14 Pianofforte | 2016/7 Features

T HE FA B ER MU S I C
PI A N O A N TH O LO GY

Pianofforte editor and Faber Music Marketing Coordinator,

Rachel Topham introduces Faber Music Piano Anthology and
explores what draws pianists and musicians to
printed music in the modern age.
 Features Pianofforte | 2016/7 15

Stephen Lotinga, chief executive of The Publishers Association,
said in May 2016: “Those who made predictions about the
death of the book may have underestimated just how much
people love paper.” This sentiment extends to musicians
and our relationship with printed music books. Even in
this digital age with the convenience of downloading and
printing music at home, there’s nothing quite like the feel of
getting your hands on a brand new piano book and deciding
which piece will be the first to hit the keys. Everything from
opening the book, running your fingers down the first crisp
sheet, scanning the music for surprises, to placing the first
pencil scribblings on the page – all turn the sometimes
daunting task of learning a new piece into a joy.
For me, an anthology is much more than just sitting at the
piano with an exciting new collection. It’s a book to dip into
when the mood takes you, to discover exciting new pieces,
to be cherished for years, and to pass on to students or
family. I love the idea of having something on my shelf that
I can always trust to provide me with the piece of music I
need in that moment. It could be a simple and familiar piece
to warm up to, an old favourite for entertaining friends, a
challenge that I’ve always fancied having a go at or a hidden
gem that I’d never even thought to try.
I’m delighted that The Faber Music Piano Anthology
contains many of my favourite piano pieces, such
as Träumerei (Schumann), Une Larme (Mussorgsky),
Beethoven’s Moonlight Sonata and Gymnopédie No. 1
(Satie), alongside some that I have never played before.
These new discoveries include works from lesser-known
composers such as Charles-Valentin Alkan, Martin Peerson,
Alexander Ilyinsky, Déodat de Séverac and Samuil Maykapar.
Melanie Spanswick has done a stellar job in expertly
selecting the pieces – 78 in total. I look forward to
enjoying this anthology for many years to come.
One thing is clear about The Faber Music Piano Anthology:
it is a beautiful book. The way in which the sewn spine
falls open on the page you need – and stays there! The
high-quality premium paper, hardback cover and the page-
finder ribbon all add to the exclusive feel. I’m captivated
by the 1935 linocut cover image of ‘The Concerto’ by Cyril
Edward Power. This work of art, which was inspired by
a Henry Wood concert in London, features a solo pianist
surrounded by orchestra, all under the baton of an
animated Sir Henry and serves as a stunning cover for
this treasure trove of music.

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“I had a wonderful time selecting all SONG

Op. 183 No. 1
Carl Reinecke
UNE LARME
(A Tear)
Modest Mussorgsky

the pieces for this beautifully presented

Andante con moto q = 108
Andante con moto q = 100

 
Largo q = c.60

 

legato e cantabile
          
          
2 2 1 2

          
1

        
5 5

    
dolce

                                      
p pp senza sordino
  
             

    


volume from Faber Music’s extensive

2 3 5 2
 5 2
2

5
  2 1 3 4
     
5

            
2 2

         
1

    
4 3 1

            
2

  
p
           
                              
 

  
 
 

             

catalogue. My intention was to include

5 2 

ritard.
    
10
  
1 2

 
5 9
   
4

  
2 3

         
4

             
mf f

                 
               
    


a variety of well-known masterpieces

           

2
5 4   

   


 

13 a tempo

  
   
       
1 3 2

    2
2 13
    
1 4 1


3

p 
                      

peppered with a smattering of lesser

       
pp con sordino
    
   
    
               
1 4 1 5 1 1 2        

17

  
       
   
 1 4  
2 17
          
2 2 1 4

   
4

known gems, introducing pianists to

p
           
                
      
         

5 5
 
1 2
5 5

© 2016 Faber Music Ltd

All Rights Reserved. 17 66 © 2016 Faber Music Ltd
All Rights Reserved.

new repertoire alongside old favourites.

From early Baroque through to the
mid to late Twentieth century, there
will hopefully be something for The Faber Music
everyone to enjoy.” Piano Anthology
ISBN: 0-571- 53957-2 £22.00
Melanie Spanswick