you will find a new set of six exercises that are one to three lines long. Three of these are to There are no fingering suggestions,
be prepared for an exam, in addition to the list of scales and arpeggios printed on the back cover. The scale and arpeggio which would have helped in some
requirements that have been in force since 2007 have now been slightly tweaked, with the addition of contrary motion areas of writing that are pianistically
scales in the lower grades, and contrary motion arpeggios at Grades 7 and 8. These are all written out in the two scales and rather ungainly. All the books come
arpeggios books from Trinity: one for Initial to Grade 5 levels, and one for Grades 6 to 8. [The books can be bought with with an accompanying CD with
or without CD and teaching notes; the ISBN numbers here are for the version with CD and teaching notes.] sample performances.

88•• Pianist
88 80
Pianist #13

p88_Sheet Review-FINAL.indd 88 11/09/2014 16:49

 WHERE C AN I FIND...
R E TA I L E R S
CHESHIRE N ORT H W EST EAST SUSSEX & KENT Y O R K S H I R E For Sale
Shackleford Pianos Forsyth Sussex Pianos Stephen Brandon Pianos Winkelman 1920’s Grand Piano,
Athey Street 126 Deansgate, Manchester M3 2GR Unit 14a, Rural Business Centre, 23B Whitby Avenue, York, North 6ft6 regularly tuned. Excellent
Macclesfield 0161 834 3281 Broad Farm, North Street, Hellingly, Yorkshire, YO311EU condition, light action. Owned by
Cheshire pianos@forsyths.co.uk East Sussex, BN27 4DU 01904 430270 / 01904430270 Piano Teacher, £2000. Telephone
SK116QU www.forsyths.co.uk Tel: 01323 843900 Email: stephen@stephenbrandonpianos.co.uk 01213085473, Sutton Coldfield.
0800 0329919 With over 150 years of experience info@sussexpianos.co.uk www.stephenbrandonpianos.co.uk
shacklefordpianos@me.com Forsyth offers the complete piano A family run business since 1995 & We have been selling high quality
The UK’s Premiere Piano Centre- service. located in the Sussex countryside, pianos for over 30 years. We stock a Not found the
Over 150 pianos in 4000sq feet of Unrivalled selection of quality new we offer a wide range of services large selection of new, second hand company you
showrooms and workshops and used pianos agents for for piano owners including Tuning, and restored upright and grand pianos
Specialists in - Piano sales | Bösendorfer, Bechstein, Kawai, Repairsand Restoration. .Our showroom is open every Saturday
were looking for?
Restoration | French polishing | Kemble, May-Berlin, Schimmel, 10.30am to 5.00pm. An appointment is Then why not
Servicing | Piano transport | Event hire Vogel & Yamaha
WORCESTERSHIRE
advisable on weekdays.
visit www.
Rebuilt & Pre-owned by Bechstein,
GLOUCESTERSHIRE Bluthner, Fazioli, Ibach & Steinway Cheltenham Piano Centre TUITION pianist magazine
Cheltenham Piano Centre 52 Winchcombe Street, Cheltenham
ESSEX .comWhere-
OX O N
Can-I-Find/ and
52 Winchcombe Street, Gloucestershire, GL52 2HP
Cheltenham 01242517635 01242 250794 Pianists Together
Gloucestershire, GL52 2HP Cheltenham Piano Centre www.cheltenham-piano-centre.co.uk Weekly workshop near check out the
01242517635 01242 250794
www.cheltenham-piano-centre.co.uk
52 Winchcombe Street,
Cheltenham, Gloucestershire,
Bluthner, Yamaha, Bechstein, Kemble,
Dale Forty Restorations and repairs
Brentwood/Chelmsford: duets,
accompaniment, musicianship,
wide selection of
Bluthner, Yamaha, Bechstein, Kemble, GL52 2HP undertaken in our workshops solo performance, kindred spirits products and
Dale Forty Restorations and repairs 01242517635 01242 250794 and friendly atmosphere! Free
services
undertaken in our workshops www.cheltenham-piano-centre.co.uk Vale Pianos taster session. Individual tuition
Bluthner, Yamaha, Bechstein, Piano Specialists with over 100 also offered. www.cagmus.org.uk/ promoted
HEREFORD Kemble, Dale Forty pianos on display. Family business. piano.html 07801 258261 through our
website.
Cheltenham Piano Centre Restorations and repairs undertaken Workshops and showrooms.
52 Winchcombe Street, in our workshops Visit www.valepianos.co.uk
Cheltenham 01386 860419
Gloucestershire,
SURREY
GL52 2HP Piano Warehouse
DO YOU HAVE A RARE STEINWAY
FOR SALE
01242517635 111-113 Ewell Road, Surbiton,
01242 250794 Surrey, KT6 6AL PIANO TO SELL?
www.cheltenham-piano-centre.co.uk 0208 399 4110
If so call or email us for a Steinway & Sons
Bluthner, Yamaha, Bechstein, Kemble, www.piano-warehouse.co.uk
free no obligation quote model B (6’ 11”)
Dale Forty Restorations and repairs Specialists in sales and rentals.
circa 1908 in rare
undertaken in our workshops
Piano Workshop of Reigate Tel: 0161 977 0075 satinwood, fully
LONDON Sales-Rental-Restoration info@britanniapianoauctions.com restored, now
Peregrine’s Pianos Practice and teaching rooms for hire £23,950
137A Grays Inn Road . London ABRSM exam centre With less fuss and fees than other
WC1X 8TU www.pianoworkshop.co.uk auction sites it really does make Cheltenham Piano Centre
Tel: 020 7242 9865 sense to sell with us and maximise tel 01242 517635
E: info@peregrines-pianos.com
SURREY BORDERS the potential in your piano email mic@globalnet.co.uk
W: www.peregrines-pianos.com
We are here to sell and hire out fine,
modern upright and grand pianos, “Looking for a label
Britannia Classified.indd 1 08/07/2014
Cheltenham.indd
14:58 1 09/09/2014 16:42
and to provide a unique working Handel Pianos which speaks of
environment for the music profession. Verve House, London Road (A30), quality and trust? Find
NW L O N D O N
Sunningdale, Berkshire, SL5 0DJ
it on all of our pianos”
01344 873645
Piano Warehouse sales@handelpianos.co.uk
291-295 Willesden Lane www.handelpianos.co.uk 01323 843900
London Complete range of new and restored www.sussexpianos.co.uk
NW2 5HY upright and grand pianos, for the
0207 267 7671 beginner through to the professional.
www.piano-warehouse.co.uk Appointed Bosendorfer and Kemble
Specialists in sales and rentals agents. As new, restored pianos
from Bluthner & Bechstein

p89 class Ads.indd 89 11/09/2014 15:48

 CL ASSIFIEDS
PIANOMAN

Swanton Design & Marketing ©

Tel: 0771-855-2390 | Email: studio@swantondesign.co.uk
“
THE

EST 2002
The Shigeru Kawai SX-EX
thepianoman.ltd.uk is simply the finest
concert grand piano Piano specialists for over four generations
I have ever played.
We have over
”
Julian Saphir.
70 pianos on offer from
FULL CONCERT GRAND Meticulously handcrafted Bosendorfer | Bluthner
Formerly, Kawai UK's concert instrument, only 5 years old. in strictly limited numbers, Bechstein | Kemble
the Shigeru Kawai brings to fruition Yamaha | Kawai
£49,500 inc 10 year warranty over 80 years of piano advancement,
With many other new and
FREE NATIONWIDE DELIVERY knowledge and craftsmanship. quality pre loved pianos.
With delivery arranged countrywide
168-170 Easterly Road (A58) Leeds · LS8 3AD
www.thepianoman.ltd.uk 0113 240 8030 www.handelpianos.co.uk
Tel: 01344 873645 Email: sales@handelpianos.co.uk
Verve House | London Road | Sunningdale | Berkshire | SL5 0DJ

PIANO WORKSHOP Est. 1982

Bluthner 6’2” Rosewood

Restoration specialists - pianos purchased. Over 90 pianos on display.
www.pianoworkshop.co.uk Tel: 01737 242174
46b Albert Road North, Reigate, Surrey RH2 9EL

Advertise your business here!

Call Lottie Day on
0845 226 0477

p89 class Ads.indd 90 11/09/2014 14:37

lays

ty

91• Pianist 80

p91 Ads.indd 91 11/09/2014 10:19