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14
ISSUE
‘BEST OF’
SCORES
Chopin Fantaisie-Impromptu
& ‘Raindrop’ Prélude
Satie Gymnopédie No 1
Bach Prelude in C
Piano jewels by Handel,
Liszt,Verdi and more

PLUS
EINAUDI Song for Gavin
FROZEN Let It Go

14 LEARN
Talking Beethoven with
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LEIF OVE
PIECES TO ANDSNES

CENTENARIANS
OF THE PIANO
The pianists who made it
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19165 Steinway Pianist Mag 100th Issue.qxp_Layout 1 14/12/2017 16:00 Page 1

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TO PIANIST MAGAZINE
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2• Pianist 96

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 Pianist 100
February-March 2018 CONTENTS
The next issue of Pianist goes on sale 30 March 2018

80 8

90

14 86
4 Editor’s Note and a special competition 22 How to Play 2 A Mozart Rondo to 80 100 not out Centenarian pianists
to win a 40CD set of Romantic Piano stimulate your sense of keyboard theatre, celebrated by Martin Anderson, including
Concertos from Brilliant Classics with Annabel Thwaite (Scores page 36) personal memories of Alice Herz-Sommer
and Mieczysław Horszowski
6 Readers’ Letters 24 How to Play 3 The intricacies of
Chopin’s Fantaisie-Impromptu, unravelled 86 Stars of Tomorrow Six classical and
8 News Composition competition winners; by Lucy Parham (Scores page 63) jazz pianists to watch and listen out for
Igor Levit honoured; the latest from Leeds
27 The Scores A specially extended 48-page 88 Subscribe today for just £4.50
10 Let the good times roll Jessica pull-out section of sheet music for all levels: an issue by direct debit and receive
Duchen recalls piano prodigies and veterans don’t miss Satie’s Gymnopédie No 1, the Piano Gallery (worth £8.50) or It’s a
during 17 years of interviews for Pianist ‘Raindrop’ Prélude and modern classics Piano Thing, (worth £10.98)
from Einaudi and Frozen
14 Leif Ove Andsnes Peter Quantrill 90 How to sell your piano Stick it on
catches up with the magazine’s first cover 50 Beginner Keyboard Class eBay and hope for the best? John Evans
artist, who still can’t live without Beethoven Hans-Günter Heumann’s Lesson No 27: suggests a more systematic approach
Five-finger legato exercises
16 How to Play Masterclass 1 94 CD Reviews Chopin three ways, with
Don’t neglect the tenor register, says 75 Piano Teacher Help Desk Trifonov, Lortie and Fazil Say; a stunning
Mark Tanner: it has all the best tunes A new column begins with Kathryn Page: duet version of the Rite of Spring
scales really can be fun!
18 How to Play Masterclass 2 96 Sheet Music Review New music for
Graham Fitch investigates the Op 100 76 Learning Jazz Piano with Dave Jones early learners, late Haydn and a cheeky tango
Etudes of Burgmüller Lesson No 2: Minor-key chord
progressions, where jazz becomes jazzy 97 Classifieds
20 How to Play 1 Where it all starts:
the Prelude in C from Bach’s Well-Tempered 78 Theory A beginner’s guide to sonata form 98 The Last Word Editor Erica Worth
Clavier, explored by Melanie Spanswick from Nigel Scaife, opening up the reflects on 100 issues full of pianists,
(Scores pages 32) architecture of the great sonatas pianos – and readers!
Images: © Regina Hepner-Neupert (Sommer-Herz; © Chris Aadland (Andsnes); Neda Navaee (Armstrong)
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_Contents-FINALish.indd 3 11/01/2018 15:46

 DON’T MISS OUR FREE
TAP HERE TO WATCH ONLINE VIDEO LESSONS
A WELCOME FROM THE EDITIOR www.youtube.com/user/PianistMagazine

Editor’s note Pianist

P
ianist 100. How did that happen so quickly? In the 17 years
since Jessica Duchen interviewed Leif Ove Andsnes for the www.pianistmagazine.com
first issue, the world of the piano has evolved rapidly – you
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can read Jessica’s memories of cover interviews on p10, and Warners Group Publications plc
catch up with Andsnes on p14. As I recall, Pianist No 1 Director: Stephen Warner
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Web with the electronic clang of a dial-up connection. I don’t think EDITORIAL
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Would you like to watch Rubinstein play Chopin? Hear Rachmaninov Deputy Editor: Peter Quantrill
in one of his own preludes? Horowitz interviewed by Abram Chasins? deputyeditor@pianistmagazine.com
Marketing: Lauren Beharrell
History comes to life on YouTube, Spotify and other streaming lauren.beharrell@warnersgroup.co.uk
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the pianists who have made it to the 100 mark and beyond, especially
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of 109! Centenarian pianists set us all an example: playing keeps the fingers in shape, but also the mind. Louise Clarke, Classified
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4• Pianist 100 ISSN 1475 - 1348

p04-editorial100-FINAL2.indd 4 17/01/2018 16:06

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p05_pianist100.indd 5 #41253 - Piano Range ad V2.indd 1 08/01/2018 13:01

 Readers’
Letters
Get in touch
WRITE TO: The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK
EMAIL: editor@pianistmagazine.com
STAR LETTER wins a surprise CD. Letters may be edited.

STAR LETTER Editor Erica Worth writes: You are right – it does
seem impossible. However, Lucy did mean what
Three’s company she wrote. I have tried out the fingering, and it
works for me. This is what you need to do: place the
I thought Mark Tanner’s piece on ‘Building and maintaining repertoire’ (Pianist 99) was interesting knuckle of the thumb on the C # (so that it’s tilted to
and helpful. I am a memoriser, and to become a good memoriser I think you need some structure to the left) and then the tip of the thumb is able to hit
the choice of repertoire. I have found that learning in ‘threes’ is a great help: Satie’s three Gnossiennes, the D. It’s awkward at first, but you get used to it.
three each of Chopin’s mazurkas, waltzes and préludes, three pieces from Schumann’s Kinderszenen, I use different fingering – with thumb on the C #
three Beethoven bagatelles, three Granados Valses Poeticos, three Brahms waltzes, for example. I learn and second finger on the D – but Lucy finds that
other pieces from these collections (I can play all eight Valses Poeticos), but always keep three in my she can’t play it that way. The moral of the story:
‘top memory’, holding on to particular (obvious) favourites like the ‘Raindrop’ Prélude, Rêverie, Für every pair of hands is different!
Elise, Vals Poetico No 1, the Brahms Waltz Op 39 No 15. This does not stop me learning other pieces,
but I am always thinking of how to make a ‘trio’ out of them. Divine duets
I have also found it useful to choose pieces in a rondo-like form. The repeats help to embed the I am a piano teacher and I often use duets as
music in the memory and you get lot of music bang for your memorising buck. Once memorised, a learning tool with my students. There’s so
you can work on introducing those subtle differences. much one can learn from playing duets, such
I like to stick with pieces at intermediate level – there is so much wonderful music to choose from as keeping in time, balance of sound and
that often features in professional recitals, and though I do occasionally venture on to an advanced coordination. Plus, they can add a bit of fun to
piece, it can be so time-consuming, and I am not young! (A long time ago I learned the truth of a lesson. Your duet-themed issue (Pianist 99)
Tanner’s Schumann quote.) You will have gathered I do not have a teacher. came as a welcome surprise, and some of the
Perhaps the most obvious advantage of having a significant repertoire in the memory is that you can repertoire published was a revelation. I found
sit down at a piano anywhere and just play, and usually without the persistent hesitations of sight- Nils Franke’s playing tips extremely valuable,
reading which is not always so noticeable and irritating to those who are unfamiliar with the music! and I have especially enjoyed getting to know
Christopher O’Hagan, Sarthe, France the Respighi Natale and the Balakirev Volga.
I urge other readers to try them.
What an unusual and imaginative strategy for practice. We hope that other readers find it useful. A surprise Margaret Simpson, Cumbria, UK
CD is on its way to you. BEGINNER / TRACK 5
Mily BALAKIREV (1837-1910) BEGINNER/
INTERMEDIATE

(1837-1910)
INTERMED IATE On the Volga DUET
DUET
Mily BALAKIREV
the Volga On Playing tips (primo): The primo part carries the sweet piano melody. At the start, the joining in in unison. The dynamic is now mezzo piano so make the melody sing. Dig
TRACK 5 nt.
calm, swaying accompanime RH plays ‘solo’. Take note of the phrase markings so that the melodic line flows with deep into the keys to produce a warm tone. You can read further learning tips by
should form the and try not to let
The secondo part the pulse steady, a calm finesse. The melody reappears an octave higher at bar 20, now with the LH Nils Franke in his article on page 76.
Playing tips (secondo): RH seamless. Keep
May 1967 that
the critic between LH and rarely go beyond
piano.
by Balakirev in works of Make the switch d.
a concert conducted to encompass the idiom, Notice that dynamics they are relatively straighforwar
Handful’ term any notes stick out. score:
It was in reviewing Russian markings on the
coined the ‘Mighty to create a distinctively Pedal tips: See the Primo
Vladimir Stasov
colleagues who determined musical form.
Balakirev and four German strain of
to the dominant
without recourse
Secondo

Classical melds with jazz

# 3
Andantino
f f f f f f

structures for jazz tunes may be pieced together.

& #4 ∑ ∑ ∑ Œ Œ
5
1

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q = 112
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Pianist is my greatest find; both my teachers have The chord structure for Autumn Leaves is derived
p
Œ Œ
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? ## 34 f Œ ø ø sim.

ø ø
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5

# f f f f f f f f f f
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f f f f f f f f
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thanked me for introducing them to it. from a tonal sequence, which is similar to the circle {
Œ
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? ## ∑
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f F F
4 4 3 2 3 3

f f f f f f f
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the needs and desires of beginners such as myself, lessons explore major and minor II-V-I chord
ff
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f nf
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while intriguing the minds of expert players, progressions, and these provide the tools to play
? ## F
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18
# f F
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5

Œ Œ
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requires a phalanx of contributors. However, their the chord structure of Autumn Leaves, and to
fff ff Œ
# Πff mf
fff f #f #
18

& # ff f ff
ff ff
f f #f f f &# ∑ ∑ f f f f f f f f f f f f
1

ΠF F
f Œ

{
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mf

f ΠΠf
? ## f Πf f
f f

efforts are in vain without a strong editorial vision. improvise over it.
f
35• Pianist 99

99
34• Pianist

The flowering of this vision was hinted at in Your original letter included a video link that may
P34 SCORES Balakirev-FINAL.indd
11:38 35 09/11/2017 11:38
09/11/2017

indd 34
Balakirev-FINAL.
P34 SCORES

issue 98 with the juxtaposition of articles on Lucas interest other readers (http://pianistm.ag/fakeb18). The business of teaching
Debargue and Dave Jones’s introduction to jazz. It shows Dr John Mortensen explaining the practice I was thrilled by the article ‘Wanted: Piano
Pianist 99 brought this vision to fruition. The technique of ‘Fakebooking’: a Fake Book in jazz is Teacher’ by Dr Sally Cathcart (Pianist 99). It’s the
samples given by Dave show how much a book comprised of ‘lead’ sheets that notate the first time I have seen such a detailed but succinct
interpretation can vary. I read and reread the jazz melody and chord symbols for many popular tunes: presentation of what is required to be an effective
article and realized that I was looking at a précis of Dr Mortensen’s example is a Schubert Impromptu. and efficient piano teacher. 
music practice from Chopin to Bill Evans and This technique is a means of analysing the melody, Even though music colleges and universities
beyond. Here was where the theory lessons and harmony and structure of a piece of music, and teach music pedagogy, the lessons are mostly
practice sheets came together. I seized on Autumn notating it in an accepted form of musical shorthand theoretical and focus on how to perform a lesson.
Leaves; an apparently simple seven lines of music (a ‘lead’ sheet), often on just one side of A4. It helps This article, however, presents the clear, down-to-
from the Real Book. I asked my teacher to play it performers to understand the workings of a piece of earth facts of what it takes to be a piano teacher,
and said, ‘let’s drop the rest and concentrate on music, and to play it better, rather than relying solely ranging from technical and artistic requirements
this piece for theory and practice for a while’. on the standard technique of reading sheet music. to the professional aspects of running your own
Those pianists who have not been taught vertical music studio. This last part is rarely mentioned at
harmony and the circle of fifths need to catch up! Tricky Rachmaninov fingering college level (at least in my experience, having
Peter McMurray, Lilydale, Tasmania, Australia In her masterclass on Rachmaninov’s Prelude studied music). ‘Music is art and should have
Op 23 No 4 inside Pianist 99, Lucy Parham nothing to do with business’, some say. However,
Dave Jones responds: The example of a jazz ‘lead’ suggests taking both the notes C# and D of running your own music studio or school is
sheet that you mentioned (Autumn Leaves), is a tune the first chord in bar 16 with the thumb itself. indeed a business, no matter how small, and such
that Lesson 3 will examine in greater detail, because How is that possible? technocratic knowledge is essential. 
it’s such an important example of how chord John Ho, Bristol, UK Ioanna Kyprianidou, Nicosia, Cyprus
6• Pianist 100

p06_letters100-FINAL.indd 6 09/01/2018 12:57

 T

Congratulations To Pianist
On Reaching Issue 100

www.kawai.co.uk
7 Pianist 96
•

p07_pianist100.indd 7 08/01/2018 13:02

 News All the latest news from the world of the piano

BROMPTON SQUARE WALTZES

AWAY WITH COMPOSITION PRIZE
Announcing the winner
of the Pianist competition
Congratulations to Daniel Edwards from Woolwich,
winner of our 2018 Composing Competition. Daniel
captivated the judges with his catchy 64-bar
Brompton Square Waltz. 
Daniel was alerted to the competition by his friend
James Robinson, who won a Korg digital piano from
the competition in Pianist 98. Like James, he is
a member of the Countess of Wessex’s String
Orchestra, a unit in the Corps of Army Music
IGOR LEVIT NAMED
which performs at investitures, State Banquets
and other events at Buckingham Palace. 
‘I got my inspiration for Brompton Square Waltz
from my favourite writer, E F Benson,’ says Edwards.
2018 GILMORE ARTIST
Benson himself lived in the London square, and he Pianist Igor Levit has been named the recipient of the 2018 Gilmore
gave the address to Lucia in his much-loved series of Mapp and Lucia novels. Artist Award. The award is worth $300,000 and is presented every
The piece combines jazz and classical idioms with ‘lots of 9ths and 11ths’, adds four years on a non-competitive basis to a pianist regardless of age or
25-year-old Edwards, who is studying for a diploma in composition at the London nationality, whose developing career may benefit from the award’s
College of Music. A cellist in the orchestra, he wrote the waltz over the course of money and prestige: previous recipients include Rafał Blechacz
a fortnight before playing it through to a pianist friend. (2014), Kirill Gerstein (2010) and Leif Ove Andsnes (1998).
The competition’s runner-up was Canadian Andrea Neustaeter for her evocation ‘Igor Levit is not only a superb pianist but also a deeply
of November Fire. Both pieces will be recorded by Chenyin Li for the covermount thoughtful and insightful artist,’ said Daniel R. Gustin, director of
CD and published in a future issue, along with a feature on the competition. the Irving S. Gilmore International Keyboard Festival. ‘He
Edwards also receives a Kawai Concert Artist Digital Piano worth £2,000. Check exemplifies the pianist that The Gilmore was formed to support.
out www.pianistmagazine.com for video highlights from the judging day in Igor will be the final Gilmore Artist chosen during my tenure as
January, featuring our esteemed panel of judges Matt Ash (from Kawai), John director, and I am honoured to have led an organization that has
Kember, Nigel Scaife and Pianist’s editor Erica Worth. Thanks to over 80 entrants made a significant impact on so many great pianists’ lives.’
to the competition, who ensured a high standard and a tough day of decisions! Levit remarked: ‘The news almost leaves me speechless, but I feel
privileged, blessed and excited. For me, the purpose of music
making and being an artist is to share – to share the past, present
A CELEBRATION OF EILEEN JOYCE and future of music with my audience as best I can. This award will
help me to continue on this path and broaden the possibilities of
The Australian-based Eloquence label that sharing.’
has issued a landmark album: the For more details of his activities, see igorlevit.com and follow
most complete set of Eileeen Joyce’s @igorpianist on Twitter.
recordings ever made available.
The 10CD box (4826291) offers a
treasure-trove of exciting discoveries
to any pianophile or lover of superbly ABUNDANCE OF TALENT
crafted piano playing. LINES UP FOR LEEDS
The Tasmanian-born Joyce was still
a student of the legendary pedagogue The Leeds International Piano Competition has announced
Tobias Matthay at the Royal Academy that 68 pianists, eight more than originally planned, have been
of Music in London when she made shortlisted for the first round of the 19th Leeds Competition.
her first recording, at her own Adam Gatehouse, co-artistic director and juror, commented:
expense, in June 1933. This was of ‘We are thrilled that so many extraordinary young pianists
Liszt’s concert study ‘La leggierezza’, and the Parlophone Company was sufficiently applied, particularly considering that the entry requirements are
© Paul Nicholas Dyke, PND Photography (Edwards), © Felix Broede (Levit)

impressed by the recording to purchase it from her and request a side B. So began a tougher than before. We were astonished by the sheer quality of
27-year-long recording career, stretching almost to her retirement in 1960. applicants and are delighted that our many developments have
In fact her very first recording for Decca was never issued: Tchaikovsky’s Second yielded so much potential. All of the 68 players selected have
Concerto, rarely encountered then as now. Shelved for mysterious ‘technical reasons’ something special to bring and the selection process has been
it has been specially remastered for this set and shows Joyce at her best: a fearless extremely rigorous and difficult.’
performance, ‘one of the finest I have heard,’ according to the pianist Philip Fowke, The 68 who will participate in the international first round,
‘a performance of sparkle, passion and bravura.’ She died in 1991 and was buried taking place in Berlin, Singapore and New York in April 2018,
next to Sir Thomas Beecham at the church of St Peter’s in Limpsfield, Surrey. represent 28 nationalities, nine more than in 2015. Five British
Other attractive boxsets released early in 2018 include a thrilling 13CD nationals have been selected as well as the first-ever competitor
compilation from Sony of the Carnegie Hall recitals given by Sviatoslav Richter in from Syria. While half of the competitors are Asian nationals
the 1960s, when he was little more than a pianistic name of legendary powers for (led by China and South Korea, with 11 competitors each), it is
most Western listeners. In February the German label Profil Medien also honours interesting to note that almost two-thirds of the pianists are based
the Russian virtuoso with a 12CD set of Schumann and Brahms recordings, many in Europe, including 11 UK residents and 15 based in Germany.
of them previously unreleased. For more details, see www.leedspiano.com.

8. Pianist 100

p8 news100-FINAL.indd 8 10/01/2018 13:53

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p09_pianist100.indd 9 08/01/2018 13:03

 INTERVIEW
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EN BIGGER!
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OCTOBER-NOVEMBER 2013
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Helping you become a better player
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IMPROVE
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and a CD to listen
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agazine.com
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BY
FEATURING SCORES BRUCH YUJA WANG
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BACH FUNERAL MARCH

Let the good

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dd 2
pianist65_CD-FINAL.in

19
9/3/12 13:40:

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COVER USE.in
p01_pianist65

th

times roll
Having written for Pianist since its first issue, Jessica Duchen
has a few stories to tell: of an interview in bed, pianists in need of a
haircut and what makes them get up in the morning

A
hundred issues? You’re joking, right? talents both as a fine musician and an effective – and he sounds quite annoyed – ‘but your colleagues
Well, it’s true: with this edition, Pianist organizer, staging events in her memory at in London have decided to create this kind of image
magazine heads into triple figures. London’s National Gallery. I’ve also learned – of me which clearly has nothing to do with the reality!
I suppose I should know. Since it while talking to the soft-spoken Leif Ove Andsnes I have no idea why this happened…No matter what
launched in 2001, I’ve written many for Pianist 1 – not to put a voice recorder too close we talked about, they said I was reluctant to talk
of its cover features, heading off to visit to a buzzing fridge. And I’ve recognised, sitting about anything, that I live in mysterious seclusion...
some of the greatest pianists in the world to metaphorically at the feet of Murray Perahia, how And it happened only in London, with London
capture their ideas and insights. And wonderful very much there is for us all still to learn about journalists.’ (He kindly adds that I am the exception.)
times they have been. music, even in a piece as familiar as Beethoven’s One special feature of the Pianist interviews is
Over nearly 17 years the devices I’ve used to ‘Moonlight’ Sonata. the ‘Up Close’ box in which we ask all our cover
record interviews have developed from cassette stars the same set of questions, including what
machines to clunky electronic gizmos to my trusty The honourable exception they would be if they were not a pianist. Certain
smartphone. And the pianists have developed too: Sometimes the conditions of an interview linger in answers sometimes recur. Several, including Angela
some from promising starlet to grand master, from the mind as much as the actual chat. A 2009 Hewitt, declared that if they weren’t pianists,
mega-musician to elder statesperson, and still interview with Evgeny Kissin took place in odd they’d be travel agents. Others – Jonathan Biss and
more from fresh-faced competition winner to circumstances: in bed. Me, that is. I’d come down Chenyin Li, for instance – thought they would be
a darling of the pianophiles’ world. with suspected pleurisy just when I was meant to writers. Kirill Gerstein expected he would be either
It has been a learning experience in every way. go and see him in Paris. Thank heavens for a travel agent or a writer. Perahia said he’d
I have heard about high-precision tea-making from telephones – and it was a memorable discussion! probably be a plumber. HJ Lim declared she’d
Mitsuko Uchida; fine hats from Stephen Hough; What of the whispers that haunt him along with be… a bird. But some reckon simply that if they
the joys of volunteering in an animal shelter from the legend: the overprotected prodigy, the isolated weren’t pianists, they wouldn’t exist.
Ingrid Fliter. I’ve learned about Dame Myra Hess genius, an inaccessible, unemotional Kissin who won’t We often ask cover interviewees for Pianist
from her ‘grand-pupil’ Piers Lane, admiring his tell? Rubbish, he insists. ‘I don’t know why,’ he begins whether they have any technical struggles.
10• Pianist 100

p10_interview-FINALish.indd 10 09/01/2018 12:56

 NOW EVEN BIGGER! EVERYTHING YOU NEED TO BECOME A BETTER PIANIST

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ng now! BEGINNER UNDERSTANDING
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and and learn from. If your
PIECES TO ‘November’
and learn from. If your CD is missing,
12 LEARN
1. KÖHLER CAREFREE BALLAD ................................................................................................................................... 0.49
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6. CLEMENTI VIVACE from SONATINA OP 36 NO 1 ........................................................................................... 1.01

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14. FAURÉ NOCTURNE NO 4 IN E FLAT OP 36 ...................................................................................................... 7.44
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lauren.beharrell@warnersgroup.co.uk
Pianist 88 CD cover-FINALish.indd 2 14/12/2015 13:58

Kathryn Stott plays tracks 13-15. Tracks 13 and 14 are taken from her recording of Fauré’s piano music on Hyperion Records:
available complete (CDS44601/4) or as a single-disc survey (CDA67064), by kind permission of Hyperion. Track 15 is taken from
her Solitaires album on BIS Records (BIS-2148), by kind permission of BIS. Read the interview with Kathryn Stott inside this issue. 3 EXCLUSIVE BONUS TRACKS
Lucy Parham plays track 12. Released on The Romantic Piano album (2CD) and available at www.lucyparham.com.
Kathryn Stott plays Fauré and Ravel
Chenyin Li plays tracks 1-11 (except track 5). Copyright secured by Chenyin Li www.chenyinli.com.
Erica Worth plays track 5.
Pianist No 96 CD (June-July 2017) WGP PIA UK 1796. Producer: Iago Núñez. Editing/mastering: Steve Harrington, Royal College
of Music, London. This CD comes free with Pianist No 96. It cannot be bought separately.
SCORES BY RAVEL HANDEL CLEMENTI CHAMINADE JS BACH
Cover image: © adobestock/Kolavenko I GRANADOS BERTINI and more performed by CHENYIN LI
Total Time: 43:00

Pianist 96 CD-FINALish.indd All Pages 19/04/2017 10:17

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This provokes a spread of responses. Some simply understanding: because he is also a composer, that was fresh, joyful, soulful and dazzling.
say ‘No’ – which may be true, of course, but you he sees the music that he’s playing as if from I emerged with restored hope and faith in
never quite know. Others are more open about it. within. the future.
Angela Hewitt said she hates double thirds, ‘I think Schnabel said that when you go on stage One of the best-loved of ‘rising stars’ (rising no
Steven Osborne confessed that he doesn’t like fast to play Beethoven you should not play it, you should longer) is the British pianist Benjamin Grosvenor.
right-hand octaves. And you’d be amazed how recompose it. Certainly I have to be part of co- I remember seeing and hearing him for the first
many stars complain about having small hands creation in the performance. Every piece comes time when he played – aged 11-12 – in the 2004
– especially when you hear what they do with through the prism of the performer and there can BBC Young Musician of the Year. He made it to
them on the keyboard. The phenomenal Boris never be two identical performances of the same the cover of Pianist in 2011 and is now among the
Giltburg is a prime example: his Rachmaninov work, even by the same pianist. The atmosphere is most sought-after pianists in the UK. He proved a
and Prokofiev can transport you almost to another different, the acoustic is different, the emotional disarmingly natural, uncomplicated interviewee.
world, yet he laments that his hands are too small world is different. Music is primarily the art of time.’ We were in a small café near the Royal Academy
to play Stravinsky’s Petrushka or Bartók’s Piano If he was this interesting at 23, how will he be of Music when in walked an older gentleman who
Concerto No 2. at 43? I hope I’m still there to find out. asked the clientele at large if anyone could
Other glitterati have emerged in these pages. recommend a good barber nearby. His eye fell
When tomorrow becomes yesterday In Pianist 87 there was Beatrice Rana, an artist on the wild-haired Grosvenor and he quipped,
Among the most heartwarming experiences for to whose intelligence, seriousness and magical ‘Not that you’d know’. When he’d gone, Grosvenor
any interviewer is meeting the emerging stars of sensitivity audiences have warmed year by year; gave a wry smile and remarked, ‘My hair is styled
tomorrow. It can feel a bit like encountering a her fellow Italian, the thoughtful and poetic by the rain and the wind.’
wonderful puppy with giant paws which presage Federico Colli, winner of the 2012 Leeds One musician who’s unlikely to go out looking
their growth into keyboard lions. Daniil Trifonov International Piano Competition; the delightful styled by nature is Yuja Wang. We caught up with
was only 23 when we talked to him in 2014. and supremely talented Behzod Abduraimov her in 2011, soon after The Curious Incident of
I went to the Barbican to meet him before a from Uzbekistan; and most recently George Li, the Very Short Dress at the Hollywood Bowl.
rehearsal. In the underpopulated backstage of whom I met in Hamburg where we were both For a good few years now, Wang’s concert clothing
early afternoon, I nearly mistook the slight, setting foot for the first time inside the has caused fuss out of all proportion to her
bejeaned figure, his pale face shadowed with magnificent new Elbphilharmonie. Aged 21, playing, which can be so dazzling that concert-hall
stubble, for a trainee technician. Yet the insights Li gave a performance that evening of floors are virtually left scattered with pieces of
of his conversation opened up new levels of Rachmaninov’s Rhapsody on a Theme of Paganini audience jawbone. In general, it still strikes me
pianist38p14-1
6interview/FIN
AL 5/9/07 11:31 AM
Page 14

INTERVIEW
as extraordinary that such a fuss is made over
INTERVIEW
what female musicians wear on stage. If you think
SUNNY B
eatrice Rana, the
youthful Italian
pianist Yuja Wang’s dresses are skimpy, you’ve obviously
SIDE UP
whose debut concerto

never seen Rihanna. ‘I know, right?’ Wang

recording pairs
her
no less a maestro with
Antonio Pappano than
braved a horrend , has

Full
storm to meet
me at the London ous
of Warner Classics. offices
it pours – an old It never rains but

quipped. ‘I mean, I could have exposed still more,

maxim that is just
true of today’s as
weather as it is
career. Since she of Rana’s
Beatrice Rana won
the 2013 Van Cliburnsilver medal at
won a silver meda International
the Van Cliburn l (and a follow Piano Compet
ition,
off in earnest. She her career has taken
Tchaikovsky/Pr Competition in 2013 – and nowing) at
if you really want to go there...’
Circle
she says, because entered the contest,
okofi a new she had wanted
into the stratosphev disc looks to take her caree
upgrade’. She got ‘an
one.
If you’ve seen Virtuosit
ere. Jessica Duc r up released docume y, the recently
hen meets her Wilkinson about
ntary by Christop
her

Wang insists life is too short to stew over such

Competition (andthe 2013 Van Cliburn
worth a look), if you haven’t,
you’ll have seen it’s
there. Aged 20 Rana
at
shown surround the time, she is
ed by her family
parents both pianists, – her

things. The fuss, she remarks, struck her as ‘a little

– who seem always her sister a cellist
laughing with her, to be smiling and
Born in Canada, Angela Hewitt has lived and dog whom she plus a soulful-e
insists yed
worked in Britain for almost 30 years. She tells if she is not playing leaves the room

E Y E S
also notice that well. You might
Rana is seriously

retrograde. First of all, I’ve been playing a lot – I did

Jessica Duchen why she loves London, British In person as well, brainy.
that Rana is only it’s hard to believe
music (old and new) and Bach, of course analytical is her 22 years old, so
thinking and so
her approach to mature
the
she performs upon piano and the music
it.

the Rachmaninov Second and Third Concertos and

Pappano, it turns
the genesis of their out, was crucial to
features the Tchaikonew recording, which
and, more unusuall vsky Concerto No 1
Concerto No 2. y, Prokofiev’s Piano
It
her to record with seems that he invited

the Rhapsody on a Theme of Paganini in Verbier,

him.
‘Of course I knew

W I D E
conducting and Pappano’s way
admire him very of
Rana says. ‘He much,’
got
and I was privilege to know my playing
for the recordin d to be asked by him

Tanglewood and Hollywood and I did Prokofiev No

g.
expectations, but I arrived with a lot of
expectations – at the same time no
because that’s how
always feel when you
you work with
people. I knew new
the
had worked with orchestra because I

3 yesterday in Cleveland before coming here and

is a very strange them, but an orchestra
animal as conduct
can change everythi ors
Pappano and his ng. Working with
own
notice the relations orchestra, I could
hip between them,

O P E N
especially how
he wants them

doing Bartók No 2. That’s five concertos in two

and phrase.’ to colour
She found Pappano
supportive. ‘We to be eminently
had a meeting
evening before the
the
says, ‘and I went sessions,’ she

weeks. So I didn’t have time to care about the

with my mum
and told her I’d
be
hour. Three and back in an
a
I realised I’d betterhalf hours later
I hadn’t even noticed go and sleep.
passing! I was shockedthe time

reviews.’
strength and his by his
power, not just
in conducting,
▲

but in thinking
14• Pianist 65
66 15• Pianist 66 He’s never tired .
much energy. You and he has so
you tell him somethi know that when
ng, he’s not just
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9/5/12 15:59:38
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11• Pianist 100 10/11/2015

14:47
11• Pianist 87

p10_interview-FINALish.indd 11 09/01/2018 12:56

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MOZART BRAHMS by Chenyin
SCORES BY and more performed
GURLITT ARNDT
ATTWOOD 17/06/2014
10:11

2
pianist79_CDcover.indd

There’s a special thrill about 11/07/2014

10:14
Piano Competition. Both pianists celebrate their
hearing a composer play his own work – nothing 60th birthdays in 2018 (another indication of how
p01_pianist79.indd
1
in music can ever be more ‘authentic’ than that – rapidly time seems to pass in the pages of Pianist)
At the birth of a masterpiece but when the particular artist in question is such a and will celebrate by performing a new double
My opportunities to interview Imogen Cooper consummate performer, it’s all the more inspiring. concerto written for them by Carl Vine.
have brought revelations about the way a great ‘Ten years ago if you’d told me I’d write even one
artist can grow and keep on growing. I first piano sonata I’d have laughed in your face,’ Hough Taking a stand
encountered her back in 1983 at the Dartington declared. And ‘Trinitas’, the Third Sonata, is finer But in the end, what is it that makes us turn to the
International Summer School, when I played in still. Hough told us about it in 2015: great pianists again and again? Perhaps it concerns
her masterclass and messed up a Beethoven sonata ‘It took me 18 months to write it and I’ve taken the wisdom and profundity they bring – qualities
(over which she was desperately kind to me). In out 30 pages along the way. I’ve changed so many that can seem sorely lacking in the places we need
those days she was much associated with the things: everything has gone up and down and them most. Without such musicians to interpret
Viennese classics – indeed, she still is. But recently around, and I’ve had about six different endings. them, we wouldn’t have the strength of Beethoven’s
she’s been turning to the great Romantics, and her I even changed the last line the morning it went sonatas, the humanity of Mozart’s concertos or
takes on Wagner, Liszt and Chopin have been to press!’ the spiritual uplift of Bach’s Goldberg Variations.
more than inspiring; it’s almost as if the floodgates Another special Brit is Kathryn Stott, who didn’t In 2013 I went to Beethoven’s native town, Bonn,
have opened. mince her words when reminiscing about to listen to András Schiff, who gave a cycle of
British pianists, Cooper included, have played traumatic experiences as a student and young sonatas at the annual Beethovenfest. We talked
a strong role in the magazine. Stephen Hough is professional. While other musicians might draw about the relation of music to life, politics and
a case in point: a polymath whose multifarious a veil over hideous treatment by teachers at school making a moral stand – as Beethoven did.
gifts have led him into painting, writing and or catastrophic overbooking by an inexperienced ‘He is the most humane of composers and I find
composing as well as playing the piano. Back in first agent, Stott set it out loud and clear when we the message is incredibly strong,’ says Schiff. ‘It has
2010, his arrangement of Tchaikovsky’s song first interviewed her in 2008. Now, though, she is also given me courage – politically, too, as in my
Solitude featured in the Scores section of Pianist 54. in a much happier place, both emotionally and not-good experiences with Hungary.’ He has felt
Composing has since developed into an exciting geographically speaking. She has recently become unable to return to his native Budapest in recent
part of his creative armoury: his piano sonatas artistic director of the Australian Festival of years, following vicious, threatening trolling in
are particularly thrilling. His recording of No 2, Chamber Music in Townsville, taking the baton response to his outspoken stance on the rise there
‘notturno luminoso’, was released on Hyperion in from Piers Lane, who has likewise risen to the of racism, anti-Semitism and the far right in recent
2014, the year before we interviewed him. stratospheres and now runs the Sydney International years. ‘In relatively peaceful, undramatic times
INTERVIEW
you recognise the need for civilian courage,’ he says.
INTERVIEW
‘There Beethoven stands like a light in a diamond.
INTERVIEW

Magnificent When people say “don’t mix politics with art” – it’s

FeAdrteofricthoeC otellr i obsession rubbish! Just look at Beethoven – not only the Eroica
Symphony, but his whole attitude. Artistically, too,
mat he goes against convention. He doesn’t give in,
he doesn’t compromise, he doesn’t want to please…
winner of the
Federico Colli, Competition,
2012 Leeds Pianoyour typical
in terms of his art, there are no compromises.’
is anything but The young
young virtuoso. sophy,
Italian talks philo ts with
The last word must go to Krystian Zimerman.
We interviewed him for his 50th birthday just over
crava
Michelangeli and hen
Serughetti

ANDRÁS
Jessica Duc
credit is © Sirio

a decade ago, but his closing words are as resonant

CD cover photo

SCHIFF
Ferrara. This issue’s

as ever. ‘Where would we be without music?

The youngest pianist ever to record

60
Beethoven’s entire sonata cycle,
at
All images © Sarah

HJ Lim tells Jessica Duchen about

My God…’ Here’s to the next hundred issues. ■

LISTEN • LEARN
• PLAY
PIECES
stalking Beethoven, admiring the
12LEARN Golden Age pianists and playing
ALL BEGINNER
PIECES TO WITH BAR-BY-BAR
TECHNICAL
HELP

ALL STYLES
ALL LEVELS AND PLAY AN ARRANGEMENT

Rachmaninov on a moving barge

FROM
OF THE ALLEGRETTO
7TH
BEETHOVEN’S
JAZZY
LEARN GERSHWIN’S
3
PRELUDE NO
BONUS TRACKS
plays Beethoven
Federico Colli
and Mussorgsky
‘Appassionata’ waltz
Pictures. Plus, a Venezuelan
Rodriguez
played by Clara
TCHAIKOVSKY
FRANCK DIABELLI Li
CHOPIN ALBÉNIZ by Chenyin
SCORES BY more performed
CPE BACH and 08:55
MENDELSSOHN 20/02/2014

2
pianist77_CDcover-FINAL.indd

CD
ON THIS ISSUE’S

Read a new interview with Leif Ove Andsnes, the

Federico Colli
plays
As he starts his
the first movem
ent seventh decade,
of Beethoven’s famously outsp has the
‘Appassionata’
Sonata
mellowed? Andr oken Hungarian pianist
s
ás
and two excerpt
classical music’s Schiff shares his views on
first cover star of Pianist, on page 14
gsky’s 15• Pianist 77
from Mussor
Pictures at an
of great humanity robust healt h, Beethoven’s
Exhibition, all 14• Pianist 72 and the impo 15 Pianist 73
rtance of good
•

which come
from
keyboard postu
his new release
from
Records
re with14 Jessi ca Duchen
Pianist 76
Champs Hill
•

14• Pianist 77
(CHRCD079). p14_interview 73-FINAL.indd 14 09/07/2013 13:58
p14_interview
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p14_interview
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12• Pianist 100 08/01/2014
14:27
15• Pianist 76

p10_interview-FINALish.indd 12 09/01/2018 12:57

 WARNER CLASSICS AND ERATO
CONGRATULATES PIANIST MAGAZINE
ON 100 GLORIOUS ISSUES!

PIOTR ANDERSZEWSKI · NICHOLAS ANGELICH · MARTHA ARGERICH · CLAUDIO ARRAU · DANIEL BARENBOIM
BERTRAND CHAMAYOU · ALDO CICCOLINI · ALEKSANDER DEBICZ · FRANCOIS-RENÉ DUCHABLE
ANNIE FISCHER · SAMSON FRANCOIS · DAVID FRAY · NELSON FREIRE · WALETR GIESEKING · EMIL GILELS
HELENE GRIMAUD · FRIDERICH GULDA · VLADIMIR HOROWITZ · STEPHEN KOVACEVICH · ELISABETH LEONSKAJA
GEORGE LI · DONY HYEK LIM · H.J. LIM · DINU LIPATTI · NIKOLAI LUGANSKY · MARIA JOÃO PIRES
NICHOLAS MCCARTHY · ARTURO BENEDETTI MICHELANGELI · ANDREW VON OEYEN · SOPHIE PACINI
ANDRÉ PREVIN · ANNE QUEFFELEC · BEATRICE RANA · SVIATOSLAV RICHTER · JEAN-PHILIPPE RIOPY
FAZIL SAY · ARTUR SCHNABEL · CONRAD TAO · ALEXANDRE THARAUD

13• Pianist 96

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p13_pianist100.indd 13 1 20/12/2017
08/01/2018 10:03
13:04
 P I A N I S T AT W O R K

th

Lessons
with Leif
The first cover star of Pianist talks to Peter Quantrill about
Sibelius, Stravinsky and the learning process that never ends

B
ack in 2001, Leif Ove Andsnes required ‘I learnt a lot from that project,’ says Andsnes. and finding a diversity of sounds and emotions in it.
a little introduction. He had just played ‘One learns a lot from Beethoven, because you That was a great lesson.’
at the BBC Proms and was in the middle have to be so honest with that music. There is That lesson has had far-reaching implications,
of recording Schubert for EMI, but his no other music that has that kind of honesty. he says. ‘There’s a clarity in his statements that is
story needed to be told. There is no theatre to it, every note is so heartfelt.’ a great lesson. He is never vague. You just have
Seventeen years on, the pianist from I caught the very last concerto cycle they gave, to make it very clear what he says. And I think,
the land of Ibsen is his own storyteller. The boyish at the BBC Proms, and marvelled at the total after the concertos, I have brought that to other
looks have matured just a little but it’s the playing absorption of all concerned. ‘It was a rare music too. Mozart also doesn’t want to be vague.
that has kept his diary full. Curiosity keeps you opportunity for a pianist to have the same kind Making a phrase really clear in sound and
young, they say: it seems to work for Andsnes. of feelings of a chief conductor,’ he says. ‘Having intention. That’s a great lesson when you work
More than once during our conversation he lived together with this music and been breathing with Beethoven. It’s truly dramatic music in that
returns to the subject of learning. It’s what he does. through the notes for so long, you achieve a kind it’s always telling a story. That’s why for young
The pre-eminent experience of the last 17 years of freedom that you can never get in a normal pianists, one has to work on his music – you can
is, he says, the Beethoven Journey of concertos week with an orchestra. It now always makes me learn so much about musical storytelling.’
which he undertook with the Mahler Chamber look for that kind of quality in the work I do with Having directed Haydn and Mozart from the
Orchestra between 2012 and 2015. orchestras – something deeper, going into detail keyboard, could Andsnes go further? ‘No,’ he reflects,

Est 1910
C

CM

MY

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CMY

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© Chris Aadland

7 - 8 chester court. albany st. london. nw1 4bu

020 7935 8682 www.marksonpianos.com
14• Pianist 100

p14_interview Leif-FINALish.indd 14 09/01/2018 13:01

 ‘for me the limit is there, with the “Emperor” With their affinities to Grieg, many Sibelius
Concerto. What scared me a little pieces lie within the range of most Pianist readers.
in the beginning when I began this double act ‘There is the Op 75 cycle, Trees. “Spruce” from
with Beethoven, is how exhausting it was that collection is quite popular as a teaching piece
compared to doing Haydn and Mozart this way, in Norway. Another not so technically demanding
because he is much more symphonic in his one is the Lied from Op 97 which sounds like a
orchestral writing. You have to give a lot, Lyric Piece. Several of them are not that complicated.
physically, as a leader. With the “Emperor” he The sixth Impromptu from Op 5 is a wonderful
starts this heroic genre which became so beloved melody which he seems to have particularly loved
in the 19th century. himself because he used it again in other pieces.’
‘Particularly from No 3 you feel this separation Two concertante works on his schedule are of
between soloist and orchestra,’ he continues. no less celebrated composers who were working
‘I found psychologically it was complex to both outside their comfort zone: the quite Russian-
play and lead these concertos, because at any sounding Piano Concerto by Benjamin Britten,
given moment I needed to know, is this a place and the even earlier Fantasie by Debussy, the
of dialogue or separation? Because it can too centenary of whose death falls this year. ‘I’ve just
often seem like a dialogue, and that was a started looking at it again,’ says Andsnes, ‘after
challenge for it not to happen.’ Andsnes is, playing it three times 20 years ago. It may not be
indeed, so congenial a soul that it’s hard to fully formed Debussy but it’s so unusual.
imagine him picking a fight with anyone, ‘How to approach it? The Fantasie comes out
even for the sake of Beethoven. from the orchestra, but it can be pianistically
Although the concertos are now on extended interesting. There are passages where one feels
leave from his repertoire, the pianist admits: one wants to help Debussy a little bit – the piano
he can’t do without Beethoven. ‘I’ve become part can seem a little thin at times, and there are
dependent on working with this music on a some passages a little more Germanic than what
regular basis. I’d feel strange if I didn’t touch it. one thinks of as French and Debussyan. I’ve talked
I have played maybe half the sonatas, and I’d a lot about the orchestral score with Michael There is, I suggest, no getting around the piano
like to explore them, little by little.’ This year Tilson Thomas – I’ll be playing it a few times with as a percussion instrument. Stravinsky composed
it’s the turn of the ‘Tempest’, which he last played him – and he says he has made different dynamic at the piano, and it takes only a moment or two
as a child. markings in all the parts because they need it. of hearing his larger scores to cotton on to their
The Fantasie is driven as much by the conductor origins, even if he wrote (again, curiously) very
Unusual pleasures as the pianist. It needs a true chamber-music feeling.’ little music for the instrument. ‘I don’t love the
The sonata is paired in his recitals this year with piano per se,’ confesses Andsnes. ‘I only love it
a composer for whom Beethoven was a Productive tensions if it’s really well played! It’s so fascinating to listen
touchstone, Jean Sibelius. And the Finnish Andsnes has just recorded an unlikely piece of to great pianists and hear how extremely different
composer wrote a great deal of piano music, yet chamber music, the Rite of Spring by Stravinsky, they can sound on such an objective machine.
very little of it is widely known: a situation that with an even more unlikely partner, Marc-André To make the piano sing, make it alive, is one of
should change a little with Andsnes’s latest solo Hamelin. Yet the sparks fly: the disc is Editor’s the great challenges for a pianist. That occupies
recording, which picks some of the sourest and Choice this month. Given this magazine’s recent a lot of my time, when I am choosing which
pianos to use, and working with piano technicians,
to get that singing sound.’
I don’t love the piano per se. Piano technicians may be beyond the means
of most Pianist readers but they have an invaluable
I only love it if it’s really well played! function to fulfil for soloists such as Andsnes.
‘They can do a lot with the action and the voicing
of the hammers. If you come to a place where the
sweetest cherries from what the pianist confesses focus on harmonious duos and duets, I am led to piano is good but the technician doesn’t know
is an uneven harvest. ‘It’s not on the same level wonder: does Andsnes feel like a different pianist what they are doing, you will never get a great
as his orchestral music, which I find haunting. when he sits down to play with Hamelin? ‘Yes, we response from the instrument. The opposite is
30-40 per cent of the piano music is wonderful, do,’ he replies, ‘and I would argue that for two also true. You can have a mediocre instrument
but other pieces don’t come alive, probably pianos – it’s maybe different for four hands – it’s but in five or six hours a great piano technician
because he didn’t find writing for the instrument an advantage to be different. Two similar pianists can really change the instrument. I have now a
so wonderful. He said that the piano cannot sing, playing together can be a bit bland. network of these people that I trust. Sometimes
and that only Chopin wrote well for the ‘The Stravinsky seems to me a good match I take one on tour with me when I don’t know
instrument – and yet he continues to write for it! for us, it brought out different qualities in us. which piano will meet me, and what the
I don’t know what was going on. But he wanted I certainly learnt a lot from his clear thinking, conditions will be like. That gives me the freedom
to make money, and piano music was popular, and of course his pianistic qualities are incredible. to communicate something which is alive and
and I guess he dreamt of having the same success We talked a few times about how different we are, sings.’ A lesson there, surely, for everyone. ■
as Grieg with his Lyric Pieces.’ but neither of us is the kind of musician that
Andsnes observes how Sibelius continues wants to go against the grain of the score – and Leif Ove Andsnes is artist in residence with
to explore different techniques even in an idiom of course Stravinsky is very clear.’ the New York Philharmonic Orchestra during
foreign to him. ‘The early pieces sound Russian, The savagery of the Rite is curiously durable, he the 2017-18 season. His selection of piano
a little like Tchaikovsky, and then in a middle observes. ‘You can never match the colours of the music by Sibelius is available from Sony
period he writes in a more native way, more orchestration, but when one listens to the original, Classical (88985408502). The new Hyperion
neoclassical, a little like Scarlatti with two voices, one is so blown away by the orchestration. But the recording of Stravinsky’s Rite of Spring with
more transparent. For me the pinnacle is backbone, the skeleton, the rhythmic impetus, the Marc-André Hamelin is reviewed on page 94.
the Op 114 Sketches where he isn’t searching clarity of those harmonies becomes so clear in the The complete first movement of Beethoven’s
for a style any more, it all feels very natural. piano arrangement. And of course the violent ‘Emperor’ Concerto in the Sony recording
© Chris Aadland

It’s singing on its own terms. But the piano episodes of the ballet are even stronger, because (88843058872) is the bonus track on the
wasn’t his medium. With the orchestra he was the piano is so direct in attack. It can seem also cover CD of this issue.
a fish in water.’ very primal and intense.’
15• Pianist 100

p14_interview Leif-FINALish.indd 15 09/01/2018 13:01

 play HOW TO

Sing like a tenor

THE JOY OF THE MIDDLE REGISTER
It takes a good ear and careful voicing to coax sweet melody from the piano’s sweet spot,
says Mark Tanner, but you will hold the stage with your playing

T
he piano evolved through a chain of technological innovations Mark Tanner is a pianist, composer, writer and
between the tail-end of the 18th century and the first decades educator. For ABRSM he has undertaken 36
of the 19th century. By about 1860 the piano (as we are now international tours to all 5 continents, examining
familiar with it) had truly come of age. Among its many facets grades and diplomas, also presenting. He has
was a consistent quality of tone across a seven-octave register performed on cruise ships all over the world as well
and hence the potential for pianists to play with a winning as in some of the UK’s leading venues. His book of
tone, regardless of how deep or high a melody happens to be positioned. 2016, The Mindful Pianist, is published by Faber,
In particular, it was the piano’s luscious middle range – or tenor register as and his forthcoming book, Mindfulness in Music,
we sometimes call it – that benefited from the majestic iron-framed will be released in April 2018 by Leaping Hare
instrument, and it is surely not coincidental that the Romantic period ran Press. He was on the judging panel for the 2018
in parallel with the emergence of the Romantic instrument. In the music of BBC Young Musician keyboard category, and will
Beethoven, Chopin, Liszt, Brahms and Schumann may be found abundant be Composer in Residence at the forthcoming
examples of exquisite melodies that are situated in these two central octaves. Chetham’s International Piano Summer School.
Mark has published 70 volumes of compositions, arrangements and
The middle register: a natural home for melody transcriptions; 30 pieces have appeared on exam syllabuses.
Repertoire which capitalises on the middle of the piano is plentiful from the
mid- to late-Classical period onwards, but the Adagio cantabile of Beethoven’s
‘Pathétique’ Sonata is an immediately striking example. Here, and in Liszt’s you’ll need your best singing tone for tunes positioned from C3 to C5.
Liebesträum No 3, the melody’s appeal is made all the greater by the ‘warm’ The next time you hear Pavarotti singing ‘Nessun Dorma’ or Freddie Mercury
key of Ab major; the effect is at its most poignant when ‘singing solo’. Liszt is singing Crazy Little Thing Called Love, enjoy the individual richness and
especially considerate of the tenor register in Vallée d’Obermann and the resonance of their voices. Pianists such as Rubinstein achieve something
Consolation No 4 in Db, while Chopin’s Etude Op 10 No 3 in E is another startlingly similar, especially in the music of Chopin with its debt to Italian
splendid example. And it would be hard to imagine the Adagio sostenuto from bel canto style.
Beethoven’s ‘Moonlight’ Sonata sounding anything like as moving if the
composer had placed it an octave higher. Much of Rachmaninov’s piano Think like a cellist
music makes play with the tenor register, such as those menacing repeated The cello is often cited as the musical instrument most closely resembling the
middle Cs in the nine opening chords to the Second Concerto. human voice – mellow, flexible, almost ‘vocal’ – which is why Rachmaninov’s
Vocalise works so splendidly in its original form. A cello has a far wider range
Sing like a tenor than any singer, yet its ‘sweet spot’, as I like to think of it, also lies around
In opera, the tenor almost invariably gets both the girl and the best tunes. its middle register. Something similar happens when pianists bring out a
In piano music it is with the fingers alone that the pianist must bring the tenor melody from amid thick chords, even if pianists don’t have a bow
tenor register to life and endow it with an individual timbre. Bearing this with which to add vibrato or finesse their middle register cantabile playing.
in mind I’m devoting this article to the most sumptuous region of the piano. We do, however, have the capability to make a lovely, shapely legato, and
A cantabile touch enhances a musical line whatever the given register, but with a little care and technical work we can give a tenor melody a clear and

5
distinctive profile.
TOP Let’s try a little experiment. Play any simple melody you know well with
TIPS
CENTRAL CONCERNS your RH. It doesn’t matter which key you choose, but you need to be a
couple of octaves above middle C. Play the melody in a loop several times
1 Think like a singer and play like a cellist. These suggestions are
not as silly as you might initially imagine; pianists can learn a
and pay great attention to how much weight you need to play it firmly and
with shape. Next, shift your seat a little to the left and play the tune again,
great deal from how other musicians bring their melodies to life. this time situated around middle C. Notice how much harder you have to
work to make the melody just as prominent and compelling in the tenor
2 Instead of being distracted by commonplace, thickly textured
music, home in on that ultimately more rewarding middle line.
register. The reason is that the piano’s action itself is that bit bigger and
heavier, obliging us to put in more effort to achieve a comparable volume
and clarity of sound. A related point is that our ears need to be ‘taught’ to

3 Hone your technique with exercises designed to help you coax

out tenor notes from those lying either side, such as ‘voicing’,
expect a far richer, more prominent volume of tone when playing in this
region of the instrument.
Here are a couple of exercises I give to younger players, or sometimes
by tugging in the relevant tuneful finger.
to adults whose finger attack is a little too frail to produce a robust middle-

4 Don’t overlook tenor lines when playing on an electric keyboard,

as long as it has weighted keys. Headphones help you to
register cantabile.
1) Chose a melody you know by heart – anything from a Chopin nocturne
achieve a marvellous effect. to Three Blind Mice – and play it in the middle of the piano once or twice to
be sure you know the notes. Next, play it again, but this time alternate each

5 Unlike melodies positioned higher up in the register, tenor

melodies often require the two thumbs to be more actively
engaged, and this needs extra diligence when using the pedal.
note between the two thumbs (no other fingers) and use deft touches of pedal
to aid the smoothest line you can muster. You are aiming for a committed but
not strident sound, and you can enjoy lifting the whole wrist and arm away
from the keyboard after every note played. This is a lovely way of feeling more
16• Pianist 100

P16 HTP Tanner-FINALish.indd 16 11/01/2018 09:11

 MASTERCLASS

The Beautiful Voice

Think of the tenor register Advice from Mark Tanner on bringing out inner-part
melodies in three of this month’s Scores
as a special friend, a region
of our beloved instrument that
Burgmüller Douce plainte Op 100 No 16 (p35):
1
Friedrich BURGMÜLLER (1806-1874)
BEGINNER/
INTERMEDIATE
Op 100 No 16 Studies
Douce plainte from 25 Easy and Progressive
TRACK 5

of
It requires careful shaping and balancing
a beautiful sound and play expressively.
time, Burgmüller died suddenly of an epileptic figures as they weave back and forth
Little known today, much esteemed in his the melody line and the accompaniment

What a super piece of pianistic poetry this is! I love

from Robert Schumann: ‘Since the early towards the dramatic climax at the highest
fit, prompting an impassioned obituary between the hands, and a sense of pacing
has happened than that of Burgmüller.’
death of Schubert, nothing more deplorable a point of the melody (bar 14).
plainte (Gentle complaint) is not so much Burgmüller’s Op 100 studies on page
18.
Playing tips from Graham Fitch: Douce Read Graham Fitch’s masterclass on
technique in its truest sense – how to achieve
study in the mechanics of playing but of

Allegro moderato q = 120

jf f f F ffff
3
2

b F ffff F
&b c
f
5

{ the way the LH’s humdrum semiquaver accompaniment

deserves particular care and
f f
f f f f f f f f fJ
f f f f f f fJ ‰ Œ ‰ Œ
p dolente
ffffff ‰ Œ
? bb c f f f J 4 2
5 3 1 3

f j f f j‰ Œ f
1 3

b F^ ffffff ff ‰ Œ ffff f ff
4

unexpectedly melts away at the end of bar 4, whereupon

f ‰ Œ
4

f
2

&b J

{
cresc.

f f f f f f F f f
ffffff #F f
? bb f f f J J 1 2 1 4 2 1
5
1 2 1 5

. . f. . f. f. f. f. f f nf f f. ff nf

a yearning tenor melody unfolds itself, albeit for just a

1. poco rit. 2. 3 1

decisiveness if it is to blossom
4

b Œ f nf #f f f f f f f ™™ f #f f f f #f f ™™ nff ff f ff f f f f
2 2
5 3 2 1 2 3 1 1
7 2 1 4 1 3 2

nf f f f #f
2

&b f f f

{
j
p

ff ‰ Œ
2 1
sf
f f f ™™
dim.

? bb Œ Ó f f Œ Ó & ™™ #ff. ff. ff. ff. ff. ff. ff. ff. FF

2
1

tantalising few bars. Though we don’t immediately

3 4 4
5 1 3

f >f™ f f™ f #f ™ f ten.
f™
. . . . . . . f f f f. f f J f
3 1

b bff ff. ff ff ff ff ff ff f
5 4 1

J J
2 2

J
11 2 4 1

J
2

&b

{
f f f f
f f . f f f f f. ‰ f f nf f
cresc.
f
.
b . . f. f. f. f. f. f. FF ff ‰ Œ ? #f f f f fJ ‰ f f fJ ‰ J
&b ff ff f f f f f f J

associate this overlooked German composer with the

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

f r
1.

f f fr ≈ ‰ ‰ f #f f ™™ f f f f. ≈ ‰ Ó
15
b nf f f f f f f
2 3
3

#f f f
4 1 1

&b .

{
# f f f f.
p
# f f f f. bff
f f f fJ f bff ≈ J ‰ Œ

high-Romantic period, his career overlapped with such

?
J ‰ Œ &
≈ ™™
? bb ‰ f
2 1 2 4
2 1 1 2
2 1 3
5
35• Pianist 100

08/01/2018 09:49

illustrious names as Brahms and Liszt. The tune at this

35
P35 SCORES Burgmuller-FINAL.indd

emotionally and physically attached to the melody. Finally, play the

melody again with each hand separately, again looking for the same magical moment is given to the LH, and this makes it even more
beautifully crafted cantabile. important to work on as a separate entity. Tuck the RH notes well out
2) Pianists sometimes freeze up when working in the middle register, of the way, and carry the tune into the alto register with as much shape
either by jabbing at the notes (especially when the thumbs are heavily and pathos as you dare.
involved, as they often are) or by adopting a stiff wrist and hand, almost
like a mannequin. The resulting sound tends to be as ungainly as its
physical appearance suggests. One solution is to slow everything down,
TRACK 12

became a worldwide hit for Demi Lovato

the original soundtrack of the Disney
Robert LOPEZ & Kristen ANDERSON-LOP

This anthem of one woman’s anger, loneliness

isolation, and it looks like I’m the Queen...

Playing tips: Take time to study the score

about where the climaxes are and so on.
the song has its tricky moments, mainly
EZ

and independence (‘A kingdom of

the cold never bothered me anyway’)
in 2013, though Idina Menzel sang it on
movie Frozen.
first. Mark out the different sections, think
Even if the notes fit well under the hand,
because of the swift tempo. The hardest
Let it Go (p52): Unless you actively voice the melody
Let It Go

line, it will simply dissolve into the harmony, so a good

part is obvious: Bars 77-78 in the RH. These
building up the speed gradually. There
and sixths. These will need a relaxed wrist
have been added here and there. It
performance on the covermount CD is
fairly free with notes and rhythms from
Pedal tips: Use ample pedal, changing
will require practising in isolation, and
are also many repeated chords, octaves,

may be worth bearing in mind that

thirds
if your hand is not to seize up. Fingerings

in the spirit of a pop arrangement, making

time to time.
when the harmonies alter.
the
INTERMEDIATE

Ltd.All Rights Reserved.

place to start working on this is the little exercise outlined
Mysteriously
f™ f f f f fJ f f f f f f fJ f f F F
b b f f f f fJ J
&b b C J

then practise rocking the whole hand forwards fractionally as you play {

Reproduced by permission of Faber Music

w
p
w w
w w
? bb bC w w w
b
°

in the main body of my piece. Remember how different

con

each melodic note. This should feel as though you are pivoting on the

B.V.Warner/Chappell Artemis Music Ltd.

f™ f f f fJ f f f f f fJ f f FF nff ™™ j
b b f f f f fJ
5
f f J
&b b J f

{
Œ
mp

Œ Œ F™ w

the tenor-register melody will sound to a listener seated

? bb b w
F™
w
F™ w w

Inc administered by Artemis Muziekuitgeverij

b

finger in question; as with the ‘thumbs only’ exercise, the pedal will assist
a few paces or rows away compared with your own
bb
9
j F F
&b b f f f f f f f f f f f f fww f™ f f f f f f f f f f f f

© 2013 Wonderland Music Company

{
w w

in forming a smooth legato. ? bb b w

b ww
w
w
w
w
w
w
w

experience, inches away from the soundboard. A strong

by Robert Lopez and Kristen Anderson-Lopez

bb nF
13
Fw
&b b f f f f f f f fw F f f fww f f f f f

{
w
‰ f fj f f
? bb b ff F w F F w

projection is crucial. The melody needs a ‘big’ sound

w

Let It Go (from ‘Frozen’).Words and Music

b w f w

Putting it into context

w

52• Pianist 100

even at the indicated mp dynamic (thinking pragmatically,

08/01/2018 10:05

When it comes to making a resonant, colourful tenor sound, the context will
52
P52 SCORES Let it go-FINAL.indd

often suggest a useful playing strategy. I’ll be looking closely at ‘Let it Go’ you could imagine p for the LH here, and mf for the RH). At bar 51,
from Disney’s Frozen. An eight-bar introduction leads to a magnificent as the tune begins to hot up, its repositioning up the octave makes
tenor melody in F minor. This darkly warm key, plus the indication life so much easier, notwithstanding the extra notes to be fitted in.
‘mysteriously’, immediately invites a special kind of atmospheric effect, It’s worth spending time on bars 79-95, where the LH repeated notes
though it’s worth experimenting to find a sound that works best for you. may clog up the texture and hinder the lovely melody (now in sixths)
The static semibreve chords in the LH should not interfere with the melody from singing freely.
in the nearby tenor register. By bar 35 the song has migrated to the relative
Ab major, though the harmonic detail shifts intriguingly thereafter just
to keep you and your listeners on your toes, and the lengthy coda leads to
TRACK 13

According to the not entirely reliable memoirs

longest and most pathos-laden of the
where the composer saw himself drowned
him (in real-life Majorca) Book 1 of Bach’s
Chopin dedicated the set to his friend and
advanced him the money to finance his
Playing tips: In this Prélude, the main
Frédéric CHOPIN (1810-1849)

of Chopin’s lover George Sand, the

24 Préludes was first imagined in a dream
in a lake. No less pertinently, he had with
Well-Tempered Clavier. More prosaically,
publisher Camille Pleyel, who had already
winter break.
melody is repeated three times: twice before
Prélude Op 28 No 15 ‘Raindrop’
Chopin ‘Raindrop’ Prélude Op 24 No 15 (p58):
Though Chopin’s familiar tune is not cast in the
the dramatic and darker middle section

work out where to ‘breathe’. The phrase

Lucy Parham performs this Prélude

tenor register, the ‘raindrop’ idea itself most certainly is.

– where the LH plays a major role – and
the last time from bar 76. The key signature
(the relative minor). From the start, a steady
may avoid the tendency to drag, and try
switches between Db major and C# minor

markings prompt you to think and play

long, singing lines. Pedal tips: The pedalling

f™ ff FF
4
1
for

pulse is needed. Use of the metronome

singing the melody first, so that you can
in
marks will help you to sustain legato.
on the Pianist covermount CD.

5
1
INTERMEDIATE/
ADVANCED

f
4
3
an emphatic restatement of the melody, which calls for extra bravura and
3
Sostenuto
f ff
2

b b f™ f F F™ fF ™
&b b bc
5 3 1
f
3 1 2

{ FF f FF ™™ ff f f f f
f
f f f f f f f f f f f
p

? bb b c f f
bb

At bar 28 the music segues from the darkly cushioned

2 1
1

ø
1 3

ø
1 3 4

ø ø ø
2

ø
3

dynamic conviction.
° ø 5 3 1 5
2

j
7
f f™ fF f 4

f f f nf f f f f™ bf F f F™ fF ™ f F ff
5

b b f™ f f
3 2 5
4 3 2 1
fj
&b b b fF f ff
ff ™

{ flavour of Db major to a markedly more brooding C# minor,

F FF ™™ ff f f
f F™™ f f f f f f f f f f f f f f

Here’s a suggestion for tackling the tune and making it come to life
f
? bb b f f f f
bb ø
ø ø ø
1
ø ø ø 1
ø 3

ø ø
1 2

ø 4 3 2

fj f f f f F

and the LH Ab that has fallen in droplets now takes on

f ffffF f bf f f f f f f f™ f 5 5 3 1 3

b b f™
8 5 4

against the LH. We’ll tackle bars 9-12 alone here, and begin by doing
1

&b b b fF f

{ f f ff fff ff b ff f nf ff f
ff ff
f f f f b f f bff ff f f f f f f f
? bb b f f f f
bb

melodic significance. This won’t simply happen on its

3
3 1 2

ø
5

ø
4
ø
5 2

ø ø ø ø ø ø ø 5

a necessary bit of musical précis with the harmony – we are effectively nf ffffF fffff ff
4 1 3

f bf
12 5 1 3
fff
F
2

bb
2
f3
f
&b b b f

{
nf f fff fff ff
nff
b ff f ff f b ff f
F

own: I home in on the Ab, played by my LH 5th finger,

f bF f f f f f f f f f f f f f f f
? bb b f f f f
bb f

reducing what’s notated into block chords. In the original key we end up
5

ø
5

ø ø
5

ø
5

° ø
4

ø
5

58• Pianist 100

several bars ahead of this crucial transition, so that when

08/01/2018 10:36

with F minor, Db7, Eb and Bb minor.

58
P58 SCORES Chopin-FINAL.indd

the note passes to the RH 3rd finger the effect sounds natural and
unforced. The LH must now become melodious in itself, ‘sung’ in the
b 4
& b bb 4 ˙
bass register: the partnership of right and left hands must count among
w w w

{
w w ww ẇ the most rewarding passages of piano music from the first half of the
19th century.
? b b 44 w w w
bb w w w w w
w w
° ø ø ø
bbbb daunted ∑ in the nnnn
It’s all a question of degree, of course, and you might wish simply to
If &
you’re ∑ by these chords,
∑ you could practise
∑ the exercise repeat each of the four chords in isolation a number of times first of all,

{
simpler key of A minor: the progression is A minor, F major 7, G major,
D? bbbb
minor. ∑ ∑ ∑ ∑ nnnn
with the pedal down, to explore their technical and musical challenges.
If you can do this effectively, then you’ll doubtless be impressed with
what you can achieve back in ‘real’ playing mode.
b 4 Playing effectively in the piano’s middle register can be compared
& b bb 4
9

˙˙
with panning for gold. It won’t come easily, but the rewards are ample.
& w w w w w w

{ wwww
w w w w ẇẇ In my experience, many advanced pianists ignore the potential of richly
??bbw w b4 w w w w w voiced tenor playing, and a flat, one-dimensional sound is often the
wb 4 ww w
w w w
w
ww w
ww consequence. When there is no audibly defined melody, there can be
° ° ø ø ø ø øø little prospect for direction or shape in piano music, let alone the
b n∑nnn
513
moving qualities of a cantabile line which we all long to hear ourselves play.
Th&& bb ∑
e bobjective ∑∑ is to∑ tease out
here ∑ ∑ the ∑top note
∑ of∑ each ∑ ∑ ∑ chord.
∑ tenor-register Think of the tenor register as a special friend, a region of our beloved

{
Think of them as melody notes, link them together and give them a distinct
??blebbbso∑ that they
profi ∑∑ stand ∑ ∑ of their
∑ proud ∑ ∑ We∑ achieve
∑ context. ∑ by
∑ this n∑nnn
∑ playing
the lower notes gently but decisively (we still want to hear them!), using the
pedal to connect each chord together, and sliding the relevant tune-playing
instrument that deserves particular care and decisiveness if it is to
blossom. This idea deserves consideration regardless of the style,
character or even speed of the music you happen to be playing.
Your playing will gain immeasurably in terms both of sensivitity
23
finger towards you as you play, thereby allowing each note to be voiced more and impact on your listeners if you are able to harness your technique
&&w w ∑ than ∑ its counterparts.
w∑ ∑ ∑w
ww
∑ ∑ ∑ ˙∑ ∑

{
prominently w ẇ and musicianship in this subtle but rewarding way. ■
? w w w
?ww∑ ∑ w ∑w ∑ w ∑
w∑ ∑ ∑ ∑ ∑17 Pianist 100
w
•

° ø ø ø
13

∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑
33
&
&
P16 HTP Tanner-FINALish.indd 17 09/01/2018 13:20
 play HOW TO

th The essentials of piano playing in

BURGMÜLLER’S OPUS 100 STUDIES
Graham Fitch urges you to dip into a collection of gems and polish up
every facet of your technique, from chord legato to repeated notes

T
he best piano exercises are short, easy to learn and focussed on a WATCH GRAHAM
clear and attainable outcome. Studies, unless they are of the ONLINE
calibre of Chopin and Liszt, are also best when they are short Graham Fitch's video lessons
and to the point. This is where Burgmüller is so useful. are filmed at Steinway Hall
Friedrich Burgmüller (1806-1874) was a German pianist and (see www.pianistmagazine.com).
composer who moved to Paris at the age of 26 and settled there. In addition As a pianist, teacher, writer and
to light salon music, he wrote three sets of studies for young pianists. His set adjudicator Graham gives
of 25 Easy and Progressive Studies Op 100 has been a mainstay of elementary masterclasses on piano playing
study repertoire for many generations – and deservedly so. As in all great internationally. He is also in high
studies, the study of technique merges with attention to quality of sound and demand as a private teacher in
a musical purpose; the expressive content of these pieces is on a level with the London. He writes a popular
technical challenges they pose, so that the listener would not necessarily piano blog and has recently
realise they have any didactic focus whatsoever. I cannot imagine any young launched an online piano academy.
pianist (or elementary/intermediate player of any age, come to that) who www.practisingthepiano.com
would not immediately engage with this charming set of studies, and benefit
from learning and practising them.
Burgmüller arranged the studies progressively from around ABRSM could develop your aural and keyboard skills by transposing it, by ear,
Grade 2 and reaching Grade 5 by the end. As you make your way through into different keys.
them, you will amass a repertoire of studies that you can draw on as part of
your daily practice. I have selected five of the most useful studies to explore. No 2 L’arabesque for speed and evenness in slurs (drop-roll) at a variety
A word or two about editions: not all of them are faithful to the original, of dynamic levels in both hands; control of staccato repeated chords
and articulation marks and some confusing fingerings have been inserted keeping close to the keyboard
by editors. I recommend the Wiener Urtext, edited from the first edition
and with helpful practice notes by Naoyuki Taneda. This edition includes The second study, L’arabesque, is just as delightful but in a more exuberant
the composer’s excellent fingerings, and is beautifully laid out. way: Allegro scherzando tells us to play fast and playfully. In the key of
A minor, the study is fairly straightforward to read, yet full of interest
No 1 La candeur for evenness and phrasing in legato; chord legato (LH); and character; it makes an excellent recital piece for the elementary player.
a potential exercise in transposition

Where better to start than with No 1, La candeur (Openness) in C major? f.

Allegro scherzando q = 152

2 ™™ f f f f fj ‰ f. f f f f J ‰
∑ ∑ f f f f J ‰
1

&4
1

This gorgeous little piece is built from quaver patterns and supporting block .

{
chords in the LH.
ff. . . .
p cresc.
fff fff fff
p leggiero
ff fff fff fff ff ff
? 42 f ™™ f f f
Allegro moderato q = 152
1

f f3 f f f f f f f f f f f f f f1 f5 f f f1 2 f1 f3 f f5 f f f1 2 f1 f f
5 3

.
5 5

& c f f f.
f1 f f f f . f. ‰ f

{
J ‰ f f f f f J ‰
1. 2.
‰ fJ f f ‰ f
3

& ™™ f
5

J J

{
p dolce

?c w
w w
w w
w w
w
w w w w
sf
ff fff ff ff ff ff ff ff ff f ff ™™
1
3
1
2
? f f f f f f f J ‰ ™™ ‰
5 5
1
2
5
The value of this study lies in cultivating a legato cantabile touch in the RH,
ensuring all the quavers are even while shaping the melody line beautifully. You need to organise a good fingering for the LH chords. Keep the hand close
Keep the fingers close to the keys, and the wrist flexible and mobile. As you to the keyboard, the fingertips firm and somewhat active and the wrist loose
glide through the five-finger positions, sense the alignment of the arm behind but relatively still. Play each semiquaver group using a drop-roll (down-up)
each finger – you’ll feel this either as tiny lateral movements in the wrist in the movement in the upper arm so that the arm and the wrist make a wave that
direction of travel, or as small wrist circles (anticlockwise in the RH, assists the fingers. Lateral adjustments keep our wrists free and loose, and help
clockwise in the LH). to control finger articulation in the fast notes. When playing slurred groups,
The study also valuably cultivates the technique of chord legato. As we remember the general rule: the first note of each RH group is the strongest,
move from one chord to the next within this legato context, we find a point the last note lighter and shorter. Don’t get confused with how this works in
(or points) of connection within the hand to link to the next chord. For the crescendos – if you say the word ‘multiplication’ several times getting
example, to get from the first LH chord (C major, root position) to the next louder and louder each time, you will always put the stress on the first syllable.
(F major, second inversion) rather than lifting the whole chord we lift the
fingers we cannot connect (in this case thumb and 5th) while holding the 3rd No 4 La petite réunion for control and voicing of double notes on white
finger, and joining from that finger to the next chord. This gives us a smooth keys (thirds and sixths), legato and staccato
connection and helps us achieve tonal control.
It is never too early to develop this skill; it needs to become second nature La petite réunion (‘The Little Party’) is a perfect elementary study in double notes.
as soon as possible. Once you have perfected the study from memory, you Why are double notes so important in the technical development of a pianist?
18• Pianist 100

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 WATCH GRAHAM’S ONLINE LESSON AT WWW.PIANISTMAGAZINE.COM

They encourage the weaker outer part of the hand (the 4th and 5th fingers) The main technical challenge is controlling the semiquaver patterns so that
to be just as strong and agile as the strong inner fingers (thumb, 2nd and 3rd). they sound perfectly even, and then synchronising the hands so they play
Additionally, we need to voice to the upper note in the RH to bring out exactly together. I recommend some preliminary slow, deliberate practice
the melodic line. Doing this skilfully is quite an achievement at this level. (which can be revisited later for maintenance), as well as some chaining
Here is the opening: practice at speed: play each repeat two or three times, until the hands are
perfectly synchronised.
Allegro non troppo q = 152

. .
ff ff. ff. ff3. f f ff ff. ff. ff3. f f U
5 5
Introduzione 3 5 5
3 5 5

&c ∑ f. f. ff ff ff Œ Ó f. f. ff ff ff Œ ff Œ ff Œ f Œ
3 3
Allegro con brio
b 3

{
. . . . . . f. & b b 8 ff ff ff ff ff ff ™™ ff ff ff ff ff ff ™™ ™™ ff ff ff ff ff ff ™™ ™™ ff ff ff fff fff fff ™™

{
p f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. . . .
.
f
f
? c f ff ff w f ffffff w f . f. U
f Œ Œ f Œ Œ ? bb 38 ™™ ™™ f nf f f fj ‰
p

b ∑ ∑ ™™ f nf f ‰ ∑ ™™ ™™ f nf f ∑ ‰ ™™
4 4 2 1
. f nf. f nf .
. . f.
5

f f ff ff ff ff ff ff1 ff2 f ff ff ff ff f1. ff2. 2ff. ff2. ff. ff ff f

ff ff ff ff f f 53
5 4 4 4
3 4 2
3 3 4 4 2 2
4 3 4 2

& ™™ f f I recommend beginning your work on this study with the coda from bar 87,

{ where both hands have the semiquaver pattern in unison. Your aim is to
sf p
F w
? ™™ F f f F
F
F achieve precise synchronisation of the hands during the diminuendo.
5 3 2 1 1 1

ff ff ff ff f f
3 5
3 5
No 17 La babillarde for controlling and shaping repeated notes in both hands
f f ff ff ff ff ff ff f1 f f f
5 3

& f f f f ff ff ff f f Œ ™™
3

{
sf p
f La babillarde (Chatterbox) is a tuneful and humorous study in repeated notes,
F useful because both hands will develop this important skill.
? F f f F F F
f
f f ff Œ ™™
f. 3 2 1 f f. 3 2 1 f 4 1 2 1 f5 4 f. 3 2 1
2 1 Allegretto q = 72
1 f 1 f
3

3
5

& b 8 ™™ ‰ f f f J f f f J f f f f f ‰ fff J ffff

3 2 3 2

f #f f
There are a few different fingering options. It is perfectly acceptable either
{ f>ff ™™™
p
f fff fff fff fff fff fff
cresc.
fff ff ff
to play the staccato thirds with the same pair of fingers (4th and 2nd) or ? b 38 ™™ ff ‰ f ‰ f
J J J ‰ J J ‰ J J ‰ J J J
to finger in groups using adjacent fingers. Legato double notes demand 1
2

considerably more coordination than staccato ones; careful organisation 5

f. j j 3
4 2
within the hand, combined with freedom in the wrist and alignment of the 5 2 3 5
3 2 1 2
f 4 f ff ff ff ff
& b J f f f f nf f f ™™ ™™ ff
1
ff
1

ff ff
1

J J

{
hand with the forearm, are essential ingredients. In order to synchronise the
pair of fingers so they sound dead together, we need to play from the surface f f f
p

? b n ff ‰ ff J ‰ ‰ ™™ ™™ f
f fffff fffff fffff fffff
of the keys. Learning any double-note passage requires us to think in two J J f f f
parts (voices). First practise each part by itself, with the fingering you will use 5 1 2 1 2 1

when playing both parts together. Then apply the following patterns to the
whole study (these principles are still valuable for more advanced pianists). It is not always the case that repeated notes must be played with a change
This study reminds us that no matter how hard we work at technique, of finger, but in this instance it is absolutely called for. Pianists often seem
it’s always the musical message that should direct our playing; imagery or to retract their fingers into the palm of the hand when repeating the same
narrative will help to focus our performance. key with another finger, rather than allowing the finger that has just played
to move across the keyboard while keeping in contact with the surface of
Slowly the keys. There is a knack to managing repeated notes without tension;
-3 - -2 - - - -53 - -42 - - - -3 -2
5 4

- -3
5 4

mf mf
5

-2
4
- I recommend some preliminary exercises to be practised from memory,
ff f ™ ff f ff f ff f ™ ff f f f ff f ™ ff f ff f ff f ™ ff f f so that all your attention can be focussed on the matter at hand.
&c
p p
. . . . . . . . .
f f f
. . . In the first part of this little exercise, play the 5th finger with the repeated
Cs so that the fingers stay on the keyboard; shadow these notes in the second
part of the exercise (touch the surface of the keys, but don’t play) and then
No 15 Ballade for agility of the LH; coordination between the hands; apply these principles to the study itself.
control of dynamics; the ability to paint a picture in sound
3
5 5 5 5
shadow top notes
‰ ‰
1

& 4 ™™
f. f. O fO. fO. fO.
5 4 3 2

No discussion of Burgmüller’s Op 100 would be complete without the

™™ ™™ ™™
f. f. f ff. ff. ff.
well-known and much-loved Ballade in C minor. The misterioso outer 5 4 3 2 1

sections have a decidedly sinister mood; soft, repeated RH chords and sf LH feel as a slur

accents paint a spooky picture. The middle section brings a lovely contrast in The LH repeated notes (from bar 15) are not difficult if played with forearm
C major, with a simple melody in the RH accompanied by gentler chords in rotation. The rotations are easy to feel in the first bar of this preliminary
the LH (play the repeated chords less staccato here). If you are a piano teacher exercise; see if you can replicate the same motions as you repeat the C in the
presenting this piece to a child, try asking them to write a paragraph or two second bar. You’ll need to find a place for both thumb and 2nd finger on the
by way of storyline from their imagination (there is no right and wrong here). C after the octave jump: make sure to have the elbow a little higher and keep
To go further with this, you could help them create a storyboard or a it in one spot as you repeat the note.
mood-board of images, maybe even some verse, with suitable colours.
? 38 ™™ f f nf f f f ™™ ™™ f f f f f f ™™
Allegro con brio q. = 104
5

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

& b b 8 fff fff fff fff fff fff fff fff fff fff fff fff fff fff fff fff fff fff

{
use rotary preserve
. . . . . . . . . . . . . . . . . . movements rotations

j f. ‰ f. j
p misterioso
? bb 38 ‰ fJ.
p

b ∑ ∑ f nf f f nf f f nf f f nf f f. J
1
3
What progress we have made since La candeur, and what fun we have had
along the way! I urge you to explore this lovely collection; you will find many
1

b
treasures in it. If you are a teacher, you will never tire of hearing them in
& b b fff fff fff #fff fff fff fff fff fff #fff fff fff fff fff fff fff fff fff
fff fff fff fff fff fff lessons, year in, year out. Happy practising!

{
. . . . . . . . . . . . . . . . . . . . . . . .
.f f. ‰ fj
sf sf
? bb ™n f f j nf ™ f ‰ p
j
b f f nf f f nf f f nf f f nf f f. ‰ J J .
Douce plainte Op 100 No 16 is featured on page 35, where Graham Fitch
1 3 gives learning tips above the score. You can also listen to a selection of Op 100
on this issue’s covermount CD. n
19• Pianist 100

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 play HOW TO
FULL SCORE ON PAGE 32
TRACK 3

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≈F fj™ f
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DON
’T MISS

SPAN

q of
‘For the use and profit = the
q =in72
q = 72

& ccqq ==‰‰72

preface to his great manual
q = 72

mp

1 3
1 3
NIE
MELA K’S
SWIC

LESSO

& ≈ f ™f f f ≈F≈ fj™f f f

? ≈FF≈ ffjjj™™ ff
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PIECE
ON THIS E

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this—
20

72musical

— 84
84
c ‰ —f84ff ff f ff ff ‰‰
of those alreday skilled study.’
1 2It’s hard
— 184 2 The
of technique.

72 — f84 f f

cc ≈FF≈ fffjjj™™
mp F
mp
≈ ™
cc FF f ™
3
1 3 5
1 3 3
3
3
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4 2
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1 2 5
1 2 5

≈F f#™f f f ≈F≈ fj™f f f

? FF≈≈ ffjjj™™ ff
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? FF≈ ffj™™ ff
?
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≈
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F
2
2
2
2
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1 1 2 5

9& ‰ f f f f ‰ f f f f
1 1 2 5
4

‰ f ff ff f ff ff ‰‰ f ff ff f ff ff
35 1
1

F≈ fj™ f

f ff f ff ‰ f ff f ff
f
Johann Sebastian BACH (1685-1750)

f ff ff f ff ff ‰ f ff ff f ff ff
1 3 5

‰ ff ff ‰ ff fff f
5

f
ff

F≈F ffj™™ ff
F

F f™ f
f
f

& ‰‰F≈≈ fjj™ff f ff ff f f F≈≈‰‰ fjj™ff f ff ff f f

&
1 3 5

j
™

‰ ##ff fff fff ff fff fff ‰‰ ff fff fff ff fff fff

1 2 5
1 2 5

& ‰‰F≈≈ f##jj™ff ff f ff ff f ‰‰F≈≈ fjj™ff ff f ff ff f

1 2 5
1 2 5
f
f

FF≈F≈ fffjj™™™ fff

‰‰≈ jff ff fff ff ff fff ≈‰‰‰ jff ff fff ff ff fff

1 2 5
1 2 5
1 2 5

& ‰≈ fjff™ f f ff f f ≈‰ fjff™ f f ff f f

1 2 5

& F≈ ™ f f F≈ ™ f f
? FF≈≈ fffjjjf™™ fff f FF≈≈ fffjjjf™™ fff f

{ ™ ≈
F fj™ f
F
Prelude in C BWV 846 from
The Well-Tempered Clavier Book 1
— 84youth desirous of learning and for the pastime
to improve on the composer’s own
4 C major Prelude was originally written

cc ≈‰‰ j ff fff ff ff fff ff ≈‰‰‰

1
1
1
1
2
2
2
2
4
4
4

c F≈‰≈ ffjj™™ ff f ff ff f f FF≈≈‰

4
f

FF≈≈≈
F
F

3
3
3
3
3
3
fjj™™
ffjj™™
f

1
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3 1
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3 1 1
f

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

ff
f
f
f F≈≈ ffjj™™
FF≈≈ fj™
F ffj™™
F
3
3
3
3
3
3

F≈≈F‰ ffjj™™f ff f FF≈≈‰ ffjj™™f ff f

F≈ fj™ f
F≈F ffj™™ ff
1
1
1
F

1
1
1
1
F≈ fj™ f
f f

FF≈F≈ ffjj™™ ff

2 5
2 5
2 5
F f™ f
f f

F≈≈F≈ fjjf™™ f f FF≈≈≈ fjjf™™ f f

F≈ ffj™™ ff
FF ffj™ ff
2
2
2
2
f

F≈ fj™ f
1

1
1
1

f
ff
f
f

F≈F ffj™™ ff
F

F≈ fj™ f
3

3
f
5

f ff ff f ff ff ≈‰‰ ff ff ff ff ff ff ≈‰‰ ff ff ff ff ff ff
1 3 5
5

ffjj™™ ff ff ff ff ff f F≈‰‰ fjj™ ff f ff ff f f F≈‰‰ fjj™ ff f ff ff f f

3
3
5
5

f f

FF≈F≈ ffjj™™ ff
F f™ f
‰‰ #f ff f ff ‰‰ f ff f ff ‰‰ f ff f ff ‰‰ f ff f ff
3 1 1 2 5
2 5

F≈ ffj™™ ff
FF ffj™ ff
2 1
2 1
2 1
2 1
F≈≈ ffjj™™
FF≈≈ fj™
F ffj™™
F

1 3

F≈ fj™ f
F fj™ f
F
5
f

‰‰ f ff ff f ff ff ‰‰ f ff ff f ff ff ‰‰ f ff ff f ff ff ‰‰ f ff ff f ff ff
1 2 4 2
2

f f ff f f ff f f ff f f ff
1 3
1 3

1 3
1 3
5
5
5
5
5
f
ff

f f ‰F≈ fj™f f f ‰F≈ fj™f f f

FF≈≈ ffj™™ ff

‰‰ f ff ff f ff ff ‰‰ f ff ff f ff ff ‰‰ f f ff f f ff ‰‰ f f ff f f ff
5
1 3 5
1 3
5
1 3 5
1 3 5
1 3
1 3
5
ffffff ffffff
1 2
1 2
5
5

1 2 5
1 2 5
f
f

f f
f f
f

F≈ jj™f f F≈≈ fjj™f f f

FF≈F≈ fffjj™™ fff
2 1 1 2 4
2 1 1 2 4
F f™ f

‰‰ ff ##ff ff ff ff ff ‰‰ ff ff ff ff ff ff ‰‰ ff ff ff ff ff ff ‰‰ ff ff ff ff ff ff
‰ fjf™ #f f f f ‰ fjf™ f f f f ‰F fjf™ f f f f f F‰ fjf™ f f f f f
2 5
1 2 4
1 2 4

‰≈≈ jff ##ff ff ff ff ff ≈≈‰ jff ff ff ff ff ff ‰≈≈ jff ff f ff ff f ≈≈‰ jff ff f ff ff f

1 2 4
1 2 4
F≈ fj™ f
BEGINNER/
INTERMEDIATE

to instruct his son, Wilhelm Friedemann, who was then (in about 1721) 11 years of age.
f Spanswick’s
fyour father! Read Melanie f step-by-step lessonf on page 20.f
Bach at the bench beside you must have been an intimidating experience, even if he

ff ff ff ff ff ff ‰‰ ff ff ff ff ff ff ‰‰ ff ff ff ff ff ff
1 3 5

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

FF≈≈ ffj™™ ff
F fj™ f
F

‰‰‰≈ jff ff ff ff ff ff ‰‰‰≈ jff ff ff ff ff ff ‰‰‰≈ ff ff fff ff ff fff ‰‰‰≈ ff ff fff ff ff fff
5
f f

≈≈‰‰‰ fjj™fff ff ff fff ff ff ≈≈‰‰‰ fjj™fff ff ff fff ff ff ‰‰‰≈≈ fjj™fff ff ff fff ff f ‰‰‰≈≈ fjj™fff ff ff fff ff f
1 3

f f
‰F≈≈ ffjj™™ff f ff ff f ‰F≈≈ ffjj™™ff f ff ff f ‰F≈≈ ffjj™™ff ff ff ff ff f ‰F≈≈ ffjj™™ff ff ff ff ff f
1 2
1 2
5

FF≈F ffjj™™ ff

F≈≈≈ ffjjf™™ ff f F≈≈≈ ffjjf™™ ff f

FF≈ ffj™™ ff
F fj™ f
FF≈ ffj™™ ff
F fj™ f
F f™ f

JS BACH
? Ff f F f™ f
3 1 2 3 1

F F
3 1 5 2 3 1

F F
5
3 1 2 3 1
12 3 1 5 2 3 1

‰ f ##ff f ff ‰‰ f ff f ff ‰‰ f ff f ff ‰‰ f ff f ff ‰‰ f ff f ff ‰‰ f ff f ff
5 5
12 3 1 5 2 1 3 3 1 5
1 2 1 2

12& ‰
5 5
3 1 1 2 5 2 1 3 3 1 1 2 5

12&

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12
ff f #f ff f f ff f f ff f f ff ff ff ff f f f f
5 5

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‰
5 1 3 5

#
1 2 5 1 2 5

‰ f
5 1 3
f f f f
1 2 1 2 5

&
& pp‰‰≈≈ bfjjfff™ ff ##fff fff ff ff ‰‰≈≈ fjjfff™ ff fff fff ff ff ‰‰≈≈ jfff™ ff ff fff ff ff ‰‰≈≈ jfff™ ff ff fff ff ff ‰‰≈≈ jfff™ ff ff fff ff ff ‰‰≈≈ jfff™ ff ff fff ff ff
5
5 1 3
1 2 5 1 2
5 1 3 5
1 2

f F f f ≈F ffjf™ ff f ≈F ffjf™ ff f bfj f f f fj f f f

1 2

& pF f
?
? ppF≈≈F≈ bbffjjjf™™ ff f F≈≈F≈ ffjjjf™™ ff f F≈≈F≈ bbffjjf™™ ff f F≈≈F≈ ffjjf™™ ff f

{
F≈≈ fjj™ f F≈≈ fjj™ f
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? FF≈ bbffj™™ ff
? FF≈ ffj™™ ff f™ f f™ f bf ™ f
1

F f™ f
2 1 3 1 2

? F F F F
2 1 3 1 2 1
2 1 3 1 2 1
15 2 1 3 1 2 1

15& ‰ f ff f ff ‰ f ff f ff ‰‰ f f f f ‰‰ f f f f ‰‰ f f f f ‰‰ f f f f
2 1 3 5 5 3 1 1
15 1 1 2 5 1 2 5 2

15& ‰ f f f f ‰ f f f f
2 11 3 5 1 2 3 11 2 1

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15 2 5

15& ‰ ‰ f f ff f f ff ‰‰ f f ff f f ff ‰‰ ff f f ff f f ‰‰ ff f f ff f f ‰‰ ff f f ff f f ‰‰ ff f f ff f f
f f f f f f f f
5 5
1 3 5 1 2 5 1 2 5
1 3 5 1 2 5

&
1 2 5

& ≈≈‰‰ jfff ff ff fff ff ff ≈≈‰‰ jfff ff ff fff ff ff ‰‰≈≈ jff fff ff ff fff ff ≈≈‰‰ jff fff ff ff fff ff ‰‰≈≈ jff fff ff ff fff ff ≈≈‰‰ jff fff ff ff fff ff
1 3 1 2 1 2 5
5 5
1 3 1 2

&
1 2 5

? fj™ f f f fj™ f f f F≈ fjf™™ f f f f f F≈ fjf™™ f f f f f F≈ fjf™™ f f f f f F≈ fjf™™ f f f f f

{
? FF≈≈ fjjf™ f f FF≈≈ ffjjf™™ ff f F≈ fjjf™ f f ≈F≈ ffjjf™ ff f ≈F≈ fjjf™ f f F≈F≈ ffjjjf™™ ff f
f f f f
? F≈F≈ fffjj™™™ fff
?
? F≈F≈F ffjj™™ ff F≈F≈F fffjj™™ fff F≈FF ffjj™™ ff F≈FF ffjj™™ ff F≈F fj™ f
? FF f ™ f
3 1 1 1

F f™ f F f ™ f Pianist F f ™ f
2

F f™ f F f™ f
3
1 1 1

Prelude in C BWV 846

3 2 3
1 1 32• 100 1
3 1 2 1 3 1
3 2 3
3 1 2 1 1
3
3 1 2 1 1
3

P32 SCORES Bach-FINAL.indd 32 08/01/2018 09:46

The opening of The Well-Tempered Clavier may demand a steady pulse,

says Melanie Spanswick, but there’s no need to be solemn
Ability rating Early Intermediate Melanie Spanswick is a pianist, author and music educator. She
Info Will improve your selected the repertoire for The Faber Music Piano Anthology,
Key: C major 3 Legato and is the author of a new two-book piano course, Play It Again:
Tempo: Moderato 3 Articulation PIANO (Schott Music) intended for those returning to piano
Style: Baroque 3 Dynamic gradation playing after a break. Her popular guidebook, So You Want To
Play The Piano?, is reprinted in a second edition by Alfred Music.
Melanie has recently adjudicated and given workshops in the
A prelude is a ‘warm-up’ or preface to USA and the Far East, and runs a bilingual piano project in
the main event. In this case it’s a fugue – Germany. She is a tutor at Jackdaws Music Education Trust and
or rather a sequence of 24 such pairings, curator of the Classical Conversations series on YouTube, where
which work their way systematically she interviews pianists on camera. www.melaniespanswick.com
through all the major and minor keys.
Bach was a master of counterpoint:
the relationship between musical lines avoiding gaps in the sound and any will curb any instinct to fiddle with
(also known as voices, even if we’re jolting at the beginnings and ends of the pulse and speed up or slow down.
playing rather than singing them) that notes. This practice method will bring Shaping the expression of the Prelude
are interdependent yet autonomous. stable, secure figuration. should be done through the sound, not
the pulse. As the notes, rhythm and
Is the C major Prelude contrapuntal or The RH note patterns can also be touch become increasingly fluent and
homophonic? The answer is both: the ‘blocked out’ too. Play all the notes in a accurate, you can lighten the heavy touch
four-bar phrases are comprised of one half-bar at once: this will be essential in that you’ve used for practising.
chord per half bar, but look a little closer the top line, because the patterns tend to
and you’ll see that each note (particularly change frequently, requiring prompt A fluid legato is essential for an
in the LH) contributes to the musical hand-position movement (bars 15-16 expressive, sensitive account. To move
line, providing important shape and and bars 33-34, for example). smoothly from one note to the next,
contour within each phrase. There is transfer the weight of your fingers evenly
a texture of three voices: two in the When it comes to practising with
LH and one in the RH. hands together, continue to block out
each half bar. This practice should
Learning Tip
You may be tempted to take the consolidate your muscle memory for With good finger legato, there is
Prelude slowly and with reverence. each sequence, ensuring each chord little need for the sustaining pedal,
Bach gave no tempo indication, and change is located on time. This is also the but it will give rich resonance to the
as with most works from the Baroque point at which you can begin to relish final chord.
period, much is left to the performer’s Bach’s satisfying harmonic language.
discretion. A moderate pulse of crotchet from key to key, as though you were
equals 72 leaves room for an expressive These methods should get the notes taking them for a walk across the keys.
account, yet keeps the line flowing under your fingers. Once you feel Especially in the RH, lift the fingers
naturally. This is vital; the pulse must confident about the melodic cleanly after each semiquaver, and make
be maintained throughout, with little development of the Prelude, your a lateral wrist motion when moving from
rubato. On the Pianist CD, Chenyin Li attention can turn to tonal and rhythmic the bottom to top notes in each triad.
is swifter, at around 84 beats per minute: precision. Each note organically gives rise
this more fluid tempo also works well. to the next, as though there is only one I have made a few editorial suggestions
Either way, a sense of line is paramount. voice being heard and not three. about dynamics. There are many
plausible interpretations, but you may
Here’s a tip for painless learning of the Practise playing right into the key bed. like to start mezzo-piano and gradually
note intervals and patterns. Play the Using a solid finger touch (with the increase the sound until bar 7. There will
two LH notes of each half bar at the finger-tips) make sure that every finger be many dynamic nuances throughout,
same time. Pay close attention to the descends to the bottom of the key so that and then at bar 24, after a decrescendo
two musical voices: both must be held every single note is articulated with to pianissimo, begin a long crescendo
to the end of the intended beat. definition. Steady practice like this to bar 30 before dying away at the end.
should strengthen your fingers and
Let’s take the LH of bar 1 as an example. increase your tonal control of the piano. Enjoy the harmonic ripples when Bach
Hold middle C with the 3rd finger until Be aware of keeping your arms and wrists disturbs the smooth C major surface
the next middle C is sounded (on beat 3), flexible and loose; only the fingers and with accidentals. The LH Ab in bar 14
above which the E (second quaver beat; knuckles should remain firm. and RH Bb in bar 20 require a different
beat 1 of the first minim) should be held timbre, perhaps a deeper touch and a
until beat 3, when it can be released Let’s turn to controlling the pulse of slight tenuto. Try leaning expressively
© Fabrice Rizzato

quickly before being sounded again on the the Prelude. Try counting out every into the second LH quaver of bars 33
second quaver of the third beat. Keep arm semiquaver, aloud or with a metronome; and 34, before bringing the piece to rest
and body movement to a minimum, combined with a deep finger touch, this with a tranquil final chord. ■
20• Pianist 100

P20 Mel HTP 100-FINALish.indd 20 09/01/2018 13:23

 Sony Classical Congratulates
Pianist Magazine
On Its

Leif Ove Andsnes Arcadi Volodos Lucas Debargue

Igor Levit Alexis Ffrench Khatia Buniatishvili

Simone Dinnerstein Glenn Gould Adam Laloum

/SonyClassical.UK @SonyClassicalUK
21• Pianist 96

p21_pianist100.indd 21 08/01/2018 13:05

 play HOW TO
FULL SCORE ON PAGE 36
TRACK 6

{
5

&

&
{
f™
2

f f
4
f
DON

6 f™
&8

6
&8

f f
’T MISS
ANNA

f
BEL

LESSO
THW N
AITE’S
PIECE
ON THIS E
PAG

(
22

p legato

f f
4
5
f
2
3

3
f f
1
1
f

f. f. f.
2
)
3
Wolfgang Amadeus MOZART (1756-1791)

Mozart would not have been surprised to find his unpretentious Rondo in this

1
2

f
5

f f
1

f
f f
f
5

f f

f
f

2
f f

f f
Rondo from 12 Little Pieces

context, even if it was not one he originally envisaged. This collection of XII Petites
Pièces, as it was initially advertised, was not made by the composer himself, but rather
posthumously compiled from movements scattered here and there among Mozart’s
prodigious output by publishers such as Artaria, who recognised what a profitable
seam of treasure lay within their grasp, if only it could be mined to yield up simpler

Allegro q. = 96
f. f. f.

1
f

J J ‰ ‰
2
f f
J J ‰ ‰
1
pieces for the ever-expanding educational market of keyboard students, amateurs

f
5

f f
f
f5

f f

f
f

?
f f

f f f
f
f fj f f f
J
4 3 2

f fj f f f
3 3 2

f f
f f

5
f
1 3

5
f
4

f f
5
f

3
f f
2
f

‰ Œ™

2
f fj ‰ ‰
2

1
1
INTERMEDIATE

and dilettantes. Whatever its origins, the Rondo first surfaced in the composer’s own
catalogue as part of the finale to a D major (not C, as it is transposed for keyboard)
Divertimento, K334, which he wrote in Salzburg in 1779-80. The six generously
proportioned movements make it Mozart’s longest Divertimento.
Read Annabel Thwaite’s step-by-step lesson on page 22.

MOZART
f. f. f. f
5

f™ f f f
f fj ‰ ‰
9 5
f f f f f
2
j
J J ‰ ‰ f
4 3 2

& J
1 3 4

{
f
f f f f f f f f f f
? fF ™ f f f fF ™ f fF ™ f f f f f
5
fF ™ f

(1)
f
5

f™ #f f f f f f f f f
5 2
13 4 5
f fj f f f f
1 2 3 1

J J ‰ ‰ ‰ Œ™
2

& ff J
f

{ ? fF ™ f f
f f f fF ™ f f
f f
f
. .
ff ™ f f ff ™ f f f. f f f. f. f.

Rondo, No 5 from 12 Little Pieces

4 1 2 3 1

36• Pianist 100

P36 SCORES Mozart-FINAL.indd 36 08/01/2018 09:51

Mozart dares you to play with freedom and spontaneity, says Annabel Thwaite:
thinking on an operatic scale will make this Rondo sing and dance for joy
Ability rating Intermediate The LH supports the melody with an to the very top of their vocal registers:
Info Will improve your unobtrusive, undulating texture. Take a think about the two arias for the Queen
Key: C Major 3 Musical vocabulary moment to observe the LH chordal of Night in The Magic Flute. You might
Tempo: Allegretto 3 Sense of phrasing position. The fingers should naturally imitate his technique with the opening
Style: Classical 3 Balance between hands form a bridge and fall easily onto the quavers of the first bar by bouncing
notes of a C major triad. The flowing 6/8 from the notes rather than attacking
quaver movement is then achieved with a them on a downward movement. The
This Rondo may appear simple at first circular wrist movement and a free repeated G needs to convey a sense of
glance, but don’t be fooled! It is filled elbow. Remember that the fingers are not growth and preparation towards the high
with intricate beauties, exquisite details independent of each other, or of our C, just as a singer would prepare a
and graceful embellishments, affording bodies: they are an extension of the arm. soaring interval.
the opportunity to create a personal and Only with your arm relaxed will you

Learning Tip
spontaneous performance. create the ebb and flow of a gentle,
wave-like motion. I am a strong advocate
Let’s take a look at the structure. for Alexander Technique and yoga, Take time away from the piano,
Rondo form employs a recurring theme, because they are techniques which help extend your musical vocabulary
stated here in bars 1-8. The theme is us to use our bodies to maximum effect and enrich your Mozartian phrasing
based on a C major tonic chord: a and play with minimal tension. Our by listening to and watching operas
four-bar question moves towards the shoulders, neck and head must always be such as The Marriage of Figaro and
dominant chord, answered by another as free as possible so that the sound we The Magic Flute.
four bars that resolve on a perfect produce also has freedom and depth.
cadence. The theme is then repeated at
a stronger dynamic, with a few subtle Mozart composed with a fortepiano Think about how to dramatise the
differences. The LH accompaniment is in mind. There was no sophisticated Rondo. Ask yourself questions about
now an octave lower; pedal notes and sustaining pedal available to him, so each section, as if directing them like a
embellishments in bar 13 bring we need to secure smooth finger legato, brief scene in an opera. Is the beginning
technical flourishes, and the reprise or in other words, finger pedal. Bar 9 humorous or innocent? Is it an
concludes with a quirky, articulated is an example of this, where the note impudent question or a forthright
LH in bar 16. C has been written both as a quaver answer? Try experimenting with your
(to represent the 6/8 flowing dynamics, and search for a specific
The theme is further elaborated accompaniment) and also a dotted meaning or character with different
on the second page. The first three minim. This dotted minim suggests that tone-colours and phrasings. Should
articulated quavers in the RH of bar 17 the harmony needs to be sustained by there be a sudden hush for the piano
form a rising diminished 5th; in bar 18, the little finger while the other notes marking at bar 17, or does it indicate a
with exactly the same articulation, the flow continuously. relaxed and calm atmosphere: how
interval widens to an octave. In bar 19 much will you grow through the
the quavers descend step by step – but Take care not to make superfluous crescendo in the second half of the bar?
then the pattern of three quavers, six accents on the first beat of each bar.
semiquavers is reversed in bar 20, Try holding down the little finger and The Rondo is filled with ornaments.
leading to an elegant conclusion to gently playing the remaining quavers The most prominent of them is the
the phrase in bar 22. These motifs may with light staccato. This is a hot little acciaccatura that first appears in the
look unassuming in their own right, practice technique, whereby executing third bar. Your decorations should be
but when we compare and analyse the opposite of what is required, as graceful as possible, but always with
them, we may discover how they form somehow implements the correct way a feeling of spontaneity about them.
an underlying harmonic structure and more easily. By the same token, the pedal The arpeggiated grace notes, such as
then begin to understand the shape should be used very sparingly – if at all in bar 13, can be played either before
and direction of each phrase. Annabel Thwaite enjoys a – to assist you in shaping a smooth legato or on the beat: it’s a personal decision,
busy career as a soloist, line at points such as the RH of bar 2. though one that should be made with
Achieving balance between the two chamber musician, and an understanding of Classical style.
hands will take some work. The LH loves teaching students of An imaginative and thoughtful approach You may decide to perform the Rondo
mostly performs an accompanimental all ages and abilities. She to articulation is vital. Many of the as if you were playing on a much
function, except for the occasional works for the Pro Corda markings (such as slurs and dynamics) lighter-toned fortepiano – or you
cheeky inflection. This line is a repeated International Chamber are editorial: in theory at least, you can may want to exploit all the depth and
broken chord that sustains the harmony, Music Academy and is use them as a springboard to develop richness of a modern piano. Either way,
known as an Alberti bass. It is often an Associated Board your own musical vocabulary. Look to in order to make this inherently your
encountered in music of the Classical examiner. She is also a Mozart’s vocal writing for examples of own performance, remember the
era, composed at a time when qualified yoga teacher how you might bring personal inflection vivacious spirit and light-hearted nature
fortepianos could not sustain chords who specializes in yoga to a particular phrase. Mozart adored of Mozart in C major. Above all, play
© Ruth Segaud

or produce as much resonance as their for musicians. www. composing for sopranos who had a wide with as much fun, freedom and
modern equivalents. annabelthwaite.com tessitura (vocal range), and taking them spontaneity as you dare.■
22• Pianist 100

P22 Annabel HTP 100-FINALish.indd 22 09/01/2018 13:25

 PianistOct17.ai 1 11/09/2017 09:44:36

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www.pianosummerschool.com 23• Pianist 100

p23_pianist100.indd 23 08/01/2018 13:27

 play HOW TO

CHOPIN
Fantaisie-Impromptu Op 66
This tempestuous masterpiece draws in pianists like bees to a honeypot, but
Lucy Parham advises you to take the long view: it’s a piece too good to rush
Ability rating Advanced in the middle or at the end of the bar dynamic demands a lighter touch. Note
Info Will improve your will allow the final group of RH how the bass line climbs chromatically
Key: C# minor 3 Sense of structure semiquavers to be heard. Look at bars from the A at the beginning of bar 23
Tempo: Allegro agitato 3 Finger dexterity 23 and 24, where the RH requires a to the C# in bar 25.
Style: Romantic 3P olyrhythms lighter touch and greater clarity on the
second and fourth beats of each bar. In bar 30 the piece changes key and
The entire Fantaise-Impromptu demands direction. It’s worth remembering this
There is a magical, enticing quality considerable finger dexterity from both point as a ‘road sign’ if you intend to
to the Fantaise-Impromptu. It shares hands, but especially in the LH. Take memorise the Fantaise-Impromptu.
with the ‘Minute’ Waltz an immediacy plenty of time over mastering the LH Noting down the moment in your score
and a joie de vivre; it’s a wonderful piece alone, with as flexible a wrist as you will also help it to enter the unconscious.
to play simply because it lies so well can manage.
underneath the fingers, and this is one Learning Tip
reason why many pianists want to learn The LH should not overshadow the RH.
it as soon as they have the technique. Work on achieving a leggiero touch for Think of all the semiquavers as long
However, they will have to wait a while: Lucy Parham performs the RH semiquavers, as well as an elegant melodic phrases and try to give
the Fantaise-Impromptu requires Rêverie (with Simon melodic shape. Use your fingertips to every note a meaning within the
considerable technical mastery to create Russell Beale) at Lady pluck the sound from the key. It’s worth phrase. We are aiming to make
a long, continuous line from section to Margaret Hall, Oxford paying particular attention to the final music, not repeated scale passages
section. I have loved playing this piece University, on 4th four RH semiquavers of each bar so in the form of a study.
since I was a child, so I felt that it February . She performs that they are not gabbled or swamped
deserved to be featured inside Pianist’s Odyssey of Love (Liszt by the texture. We should be shaping The line from bar 29 to bar 37 (even to
100th anniversary issue. and His Women) on 11 the piece in long lines and not in bar 41) is crucial. You must keep the
February at the Quarry individual bars. Feel the sweep towards sweep of the line. Making an unmarked
The Fantaise-Impromptu begins Theatre, Bedford (Robert the middle of bar 7, and then through dip in the dynamic at bar 33 will help
Allegro agitato. Bear in mind the Presto Glenister/Joanna David), bar 8, to create a smooth and powerful you to grade the subsequent crescendo,
conclusion from the outset, and leave 25 February at the Tivoli crescendo. Take care, though, to return which will require all your finger power.
something in reserve. The agitato should Arts Centre (Harriet to piano by bar 10. By the end of this passage you should be
prompt a sense of urgency in the outer Walter/Alex Jennings) down to the very bottom of the key bed
sections – but not a tempo so fast that and at St John’s Smith The RH thumb has the melody at with the full weight of your fingers.
you cannot hear every semiquaver! Square on 5 March 5th the start of each beat in bars 13-17. When teaching, I describe this as
(Robert Glenister/Joanna Then the 5th finger takes over the melody ‘tearing’ the sound from the piano.
The first LH octave is a statement. David). As Artistic and the dynamic is piano, so your thumb Keep the pedal down through bars 37-39
Chopin’s sf marking requires you to Director of the Guildford should be lighter; it will help to keep and ensure the first G# LH octave in
draw the sound out of the piano with a Spring Festival she your elbow flexible. The accented note bar 37 is fully weighted to give firm
complete movement of the whole arm. performs Elégie is not on a downbeat; bear in mind that harmonic support. Bars 37-41 should
Pianists with small hands sometimes (Rachmaninoff, A Heart in this may hinder your efforts to achieve be played with freedom, and the LH
split this octave between the hands for Exile) on 25 March (with the effect of an echo. octaves drawn out of the keyboard
extra safety; you don’t want to make Henry Goodman). The without being harshly struck. They
a mistake on the first note of the piece! CD of Elégie is available Make a crescendo to the D# in the should help you to build a fitting
The first C# octave in bar 3 is often on the Deux-Elles label. middle of bar 19. It should be espressivo climax to the first section of the
performed separated or broken; feel free www.lucyparham.com and not banged out. In bar 23 the pp Fantaise-Impromptu.
to follow suit.
The central section is the heart of the
Rhythms of three against four are piece in both expressive and structural
used throughout the piece. It’s never terms. There is an enharmonic
easy to play these rhythms, but knowing modulation from C# minor to a more
each hand separately and in tempo, enveloping Db major. This key is a
always helps. On option is to work favourite of Chopin’s (think of the
out such passages slowly to begin with, ‘Raindrop’ Prélude in this issue, or the
but you will have to fit the hands Berceuse) for evocations of darkness
together at speed eventually. I suggest and stillness. The LH in bar 41 and 42
building up these passages bar by bar is a statement in itself. Keep the
but always in tempo. fingertips flat and overlap your legato.
The pesante marking should draw from
The Fantaise-Impromptu requires you not only heavy but well-weighted
judicious pedalling. The challenge is playing. Keep the pedal down through
© Sven Arnstein

to give a strong profile to the melody in bars 41-42 so that the harmony has a
the RH while ensuring that the LH firm support in the bass. Your best
harmony is always clear. Lifting the pedal cantabile tone and sensitively
24• Pianist 100

P24 Lucy HTP 100-FINALish.indd 24 09/01/2018 14:00

 ’T MISS WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
DON PARHAM’S
N
LESSO
LUCY
TRACK 14 PIECE
ON THIS E
Frédéric CHOPIN (1810-1849) ADVANCED
PAG
24 Fantaisie-Impromptu Op 66
Composed in 1834, the Fantaisie-Impromptu was (curiously) never approved for far more memorable than his predecessor’s effort, as the songwriters of I’m Always
publiication in Chopin’s lifetime, perhaps because of some notable resemblances to Chasing Rainbows recognised when they stole it.
an earlier Impromptu (Op 89) by Ignaz Moscheles, though the central melody is Read Lucy Parham’s step-by-step lesson on page 24.

## C
Allegro agitato h = 84

& # # Allegro ∑ agitato∑ h = 84 ∑ ∑

{{
##
& # # C sf ∑ ∑ ∑ ∑
? # # C sfw w fff fff fff fff

FULL SCORE ON PAGE 63

f f f f∑f f f f f f f f∑f f f f
Allegro agitato h = 84

& # # Allegro
C w ∑ agitato w ∑
w h = 84 f f f f f f f6 f f f f6 f f f f6 f f
? # ## C w

{{
& # C° w ∑ w ∑ °f 6 ∑f 3 f 3
∑f
sf
f fff f6 f f f f f6 f f f f f6 f f f
? #### C ° w w
°
f
f 6f f f f f
3

f
w w
3
sf
f f f
###? #≈### C w wf f f f ff f ff ff ff f f6 f f ff ff6 f ff ff f f f6f ff f
1 2 4 5
4
#
2 3 2
5

4&
f f # f f ≈ f f #f
4

wf ‹f f w
3 2 3 2 1 2

f °f ° f
f f ‹f f
3

{{
##
6 5 3

f f f f ff #f 6f f f ≈ 6 f
4

f6 f f f f #f 6f f f
1 2

& # # p≈ f f°
2 3 2
5

f ‹f f f f f ‹f f f
3 2 3 2 1 2 4

°f f
3
3
f f
? # ## pf f f f f f f ff f f f f f f f
4 5

f≈ f f f f ff f f f #f f f f
4 1 2

# ≈ f f ff f ff f f ff f f ff #f ff f
2 3 2
5

4&
3 2 3 2 1 2 4

? # # f f 6 ‹f
ff ff ‹f ff f f f

{{
ff f f 6 f f ff ff f f #f f f ff
4 5

f f f f #f f f f f≈ f
1 2

& # # p≈ f f f ‹f f f
2 3 2
5

f f ‹f f f
3 2 3 2 1 2 4

f f f 6 f f f f f f f
#
? ## # pf f 6
f f” f f f f f f f
ff
f f ff f “ f f f f f f f f f f
? #### ≈f f f f6 f f f f”f ff f f6 f f f ff # ff f f f f f f ff ff ff#f f
4
6 1 5 2 1 3 4

f f nf f
1 4 4 2 4 4 1 2 4 3

6&
1 2 1 1 2 1 2
f “
f f f f f f f6 f f # f f f f f f f f

{{
##
4

6 f
&## ≈f fff
5 2 1 4

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

“ ” f
f f
? # ## f f ff f ff f ff ff ff f f f f f f # f ff f ff #ff ff f ff f f ff f f f
4
6 2 1

# ≈ f f f f f f “” f f
1 5 3 4

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

6&
1 1 2
f
2 1 1 2

f f #
f f f ff f f f f f f f # fø f f ff f ff f ff f ff ff f f
f f f

{{
?# # f f
4

& # # ≈ø f f f f
5 2 1 4
1 3

f #f f f nf f
1 4 1 4 2 4 4 1 2 4 3
1 2
f
2 1 1 2
f f
? #### fø f f f f f f f f ø #f f f f
f f f f f f f f
f f f f f f f f #f f f f f f
? ####### fø f
8

f ff f f f #f f f f ≈fø f#f f f f f f ff ff
5

& # f f f f ‹f f f
2 4 5

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

{{{
8
#### ø f f ≈ø f f f f f #f f f f
5
f
4

f f f f ‹f f f f f f f #ff f
2 3 2 1 2 5

8& f #f f ‹f f f
3 2 3 2 1 2 4

f f f f f f f f f f f f ff
? # ## f f f ff f f f f ff f f #f
5

# f f ff f f
4

f f f
2

#
5

≈ #
2 3 2 1

& f f f #f f f f f f
4
f f
3 2 3 2 1 2
ffff f
? # # f f f ‹f f ff ff f f f f f
f fø f #f ‹f f ff ff f f f
8
f ff
& # # fø f f f ‹f f f
5

f f #f f f f f #f f f
2 4 5

≈ f #f f ‹f f f
2 3 2 1
3 2 3 2 1 2 4

{
f f f f f f f ø f #f f f f f f f f f
? #### fø f f f f
f f f f f
? #### fø f f f f f f f f f #f
ø
f f f f f f f f

ø ø
63• Pianist 100

P63 SCORES Chopin Fant-FINAL.indd 63 08/01/2018 10:37

The seven-against-six rhythm

is easiest to play when you don’t
think about it too much
overlapping, legato phrasing are
required to shape the melody in the
and six fluently in the LH, the
coordination will follow.
Many words
RH of bar 43. Chopin’s sotto voce
marking encourages you to evoke a Take the ritardando marking at
are used to describe
more inward, subdued sound bar 82 seriously. You need time
compared with the return of this to adjust between the tempi of the pianos
theme in bar 51, which should be middle section and the Presto which
projected in a more extrovert manner. returns at bar 83. The drive to the
In bars 43 and 51 there is a trill on work’s stormy conclusion begins
the RH Bb. If you find this difficult to at this point. As before, think and
fit in, I suggest you simplify and play phrase in long, sweeping lines. Leave
a mordent rather than the full trill. room for a small accelerando on the
final page. From bar 119 observe
In bars 45 and 53 both hands share the alternating piano and forte
the same melodic line. Think of it as dynamic markings. From the final
a beautiful duet. In bar 53, the final forte at bar 123 make a five-bar
beat in the RH is ornamented with diminuendo. This is a technically
decoration which should not be challenging semiquaver passage,
rushed: take your time, as if you were so ensure that your elbow is free.
singing the line. There is a modulation
to Gb major on the second RH minim The theme returns in the LH, as if
of bar 54 (the Bb): mirror this change from afar. Balance it against the RH
of harmonic colour in your playing, and aim for the G# semibreve in bar
and sink into the harmony. Note the 132. This short coda ends the piece
RH accent but make it unforced. very gently, in stark contrast to the
The seven-against-six in bar 60 is agitato opening. Spread the chords
easiest to play when you don’t think evenly in the last two bars,
about it too much! Don’t obsess about highlighting the top RH melody
making each note fit perfectly: if you notes. Lift the final pedal very slowly,
aim to play seven fluently in the RH in order not to break the spell. n

What is it about Chopin?

Our latest survey showed that Chopin is the favourite composer of
Pianist readers: you have excellent taste! So we asked you through
social media channels: what makes his music special?

Beethoven mined it; Bach wrote its periodic table, but Chopin refined
music into something wearable. The ‘Apostle of refinement’: he
sublimated everything, even his illness, into music. Allister Hardiman
Musical ideas genuine to the nature of the piano. Ksenija Vojisavljevic
Milovanovic
His music is the most sincere dialogue that a pianist can have with
his instrument. Eric Juan
It’s like reading his personal journal. His music is otherworldly and
I can imagine myself there with him. Amy Struble
People I know who don’t listen to classical music at all are still
humming tunes from his Nocturnes weeks after hearing one for
the first time. Sean Rooney
His music is nostalgic and expressive and takes me to unreachable
places. It is piano poetry. Margriet Venter
Deliciously tormented. My favourite pieces are the Nocturnes played
by the great Maria João Pires. Brigitte Dussart
I’ve always considered performing a baring of the soul. Chopin’s
compositions do just that! Malika Omar
His music is full of heart-to-heart conversations. Arwa Al-Saggaf

P24 Lucy HTP 100-FINALish.indd 25 09/01/2018 14:00

 • A beautiful collection of piano
pieces that have been inspired
by great works of art.

• Suitable for grade 4–5 level

players.

• Includes a stunning pull-

out poster featuring all the
paintings.
54048ins_FM_pop_template 305x229.qxd 19/10/2017 16:27 Page 20

20

Page 4
Approach to Venice
7 16:27
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19/10/201 (Joseph Mallord William Turner)
305
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I have always loved the paintings of Mr Turner, and this magical view of Venice grabbed my atte

omanir)w gwood
1 2 including a full moon and a setting sun! I have interpreted it in music as dignified and regal,
Pam Wed
panish(AW
hope that you can imagine yourself approaching this exotic place through the music.

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Issue 100 Feb-Mar
© 2017 2018.indd
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26 1 19/12/2017 12:39:30
08/01/2018 13:28
6
 Pianist 100
February-March 2018

&

{{
&
& 43
TRACK 3

The five-yea
September
the tutelage

# f
r-old Mozart
1761 before had made his first
of his father
Playing tips:
in Mozart’
plenty of technic
writing this
Leopold.
at the court The character is graceful
s time. The

q = 126
qq =

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and stately:
ve details to

1
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Wolfgang

public appeara

it’s a

f
nce
same Decemb as a performer in

al and expressi notes look simple minuet, so imagine

enough
er, doubtle

. Pay attentio

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1
f 2

f f f f fff fff fff ?

Amadeus
Minuet and

ss under

dancers
take into accountto learn, but there
n to the
‘down/up’
when there’s

include
motion with
a

trill. You may

easy enough

2
2
MOZART
Trio in G

the slurs bit

even crotche
are by the bars 7-8 in the RH,
where you
also need to
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The Editor

interesting

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work on

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pf
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extensive writing
barvirtuosi
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play notes
ts in acovermo
should get
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used
(1756-179
Chenyin Li, Pianist suggested Fanny
who asked
to

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them in panic!
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TRACK 8

BEGIN NER/
INTERMendelssohn’s
to learn. This record this pieceMEDIA
Melodie

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on outgret
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unt CD,
bar. Tricky
momen
listening to
in both hands
ent, which
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the relevant Allegro brillant
it all soundssimulta this piece hand
played beautifue.
neously when
ing end of
MISS
JANET NEWMA
ON

lly by Chenyi
N’S

THIS PIECE
PAGE
26

to score, and it might createn on the

context

5
5

f
3
3

f f f f f?
4
2
pianist,
the compos

panic!

4 1
2
Fanny ME

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& 46
Allegro molto er’s and regular
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#
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become a
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lesson, which lot clearer, as you will

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addresses each
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f
melody,

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f
f f
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you underst
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find out when
Read Janet the legato pedalling texture separately.

f f f f f
step-by-step
markings on
lesson on

f
Bach and other
and reflect
a top-line RH put you off. First get

and
to grips

this piece

f f 1
this,

the score.
f f f ff f f
the
SOHN (18
Pupil of Tchaiko
among the
‘Silver

composers
his fastidio

Newman’s

f f f
f f f ff f f
on page 26.
3 4

f f
05-184
vsky, cousin
teacher, arrange Age’ of Russian
Concerto on r and INTERperform

Ada

animent
you read Janet learning process
helpful
pp

pp
4 No 2

rt
of Rachm

separate occasion er; he

are surprisin
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f f ver accompAda gio

f f f ff f f
f f
aninov, Alexand

partner

delicate

q = 72

f f f 5 f f f
f f f ff f
f
er
MEDIATEmusicians at the turn Siloti was prominent
of the last
s as both soloisted Rachmaninov in

2
century, as
His transcri
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is
q = 72 left to chance.

1
ptions of

3
7)

a
Playing tips:

contemporaries just as a swan would

Pedal tips:

4
See
When
TRACK 12

gio glyq = 72and conductor! the Second Piano she was transfixed andour editor first heard a perform
section of Pianist. immed
Here, at long iately determined to

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Read Lucy pedal markings on the
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5
2 1 3
last,
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4
score.
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ance of this
include

on this piece

5
on
SAINT-SA

feel like it’s

page 24.
ADVAN CED

Siloti arrange
swim across it is. The melody should it within the Scores
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gliding by,
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28 SATIE
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Buy more sheet music

f f f
2

‰ f
2 2

ø
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2 2

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31 HAYDN
09/01/201 09/01/201
7 10:20 7 10:28
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p27_Scores Intro 100-FINALish.indd 23 11/01/2018 11:03

 TRACK 1
Erik SATIE (1866-1925) BEGINNER
Gymnopédie No 1

A 19th-century French dictionary defined a gymnopédie as ‘a nude dance, accompanied starts pp at bar 5. The notes of the melody are easy to learn, but each note matters.
by song, which youthful Spartan maidens danced on specific occasions.’ Well, maybe. Think in long phrases, too. There are some tricky chords in such bars as 24, 26, 29
More verifiably, the composer once had himself introduced at a Parisian cabaret club and 30 – notice how these particular LH chords stretch over an octave. If you find
as ‘Erik Satie, gymnopédiste!’ To intrigue? Outrage? Baffle? All three? your hand cannot cope, take the top note with the RH thumb. Do keep that note
Playing tips: The ‘Lent et douloureux’ (slow and mournful) marking encourages very quiet: no bumpy thumbs! This piece is a good sight-reading exercise for the
you to find a steady pulse and stick to it; don’t slow down along the way. intermediate/advanced pianist.
The challenge is to balance the soft dreamy chords against the simple melody that Pedal tips: See markings on the score.

Lent et douloureux

## 3 Πf f
4 4
2 2
f f f
& 4 Œ Œ Œ Œ
1 1

FFF FF FFF FF

{
F F
ΠFFF ΠFF
pp

? ## 43 F
F™ F™ F™ F™ F™ F™
°
2 1 1

ø ø ø ø ø sim.
2 2
3 4

7
#
&# f f f F™ F™ F™ F™ F™

{ ? ## Œ
F™
FFF
Œ
F™
FF
F
F™
F
ΠFF
f
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ΠFF
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F
ΠFF
F
ΠFF
F™

13
# f f f f F™
&# Œ f f f f F™ F™

{
pp
FFF F F F F FFF
? ## Œ Œ FF Œ FF Œ FF Œ FF Œ
F™ F™ F™ F™ F™
F™

#
19
f
& # F™ f nf
f f f f nf f
F™ F™

{
p
F F FF
? ## ΠFF Π? ΠnFFF Πn FF ΠFF ΠFF
& F
F™ F ™ FF F™ F™ F™
F™ 1
2
3
5

28• Pianist 100

P28 SCORES Satie-FINAL.indd 28 08/01/2018 09:45

 25TRACK 1
Erik SATIE (1866-1925) BEGINNER
## F™ f nf No
Gymnopédie f 1 f f
F f f nf f f
25
& ## f nf f
4

F™ f f
F f nf f f

{{
25 4
25
& ### n f f f
f f
25
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ff nnff ff f nnff ff ff ff
4
ff
& ### F F ff
4

& F™ nF nFf f f fF
Πnnn FFF Πnn FFF
4

& ΠFF ΠFF ΠFF f
? ## ΠnFFF ΠnFF ΠnF ΠFF ΠFF
? ## nF FŒŒ ™ nnnn FFF FŒŒ ™ nn FFF
? # ŒFŒ ™ ŒŒ nFF
F™ ŒŒ
F™ FF
?
? ##### FŒ ™ nnFFF Œ nnFF
F™ FŒ ™ n F FŒ ™ n F Œ
F™ FF
FF ™™ nF F™
F™ nF FF ™™ FF ™™ F™
F™ F
30
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30
## F™
5
F f FF ™™
2
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f f f
& ## F™ F f F™ F™ f f f f f

{{
30 5 2 2 1 2 3
30
& ### FF ™™ f f f f
FF ™™ FF ff FF ™™ ff ff
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& ###
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2 1 2
ff
3

& F™ F F f fŒ FFfF f f f
5 2 2 1 2 3

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? ## Œ Œ FF Œ Œ F Œ
? ## Œ nFFF Œ nFF Œ & FF ? ? ŒF ™ FF Œ FFFF Œ & FF ?
?
? ### ŒFŒ ™ nF ŒŒ nFF
F™ FŒ ™ & FF ŒFŒ ™ FFF ŒFŒ ™ FF FŒ ™ & FF
? FŒ ™ nnFFF Œ nF n Œ
F
ŒF &
? FŒŒ ™ & F ?
? ŒF ™ F FŒ ™ F
? ### F™ F ™ F ?
FF ?
?
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FF ™ & F & F
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F™ F™
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FF ™™
F™ F™ & FF

#
36
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36
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36
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36
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36
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FFF ™™™
pp

? ## Œ ? F™
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F ™ F™
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?
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FF ™™ FF ™ FF ™™ FF ™ FF ™™ FF ™
F™ ™ F™ ™ F™ ™
Pianist
29• 100

P28 SCORES Satie-FINAL.indd 29 08/01/2018 09:45

 TRACK 1
Erik SATIE (1866-1925) BEGINNER
55 Gymnopédie No 1
###
55
55
F™ FF ™™
####
5

& FF ™™
55 2

F™ F™
5

&
55
FF ™™ FF ™™ FF ™™
2

F™

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2

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FF FF FF F
? ### ŒŒ FF ŒŒ FF ŒŒ FF ŒŒ FF ŒŒ ? ŒŒ nnFFF
?
? #### ŒŒ FF ŒŒF™ FF ŒŒ FF ŒŒ FF ŒŒ & FF ?
? ŒŒ nnFF
?
? ### ŒF™
F™ F ŒF™ F ŒF ™ F FŒF ™™ FF FŒF ™™ &
& FF ?
? ŒF™
F™ nF
F™ F™
F™ FF ™™ FF ™™ FF ™™ &
& FF F™
F™
F™ F™ FF ™™ F™ F™ F F™
F™

###
61
61
nnff ff ff ff nnff FF ™™ FF ff
& #### ff ff ff
61
61
& ff nnff ff ff ff nnff FF ™™ FF ff

{{
& ## ff ff ff ff
61
f F™
&#
& nf nf
pf f f f f f F f
nn FFF FF F FF FF
p
pŒ ŒŒ ŒŒ FFF ŒŒ ŒŒ
p
?
? ### pŒ
ŒŒ nn FF ŒŒ
FF
ŒŒ FF ŒŒ nnFFF ŒŒ nnFFF
?
? ## n FF FF
? ##### ŒF ŒF™
F™ F FŒF ™™ FF FŒF ™™ nnFF
nF
ŒF™
F™ nnFF
nF
FF ™™™ F™
F™ FF ™™ FF ™™ F™
F™
FF ™™ F™ F™ F™ F™
66
### ff nnff ff ff ff
nnff ff ff FF ™™
66
66
& #### ff nnff ff ff ff ff FF ™™
& nnff ff ff
66

{{
66
& ### f nf f f f ff
& nf f f f F™
&
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FF
FF ŒŒ FF
?
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?
? ##### ŒF™
F™ n FF FŒF ™™ n FF FŒF ™™
FF
FF ŒF™
F™ nnFF
F™ FF ™™ FF ™™ F™ nF
1 1

F™ F™
1
2 1
2

F™ F™ F™ F™
1
2
4 1
2
3
1
2
4 1
2
3
1
2
4 1
2
3
2
4 2
3
4 3

### nnFF ™™ nnff

70
70
FF ff F™
F™ nnff ff ff nnff
#### nnFF ™™ nnff
70
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nnff nnff
70
& FF ff F™ ff

{{
## nF ™ nf
70
& F™ ff f
&#
& F f f nf f nf
? ### ŒŒ FF ŒŒ nnnnn FFF ŒŒ
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ŒŒ nnnn FF ŒŒ & F ?
?
? ## ŒFŒ ™ & FF ?
? ŒFŒ ™ & nnFF ?
? n FF nn FFF
?
?
? ##### ŒF™
F™ nnFF
nF FŒF ™™ & FF ?
? FŒF ™™ & nnFF ?
? FŒF ™™ FŒF ™™ &
FF ™™ & nn FF
?
?
FF ™™ &
& FF ™™ &
F™
F™
F™
& FF
F FF ™™ nFF
&
F™ F™
&
nF
F

###
75
75
ff ff nnff nnFF ™™™ F™
& #### nnFFF ™™™
75
75
& ff ff nnff nnFF ™™ ff
nnnFFF ™™

{{
& ### nnFFŒŒ ™™ ff
75
& f f nf ff
nn FF ™™ nnFF ™™
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ff nF ™
ŒŒŒ
f
? ### ŒŒ ? FF ™™
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& ?
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F™ nnnFF F™
f F™ FF ™™
F 30• Pianist 100

P28 SCORES Satie-FINAL.indd 30 08/01/2018 09:45

 TRACK 2
Joseph HAYDN (1732-1809) BEGINNER
Minuet in F Hob IX:8 No 11

Part of a collection of 12 minuets originally written for small orchestra or wind-band, Haydn was coming to the end of his lengthy tenure in the service of the Esterházy
this lively dance only survives in its keyboard arrangement dating from 1785, when family. For playing advice, look at the technical tips on the score.

Ÿ need to play the trill.

Allegretto q = 116 The melody occurs in the RH. Shape the line, making a small crescendo to the 3 Beginners do not

3 f f f f f f f
beginning of bar 2 and then tailing3off in bar 4. Repeat4 for bars 5-8.
ŸFF
Allegretto q= 2

& b 43 f ff
3
1 = 116
f f f f™
3

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

{{
1 4

&b 4 f f f f f™
1 3
3 4 2

FF
1 3
3 1
1 4 3
3

ff
3 1 3
The key is
F major, fz
with a B flat
? 43 Πff f ff f ff f fz ff ff ff ff ff ff ff f ff f ff f F f
f f f ff f ff f ff f FF ff
? bb 43 Œ
accidental.
ff ff ff ff ff ff F f
3 2
5 4
3
3
3 2
2
2
5
5
5 4
4
4
Keep the pulse even in the LH above, ensuring that the repeated C with the thumb
5 remains soft. These notes should be quieter than the two-note chords. 4

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

& bb f f ff f ff ff Œ ™™
4 2 1 2

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

#f f nf f f f Œ
2 1 2 1 3 2 4

{{
2 1 2 1 3 2 1
™™
4 2

& f f
4
4 2
2 1
1 2
2

f ff f
2

F f
F™ FF Return to the
? b FFF ™™™ FF
f
ff
F
FF
f
f f beginning
™™
?b
and repeat.

f F f f f ™™
f
1 1
2 1 1
1
1
1 5 5 1
2 1 1
1
2
2 1
1
1 1
1
RH bars 5 & 6: Notice the three sets of slurs in bar 5, and then the long legato 5
5
5
5
5
5
line in bar 6. Make a clear difference in articulation between these bars.
4

f nf nf f ff f f f
4 3 3

& bb bf f f
9 2

™™ f™
1 3 1

ff
2 1 4 2

ff ff FF
4 3

ff FF
4 3 4 3
3

f nf nf f f f f bJf f f
4 3 2

{{
4 9 3 2 1 3 1

™™ ff f™
2 1 2 1
1 3
3 1
1 2

&
2 1 2

ff ff FF
2 1 2

ff FF Jf
?b f f
™™ Œ Œ Œ ffff ffff ffff Œ Œ
f
f f f f ff
?b ™™ Œ f Œ f Œ ff ff ff ff Œ Œ
5 1
1 1
5
5
5 1
1
1 2 3
1
3
1 1
There is a very brief development section in bars 9-11. Make a nice 1
2
1
1
2
2 3
3
3 Notice the sforzando
‘conversation’ between the two hands; the LH responds to the RH. 3

Ÿ
3
3 marking below. Accentuate
13
f f f f f f f f ŸF
the chords in both hands.

& b ff f f f™ Jf f f
13 Bar 12 to the end repeats bars 1-8.
13
f f f f f FF ff

{{
&b f f f™
fz
J
fz
F ff
? b fff ff fff ff fff ff ff f ff f ff f ff f ff f ff f F ff
fz
fz fz
ff f ff f ff f ff f ff f ff f FF ff
?b f f f F

17 4

& b f f ff f ff f #f f nf f f f Œ
2 1 2 1 3 2 4
™™
2 1 2

ff f
17 4

#f f nf f f f
4
F f
2 1 2 1 3 2 4

{{
4

&b f f Œ back to ™™
2
2 1
1 2
2 1
1 3
3 2
2 4
4 1
1 2
f
2
f ff f
2
2 1 2
2

F f Go
bar 9 and
F™ FF
? b FFF ™™™ f F f repeat.
FF f FF f f ™™
?b f F f f f ™™
f
1 1
2
1
1
1
2
2
Tail off calmly towards the end,
1
1
1
2
31• Pianist 100 but keep hold of the pulse.

P31 SCORES Haydn-FINAL.indd 31 08/01/2018 09:45

 S
DOM
MIS
N’TANIE
EL ICK’S
Johann Sebastian BACH (1685-1750)
BEGINNER/
ON
SW
TRACK 3 SPAN Prelude in C BWV 846 from
LESS IECE
INTERMEDIATE
HIS P
ON TPAGE
20
The Well-Tempered Clavier Book 1
q of
‘For the use and profit = the
72musical
— 84youth desirous of learning and for the pastime to instruct his son, Wilhelm Friedemann, who was then (in about 1721) 11 years of age.
q =in72
this—
ff ff ff ff
84
ccq =‰‰72 —f84ff ff f ff ff ‰‰ ff ff
of those alreday skilled study.’
1 2It’s hard to improve on the composer’s own Bach at the bench beside 3you5must have been an intimidating experience, even if he

‰‰ ff ff ‰‰ ff ff
4

&
q = 72
ff ff
1

ff ff ff ff
— 184 2 The
ff ff
preface to his great manual of technique.
q = 72 — 84
4 C major Prelude was originally written was your father! Read 1 Melanie
3 5 Spanswick’s step-by-step lesson on page 20.

& cq =‰72 —f84f ff f f ff ‰

{{
ff ff ff ff ff ff ff ff ff ff
≈≈‰‰‰ ≈≈‰‰‰
2 4 5
ff ff
1 3

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1

ff ff ff ff
2 4 5

ff ff f f f f
3

j
1

& f f
1

j f f j f f
2 4 5

& c ≈F‰ ffj™™ f f ff f f f ≈F‰ f f

1 3

ffj™ f ff f ff f
1

™ f f ffj™™ ff f
f™jjj f
f f
mp
f F≈F‰ f f F≈F‰ f™ f f
2 4 5
f f
1 3

& mp ≈
cc F≈≈F ffjjj™™ f ff f ≈F≈ ffjjj™™
1
mp
f f f
? ffjjj™™
f f ≈≈F f ≈≈F f

{
? mp ≈FF ff ff f™ ff
? ≈
F j ™ ≈F fj™™ F≈F F≈F f™jj
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mp
f f f fj™
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? mp F f f f f f
3 1
F
3
F
2
f™ f F f™ f
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3 1 3 2
3 1 3 2

ff f ff ff f ff
3 3 1 3 2

‰‰ f ff ff f ff ff ‰‰ f ff ff f ff ff ‰‰ f ff ff f ff ff ‰‰ f ff ff f ff ff f f
5
1 2 4

‰‰ f f f f f f ‰‰ f f f f f f
35 1 3 2
3 1 3 5 1 3

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

&
3

{{
‰‰≈ ff fff fff ff fff fff ≈‰‰ ff fff fff ff fff fff ‰≈‰ ff ff fff ff ff fff ≈‰‰ ff ff fff ff ff fff ‰‰≈ fff fff fff fff fff fff ‰‰≈ fff fff fff fff fff fff
5
3 5 1 2 4
1 3 1 3 5

&
3 5 1 2 4
1 3 5 1 3

& ≈F‰‰ fjj™™ff ff f ff ff f ≈F‰‰ fjj™™ff ff f ff ff f ‰≈ fjj™f f f f f ‰≈ fjj™f f f f f

5

‰≈ fjj™ff f ff ff f f ≈‰ f™jjff f ff ff f f
1 2 4
3 3 1 3

&
1 5
1 2 4

‰F≈ fj™f f f F≈‰ f™jf f f ‰F≈F fj™f f f ‰F≈F fj™f f f

5
1 3 1 3

&
? F≈≈ fj™ f F≈≈ f™j f ≈F≈ fjj™f f f ≈F≈ fjj™f f f ≈F≈ fjj™™ f ≈F≈ fjj™™ f

{
? FF≈ ffj™™ ff j ff
FF≈ f™ F≈F≈ fffj™™ fff F≈F≈ fffj™™ fff F≈F ffj™ ff F≈F ffj™ ff
?
? j
F f™ f j
F f™ F f™ f j F fj™ f
? F F f™ f F F F f™ f F f™ f
4 2 3 1

?
4 2 3 1
4 2 3 1

f f f f
6 4 2 3 1

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

&
6

{{
f f f f
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6 5
1 2 5 5
1 3 5 1 2 5

&
6 1 2 5 1 3 5 1 2 5

& ‰≈ f™##jjff f f ff f f ‰≈ f™jjff f f ff f f ‰≈ fjj™ff f ff ff f f ‰≈ fjj™ff f ff ff f f ‰≈ j™ff ff f ff ff ff ‰≈ j™ff ff f ff ff ff

6 1 2 5 1 3 1 2

& ‰FF≈ f™#jf f f f f ‰FF≈ f™jf f f f f ‰F≈ fj™f f f ‰F≈ fj™f f f ‰F≈ ffj™f f ff f f ‰F≈ ffj™f f ff f f
5
1 2 5 1 3
5 1 2

&
? ≈F≈ f™j f ≈F≈ f™j f F≈≈ fj™ f F≈≈ fj™ f ≈F≈ fjj™f f f F≈≈ fjj™f f f

{
? j
?
?
f™
F≈F f™j ff f™jj ff
F≈F f™ F≈F ffj™™ ff
F fj™ f
F≈F ffj™™ ff
F fj™ f
FF≈ fj™™ f
F ffj™ ff
FF≈ fj™™ f
F ffj™ ff
? 2 1
F f™ f F f™ f
3 1
F F
2 1
F F
?
2 1 3 1 2 1
2 1 3 1 2 1
9 2 1 3 1 2 1

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

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

&
9

{{
f f f f
‰‰≈ f ff ff f ff ff ≈‰‰ f ff ff f ff ff ‰‰ ff ##ff ff ff ff ff ‰‰ ff ff ff ff ff ff ‰‰ ff ff ff ff ff ff ‰‰ ff ff ff ff ff ff
9 1 2 5 2 5 1 2 4

&
1
9 1 2 5 2 5 1 2 4

&
1

‰≈ jff™ ff ff ff ff ff ≈‰ jff™ ff ff ff ff ff ‰≈≈ jff ##ff ff ff ff ff ≈≈‰ jff ff ff ff ff ff ‰≈≈ jff ff f ff ff f ≈≈‰ jff ff f ff ff f
1 2 5 2 5 1 2 4
9
&
1

‰F≈ ffjf™ f f f f F≈‰ ffjf™ f f f f ‰ fjf™ #f f f f ‰ fjf™ f f f f ‰F fjf™ f f f f f F‰ f™jf f f f f f

1 2 5 2 5 1 2 4

&
1

? ≈F≈ fjjf™ f f ≈F≈ fjjf™ f f ≈F≈ fjf™ f f ≈F≈ fjf™ f f ≈F≈ fjf™ f f ≈F≈ f™jf f f

{
? FF≈ ffj™™ ff FF≈ ffj™™ ff F≈ ffjj™™ ff F≈ ffjj™™ ff ≈FF ffjj™™ ff ≈FF f™jj ff
?
? j
F f™ f F fj™ f F≈F fj™ f F≈F fj™ f ≈F fj™ f f™
≈F f™j f
? 3 1

F F
2
F f™ f F f™ f
3 1
f ™ f F f™ f
? F
3 1 5 2 3 1

F F
5
3 1 2 3 1
12 3 1 5 2 3 1

‰‰ f ##ff f ff ‰‰ f ff f ff ‰‰ f ff f ff ‰‰ f ff f ff
5 5

‰‰ f ff f ff ‰‰ f ff f ff
12 3 1 5 2 1 3 3 1 5
1 2 1 2

&
5 5
3 1 1 2 5 2 1 3 3 1 1 2 5

&
12

{{
ff f #f ff f f ff f f ff f f ff f ff ff f ff ‰ ff f ff ff f ff ‰‰ ff ff ff ff ff ff ‰‰ ff ff ff ff ff ff
5 5

‰ ‰ ‰
12 5 1 3 5

#
1 2 5 1 2

& p‰
≈≈ jfff ff ##ff fff ff ff ‰‰≈≈ jfff ff ff fff ff ff ‰‰≈≈ jff ff ff ff ff ff ‰‰≈≈ jff ff ff ff ff ff
f f f f
12 5 1 3 5

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

&
5

p‰ ‰≈≈ jff ff f ff ff f ‰≈≈ jff ff f ff ff f

5 1 3 5
12 1 2 1 2

&
5

p‰ bfj™ f f f ‰ f™ jf f ff f f ‰F≈ fjf™™ f f f f ‰F≈ fjf™™ f f f f ‰F bfjf™ f ff f f f ‰F fjf™ f ff f f f

5 1 3 5
1 2 1 2

&
? pF ≈ b j ≈
F ≈F≈ bfjf™ f f ≈F≈ fjf™ f f
F≈≈ f™jj f

{
? pF ≈≈ bfj™ f f f
™ f f f™ F≈≈ ffjjf™ ff f F≈≈ ffjjf™ ff f
? pF
F≈F bbffj™™ ff j F
F≈F f™j FF≈ ffj™™ ff FF≈ ffj™™ ff ≈F bbffjj™™ ff ≈F ffjj™™ ff
?
? f™j ff j F fj™ f F≈F bfj™ f F≈F fj™ f
F bf ™ f F f™ f F
F f™ f F bf f ™ F f™ f
2 1 3 1 2 1

? F
2 1 3 1 2 1
2 1 3 1 2 1
15 2 1 3 1 2 1

‰‰ f ff f ff ‰‰ f ff f ff ‰‰ ff f ff ‰‰ f ff f ff ‰‰ ff f ff ‰‰ f ff f ff
2 1 3 5 5 3 1 1
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&
1 1 2 5
2 11 3 5 1 2 3 11 1

&
15 2

{{
2 5
15
f f f f f f f f
‰‰ f f ff f f ff ‰‰ f f ff f f ff ‰‰ ff f f ff f f ‰‰ ff f f ff f f f f
‰‰ ff f f ff f f ‰‰ ff f f ff f f
5 5
1 3 5 1 2 5

&
1 2 5
15 1 3 5 1 2 5

&
1 2 5

≈≈‰‰ jfff ff ff fff ff ff ≈≈‰‰ jfff ff ff fff ff ff ‰‰≈≈ jff fff ff ff fff ff ≈≈‰‰ jff fff ff ff fff ff ‰≈ f ff ff f ff ff ≈‰ f ff ff f ff ff
15 3 2

&
1 1 1 2 5

‰≈ fjjff™ f f ff f f ≈‰ fjjff™ f f ff f f
5 5
1 3 1 2

&
1 2 5

? F≈F≈ ffjjf™™ f ff f f F≈F≈ f™ jf f ff f f F≈ fjf™™ f f f f f F≈ fjf™™ f f f f f

{
? jj f
f™ F≈≈ ffjjf™ ff f F≈≈ ffjjf™ ff f F≈≈F fjf™ f f f f F≈≈F fjf™ f f f f
? ≈FF ffjj™™ ff ≈FF f™ ≈F ffjj™™ ff ≈F ffjj™™ ff
?
? 1
≈F fj™ f ≈F f™ f™jj ff FF≈ fj™™ f
1
F fj f
FF≈ fj™™ f
F ffj™ ff
1
F≈F fj™ f F≈F fj™ f
? f ™ f f™ f ™ ™ F f™ f
3 2 3

F f f f f
1
F F
1
F
1

F
3 2 3
1 1 32• Pianist 100 1
3 1 2 1 3 1
3 2 3
3 1 2 1 1
3
3 1 2 1 1
3

P32 SCORES Bach-FINAL.indd 32 08/01/2018 09:46

 Johann Sebastian BACH (1685-1750)
BEGINNER/
TRACK 3 Prelude in C BWV 846 from INTERMEDIATE
The Well-Tempered Clavier Book 1
18
‰ ff ff ‰‰ ‰‰ ‰ ‰‰ ‰‰
18
&
1 2 5 1 2 4 1 2 4

& ‰ ff ff ff f ff ‰ f ff f ff
1 2 5 1 2 4 1 2 4

{
f f f f f
bb ff f ff f
f f f
f ff ff ff ff ff ff
ff f ff f ff f ff ff
f ff f ff f ff f ff f
? ≈≈ jj ≈≈ jj ≈≈ jj ≈≈ jj ≈≈ fjj™ f ≈≈ f™jj f
? F f™ f
f ™ f F ff ™™ ff f ™
FF f ™ f f FF ff ™™ ff FF f ™ f FF f™ f
F 2 F 1 1
1
5 2 3 1 2
5 3 2

21
‰ ‰ ‰‰ ‰‰ ‰‰ ‰‰
21
&
& ‰ f ff ff f ff ff ‰ f ff ff f ff ff
1 2 4 1 2 4 1

b
1 2 4 1 2 4 1

{
f b f
f
ff f ff ff f
f ff ff ff ff ff ff ff f f ff f f ff ff ff ff ff ff
f f f f
f f f f
? ≈≈ fjj™™ f ≈≈ fjj™™ f ≈≈ jj ≈≈ jj ≈≈ fjj™ f ≈≈ fjj™ f
? f f f f f ™ f bbFF f f ™ FF f ™ f
FF 1
FF ##FF f ™ f 2
FF ff ™™ ff 2 1
1 2 2
5 4 5 3 1 4
5 4 5 3 4

24
‰ ‰‰ ‰‰ ff f ff ‰‰ f ff f ff
‰‰ ff f ff ‰‰ f ff f ff
24
&
& ‰
1 2 4 4 1 2 5
1 2 4 4 1 2 5

{
f ff f f ff f f ff ff f ff ff
f f f
ff f ff f ff f ff f f
ff f ff f ff f ff f
pp f f f f
? ≈≈ fjj™ f
pp
≈≈ fjj™ f ≈≈ jj ≈≈ jj ≈≈ jj ≈≈ jj
? Ff f ™
F f™ f FF
ff ™™ ff f™ f
FF f ™ f
f ™
FF f ™ f
f ™
FF ff ™ ff
F 1
F
5 1
5

27
‰ ‰‰ ff ‰‰ ‰‰ ‰‰ ff f ff ‰‰ f ff f ff
27
&
& ‰
1 2 5 1 2 5

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

{
f f f f f f f f f f f f f f f f
ff f ff f ff f ff f ff ff f f ff f ff f ff f ff f ff f
? ≈≈ jj ≈≈ jj ≈≈ jj ≈≈ jj f≈ j
f
≈ nfj™ f ≈≈ jj
? F f™ f
™ ™ b f ™
bf ™ f f ff ™™ ff f™ f
FF nf ™ f
f f f
f™ f f
F F
F F
F F
F FF f™ f

30
‰ ff f ff ‰‰ f ff f ff ‰‰ ff ‰‰
‰‰ ‰‰
30
&
1 2 5 1 2 5 1 2 4

& ‰ f f f
1 2 5 1 2 5 1 2 4

{
f f f f
f
ff f ff f ff f ff f f
ff ff ff ff f
ff ff ff ff f ff bb ff ff ff
f f ff ff f ff ff f
≈ j ≈≈ fjj™ f ≈≈ fjj™ f ≈≈ fjj™ f ≈≈ jj ≈≈ jj
? ≈F ffj™™ ff
?
FF f ™ f ™
FF f f ™
FF f f f ™
f™ f f f™
f™ ff
F 2
2
FF FF 1
1
5
5

U
U
33
f w
2

‰ ‰‰ f ff ff f ff ff ff ff f ff f f
33 1 3 5 3 2 4 2 1 5 1 3 2 1

& w
1 2 3 5 3 2 4 2

& ‰
1

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

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

{
f f f ff f f ff w
ff f f 2 1
pp
U
4

j
FF f ff f ff ff ff ff ≈≈ ffjj™™
2 1
pp
?
? ≈≈ ffj™™ ff
f f U
4 2 1 2 1
2 1 2 1

ff FF w
w
w
w 1 w
w 1 w
w
°
1 1

°
5
5
33• Pianist 100

P32 SCORES Bach-FINAL.indd 33 08/01/2018 09:46

 TRACK 4
Ludwig van BEETHOVEN (1770-1827) BEGINNER
Ecossaise in E flat WoO86

Beethoven wrote light music with ready commercial appeal throughout his career, not improbably written in the same year as the magnificent String Quartet Op 132.
least as a reliable and invaluable source of income. This Ecossaise dates from 1825: It was dedicated by the publisher to one Duchess Sophie, again doubtless with an eye
later even than the Ninth Symphony or the novel and abrupt Bagatelles Op 119, and to profit. For playing advice, look at the technical tips on the score.

It’s an energetic but moderate tempo; begin your Use the sf markings to make a slight RH emphasis Move towards the E flat in bar 3 which is
practise at a slow speed and with hands separately. on the first beat of the bar. It might feel a little odd the high point of the first four-bar phrase.
at first to place the thumb on a black note, but this is
q = 72 standard practice.

b 2 f f f
&b b 4 f ™™ f
2

f f f F
1 3 5 3

f f

{
The key is E f
flat major:
three flats mf sf sf sf sf
in the key
? bb 42 Œ ™™ ff f ff f f ff f
signature.
b ff
3 1 3 1 3 1 3 1
5 5 5 5
Keep the solid accompanying LH crotchets in strict time, and get the fingers ready over
the next notes to be played – especially when it comes to the two-note chords.
RH notes to be played staccato
(detached) through bars 5 and 6. Return to the beginning and repeat.

b
5 1. 2.

&b b f f f f
1 5

™™
1 3 2 2 1 1 1 2

f f' f' f f f f f f f

{
' ' ' ' f f f
' '
? bb ff f ff f ff f ff f ™™ ff f
b
2 2 On the repeat, skip to the ‘2.’ bar.
5 5

In bars 9 and 10 (also 13 and 14), the slur encourages you to join the first
two notes with legato and a slight down/up motion with the hand. The last A quick hand movement
two notes should be strongly contrasted with staccato. is needed for the thumb
to reach the top E flat.

b
9
f f
& b b ™™ f
3 2

f f f f
1 3 1

f f f f f

{
' ' f ' f
'
mf
f f ff f f
? bb ™™ ff ff ff
b
2
5
Watch out here for a
change in the LH pattern. The octave jump down in
the RH requires a quick
hand shift.

b f f fÆ fÆ f f fÆ fÆ nf f
13 1. 2.
f
3 3

f ™™ f
&b b Œ
1
1 1 1

f f

{ ? bb ff
b
f
f ff f ff

34• Pianist 100

f ff f
After playing the bar above,
™™ ff Œ
On the repeat, skip the ‘1.’ bar
go back and repeat from bar 9. and finish with the ‘2.’ bar.

P34 SCORES Beet-FINAL.indd 34 08/01/2018 09:47

 TRACK 5
Friedrich BURGMÜLLER (1806-1874) BEGINNER/
INTERMEDIATE
Douce plainte from 25 Easy and Progressive Studies Op 100 No 16

Little known today, much esteemed in his time, Burgmüller died suddenly of an epileptic a beautiful sound and play expressively. It requires careful shaping and balancing of
fit, prompting an impassioned obituary from Robert Schumann: ‘Since the early the melody line and the accompaniment figures as they weave back and forth
death of Schubert, nothing more deplorable has happened than that of Burgmüller.’ between the hands, and a sense of pacing towards the dramatic climax at the highest
Playing tips from Graham Fitch: Douce plainte (Gentle complaint) is not so much a point of the melody (bar 14).
study in the mechanics of playing but of technique in its truest sense – how to achieve Read Graham Fitch’s masterclass on Burgmüller’s Op 100 studies on page 18.

Allegro moderato q = 120

b jf f f F ffff
&b c F ffff F
5 2 3

{ fffffffff
p dolente
f f f f
? bb c f f f f f f fJ ‰ Œ ffff f ff ‰ Œ
J J ‰ Œ
5 3 1 3 4 2

b F^
4
j j Œ
1 3

b f ‰ Œ fffffffff ‰ Œ fffffffff ‰ f f
4

&
2

{
cresc.
f f fffff f f f f f f F f f
? bb f f
J #F f
1 2 1
J 1 2 1
5 5 4 2 1

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

5 1. poco rit. 2.
7 3 4 3

# n
2 1 2 2

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

™ f ™
3 1 1

&
2 1 3 2

f f #f ™ f ™
f nf f f #f

{
2 1
sf p
f f f j
dim.
? bb Œ Ó f ™™ f Œ Ó ™™ f f f f f f f f FF ff ‰ Œ
& #f. f. f. f. f. f. f. f.
5 1 3 4 1 2
3 4

>
.f f. f. f. f. f. f. f. f f f f f. f f f f ™ f f™
5
11
f #f ™ f ten.
4 4 3

b bf f f f f f f f J f™
2 1

J
2 2 1

&b J f
2 1

J J

{
f
f f. f f f f
cresc.

b . .. .. .. . F ff ‰ Œ ? #f f f f f. ‰ f f f f fJ. ‰ f f fJ ‰ f f nf f
& b ff ff ff ff ff ff ff ff F J J
1 3 1 4 2 3 1 4 1 3
1 2
3

15 1. 2.

b nf f f f f f r ‰ f #f f ™™ r
3 2

&b f #f f f f f f. ≈ ‰ f f f f f. ≈ ‰ Ó
4 3
1 1

{
p
f f f f bff # f f f f. # f f f f.
? bf
f
? bb J ‰ f ≈ J ‰ Œ ™™ f ≈ J ‰ Œ
&
2 1 2 1 1 2 2 1 2 4
5 3

35• Pianist 100

P35 SCORES Burgmuller-FINAL.indd 35 08/01/2018 09:49

 ISS
’T MEL
DON AB
ANNAITE’S
N
Wolfgang Amadeus MOZART (1756-1791)
ESSO
TRACK 6 THW INTERMEDIATE
L HIS P
IECE Rondo from 12 Little Pieces
ON TPAGE
22

Mozart would not have been surprised to find his unpretentious Rondo in this pieces for the ever-expanding educational market of keyboard students, amateurs
context, even if it was not one he originally envisaged. This collection of XII Petites and dilettantes. Whatever its origins, the Rondo first surfaced in the composer’s own
Pièces, as it was initially advertised, was not made by the composer himself, but rather catalogue as part of the finale to a D major (not C, as it is transposed for keyboard)
posthumously compiled from movements scattered here and there among Mozart’s Divertimento, K334, which he wrote in Salzburg in 1779-80. The six generously
prodigious output by publishers such as Artaria, who recognised what a profitable proportioned movements make it Mozart’s longest Divertimento.
seam of treasure lay within their grasp, if only it could be mined to yield up simpler Read Annabel Thwaite’s step-by-step lesson on page 22.

Allegro q. = 96
f. f. f. f
5 2

6 f™ f f f
f fj ‰ ‰
5
f fj f f f
2 3 2 1 1

J J ‰ ‰ f
4 3 2 1 3 2 1

&8 J
4

{
p legato

6
&8 f f f f f f f f f f
f f
4 2
f f1
f f f f f f f f f 2
1 f
( 5 3 1 )
5

f. f. f. f
5 2
f™ f f f
5 5
f fj f f f
2 3 2 1 1

J J ‰ ‰ ‰ Œ™
3 3 2

& J f

{ & f f f f f f
4
f f f f f f f f f f f f
5
?
f
5
f f f f
3
f
2 1

f. f. f. f
5

f™ f f f
f fj ‰ ‰
9 5
f fj f f f
2

J J ‰ ‰ f
4 3 2

& J
1 3 4

{
f

? fF™ f f f f f f f f f f f f f
fF ™ f f fF ™ f f f f f
5
fF ™

(1)

#f f f f f f f
5

f™ f f f
5 2
13 4 5
f fj f f f f
1 2 3 1

J J ‰ ‰ ‰ Œ™
2

&f ff
J

{ ? fF™ f f f f f fF ™ f f f f
f

36• Pianist 100

ff ™ f f
ff ™
f f .
f
. f. . .
f f f f.
4 1 2 3 1

P36 SCORES Mozart-FINAL.indd 36 08/01/2018 09:51

 TRACK 6
Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE
3
Rondo Allegro from 12 Little Pieces

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

f
17 3

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

f f f
1 3 2

& f f f

{ ff ff ff ff
p
ff ff ff ff
? f ‰ ‰ f f f ‰ ‰ f f f ‰ ‰ f f
f 1 1 1 1
2 3 2 3
5 5 5 5

f f f f. f. f.
f
(3) 5

f™ #f f f f f f f f f
20 2 5
f fj f f f
2 4

J J ‰ ‰
1 2 3 3 2
f
& f f
3
ff
J

{
f

ff ff ff
? f ‰ f f f f f f f f f f f f f
J fF ™ fF ™ ff™ f ff ™
2 3
5 5

24
. fff f f. f f f f f f f. f f f f f
5 4 3

f f f
2 4 4

f
3 4 3 3

‰ Œ™ f
1 2 1 2

& f f f f f f

{ ff ff ff ff
p
ff ff ff
? f. f. f. f. f. f. f f f f f f fff f f
‰ ‰ ‰ ‰ ‰ ‰
f

f f f f. f. f.
(3 )
f
5

f™ #f f f f f f f f
28 1 2 4 5

J J ‰ ‰
2

f f
2

&
3

{ ff
? f ff
1
4
J
ff
2
4
‰ fF ™ f f f f f fF ™ f f f f f

f
31 5
f fj f f f j
‰ f f f f ‰ f. f. f.
j
‰
3 3 2 3 2 3 2 1 2 5

& J f f f f ff ff ff
3

J f f f

{
p f ff

? ff ™ f f f f ff™ f f ff f f ff ™ f f ff f f f ‰
ff ™ ™ ™ f f
f 4 2 1
37• Pianist 100 5 ( 3)

P36 SCORES Mozart-FINAL.indd 37 08/01/2018 09:51

 TRACK 7
Giuseppe VERDI (1813-1901) INTERMEDIATE
Romance without Words

With her eagle eye for charming curiosities, the editor of Pianist first spotted this and there (such as in bars 14-15). When the melody appears in octaves at bar 17
little-known score on a shelf of sheet music in Cremona. Composed in 1844, but (now even more impassioned), keep the fingers firm but wrists supple, and give
not published for another 21 years, the Romanza senza parole is one of only two emphasis to the top note. On the second page, try to ‘float’ over the demisemiquaver
surviving piano works by the pre-eminent composer of 19th-century Italian opera thirds and sixths – the fingers just grazing the notes, with a down/up motion.
and cultural father of the modern Italian nation. Pedal tips: Simple legato pedalling is marked, but you will need to use your ear
Playing tips: This is a guileless romantic song, with a legato RH singing line and throughout. In thickly textured moments, you may need to flutter the pedal, in
a subdued, lilting LH accompaniment. Allow yourself some expressive rubato here order to give clarity to the gorgeous melodies and harmonies.

Andantino

>™ >™
3
5

f f f f f™ f
&b 8 f f ‰
2

f™ f f ™ f fj f #f f f
4

f f ff f

{
' ' ' '
ff ff f f f
f . f ffff
con espressione

? b 38 f. f f f .
f f f f .
f f f .f f f f f
f
° ø ø ø sim.
5 3

>™ f™
5

f™ f f™ f fff
6 1 2

f™ f f. f f f. f f f f f
1 5

&b f ‰
1
f
3 3 2 2

#f f

{ .
?b f f f f f f f. f f f f nf

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

ø sim.
ff
f
4 4

f f #f f f f nf f
f™ f f™ f J
11 5

f™ f f f f™ f fJ
3

&b ‰ f
1
f
1 4 1
2 1

{ ? b f. f f f f f . f f f f f

3
f f.
f f f f
f
3
.f f
f f f f

f >f ™ b f b >f ™ f >f ™ f >f ™ f

f # f nf f >f >f >f ™ f ™
5 4 3 4 5 5

ff f f
f bf bf ™ f™ f™
#f
1
f
15 5 2 1 2
f f f J ‰
3 2
f f f f
&b f ff
2

f f f ™ f #f ™

{ .f f f f f f f f bf b f #f f f f f #f f f f f
con grazia
f f f f f f f f
? b f. f f
° ø ø ø sim.

38• Pianist 100

P38 SCORES Verdi-FINAL.indd 38 08/01/2018 09:52

 TRACK 7
Giuseppe VERDI (1813-1901) INTERMEDIATE
Romance without Words
>f ™ > >
f f nf f #f f f #f f f bf
f f™ f f™ f f f >f ™
f f f™ f f ™ f f ™ f f #f f f f
20
#f f nf
&b f f
J J

{
dim. p

? ff . f nf f f . f f f f f f f f f
b ff f f nf f f f. f
.

. . . . . . r
ff. ff. fr ff. f. fr f. f. fr f. f. fr f. . r . . f. . . f. . . f. . .
5 4 5
f
4 3 4 3
etc.

n f ff ff ff ff ff ff
2 1 2 5

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

nf
1 2
24
f f f 1

b
& J ®

{ . . .
leggerissimo
f f f f f f
.
?b f f f. f f f f. ff f. ff f. ff
R R

“”
. . . . . . r
f. f. fr f. f. fr f. f. fr f. . fr . . r . .
ff. ff. ff. ff. ff. ff. ff. ff. ff. f. ff ff ff ff ff ff
5 5 4
f
3
5 4 1 1 1

. ffJ ff ff ff ff fff f f
3 2

. .
27 2

b f f f ® f ff ff
1

&

{ .
?b f ff. . ff. . ff.
f f .f f
R
f f f f
f.
R
f f f f f

<“>
ff. ff. ff. . ff. ff. ff. . ff. ff. ff. . ff. f. f. ff. f. f. ff. f. f.
5 4
3

f f . f f . f f . ff ff
2
30
f f f
1

&b ®
5 5
f f f J f
1 2 2

ff
1

{
f f

? b f. ff. f. ff. f. ff. .f ff. .f ff. .f ff. .f ff. f. ff. f. ff.

<“> ff. ff. ff. ff. ff. ff. ff. ff. ff. ff. ff. ff.
allargando
f ff
f f ff ff ff ff ff ff ff ff ff ff ff ff ff U
33 3 3

J f
3 5 5

&b ® ‰
1 3

f f
1

{
f
. ff. ff. f. f.
morendo

? b f. ff f. f. f. f. U
f. f.
f ‰
f
39• Pianist 100

P38 SCORES Verdi-FINAL.indd 39 08/01/2018 09:52

 TRACK 8
George Frideric HANDEL (1685-1759) INTERMEDIATE
Fantasia in D minor

There was more that united Bach and Handel than divided them: a birth year, for are no dynamic markings; it’s up to the performer to come up with some that make
one thing, a common language and a sense of pride and worth in their remarkable sense. The hard parts in this piece are the ‘closing cadence’ bars, such as 14, 26,
achievements. A few pages on from the first prelude of The Well-Tempered Clavier, 41-42, 55 and 59. We suggest taking these bars out of context and practising the
here is a brief fantasia which finds Handel at his most Bachian. notes very slowly, hands separately, then together, then adding on the bar before and
Playing tips: This is a wonderful piece to perform. It’s full of rhythmic drive and the bar after. Most importantly, make the piece flow and give it a sense of line.
subtle harmonic changes. When playing the semiquavers, make a slight emphasis Pedal tips: Pedal is not necessary, but a discreet dab may be used at the start of each
on the first beat of the bar (ditto re the LH at bar 15 onwards). You will notice there bar and at the end of each section.

q. = 60

3 f f f f f f f f f f f f f f f
&b 8 f f f f f f
3 4 5 4

f f f

{ ? b 38 fff ‰
f
#ff ‰
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
&b #f
3 5 2 4 5

{ ? b nf
nf ‰ #ff ‰
f
f ‰ #f
#f
‰

9 4
f f f f f f f f f f f
5

&b f f f f f f f f f f f f f f f f f f
3 2 4

{ ?b f
f
‰ f
f
‰ nf
nf
‰
f
#f ‰ f
5
f f

f f f #f
4 3
14 1

f
2

b ‰ ‰ ‰ ‰
4 1

ff
2 1

& f f f ff ff

{ ?b f f
f
f f
f f f
3
f f f
#f f f
f f f
f f f
f f
f f f
f f
4 5 4

40• Pianist 100

P40 SCORES Handel-FINAL.indd 40 08/01/2018 09:53

 TRACK 8
George Frideric HANDEL (1685-1759) INTERMEDIATE
Fantasia in D minor
19

& b ff ‰ ff ‰ nff ‰ nff ‰

{ ?
b
f f f f f f #f
5
f
f
f
f
f
4
f
5
f
f
f
f
f
#f
4
f
f
f
f
f

23 Ÿ
f
&b f ‰ ∑ ≈ f f f f nf f nf ™
3 2 1 3 2 3 1
f f

{ ?b f
5
f
f
f
f
f f f f f

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

27

&b f f ‰ ™™ ™™ f f f f #f nf #f ‰
4 1 5 1 4 2 1 3

f #f f f™
# ff ™™

{
f nf
?b f f bf f f f f
f ‰ ≈ f #f f f ™™ ™™ ∑
2 5 3 2 1
f™ 3 2 1

32
f f f f f f
2
f f f f f
4
f f f f f f f f
&b ‰
1 3 1 3 3

{ ?b f ‰
f f f f f f
3 2 1
f ‰ f
3
f
2
j

f f f f f f f f f f f f f f f f f f f f f f f bf
36

&b
4

{ ?b f
1
f
J
2
f
1
f
J
41• Pianist 100
f f
j
f ‰

P40 SCORES Handel-FINAL.indd 41 08/01/2018 09:53

 TRACK 8
George Frideric HANDEL (1685-1759) INTERMEDIATE
Fantasia in D minor
40 2 1 4
m
f f f f
&b
1

f f f™ f f f f f f™
3 3

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

{ ?
b f ‰ f
1
f f f f
f f
2
‰
f
‰

45

& b f f f f f f f f f f f f f f f f f f f ™ f f ff ‰
5 3 1 3

ff

{ ?b
f
‰ f
‰ f
3
f
j f f
j
f
5
f
f
f
f
f

50

&b f ‰ ff ‰ ‰ ff ‰

{
f f

?b f f f f f f
f
f
f
f
f
f
nf f f f f f f f f #f f f
4 5 5 4

54
m
&b f f f f f f ‰ ∑
2 3 4 5

{
f #f ™ f f

?b f f f f f f f f f f f f
f f f f f
f
2 1 2
5 3 1 2

f f f f f f f fŸ ™
58 rit.
ff ™™
3

&b ≈
f f f f #f f ‰
2 1 3 2 3 1
™™
4 5 4

f f ff ™™

{
f

f f
? b #f ‰ f f ‰ ≈ f f f ™™
3 1
f f f 1 f™
5
42• Pianist 100

P40 SCORES Handel-FINAL.indd 42 08/01/2018 09:53

 TRACK 9
Franz LISZT (1811-1886) INTERMEDIATE
Klavierstück in A flat S189a

Pianists who know their Liszt will recognise the theme of this undated miniature top melody line should be beautifully shaped; dig deep into the keys and remember
from the First Ballade. It is, at any rate, a youthful work, perhaps one not even to keep the inner notes below much quieter. Make sure that the LH hovers close to
intended for Liszt’s frantic concertising, but for teaching and to grace elegant soirées. the keys, so that the hand moves swiftly, with accuracy, from the bass note to the
Playing tips: This gentle, barcarolle-like miniature will do wonders both for your next note. Then use a down/up motion for the slur on the second and third beats.
singing tone (for both single notes and octaves) and your legato playing. The RH Pedal tips: Suggested pedal markings are on the score.

> >
5 5
Andantino espressivo 5 4 3

nff ™™
5 3 5 3

b b3
5 4 2 4

ff ™™ ff nf ff
4

f bff #nff ff
& b b 4 nf f f f‰ bf nff f ff f ‰ f #nff f ff
1

‰ f bf
4

f
f ‰ f f f f f f

{ ? bb b 43 ‰ Œ
b
°
p

ø
f
ø
f
ø ø
f
1
f
2
nf f
f
ø
ff
f
4

ø sim.
f
ff
f

> f f
5 4
3

b f
5
f
& b bb f‰ f nff f bff f ‰ f #nff f ff f f‰ ™ f f f bff ff ff
f f™ f ‰ ™ ‰ f™
5 4

™ ff

∏∏∏∏∏
3

{ ? bb b
b f
f f
f
nf f
f
ff f
f
ff

ø
f f ™™ ‰ Œ
J
3
°
fJ
ø
ff n f ff f ff

1
3
f f

ø
> >
b bf nf f ff ™™ bff nf f ff ™™ bf ff nf ff ff f f
n bf
10

& b bb nf f
3

‰ f f f # f ff ‰ fJ f f f fJ
∏∏∏∏∏

bffJ bffJ
∏∏∏∏∏

{ ? bb b
b
ø
fJ
b ff n f ff f ff
f f

ø
f
ø ø
b ff
f
f
ø sim.
f
f f
fJ
ff n f ff f ff
f f ∏∏∏∏∏
fJ
b ff n f ff f ff
f f

> f f f f f nf f >
15
b f ™ f f f f
& b bb
ff ™™ f bff f f Œ f ™ f nf f ff ™™ bff nf f
‰ f f f f f ‰ f f f # f ff

{ ? bb b
b f
b ff f
f
ff

ø
f j‰ Œ
f
° ø
fJ
ff n f ff f ff b ff n f ff f ff
f f

ø ø
fJ
ø
f f

ø ø
f
ø ø
b ff
f
ø
> f bf bf f ^
f bf
4

b
5

nff ™ f b
1

b ™ f
20
f
& b bb
2 4

b f f
f nff ff f f bf bf ™™ nf ff
f f nf f
1

‰
‰ f f ‰ f f

{
f f f f
ff bb ff ff ff ff ff b ff bn ff ff ff ff
? bb b f bf ΠΠnf f f f
b f bfJ J f™ J 1
f
ø sim. ø 2

43• Pianist 100

P43 SCORES Liszt-FINAL.indd 43 08/01/2018 09:54

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Gabriel GROVLEZ (1879-1944) INTERMEDIATE

La Sarabande
This is the third movement of Grovlez’s cycle L’Almanach aux images, which draws Playing tips: Keep the rhythm precise in the RH, even if you allow for some rubato.
its imagery from texts by Tristan Klingsor, who also supplied Maurice Ravel with Listen on the cover CD to the different colours that Chenyin Li brings to it. Bars
several poems for Impressionist and Orientalist song-cycles such as Shéhérazade. 19-25 should fly as free as a bird. This is a special piece, full of wonderment!

Lent (mouvement de Sarabande)

fff f fff ff f ffffff
# 3 f f f f f fff f f f f f f f
1

™ ™ f ™ ™ f
& #4
3 1
1 2

{
p sempre legato ed espressivo
# 3 j j
& #4 j f f f jf f f j f
f
J f
f f f f
f
° ø ø ø
#f f f f f
f f f f f f nf f ™ f f f f f f f f f
##
1 3 4
4 4

f f f fff fff ff
3

&

{
3

ff f f f
# j f f f #f
&# j
? J f & #f
f f f f #ff f
f J ff f n f ff
f f
ø ø ø ø ø ø ø
# f ffff fff f #f f f ™ #f f f ™ f f
7 3

&#
2
4 1 1 2

#f #f F ™ Ff ™ f f f f f #f #f f
5 — — 1 1

{
f f f f f f f f f
#f f f f f f f f f #f f f f f
.ppp. . . 3. . . 3. . . . . . .
3

f
3

## f
2 1

f
1

n ? f f ∑
& n ff
3 3
f f f
f
f
f
f
f
f
f
f
f
f
f # f f f ff ff ff ff ff
nf . . . . . . f. f. f. . . . . . 1

ø ø ø ø ø
3 2
5

## f ™ #f # f ™ f f #f ™ f j bf- f-
11 très rhythmé et sonore

#f f f bf f ™ n b ff b ff ff bnfff b bbfff-
2

b
,
# f
1

& f # f f
3 1 4

f ™ f f
f

{
bn ff ff ™™ - -
- -
#f # ff f - b ff- ff- f- bb ff-
p espressivo

? ## j f #f #f # f b f b
J f f f #f bbff ff ™™ nbff bf f bnff bf
ff

f f
b f- f- ™ J
° ø ø sim. ° ø ø ø ø
nf bf
ff b f b f bbb fff
3 4

- b bff- bbfff- b nff ff ™ b f ff f f f b f b nff ™ b f

2

# j b b
15 1

bf f bf ‰
∏∏∏∏∏

f
&# bf
b b ff ∫ f f ‰ J ‰
,
∏∏∏∏

∏∏∏∏∏

f
∏∏∏∏

ff ™™ n b ff- J ‰ J ‰ J J
∏∏∏∏

bnbfff J ‰
∏∏∏

{ - bb ff- b ff-
- f- ™
bff- b
bffj ‰
f
bbff bf b f
p
j j j j
? ## bf n j‰
bb ff ff ™™ bf & n f ‰ f
b f f ‰ b f
bb ff nb ff ‰
b f ff ‰ bf
∏∏∏∏∏

f- ™ J bf f
∏∏∏∏∏∏

- f
∏∏∏∏∏
∏∏∏∏∏

∏∏∏∏∏
∏∏∏∏∏

ø ø ø ø ø ø ø ø ø
44• Pianist 100

P44 SCORES Grovlez-FINAL.indd 44 08/01/2018 09:54

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Gabriel GROVLEZ (1879-1944) INTERMEDIATE

#
“ ”
# f f f #f f f f f f f f f f f f f f f
3

# # f La Sarabande
3
f ™ f f f f f
19
” f f f f #f f f f ## ff f f f f f ff f f
19
# “”
19& # #“f ™ #f f f f f #
ff ff ff ff
4

ff ff
4 3
19
f f f
# f f f f ff #f f f f f f f f f f f
f
#
3

# # #

{{
3
f ™ f f f
19 4

& f f #f
& # pp sempre
4
4
6 6 6
.
6 6 6
sempre legato
## ppp . sempre . f .
legato
. 6#f
.
. f.
6 6 6
# .
f.. f.. #f.. ##ff.. .
f f f
6 6 6

##ff.. f. ff..
legato
& ### #f. sempre f
6
f 6
.f .f. ff..
sempre legato
f.
legato

&
& # ##ffø. ff. f ffø.. ##ff. f ff.
ø øø
“ø”
21
#
““””
# f # f f f f f f f #f f f f f f 2 3

# f #f f #f # f ff ff ff f f f f ## ff ff ff f f f f f #f f ff f f f ff f
1
f ffff
1 2 3
21
f ff
1 1 4 4

f
4 4 1
1 3

21& #
1
1 3 2
2 3

### ff ##ff ff f #f # f
21 2 1

ff ff6 ff ff
1

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

{{
3
ff
2 1
21 1 2 1 3 3

&
1 1 1 4 4 1 2
4 4 1 3

&
1
1 2
2 3
6 6 6
.
6 6 6 6

## . # f 66 . 6
6 .
6 6 6
.
6
f # f f f
6 6
& ### f . # f. . #f. .
6 6
.. f .. f .. f. f.
& . f f . f f . f. f
& # ffø. sim. ff. ##ff..
f f ff. f f. ff. ff.
. ff .
sim.
øø sim. .
sim.
sim.
23
23
# f #f f f #f f f f f f f f f f f nf f f f f f f ffffffffffff
& ####
23 5

f™ f f
5 4

ff #f ff ff ##ff ff ff f ff f f f
3 2 3 3 4
23
23 3 4 2 3 3 4

ff f ff nnff ff f ff ff ff f ff f ff ff ff ff ff f ff f f f

{{
5

#f ff ™™ f ff
4 4

&
3

&#
2 3 3

f fff
5
5 4 4
f f f6 f f f fff
3 4 2 3 3

f.
3 2 3 3 4

f. .f 66 . .
. f. f. f. f.
# .f f.. f.. ff.. ff.. 66 ff.
& #### f.. f.. ff.. ff. ff.. f..
f. ?
? f
ff.. f. f f.
f. ff. f. f. ? f
&
&# f. ff. . ff. f. ff. ?
? ff. f f
ffø. . . ffø. . ø ø ø ø
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5 cresc.
##
5 5

bf
26
26 5 2 2 cresc.
nF
3 2 2 2 3

ff bbff bff
3 1
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& ###
1 5
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f Ff f f f f ff ff ff bnffF ™™ bnff ff ff
5
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26 2

Ff f ff
2
5 cresc.

{{
ff ff ff ff
3
5 2 3

ff bbbff bbfff
5 cresc.
26 1
2
ff
5 1
2

&
26

&# fF ™™ f fF ™™ f f f f ff f ff bnfFf ™™ bnff ff

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

ff
1 1 4 1

ff ff fff ff
1

fFf ™™ ff ff ff ff f ff f b ff ™ bnf ff
1 4 1

fFf ™™ ff ff ff f ff f f
pf legato ™ f f f f f f f f™ f f f f f f
ff bbff bbff
legato

ff ™™ f ff f ff ff ff fff nnnfff ™™™ bnnfff fff

p
? ## ff ff
pf legato ™™ f ff ff ff ff ff ff bbbff bbbff
p legato
? ff ff
? ####
p
ff legato f ff ff ff ff ff ™™ ff ff ff ff ff ff f nnnff ™™ bnf ff ff
ff ™™™ ff ff
f
ff
f f f f f ™ ff f ff f f f f bf f fb f b f f
ø f f
1 2

ø ø ø sim.
1 2
4
4 5
5
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øø øø øø øø sim.
4
1 5
2
sim.
1
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4 5
5
sim.
sim.

29 ## nF
f ff
bf #n##FffF ™™ nff ff ff ff ff nff ff FffF ™™ ff ff
29
29
ff
ff bbff bff nnfff ff ff f ff
29& # b f fF ™™ bnff
# # n ff ff ##n#fFf ™™ nff ff ff ff ff nnfff ff fFf ™™ ff ff ff

{{
ff ff
ff bbbff bbfff nff
29
& ff ff
& # bbnfFfff ™™™ bbnnfff ff
ff ff
f ff f f n f ™™ nff f ff f f f f ™™ ff f ff f ff f f
ff bf bbff nn fff ##ff ™™ nf ff f ff ff nff ff ff ™™ f ff ff ff ff ff ff
? ## nff ™™ nf ff ff ###ff ™™ nnff ff ff ff ff nff ff ff ™™ ff ff ff
ff bbbbff bbbff n f ff ff ff
? f™ b f ff
? #### nnff ™™ bbnnff #f ™ nnnff f ff f f nf f f ™ ff f
ff ff f f f
f f fb f b f f f f

45• Pianist 100

P44 SCORES Grovlez-FINAL.indd 45 08/01/2018 09:54

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 10 Gabriel GROVLEZ (1879-1944) INTERMEDIATE

La Sarabande rit. Tempo I

## ff ™ f f ™ f f f f f f f f f f f f f f f f frit. f f f f f f Tempo
f ™ f fIII ™ f f ffff
32
f 3

& ### f ™™ ‰ f fŒ ™™ f ff f ff ff ff f ff ff ff f ff f ff ff ff f ff f ff ff ff f ff ™™ f ff ™™ ff ff ff ff ff ff
32 rit. Tempo
Jff f f f ffΠrit. Tempo

{{
32 3

&
32
f f6 f f6 f f6 f f
&# fJf ‰‰ dim.
ŒŒ ŒŒ
3
3

J 6 6 6
ppp sempre legato
f
ed espressivo
? ## j
6
6 6
6 6
6 ppp sempre legato
ff ‰ dim. f
dim.

Jf ‰ ŒŒ Œ ∑
ppp
jf f
ppp sempre
ed legato
espressivo
sempre legato
?
? ####
& fj
dim.
ŒŒ ∑∑
ed
ed espressivo
espressivo
fJ ‰ Œ
J
& fj f f
ffj f ffj
&
& °
°
°
“”
f f f ff ““”” fff fffffffffff f
## f™ ™ f f f f f f f f f f f f f f f ff f f ff ff f f f f f f f f f f f f f f f f f
35
f f
f f f f f ff f f f f f f f f f f f f f fffff
& ### ff ™™ ff ff ™™ ff ff ff f f f f f ff ff ff fff ff f f f ff ff ff f f f
35
f fffff

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&
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ff f fff
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#
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6 6 6

j f ff
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& fjj f f ffj fjj f ff ŒŒ ŒŒ
&# JfJ f

∏∏∏∏∏∏∏∏∏∏
ff f f ff
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f fffffffffff
4

38 ##<“> f f f f f
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1
4

Ff ™ f f ff ff ff f f f f f
4

38& # Ff ™ f f f ff f ff f ff ff ff ff f ff ff
3 5
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Ff ™ f f f ff f ff f ff ff ff ff f ff ff
4 1

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4 4

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{{
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&
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41
f f nf
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41
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3
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3
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dim.
∑∑
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ppp

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46
46
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46
&
46

&# ff ff fJ ‰‰ ff- F™
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dim. sempre dim.
? ## ‰pppp Œ dim. f
‰ f Œ Œ Œ ‰ Jf..
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pppp sempre dim.
? f
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‰‰ fJf ŒŒ ‰‰ fJf ŒŒ ŒŒ ŒŒ ‰‰ fJ f. f.
f. jj ‰‰ ŒŒ ŒŒ ∑∑
sempre
sempre dim.
f. f. f f
pppp dim.
dim. dim.

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

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5 3 1 5
46• Pianist 100 5
5

P44 SCORES Grovlez-FINAL.indd 46 08/01/2018 09:54

 Ludovico EINAUDI (b.1955)
TRACK 11 Song For Gavin INTERMEDIATE

Taken from ‘Elements’, published by Chester Music Limited

‘Song for Gavin is a piece I wrote in memory of the wonderful songwriter and friend This instrumental song becomes more impassioned from bar 24 through to 32, and
Gavin Clark,’ says Ludovico Einaudi. According to the composer, a good title contains then the dolce opening returns at bar 32/33. Die away towards the end, slowing
‘information and clues about the music, but I don’t want to give anything away.’ down in the last three bars, winding to a halt, like a music box. Einaudi has chosen
Playing tips: The tempo marking at the start states ‘poco rubato’. That means lots not to offer fingerings, so we have left the score as it stands. Bear in mind that the
of give and take with the tempo. Listen to the recording and you will hear that span of the hand can easily cover the notes being played, so it shouldn’t be too
our pianist pauses very slightly at every second semiquaver rest, to impart challenging to work out suitable fingerings.
an improvisatory feel. The RH should flow calmly along while the LH carefully Pedal tips: Einaudi has indicated ‘con ped’. Ample use of pedal is therefore required
places the chords so that the subtle changes of harmony are as clear as possible. throughout, perhaps with one change per bar.

Dolce, poco rubato q = 72

b4 f f f
&b 4 ≈ f f f f f f f f f f f ≈ f f f f f f f f f f f f ≈ f f f

{ ? bb 44 Œ
con
mf

°
w
w
w
mf
w
w
w

con moto
b
3

&b f f f f f f f f f f f f f f f f f f f f f f f f f ≈ f f f f f f f f f f f f f f f f f f f

{ ? bb w
w
w
w
w
w
mf
w
w
w
Song For Gavin. Music by Ludovico Einaudi © Copyright 2015 Chester Music Limited.All Rights Reserved. International Copyright Secured.

b
6

&b f f f f f f f f f ≈ f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f

{ ? bb w
w
w
mf
Œ
w
w
F™ w
w
w
mf (sub.)

b
9

&b f f f f f f f f f f f f f f f f f f f f f f f f f f f ≈ f f f f f f f f f f f f f f f f f f f

{ ? bb w
w
w
w
w
w
mf
w
w
w

47• Pianist 100

P47 SCORES Einaudi-FINAL.indd 47 08/01/2018 09:55

 Ludovico EINAUDI (b.1955)
TRACK 11 Song For Gavin INTERMEDIATE

Taken from ‘Elements’, published by Chester Music Limited

b
12
f f f f
&b f f f f f f f f f f f ≈ f f f f f f f f f f f f f f f f f f f f f f f f f f ≈ f f f

{ ?b w
w
b w
mf
Œ
w-
F ™™
F
w
w
w
mf

-
L.H.
dolce

b
15
f
&b f f f f f f f ff f ≈ ff f fff fff ≈ ff f fff fff fff ff

{
f f f f f f f f f
Œ
mp

? bb Œ F™ F™ w
w
w w w
w w pp

b
18
f
& b Ff f f f ΠŠf f f f f f f f f f f f f f f f f f f f f f f f f ΠŠf f f

{ ? bb w
pp
mp
Œ
w
w
F™
p
w
w
w
mp

-
L.H.
- L.H.

b
21

&b f f f f f f f f ff ≈ f f f f f ff ≈ f f f f f f ≈ f
ff ff ff ff ff ff ff ff

{ ? bb Œ
w
w
F™ Œ
w
FF ™™
p
Œ
w
w
F™

lunga
√ a tempo U
b
24

&b 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 fffffffffff ≈fff

{
f f
ƒ
Πà mp
w w
mp
? bb F™ w
w w
w
w
ƒ Pianist 48• 99

P47 SCORES Einaudi-FINAL.indd 48 08/01/2018 09:55

 Ludovico EINAUDI (b.1955)
TRACK 11 Song For Gavin INTERMEDIATE

Taken from ‘Elements’, published by Chester Music Limited

b f f f f f f f f f f f f f f f f f f f f f f f f f fU
27
fff ff fffff fffff f
& b f ≈ f f f

{ Œ
?b w
b w
F™
f
f f
f F
mp

f f
f f F

30
b 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 f f f f√
&b f f f ≈ f f f f f ≈ ff

{
f
F
mp
√ mf
? bb f F f F
f f f f f j f J
f f f

b
33

&b f f f f f f f f f f f f f f f f f f f f f f f f f ≈ f f f f f f f f f f f f f f f f f f f

{ ? bb w
w
w
pp
w
w
w
mf
w
w
w

,
b
36

&b f f f f f f f f f ≈ f f f f f f f f f f f f f f

{
f f f f f
w
mp mp
? bb w
w w
w w

allargando
, √
b U U
38
b f f f f f ≈ f f f f f f ≈ f f f f f F
& ff ff ff ff ff ff ff ff

{ ? bb w
w
w
mp
Œ
w
w
F™

49• Pianist 100

p

p
pp
U
w
w
w
u

P47 SCORES Einaudi-FINAL.indd 49 08/01/2018 09:55

 D É B U TA N T
A Z E R T Y
H A NS - G ÜNTER HEUMA NN
PLAGE
12 Middle C Position
B E Gzerty
INNERS XXXX (XXXXX)

5. K EYBOARD CLASS
A
12 Middle C Position

12 Middle
tuto ignosci
Steps
C Position / Five-Finger Legato
du faux texte Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus
potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut
LESSON 27: FIVE-FINGER LEGATO
remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi

12 civibus
Middle 5. Steps / Five-Finger Legato
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
peperci.CExternas
Position gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta.
On these two pages, Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Günter Heumann.
militiae dedi. 5. Steps / Five-Finger Legato
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
ThisNaves
LessoncepiNo 27 qfeatures
sescentas 100 two
=praeter very
eas, si quaeeasy exercises
minores quam for working
triremes on your terra
fuerunt.Bella
the first five notes of the scale; there is no need for any thumb movement.
legato sound.
et mari Theexternaque
civilia exercisestot.
areHans-Günter
easy because they cover only
Heumann

 q 5.
 
1 2 3 4 5

100 Steps / Five-Finger Legato

Five-finger=legato 
steps  1   
Hans-Günter Heumann

 f 
Make sure that yourq fingers

2 3 4 5

 
= 100dig deep into the bottom of the keys; join each note to the next, almost overlapping the notes.
Hans-Günter Heumann

    
 q = 100
The melody line should 1be as even as possible. Trying3 counting the pulse out loud
5 so that you stick to the rhythm and tempo.

 
2 4

f1 2 3 4   
Hans-Günter Heumann

 
  f 
5

      
 
f
 
5

5


  
5


     
 1    
5

  5 
  
2 3 4

 1     
 1  
2 3 4 5

  5  
9

9    
2 3 4

1   3    
         
2 4 5

  
9


9           


           



13


13



     
13


      
           
13



 
            
© 2013 Schott Music Limited, London ©

       
50 100
50•• Pianist #17

     
© 2013 Schott Music Limited, London ©

© 2013 Schott Music Limited, London ©

p50-51_Keyboard-FINAL.indd 50 08/01/2018 10:03

 Middle C Position 13

Middle C Position 13
Middle
Middle C
C Position
Position 13
13
HANS-GÜNTER HEUMANN KEYBOARD CLASS
6. Two Notes Joined with a Slur
6.
Two notes Two
6. joined
Twowith A
Notes Z EJoined
a slur
Notes R T Ywith
Joined with a
a Slur
Slur
PLAGE The semi-circular curves under the notes are known as slurs, XXXX
which (XXXXX)
join one note to the next. A smooth legato is particularly required

q = notes. zerty
for slurred notes. Having played the second note of the slur, lift the finger from the key with a raised wrist, in Hans-Günter order to prepareHeumann
for

A
n the next pair of slurred 100 Feel a down/up motion in your playing, with an emphasis on the first note of each slur.

 q =et1100
     
mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibusHans-Günter Heumann

      
2 3 2 3 4 5 4
n du faux texte Bella terra civibus peperci. Externas gentes, quibus
q = 1100quam
   
n tuto ignosci potuit, conservare excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter Hans-Günter
quingenta. Ex quibus Heumann
deduxi in colonias aut

          
2 3 2 3 4 5 4
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
1 quam2 2triremes3 fuerunt.Bella terra
3 et mari
4 civilia
5 externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus
1 3 2 3 4 5 4

   
2 4

   
civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta.
mf in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis
Ex quibus deduxi in colonias aut remisi

  mf
militiae dedi. Naves cepi sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot.

  mf

5

5


5
5


               
 1 2 3 2      
 3 4 5 4      
1 2 3 2 3 4 5 4
1
1 2
2 3
3 2
2 3
3 4
4 5
5 4
4
9

9
        
     
  
9
9

      
  
      
    

       

13

13
       
     
13
13

       
  
      
      
      

© 2013 Schott Music Limited, London

Hans-Günter
© 2013 Schott Music Limited, London Heumann continues his series for beginners in the next issue.
©
© 2013
2013 Schott
Schott Music
Music Limited,
Limited, London
London To find out more about Heumann, visit www.schott-music.com

51• Pianist 100

S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 13 18.02.13 08:45

S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 13 18.02.13 08:45

S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd
S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd
p50-51_Keyboard-FINAL.indd 51 13
13 08/01/201818.02.13
10:03 08:45
18.02.13 08:45
 TRACK 12
Robert LOPEZ & Kristen ANDERSON-LOPEZ INTERMEDIATE
Let It Go

This anthem of one woman’s anger, loneliness and independence (‘A kingdom of part is obvious: Bars 77-78 in the RH. These will require practising in isolation, and
isolation, and it looks like I’m the Queen... the cold never bothered me anyway’) building up the speed gradually. There are also many repeated chords, octaves, thirds
became a worldwide hit for Demi Lovato in 2013, though Idina Menzel sang it on and sixths. These will need a relaxed wrist if your hand is not to seize up. Fingerings
the original soundtrack of the Disney movie Frozen. have been added here and there. It may be worth bearing in mind that the
Playing tips: Take time to study the score first. Mark out the different sections, think performance on the covermount CD is in the spirit of a pop arrangement, making
about where the climaxes are and so on. Even if the notes fit well under the hand, fairly free with notes and rhythms from time to time.
the song has its tricky moments, mainly because of the swift tempo. The hardest Pedal tips: Use ample pedal, changing when the harmonies alter.

Mysteriously

Let It Go (from ‘Frozen’).Words and Music by Robert Lopez and Kristen Anderson-Lopez © 2013 Wonderland Music Company Inc administered by Artemis Muziekuitgeverij B.V.Warner/Chappell Artemis Music Ltd. Reproduced by permission of Faber Music Ltd.All Rights Reserved.
b b f f f f f f™ f f f f fJ f f f f f f
&b b C J f f J f F F
J J

{ ? bb bC w
p

w w w w
b w w w
con °

b f f f f f™ f f f f f f f f f f
5
b J f FF nff ™™
&b b f J f f
J
f J
J j

{
f
Œ F™ Œ Œ mp
? bb b w F™ w
F™ w
b w w

b
9

& b bb j

{
fw f f f f f f f f f f f fw f ™
w w f f f f Ff f f f Ff f f f
? bb b w w w
b ww w w
w
w
w

b
13

& b bb f f f f f f f nF

{
w f F f f fww f f f f f Fw
w
? bb b ff F ‰ f fj f f
b w f w
w
F F w
w w

52• Pianist 100

P52 SCORES Let it go-FINAL.indd 52 08/01/2018 10:05

 TRACK 12
Robert LOPEZ & Kristen ANDERSON-LOPEZ INTERMEDIATE
Let It Go

bb
17

& b b Πf f fj f f f f fj fj f fj
j j j
f f fj fj f fj w f

{
w w ww f f f f f f f
? b b ff ™™ fj F ff ™™ fj F Œ F Ó F
bb w w
f w
w
Let It Go (from ‘Frozen’).Words and Music by Robert Lopez and Kristen Anderson-Lopez © 2013 Wonderland Music Company Inc administered by Artemis Muziekuitgeverij B.V.Warner/Chappell Artemis Music Ltd. Reproduced by permission of Faber Music Ltd.All Rights Reserved.

b
21

& b bb Πf f j j n FF
f

{
f f ff fw f f f f ff ff f
F f f w
? bb b w w ‰ j j j
b ww w
w f f f f f
∏∏∏∏∏

∏∏∏∏∏

w w

b j f fj fj f fj
25

& b bb Œ
j j
j f fj fj j j f ff ff j
ff ff ff ff f f

{
F f f ff™ f F f f ff ™ f
J w f f f f f f
mf J
? bb b ‰ ™ ‰ f™ ‰ jF Œ f
b wf f f f f
w wf f w f f

b
29

& b bb f
j
j f fj f f f fj f ff fw f F™ f f

{
f ff f ff™ f F f™ fJ f f f f f f f ‰ fJ f f fJ f ffJ
J
? bb b ‰ f ™ ‰ f™ ‰ jF ‰ jf
b w F F f f
wf
w F
w

b j
33

& b bb ffj ff ff FF F f
fJ f f f f Ff f f f f. f f ff
FF ff f f fff FFF ™™™ ff

{
f f > F f
f
? bb b ΠF j ffffffff
ff ff ff ff ff ‰ Œ
b ffffffff
w f w w
>.53• Pianist 100

P52 SCORES Let it go-FINAL.indd 53 08/01/2018 10:05

 TRACK 12
Robert LOPEZ & Kristen ANDERSON-LOPEZ INTERMEDIATE
Let It Go
%
bb j f fj% Fj j
37

& bbbbbb f f ‰ fjj f f ff FF ‰ fj f fff

37
f ffj™ f ff FF ‰ ff ff FF ff f f ‰ f f ff

{
& FfF f ff FF ff f ff FF
FF f ff ™™ Jff FF f F f f F
f™ J
? bb f f f ffffff ff
? bbbb w f f f ff f ff f ff ff f ff f ff fw f f f f f ff ffffffff
fw f f f f f f f
bb wf f f f w f f w w
w

41
b j fj f j
& bbbbbbb j
j fff
fw f f f f f ff FFfj™™ ff
f f f f ff ff ff f ff ff fff FFw
41
w
fw f f™ ff f f f

{
& w FF ™™ f™ Œf ff ff ff FFw f f
Πf f
? bb b f f f f f f f f fff Œ ‰ fjj FF f f f f f ff f f
? bbbb ff ff ff ff fF ™ f f f f Œ F‰ ™ f ff fw f f f f f f f
b f f f f F™ f w
F™

j
To Coda Ø
b
45

& bbbbbbb
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To Coda Ø
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{
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f fb f F™
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? bbbb ‰F™ f F ff fw f f f f f f F ff F bb fff fw
b fw bf
F™ f w F ™™ bf
5 2 1

5 2 1

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4

b
49

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‰ f f f f
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{
& w f f f f
fw f nf f f f f f f ™ p f
ff.. ff.. ff.. ff..
mf

ff.. ff.. ff.. ff..

mf
? bb b mfw
p mf

? bbbb w FF Ó ff ff ff ff ff ff ff ff
b w w FF Ó f f f f f f f f
w F

b j j f f f fjj f fjj
53

& bbbbbbb ‰‰ fffJf ffff ff ff ff ffj fwj f ™ F™

53
ff fJf ff fw f f f f f f f f ff ff

{
& J J
ff
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? bb b ff ff ff ff ff.. ff.. ff.. ff..

? bbbb ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
b f. ff ff ff ff ff ff ff ff
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f f f f
54• Pianist 100

P52 SCORES Let it go-FINAL.indd 54 08/01/2018 10:05

 TRACK 12
Robert LOPEZ & Kristen ANDERSON-LOPEZ INTERMEDIATE
Let It Go
57
bb j f f f f ff ff ff nfff w
w
57
& bbbbbb ff ff ff ffj f
ff ff ff F
FF
f
ff ff ff ff fJf ff nf w
w f f ff f f f
ff ff ff ff f

{
& f f f f f Jf f FF f f f J f Jf f f f f f f
J J
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f.
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f.
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f f f f f f 3 2 2

f
1 1
1 3 2 1 2

b Πj f fjj j
61

& bbbbbbb Œ j f fjj j j j j fj ff ™™

61
fj f fjj j fj f f f fj f fj fj f f

{
& F ff ff fj f f f f ff ffj ff 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
? bb b mf‰ fjj F™ ‰ jj F ™ ‰ jf f ‰ jf
mf

? bbbb ‰w f F™ ‰w f F ™ ‰ fj f f f ‰ fj f F
b w wf wf f wf F
w w

b
65

& bbbbbbb f
65
j j j ‰
j fj fj f fj f f fff Ff f f ‰f f ™™ F f

{
& f f ff ffj ff f f f f f f f fF f f JfJ f™ fFJ
fJ f fJ ff ff ff f
f f ff ff f f f f f f™ f fJ f f
? bb b ‰ Œ F™ ‰ jf ‰ jF
? bbbb ‰w f ™™ f f Œw F ™ ‰ fj f f f f ‰ fj F f
b w f f f
w wf f f f w f f
w w

D. $ al Coda
b j
69

& bbbbbbb j
D. $ al Coda
FFF ™™™ ffj
69
ff ff ff ff ff f f ff FF ff f f ffff ff ff f ffj™ f

{
& >f >f >f >f >f ff f ff
f
FF
F
ff f
f ff FF ™™ f f fFF f
FF f ff ™™ f ffJ
fJ
> > > > >f f™
? bb b j ffffff ff
? bbbb f f f f fj ‰ Œ fw f f f f f ff f f f f f f f f ff f f
f f ff f ff f
b fffff‰ Œ w
fw f f f f f f f w f f f f
>ff >ff >ff >ff >ff w w
>>>>>

Ø Coda
b
& bbbbbbb j bff nf bf ff f bbff ff ff f
Ø Coda
ff ff f f f
fff ™™™ ffj ffw bbfff ff nnff ff

{
f ff f ff ff
bbb ff
& ff bf
ff ™™ f
bf
w bf ff ff f f nf >f.. f f
f f f > p sub.

? bb b ‰ j f
p sub.

? bbbb ‰ fj f bf f f f f f f f f f f f
b F™ f f bbbff ff bf b f bff ff ff ff ff f f f f f f f
f bf b f >f..
f bf
F™ f f f f >
55• Pianist 100

P52 SCORES Let it go-FINAL.indd 55 08/01/2018 10:05

 TRACK 12
Robert LOPEZ & Kristen ANDERSON-LOPEZ INTERMEDIATE
Let It Go

b f bf f f f - f f - f f b f b f f f f - f f - f f f- n f
bf nf bf- nf f bf nf
1 2

bb f f f f
76 5 5
1 2 3 1 2 3 2 3 2

& b b bff bf f nff f f bbff nnff

2 3 2
f
1 1 2 3

{
> >
? b b fj ‰ ‰ j
fŒ f f f f f f f- ™ f- ‰ f-
j
f f f f f- ™ f- ‰ f-
j
bb
>f >f >f f

>f 3

j j
b J j bfj fj f bf f f fj fj bf fj
79

& b bb ‰ f j f fj ff f f f b f f w

{
n f f n f bb ff f f bf f f f f b ff ff ffJ ff ™™
f f f f
>
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? bb b f f f f f f f f f ff f f ff f f ff f f fff f f f f ff ff
b
w w w w
>

j j j
b j f bfj fj f bf f f fj fj bf bf
83

& b bb Πf j fj f fff F

{
nf f f bf f f f f bf f f f bf f f f fJ f f F
w
w f f f f J
? bb b f f f f f fff f fff f fff f fff f fff f fff ffff
b
w w w w

j
b j f fj fj f bf fj f fj fj f fj
87

& b bb Πf n f j f fj f f f f nf f f f bf f f f w
fJ nf fJ fJ
f™

{
w f f f
ww f f f f
? bb b ‰ fj f f f fff f fff f fff f fff f fff ‰ jf f f
b w w w wf f f f

91
bbb nŒF f f ffj™ f j ‰ fj f f f j j
& b FF ff ™™
f
bff ff F
w ff ff fff ff fff ffw ff ff ff ff ff ff

{
fJ w
j
mp cresc. poco a poco

? bb b FF ff ™™ ff FF ™™ f f f f
b F f™ f f f f f
f w f f f f f f f f
56• Pianist 100

P52 SCORES Let it go-FINAL.indd 56 08/01/2018 10:05

 TRACK 12
Robert LOPEZ & Kristen ANDERSON-LOPEZ INTERMEDIATE
Let It Go

j j
Broadly

bbbbbbb
95
FfF f ff fff ff‰ f f ‰‰ fj f f f f j ffj
Broadly 4
FF ff
95 5

& ff FF ff ffj™ ff
4

ff ŒŒf f
4

& b
5
ff ff
4

{
f f Jf ‰ FF ff ff ff ff FF f f ff FFf f ff ™ fJf
>> >> >> >> >..J f F ™ J
>j ŒŒ ‰‰
ŒŒ ‰‰ fjj ff
ff
? ff ffj ‰‰ jj f
? bbbbbb w
ff
ff ff ff ŒŒ ff ff ff ff ff
bb w f w
w f f f
ff >ff w f f ff ff ff ff
> >>ff >>ff >ff.. w
w
w‘ ““‘‘
““>‘‘ > > ““‘

bbbbbbb
j j ffjj
99
‰‰ fjj f ff f ff ‰‰ fj ff fff fff™j™ ff fFf f f f
99
& FFF ff FF fff FFF FF f f f
& b fJf

{
f f ff FF ff f f F f f ff™™
F J
? ŒŒ ‰‰ fjj ff f ŒŒ ‰‰ j
? bbbbbbb ff ff f ff f ff w f f w
w fj ff ff
ff ff ff ff
b w f f w w f ff ff ff ff
w w
w ““w‘‘ ““‘‘

j j j
bbbbbbb
103
fFfj f™ ff ff ff ff fff ™™™ ffj ff ff ™™ ffj ff ff f
103
& ÓÓfff ff FF ff ff
& b w ff ™™ ff f

{
FF f™ f™ ff ff ff Fw ff ff
f f f f w f f
ffjj
f
f
?
? bbbbbbb f ff ff ff ŒŒ j ff ff f ff f FF ff ™™ ff
b f f ff ™™ ffj ff f w f f ff ™™ ff ff
ff
ff
f 2
2
1
1
3
3
2
2 ff ™™ ff ff ““f‘‘ w ““‘‘

j
bbbbbbb w
107
f
bbfFFf bbff ff ff bbfFfF ff ff nnnfff ™™™ ff bbbff w
5

ffj
4 3 4 5
ff f F™
107
& w
5

ff f ff ff
4 3 4 5

& b FfF f F™ ff b f w

{
f F F n f™ ff

?
? bbbbbbb ff f ff f FF ff ff FF ff bbff ff bf bbff ff ff f
b wf f
w ff ff FF ff ff bb ff ff bf bb ff ff ff f

U
w
bb>>fff >>ff >>ff >>ff bb >>ff U
w
b
111
j
111
bbbb b ff ff ff ff ‰‰ j j
f
fj
& b bb bbbff
& f bb ffj ffj f ™

{
f f f fw ff nn ff ff ff ff ff
fw
f™ FF w
w
U
ff sub. p
?
? bbbbbbb bbff ff ff ff w w U
w
ff
ŒŒ
sub. p
ff w w w
b bf f f f w w w
b >>f >>f >>f >>f >>ff w w w
57• Pianist 100

P52 SCORES Let it go-FINAL.indd 57 08/01/2018 10:05

 TRACK 13
Frédéric CHOPIN (1810-1849) INTERMEDIATE/
ADVANCED
Prélude Op 28 No 15 ‘Raindrop’

According to the not entirely reliable memoirs of Chopin’s lover George Sand, the the dramatic and darker middle section – where the LH plays a major role – and for
longest and most pathos-laden of the 24 Préludes was first imagined in a dream the last time from bar 76. The key signature switches between Db major and C# minor
where the composer saw himself drowned in a lake. No less pertinently, he had with (the relative minor). From the start, a steady pulse is needed. Use of the metronome
him (in real-life Majorca) Book 1 of Bach’s Well-Tempered Clavier. More prosaically, may avoid the tendency to drag, and try singing the melody first, so that you can
Chopin dedicated the set to his friend and publisher Camille Pleyel, who had already work out where to ‘breathe’. The phrase markings prompt you to think and play in
advanced him the money to finance his winter break. long, singing lines. Pedal tips: The pedalling marks will help you to sustain legato.
Playing tips: In this Prélude, the main melody is repeated three times: twice before Lucy Parham performs this Prélude on the Pianist covermount CD.

4 5
Sostenuto 1 1

bbb c f ™ f F fF
4

f
3

b f f™
5 2
F™
3 1

& b f fF
2 3 1

fF ™ ff

{
™
FF ff
p FF ™™ f
? bb b c f f f f f f f f f f f f f f f f f f
bb 1 1 1 2 1

°
3 2 3 4

ø ø ø ø ø ø ø
5 3 1 5 3
2

f ™ fj f
7 4

b f f f nf f f f f ™ bf F f f™ ff FF
4 5

b f
3

fj
2 3 2

& b b b f f ff
5

f F ™
1

f f™ ff

{
F f F™
FF ™™ FF ™™
? bb b f f f f f f f f f f f f f f f ff f f f f f f
bb f
1 2 1 1 3

ø ø ø ø ø ø ø ø ø ø ø
4 3 2

8
b f™ j f ffffF
b b f f f f F f bf f f f f f ™ f 5 5 3

& bb f f f
1 5 4 1 3

{
f
F
ff ff f
f b f
f ff f f f ff f ff b ff f ff
? bb b f f f f f f f b f f f f f f f f nf f
bb f
3 1 2 3
5 4 2 5

ø ø ø ø ø ø
5
ø ø ø ø
12
b f bf nf ffffF fffff
& b bbb f
f f F ff
2 3 5 4 1 3
2 1 3
fff

{ ? bb b
bb f
ø
5 4
f bf
f b f f ff f f f
f
°
F nf f f
f
f

ø
f
ff
f b F f f f f f f f f f f ff f f ff f f n f f
f
ø
5

ø
5

ø
5 5
ø

58• Pianist 100

P58 SCORES Chopin-FINAL.indd 58 08/01/2018 10:36

 TRACK 13
Frédéric CHOPIN (1810-1849) INTERMEDIATE/
ADVANCED
Prélude Op 28 No 15 ‘Raindrop’
16
16
bb f f f fff f f f F ™™ f
& bbbbbbb ff f ff ff ff f ff ™™ ff f
2 3 5 4

f f fff f F
2

f f f f
2 3 5 4

{
& b f f
2
f

ff ff ff ff ff f fff ff ff ff FF ff ff
? b b f ff f ff f ff f ff f fff nf
f nf f f f f ff f ff f ff f FF f f f ff f ff f
? bbbbb f f f f f f f f f ff f f f fff f f
bbb f f
ø ° °
5 5

ø ° °
5 5

f f ™™ fjj f nf f nf f ff nnff bbff

1 2 1 27 5 4 3

bbb ff ™™ f F fF
20
b f f™
1 2 1 2 5 4 3
20
& bbbbb f F f F™ f f™ fF f f f f f nf f nf f
F™

{
& b f Ff ™ fF f f f ff f
F™ f f f f f
FF ff FF ™™
? bb b f f FF ff ff ff
f ff f FF ™™f f f f f ffff f f fff f f f f f
? bbbbb f f fffff f f fff f f f f f
bb
° ø ø ø ø ø ø ø ø ø ø
° ø ø ø ø ø ø ø ø ø ø

b b ff ™™ bf F fF #####
24
b
5
F™ f f™ f F Ó ## #
& bbbbbb bf F
24
f f fF ™™ fF F Ó
5
F™

{
& b f fF ™™ fF f F
™ f
FF™™ FF ™™
? bb b f f FF™™ ff ff ff ff ff
f FF ™™f f f f f ffff f f fff f fffffff #####
? bbbbb f fffff f f fff f fffffff ## #
bb
° ø ø ø ø ø ø
° ø ø ø ø ø ø
#####
28

& ## #
28

{
& ffffffff ffffffff ffffffff ffffffff
f f voce
f f f f f f f f f f f f f f cresc.
ffffffff ffffffff
? #####
sotto

? ## # # f f ff fff ff w
sotto voce cresc.
ff ff f #f f f ff ff f f f w
f f f f f w
f f f f 2 1 f f f1 f f 2 2 1
3
1 2 1
3
1
1
2
1
1
3
1
4 3
1 4 5 4 1 4
1 5
2
1 2 1 2 2 3 2 3
3 4 3 4 5
5
1 4 4 5

° ø
5

ø ø ø ø ø ø ø ø ø ø ø
° ø ø ø ø ø ø ø ø ø ø ø ø
#####
32
32
& ## # ff f f f f f

{
& ffffffff fff f f f f f f f f f f f f f f ff ff ff ff ff ff ff
ffffffff fff f f f f f f f f f f f f f fcresc.
ff f f f f f
? ##### f ff f f w
? ## # f ff f f ff f #f ff #f ff ff ff
cresc.

#f f #f f f f w
f f f f ff 1 1
f f f f w
°
1

ø ø sim.
2
1 3 2 3 2 1 1 1 1 1
1

°
1 5 5 4 3 4 3 4

ø ø sim.
2 3 2 3 2 1 1 1 1 1
5 5 4 3 4 3 4

59• Pianist 100

P58 SCORES Chopin-FINAL.indd 59 08/01/2018 10:36

 TRACK 13
Frédéric CHOPIN (1810-1849) INTERMEDIATE/
ADVANCED
Prélude Op 28 No 15 ‘Raindrop’

####
36

& f f f f f f f f f f f f ff f f f f f ff f ff f ff f wf f f f f f f f

{
f f f f ff f # ff 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
4

? ####
3 3

#f f f f ff f w
f ff ff f ff ff f f
f
f f f j w
f f
°
2
1 4
5
ø ø ø sim.
40

####
& FFf f f f FFf f f f FFf f f f FFf f f f FFf f f f‹FFf f f f ff

{
ffff ffff ffff ffff f f f ff f f f ff
> > > > > > >fffffff
? ####
p

f ™ #fj
ff

F F Ó
F F F F F
F f ™ #f F F
F F
ø ø ø ø ø ø ø ø
####
44

&

{
ffffffff ffffffff ffffffff ffffffff
? #### f ff ff ff w
ff ff ff #ff ff ff f f
f
f
f w
ø ø sim.

####
48

& fffffff

{
ffffffff ffffffff ffffffff ffffffff
? #### f
cresc.
ff ff f ff f #f f #f f f f w
f f f f f f f f w
f

####
52

& f f f f f f f f f f f f ff f f f f f ff f ff f ff f wf f f f f f f f

{
f f f f ff f # ff 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
? #### f ff ff ff w
ff ff ff #f ff ff f
f
f
f
f w
f f
j

60• Pianist 100

P58 SCORES Chopin-FINAL.indd 60 08/01/2018 10:36

 TRACK 13
Frédéric CHOPIN (1810-1849) INTERMEDIATE/
ADVANCED
Prélude Op 28 No 15 ‘Raindrop’
56
####
& FFf f f f FFf f f f FFf f f f FFf f f f FFf f f f ‹FFf f f f fff f f f f f f f

{
ffff ffff ffff ffff f f f f f f f f >f
> > > > > >
? #### ™ #fj
ff sf

F f F Ó
F F F F F
F F F f ™ #f F F

#### #
60 5 5
5

F™ f f
fFF ™™ f f f f f #fff f fff f fff f fff f #fff f fw
5 5 5 5 5 5

f f f
3

Ff f f f Ff f f f
3

&
3 4 3 4 3 4 2 3 4

ff
2 1

wf ffff

{
#F F
p
? #### F f f f FF F F f f
FF fF f F™ f F F f f
F™
° ø ø ø ø ø ø ø

####
64

& F fff f f fff f fff fff ff fff fff w

#w

{
# FFf f f f f f # fff f # fff f f f # fff f ff f f # ff f f f ff w
ffffffff
? ####
F FF f FF ™™ ff F ff w
f > >Fø w
ø ø ø ø ø ø ø

#### # F
68
™ f f
& fF f f f fFF f f f fFFF ™™ f f f f f #fff f fff f fff f ffff f #fff f nFFF fff ff
f f f f f f f ff f

{
#F f

? #### F F
f
f f #F F
Ff f f f ff f w FF F #F F
w
ø ø ø ø ø ø ø ø

####
72

& FFF fff #fff #FF f #FF f #ff f bbbbb

Ff f f f # ffff f fff f Ff f f f # ffff f fff f

{
f ffff f ff ff f # fff f b f f f

? #### bdim.
f nf bf bff b b
#F F F™ ff F ™ ff f f bbb
#F F F™ F™ F
ø ø ø ° ø ° ø
61• Pianist 100

P58 SCORES Chopin-FINAL.indd 61 08/01/2018 10:37

 TRACK 13
Frédéric CHOPIN (1810-1849) INTERMEDIATE/
ADVANCED
Prélude Op 28 No 15 ‘Raindrop’

bbb f ™ f F fF
76
f f™ f
b
& b f F™ f™ fF f

{
F™ f
p
F™ FF ™™ f
? bb f f F™ f f f f f f f f f f f f f f f f f
bbb
con ° sim.

fj f ™ nf f f f f nf f f nf bf f ™ bf F
10

bbb ff ™
79
b
& b F f ff ff f

{ F™
smorzando

? bb b f f f f f F™ f f f f f
bb f

>4

f f
81
b f f f
& b bbb f ΠΠf
5
f f
2 5

{ ff
slentando f

? bb b f f f f f Œ ∑ ∑
bb

4 4

b
84

& b bbb w
3 5 3

f
f f f™ f w
1 2 1 2 1 2

w Fw wf

{
F F f f
p
? bb b ‰ f f f f f f f f f f f f f f f
w
f f f f f f f f
bb w w
° ø ø ø ø ø ø ø
rit.
U
5

b
87

& b bbb w
3 5
1 2

w w
w w
w

{
w
> f f f f f f f w
pp

? bb b f f f f f f f f fF U
bb w F
w
ø ø
62• Pianist 100

P58 SCORES Chopin-FINAL.indd 62 08/01/2018 10:37

 ISS
’T M AM’S WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
DON H
N
PAR

ESSO
LUCY
TRACK 14 L HIS P
ON T AGE
IECE Frédéric CHOPIN (1810-1849) ADVANCED
P 4
2 Fantaisie-Impromptu Op 66
Composed in 1834, the Fantaisie-Impromptu was (curiously) never approved for far more memorable than his predecessor’s effort, as the songwriters of I’m Always
publiication in Chopin’s lifetime, perhaps because of some notable resemblances to Chasing Rainbows recognised when they stole it.
an earlier Impromptu (Op 89) by Ignaz Moscheles, though the central melody is Read Lucy Parham’s step-by-step lesson on page 24.

#### C
Allegro agitato h = 84

& Allegro ∑ agitato∑ h = 84 ∑ ∑

{{
#### C
& sf ∑ ∑ ∑ ∑
f ff f ff f ff ffff
#
? ## # C sf w w
Allegro agitato h = 84
f f f f f f f
& # CAllegrow ∑ agitatow ∑ h = 84 ff f f f ∑f f f f f f f f ∑f f f f
? ## # C w w

{{
f f fff 6 f ff 6 fff 6 f
& C °w ∑ w ∑ ° ∑ ∑
3
6 3
sf
f fff f6 f f f f f6 f f f f f6 f f f
? #### C ° w w
°
f
f 6f
f
f
f 3

w w ff f fff f fff
3
sf
###? f f f
#≈### C w wf f f f fff f f f ff f f 6
4 5

f ff f6 f f ff f f 6f f f
4 2 1 2

#
2 3 5

4&
f # f ≈ f f f ‹f ff f #f
4

wf ‹f f w
3 2 3 2 1 2

f f° °
3

{{
####
6
5 3

f f f f ff #f 6f f f ≈ 6
4

f6 f f f f #f 6f f f
2 1 2
2 3 5

& ≈ f f
3 2 3 2 1 2 4

f °f f ‹f f ° f
f f ‹f f
3
p
f f f f f 3
f f f f f f f
#
? ## # pf f f f f f f
4 5

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

4&
≈ f
4
f
3 2 3 2 1 2
f
? #### f f 6 ‹f
f ff ff f f6 f f ff ff ‹f ff f f f f

{{
f f
4 5
f f f f f f #f f f f
1 2

f f
3 2

f f f f f #f f f
2 5

≈ f f≈ f f
&
3 2 3 2 1 2 4
p f
f f ‹f f f f ‹f f
f f f6 f f f f f f
? #### pf f
6
f f f f f f f f f
f f
f “ ” f f
f f f f f f
? #### ≈f f f f6 f f f f”f ff f f6 f f f ff # ff f f f f f f ff ff ff#f f
6 f ff f f 5 f f 2 4
1 4

f f nf f
1 4 1 4 3 2 4 1 2 4 3
4

6&
1 2 1 1 2 1 2
f f f “f # f

{{
#### ≈ f f6 f f f f f6 f f f fffff f 2 4
5 1 4

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

&
1 2 1 1 2 1 2
f f “ ” f
f f
? #### f f ff f ff f ff ff ff f f f f f f # f ff f ff #ff ff f ff f f ff f f f
4
6 5 2 1 4

≈ f f f f f f f “” f f f #f f f nf f
1 4 1 3 2 1 2 4 3
f ff
4 4 4

6&
1 1 2
f
2 1 1 2

f f #
? #### fø f f f f f ff f f f f f f # fø f f ff f ff f ff f f ff f f f f

{{
2 4
5 1 4

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

&
1 2 1 1 2 1 2
f
f f f f f f f
ø f f #f f f
? #### fø f f f f f f f f
f f f f f f
? ####### fø f f f f f #f f f f ff f
8
f 5
f f f f f f
f f f
& # f f f f ‹f f f
4

f f ø f f
2

f f #f f ≈f f #f f ‹f f f f f f #f f
2 3 2 1 5
3 2 3 2 1 2 4

{{
8
#### ø f f f f f #f f f f ≈ø #f f f f f f #f f f f
2 4 5 5
2 3 2 1
f f
8&
3 2 3 2 1 2 4

f f
f f ‹f f f f f f ‹f f
f f f #f f f f f f f f ff
? #### f f ff f f
f f
2 4 5
f ff f
f ff f f
& # f ff f ff ‹ff ff f f ff ff #f ff f ≈ ff#f#ff ‹ff ff f f ff ff #ff ff f
2 3 2 1 5
3 2 3 2 1 2 4

{{
8
? ## # fø f ff f f f f f f fø
2 4 5
f ff f f f f f f
# ≈ #f
2 3 2 1 5

& f f f #f f ‹f f f
3 2 3 2 1 2 4

f f f f ‹f f f
f f f f f f ø f #f f f f f f f f f
? #### fø f f f f
f f f f f f f f
#
? ## # fø f f f f f f #f f f f f f f f
fø
ø ø
63• Pianist 100

P63 SCORES Chopin Fant-FINAL.indd 63 08/01/2018 10:37

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66

f f #f f
5 4

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

# f
3

## # f f f ‹f f f ‹f
5 3 3 5
f
10 2 1 2 1 4 3 2 5 3 2 4 1

‹f f #f #f f f f f f
2 1 1 3

& ‹f f

{ ‹f f
cresc.
f f f # f f f
dim.
f f
#
? ## # f f f f f f f f f f f f
f f
ø ø ø ø
>
#### f f > f f > #f f > f f >f
n
12 5 2 3 1 5 2 3

f f
1 2 3 2 4

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

{
f >
> >
f
? #### f f f f f f f f f f f f f f f f f f
f f
f
f f f
ø ø ø

#### > f #f f > f f f > #f f f > f f f > #f nf f > f f f > f f nf > f f f

14 4

&
2 4 2

f f #f f #f f f f

{ ? ####
f
ø
f f f f f
f f f f f f
f f
ø
f f f
f
f
ø
f f
f f
f

> > >

#### >f #f f >f f f #>f f f >f f f n
>f f
16
fff f f
f nf f f f f
& f f #f f f

{
f f
p cresc.

? #### f f f f f f f f f f f f f f f
f f f f f f f f
f
ø ø ø

>f
18
#
## # >
f >
f f f >f f f >f
f # >f f >f f >f f
f f f #f f f f f f
& f #f f f f f f

{ ? ####
f
ø
f f f f f
f
ø
f f f f f

Pianist
f

64• 100
f
ø
f f
#f f
f
f
f f
f f
f

P63 SCORES Chopin Fant-FINAL.indd 64 12/01/2018 10:56

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66
nn >>ff > > > > > > >
##### nf f ff nf nn >ff f ff f >ff f ff ## >ff f ff ## >ff f ff nn >ff f ff >ff f ff >ff f ff
#
20
20
# f nf f f f ##ff f ##ff f nnff f ff f ff f
& # nf
&

{ ?
f
øø
nf
#f
øø
#f
#f
øø
nf
? ######## f ff ff nf ff ff #f ff ff #f ff ff #f ff ff nf ff ff f ff ff f ff ff
f
f

# nn ff f f # # n
##### nf f ff f f ff f f ff # f f ff # f f ff n f f ff rit.ff f ff ff f ff
f f f
rit.
f f
22
22

& # # nf f f f f f ##ff f ##ff f nnff f ff f ff f

&

{ f
øø
pp
nf
#f
øø
#f
? ######## f ff ff nf ff ff #f ff ff #f ff ff
?
pp

ff f
øø
f f
f
nnff f
f ff ##ff ff ff ff ff ff
øø

a
a tempo
######
tempo
ff ff ff ≈≈ f f f ff ff ff
24
24
≈ ff f ff f
& # # ≈ ff ff ff ‹‹ff
& ff ff f f ff f ff ##ff f f f ‹‹ff ff ff f f ff f ff ##ff

{
p

#
p
ff ff ff f ff ff ff f ff ff ff f ff ff ff f
? #
? ###### ff ff f ff f f f f f f f ff f f f
f
øø

26
26
###### ≈ f f ff ff ff ff ““””ff ff ff f f f ## ff ff ff ff f ff f f
f f ff f ff f f ff f ff ##ff ff ff f nnff ff
& # # ≈ ff f f
&

{
f
f
ff ff ff f ff ff f ff ff #f
? #
? ####### ff f
f f ff ff ff #f ff f f ff ff ff f
ff f f f f
f
øø øø

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

ff ff ff ff ff ff ff ‹‹ff ff ff ff ff ##ff ff ff ‹‹ff

28 4 5 5 5

ff f
2 5 4
28 2 1 3

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

& # # ff ff ff ff ‹‹ff
3 2 4 5 4 5 3 4 5 2 3 2 2 4
2 1 3

&
2 3 2 1 3 2 3 2 1 4 2 2 1 2 4 2 3 1
3 2 3 2 1 2 2 3 2 1 2 2 1 2

{ ff ff ff f cresc.f ff ff
f
ff ff f ff ff
cresc.

# ff f
? # f
? ###### ff f f ff f f ff f
&
& f ##ff f ff f
ff f f
øø øø øø øø
65• Pianist 100

P63 SCORES Chopin Fant-FINAL.indd 65 08/01/2018 10:37

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66
f f f f f f f f f #f f
#### ≈ f nf f #f f f f f #f f f ‹f f f
5

f f #f f f
5

‹f
5
30 2
5
3 4 3 3 2 2 4 1
2 3 2 1 2 4
4 2 3 2 2 2 1

&
1 2 1

{
sempre cresc.
#### f
nf ? f f f f
& f f f #f f f f f f f #f
f f f f f f f
ø ø ø ø
>f f n f >f # f n f
n # f n f f # f n f #f nf f
5 4 3 2

n
1 3 5

f f # n
2

#### f f ‹f f f f nf #f f f f f f
1 4 4 3
f f f
3 2 1
32 2
2
2
1 4
3 2 1 4 3
3 2 1 2

&

{ #
? ## # f f f f f

ø
f f f #f f f
f

ø
f f
ø
f f f
f f f f f f f

f nf f #f nf #f nf
4

# f n f f # f n f #f nf f
3 2 1

#### #fR ≈
3 2 1 3

#f nf f nf f nf f #f nf
34 1 4 1 3 4 1 4 1 2

& f nf f nf #f # f
3 3

{ fff f
? #### fJ ‰ Œ
n ff
‹ff Œ ∑
°

“” f f f
#
## # f f f f f f f f f f f f
36
f f f #f #f f f f
j ‰
1

& #f f f f f

{
f 3 2 5 1 3 2 5 1 3 2

f
5 1

#
ff
? ## # j ‰ & f ? f
f f
f f f f
f f f f f
f f
°

####
rit.

bbbbb c
38

& f f
ff f f f ‹f f f

{
fff fff fff f ff f f f ‹f f f f f #f f
? #### f bbbbb c
f f f f ‹f F
f f f f f ‹f F
ø ø ø ø ø
66• Pianist 100

P63 SCORES Chopin Fant-FINAL.indd 66 12/01/2018 10:56

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66
Moderato cantabile
Ÿ
bb
40 Largo

&b b b c ∑ ∑ f f f f
1 1 2 3
2

{ f f ff ff
pesante sotto voce

? bb c 6
f f f f f6 ff f ff ff ff f f f f f f
bbb f f f fff f f f
f 1 2 4 1
f 5 3 2 1 2 3
1 4 2 2 3 2 3
3 2 2 1

°
5 5 5 3

ø
43
>F
5
> >
b F f f f™ f
& b bbb
2
f
4 4 1 3 2 1
4
F
1
f F

{
>f >f >f >
fff f f
f f f f fffff f f
? bb b f f fff f ff ff ff ff
bb f f
1 2 5 1 2 4 1 2 4 1 2 3

ø ø ø ø ø ø ø ø
1 5 5 3 1
1 2

46 Ÿ f
b bf f f f f f f™
& b bbb F
f f
1 2 3 2

F
1 3 4 5 4 4 5

J
132 3 2
ffff
3

{ ? bb b f f
bb
ø
5 3
f nf f
2 1
ff f f

ø
5
f
f f f f f nf f f f bf f f f f f f f nf f f f f

1
f f
2 1 2 3
f
5

ø
1
f
2 5

ø
1 3 4

ø
3

ø ø
5

ø
4

>F
49
> Ÿ >
a tempo
b w F
& b bbb
4 rit.
F f f f f f

{ ? bb b
bb f
f

ø
fff f f
f
b

ø
f
>f
f f f
f
f f f f
f
f f ff
f
f
f

ø
ffff ff ff
f
ø
5 1 2
ø ø

>
52

b f f f f f f f™ f Ÿ
b
&b b b
f
F F F b f f f f

{
>f
f f >f f f >f f f >f f f f n f f
f
ff
? bb b f ff ff ff ff fff ffff
bb f f
ø ø ø ø ø ø ø ø
67• Pianist 100

P63 SCORES Chopin Fant-FINAL.indd 67 08/01/2018 10:38

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66

55
bbb f f f f
1
f™
5
f 5

b f™ f F f ‰ J
3 4 3

& b nf f f f J

{ ? bb f
bbb
ø
f f
ø
f
nf f

ø
ff ff
b f

ø
f
ø
f
f fff f
f
ø
f f bf f
f
f
ø
f f ff
f
ø
f
f ff ff

Ÿ f
5
f f f bf
4 3
58
b j
1
f
& b bbb F
3 3 5

f ™ nf f ™ f
1 1 4 1 3

f ™ nf f ™ f bf ‰ f f™
5
j
232 2 2 1 4 3
f

{
7
>F
sf sf f

f f f f bf f f f f
? bb b f f nf f f f f f f f f f nf f f
bb ff f f
f
f f
f
ff
f f
ø ø ø ø ø ø
>F >
61
b Ÿ F
& b bbb bf f f f f
Πfff F
2

f
2 4
f

{
3
pp
f ff ff ffff ff ff
? bb b fff b f f f f f f f f f f f
bb ff f
bf f
f f f
ø ø ø ø ø ø
64

bbb f f fffff f f Ÿ f f
b
& b F F F b f f

{
>f
f f >f f f >f f f >f f f
sf
f f f f n f f f f
ff
f
? bb b f ff ff f f f f
bb f f f f
ø ø ø ø ø ø ø ø
67

bbb f f f f f™ f
b f™ f f F f ‰ J
& b nf f f J

{ ? bb b f
bb
ø
f f
ø
f
nf f

ø
ff ff
b f

ø
f
f
ø
f f ff
f

68• Pianist 100

f
f f

ø
bf f

ø
f f
f fff fffff ff

P63 SCORES Chopin Fant-FINAL.indd 68 12/01/2018 10:57

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66

Ÿ f f f f bf f
bb j
70

&b b b F f ™ nf f ™ f bf ‰ f f™ j
f f ™ nf f ™ f

{
7
>F
sf f

ff f ff f bf f f f f
? bb f nf f f f f f f f f nf f f
bbb ff f f
f
f f
f
ff
f f
ø ø ø ø ø ø
>F >
b Ÿ
73
F
& b bbb bf f f f f
Πf fff F f

{
3

ff f f f
? bb b fff bf f f f f fff f f f ff ff f f
bb ff f
bf ff ff f f
ø ø ø ø ø ø

>
76

bbb f f fffff f f F Ÿ f f
b
& b F F b f f

{
>f
f f >f f f >f f f >f f f f f f f n f f f f
f
ff
? bb b f ff ff f f f f
bb f f f f
ø ø ø ø ø ø ø ø

bb f f™ f w #### C
79
f f
rit.
b f f™
& bb nf f f f J

{ ? bb b f
bb
ø
f

ø ø
f
f f f nf f f f bf f

ø
f
ø
f
ff f f
f
ø
ff
bf f
f
f
ø
f
f
f
ff ff ff ff # # C
##

f f “f”f
#### C f
Presto
f f f f f #f f f f ≈ f f f f f f #f f f f ≈f f f f fffff
82

& ≈ f
f f ‹f f f f f ‹f f f f

{ p

? #### C f f
f ff

ø
fff f ff
f f
f
f ff
fff

ø
f ff
f ff f

69• Pianist 100

ff
f f f f
ff
f

P63 SCORES Chopin Fant-FINAL.indd 69 08/01/2018 10:38

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66
f
#### # f f f f f f f f f #f f nf f f f f f #f f f f ≈ f f f f f #f f f f
85

& f f f f f
f f ‹f f f #f
f f ‹f f f

{ ? ####
f
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88

& ‹f #f#f f f f f f #f f f f f f f f
f
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{ ‹ f f dim. f
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####
91

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

{
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94
#
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70• Pianist 100

P63 SCORES Chopin Fant-FINAL.indd 70 12/01/2018 10:56

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66
nf f f #f #f n f rit.
rit. a tempo
#### f f a tempo f
100

& #### nf n f f ff f f f ff f f f ff #f# f f ff #f# f f ff nf n f f ff f f f ff f f f ff ≈f f f f f f f f f f #f f f f

nf f f f f f #f f #f f nf f f f f f ≈f f f ‹f f f f f f f f #f f f
100

{{
& ‹f
pp
nf # n
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p ff
ff f fff
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f ff f nf f ff#f ff f #f f ff f ff f nf f ff#f ff f f f ff f f f f f ff f f f f
pp
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fø #fø f
ø ø ø
ø ø ø ø ø
f f “f”f f #f f f f f f f f
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103
f f f ” f f f
≈f f f ‹f f f f f f f f #f f f f ≈f f f f f f “f f f f f f f f # f f f f f f f f f f #f f f f nf f
f
& ####
103

{{
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ff ff ff ff
f
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#### f f f f f f f f f#f f f‹f f f## ff f f#f f f f f f

106
f
& #### f f f f‹f f ff f f ff f ff#f ff f f f f f f‹‹ff f f f f#f f f‹f f f ≈##ffnf ff#f ff f f f#f f f‹‹ff f f f
n
106 f f f f f

{{
& f f f f‹cresc.
ff #f ≈ #f
f ff f ff f f ff f f
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f ff
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f # f f
109 ## #
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& #### f f f f #f f f f f f f ‹f f # f f f f ‹f f n f # f n f f nf #f

{{
& sempre cresc.
f f f f f
#### sempre cresc. ? f f f f f f
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& #### f f f f f ? #f f f f f ff f f f f f f #f
f f f
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ø ø Pianist
71• 100 °

P63 SCORES Chopin Fant-FINAL.indd 71 08/01/2018 10:38

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66 ”
“” f
113 # #
“f f f f f
# n
113
## # f f f f n f n f f f f f
& ## # f #f nf f nf f nf f ##ff nnff f nf f nf #f # f j ‰
f f f ‰ f f f f f f f f f f f f

{
& f nf f nf #f # f fj f
f
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ff

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115 # #
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f f f f f f ff f f
& ###### f f f f f ff f ff f f ff f f f f f ff 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 f ‹ f f #f f
f
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? ## # f f ff ff f
ff f f f f ‹f F
f f f f
f f ‹ f FF
f f f
f
f
f fø f
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ø ø
ø ø ø ø ø ø
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118 # #
118
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3

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(dim.)
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f f f f f f
f f f #f f f
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2
ø ø ø ø
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3 5 3

ø ø ø ø
5 5

> > > > >

120 # #
120
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& # # f f f f f f f f f f f f f f f f f f f f f f f f f f >f
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& f ff f ff f f f f f f f f f f f f f f f f f f
f
f f f
(dim.) p

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f (dim.) p
f f f f #f
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f f f f f f f f
fø fø fø fø
ø ø ø ø
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122 # #
122
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3 2 4 3 3 2

#
& # # f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f ff f ff f ff f f f ff f ff f ff f
f f f f f f
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& f f f ff 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 poco a poco dim.
? ##### f
f
f f f poco a poco dim.
f f f f
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f f f f f f f f f f f f
fø fø fø fø fø fø
ø ø ø Pianist
72•
ø
100
ø ø

P63 SCORES Chopin Fant-FINAL.indd 72 12/01/2018 10:56

 WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 14 Frédéric CHOPIN (1810-1849) ADVANCED

Fantaisie-Impromptu Op 66
#####
125

& ## # f f ff ff f ff f f ff ff f ff
125

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

{
& f f ff f ff f f ff f ff ff fff fff fff f ff fff fff fff f
f fp f f f f f f
? ##### f f f f Œ Ó
p
∑
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f f f f f
fø fø f
ø ø
#####
128

& ## # f f f f f f f f
128

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

{
& f f f f f f f f
f f f ff f f f f ff f f f f ff f f f f ff f
f
pp il canto marcato
f f f f f f f
? ##### pp il canto marcato f
? ## # w #f f f
f f
w #f f
>
w
1 3 1

>
1 2
1 3
2 2

°
5
2

°
5

130 # #
130

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

{
& f f f f f f
f f ff f f ff f f ff f f ff f f f ff f ff f ff f ff f
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°
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132

& ## # f f f f f f f f
132
f f f f f f f

{
& f f f f f f f f f
f f ff f f ff f f ff f f ff f f f ff f ff f ff f ff f ff f ff f ff
f

? ##### F #F F #f
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f
2 1 1 2
3 2
2 1 1
3

#####
134 rit.

& ## # f f f f f f f f f f f f
134 4 3 5 1 rit.

#f f ff f f ff f f ff f f ff # w

{
& w
4 3 5 1

f f f #f f f f f f f f f f f f f #f f f f f f f f f f f f # w w
ww #w
w
ww #w
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#f w
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

f f f f f f f ppp
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

? ##### ppp
? ## # w w w w
w w
w w w
°
4

wø wø wø
°
4

ø ø ø
73• Pianist 100

P63 SCORES Chopin Fant-FINAL.indd 73 08/01/2018 10:38

 LUDOVICO EINAUDI BOWEN LIU MYCH
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74• Pianist 96
musicroom.com

p74_pianist100.indd 74 08/01/2018 13:29

 F O R T H E T E AC H E R

PIANO TEACHER HELP DESK

Handlin g r e s i st a n c e
to tec h n i c a l w o r k
Games with scales, singing and dancing are all good ways to bring life to the fundaments of technique,
says Kathryn Page in the first of a new series of articles by teachers for teachers

W
e like what we can not practise the C minor arpeggio as a
do and we fear what single line, beginning at the bottom of Kathryn Page has appeared in
we cannot do: so the keyboard alternating between right concert and on television as a
when faced with and left hands? Change hands after three soloist and in chamber music.
pianistic manoeuvres notes but make sure that the listener is She is a teacher, adjudicator
and technical challenges that seem unaware of the hand changes. Present and administrator for
uncomfortable, uncertain and unsafe, this as a ‘game’ to pupils and you should Chetham’s International
instinctively we can feel a reluctance find that your students are fully engaged. Summer School and Festival
to fully address the issues in question. for Pianists and the
Our minds may tell us to sort out our Having fun with Hanon Manchester International
vulnerabilities – to practise passages Which brings us to a crucial point: we Concerto Competition for
that are causing us technical grief – but ‘play’ the piano rather than ‘work’ it, so if young pianists. She lives in
our hearts may be in a different place. you want to engage interest in technical Cheshire and has five children.
Hand position moves, co-ordination, development, make sure that your pupils
security, speed, strength, stamina... it all are having fun when they practise Hanon while playing! Party games with purpose
seems so far removed from inspiration, and Czerny. We all love to sing and have been proven to lead to quantum
exciting repertoire and musical dance, and we all love to make believe leaps in technical development.
engagement. How can a teacher and impersonate! So make up words for
stimulate interest in technical work your Hanon exercises (try singing the Help pupils to help themselves
for pupils when all they want to do first one to the words ‘I can play my Remember that technical progress is a
is to practise their repertoire? Hanon swiftly’ in every bar), and try mysterious phenomenon: it can happen
The first thing teachers should avoid to feel an exhilarating physical bounce when least expected, and often after long
at all costs is dissociation from music. in your abdominal region as you periods of apparently horizontal activity.
Grade-exam syllabus requirements mean pinpoint each accented beat in the first Little steps are therefore essential.
that enormous lists of scales, broken of Czerny’s studies from The School of Discouragement may quickly occur
chords and arpeggios may appear to exist Velocity. Practise scales with different when pupils feel overwhelmed by a lack
in isolation from repertoire. Of course animalistic personalities (A minor as of control in terms of co-ordination and
this is nonsense – every teacher knows a slimy snake, C major as a regal lion, physical comfort. As teachers we can best
that it is virtually impossible to find G major as a fleeting greyhound). Feel an help our students by encouraging them
piano music which is not heavily based inner energy – an internalised dance – as to establish the daily habit of ‘playing’
on scales – so make a point of you groove up and down the keyboard with positivity and joyful exploration at
connecting technical work directly to in your arpeggio lists each day. To do so their technical development. And make
current repertoire. If Solfeggietto in C is to remove mechanical progress forever them feel part of a technical community:
minor (CPE Bach) is the current focal from the chains of drudgery. start up regular classes for your pupils –
point of lessons, it would be rather Teachers need to be cunning when group clinics in which you can support
random to work at the same time on the it comes to technical development too. each other and discuss methodology,
Db major scale and F# major arpeggio! Find ways to teach keyboard mechanics practice techniques and stages of
Much more relevant and useful for focus in such a way that your pupils are development. Scales classes can be fun,
and progress would be to warm up by unaware that they are being taught! especially if relay games and quick fire
practising C minor broken chords, If they find specific left-hand leaps responses from players positioned at two
arpeggios and scales. Practise within the challenging, get them to look up at the pianos can be arranged. Failing that, why
pitch range of Solfeggietto, and use a chandelier on the ceiling (rather than not set up a private technique discussion
tempo and rhythms based on the speed their left hand) as they play. If their group on social media for you and your
and figurations used in the piece itself. brains are traumatised by the challenges pupils? Encourage mutual support and
Find ways to improve via exercises based of doing one thing in the right hand help them to help themselves –
on similar challenges. simultaneously with something totally technique will then become a group
In Solfeggietto the rapid alternation different in the left, then get them to ‘quest’, a collective goal. By feeling part
© Erica Worth

from one hand to the other can lead rotate in an anti-clockwise direction an of a piano team, mechanical obstacles
to awkward accents and bumps – so why orange on the floor with their left foot may well be much easier to overcome! ■
75• Pianist 100

p75 Teach-FINAL.indd 75 09/01/2018 14:19

 JAZZ

LEARNING LESSON 2: ii
ii-V-
-V-ii (MINOR)
-V-
JAZZ PIANO CHORD PROGRESSIONS
The true flavour of jazz is to be found in minor-key progressions, explains Dave Jones:
Jones:
try out these chords and scale improvisations, and then let your imagination take flight

T
hese lessons in jazz piano began by exploring ii-V-I (major) Dave Jones is a pianist, composer, producer,
chord progressions and ways of improvising over them. teacher and writer. His work as a jazz
To do this in minor keys is a little more difficult, but the pianist takes him to the US, India, France
rewards are great: minor-key progressions are some of the and Ireland, performing at festivals and
most flavoured and distinctive sounds associated with jazz. giving workshops. He has taught students
Many ‘standard’ jazz tunes include the minor-key of all ages and up to Masters level, and
progression of ii7-V7-i7; a jazz pianist needs to have mastered these co-devised and authored BA programmes
progressions with both hands in order to accompany other musicians and in music, including a new module on
singers (see Example 1a). The challenge is to play these progressions in the improvisation. Acclaimed recordings have
LH in the form of rootless voicings (see Example 1b), almost without led to commissions for TV and film, and
thinking. Then you can move to the next stage of introducing the RH some of his tracks have recently been
to improvise over these chord ‘changes’. used in The Big Bang Theory, Late Night
In these examples, typical of most jazz, the voicings are extended from with Seth Meyers and Location, Location,
triads and dominant 7th chords to include higher parts of the chord, such Location. Dave also writes for Jazz Journal.
as the 9th (including flattened or sharpened versions) and altered fifths www.davejonesjazz.com/workshops.asp.
(sharpened or flattened). The three chords of the ii7-V7-i7 progression
in A minor might typically become labelled as Bm7b5 (also called B half- \
diminished), E7#5(b9), and Am9 (A minor 9). I have used the key of A minor &\
,, ,
,,,, ,, ,,
for these examples because it’s the relative minor of our major-key examples
(C major) from Lesson 1. % \\ , Q,,,

Example 1a: Notation of voicings for ii7b5-V7b9-i7 progression in A minor

(two-handed full chords, with root notes), typically to accompany another Again, there are several ways to voice the LH chords for this purpose.
instrument or singer For the sake of variety, experiment with altered notes in the second chord
(the dominant), replacing the b9 (F§) with #9 (F##) etc, as above in the
\
& \ ,, ,,, ,, ,,
discussion of the two-handed voicings.
Note the LH rootless voicings in Ex 1b, where the LH takes over the
% \\ ,, Q, ,, ,, notes played by the RH in the full two-handed chords in Ex 1a. These rootless
, , , voicings are the basis over which RH improvisation can take place. They have
been the most common type of LH chord voicing in jazz since the 1950s.
Listen to great jazz pianists using this technique, such as Bill Evans (in the box
This is one of several ways possible ways for you to voice the chords in opposite there’s a link to him playing Autumn Leaves) and Herbie Hancock.
this progression. When playing numerous repetitions of the same chord You’ll notice in these videos that the pianists don’t always play the LH chords
progressions, it’s good to introduce variety, and change one or maybe two on the first beat of the bar where the harmony changes. Sometimes they delay
notes in the dominant chord V, E7#5(b9), in this case replacing the b9 the chord slightly, or even play it fractionally early, at the end of the previous
(F§) with the #9 (F##) and/or replacing the #5 (B#) with the b5 (Bb). The bar (we’ll explore this technique in a future lesson).
dominant chord in the minor is where these particularly ‘spicy’ extended/ Once these rootless voicings have been mastered in the LH, and in as
altered notes are naturally available, so try out some different combinations many minor keys as possible, how do we improvise with the RH? We’ll
of these alterations and see what you like the sound of. begin with the approach outlined in Lesson 1, making melodic phrases
from suitable scales, but we’re now dealing with the complexity of minor
Example 1b: Notation of LH rootless voicings for ii7b5-V7#5b9-i7 tonalities, and the richer possibilities which they present in terms of scales
in A minor, in preparation for RH improvisation (top, next column) and note choices.
76• Pianist 100

p78 Jazz-FINAL.indd 76 11/01/2018 09:16

 Here are some examples of scale choices for improvisation in the RH.
Over the aforementioned ii7b5-V7b9-i7 in A minor, there are three obvious The dominant chord in the minor is
linear approaches. Firstly the natural minor scale on A (Example 2a). The
minor pentatonic scale on A (Example 2b) has the advantage of fewer scale
where par ticularly ‘spicy’ extended/
notes and more leaps which makes us more likely to produce nicely shaped altered notes are naturally available
melodic phrases. Thirdly, the harmonic minor scale on A (Example 2c),
when used carefully, can give the impression of weaving elegantly around
the dominant chord, chord V. I have avoided the melodic minor scale at Once you have played them, try to invent your own phrases in the RH
this early stage; it is more difficult to use because the 6th and 7th must be (using the scale notes in the examples above) over these LH chords; try also
sharpened when ascending, and then naturalised when descending. to vary the rhythm by starting a phrase, a quaver or crotchet further into the
bar, leaving some rests, and by using different note values (quaver triplets, and
Example 2a: Natural minor scale on A ultimately semiquavers) to make a wider variety of rhythmic phrases. As you
\ . . . . . gain confidence in playing these RH phrases and coordinating them with the
&\ . . . LH chords, you may find that a metronome helps you to gain confidence and
facility, initially set to a moderate tempo (around 120 crotchet beats per
minute), and then gradually increasing the tempo to something brighter.
Example 2b: Minor pentatonic scale on A
Lesson 3 will use what we have learned so far to play and improvise over
\ . . . .
&\ . . the chord progression for Autumn Leaves. ■

WATCH DAVE ONLINE

Example 2c: Harmonic minor scale on A
Don’t miss Dave’s video lessons,
\ . . . Q. .
&\ . . . which you’ll find at www.
pianistmagazine.com under
‘Piano Lessons’. Dave
Having chosen scales for the RH that fit the underlying LH chords, what demonstrates everything
can we do with them? Example 3a shows a possible phrase using the natural he discusses on these pages.
minor scale on A. Try playing this, then try the phrase in 3b which uses Seeing him in action will make
the minor pentatonic scale on A, and then 3c, with the harmonic minor learning jazz piano clearer!
scale on A. Watch the Bill Evans excerpts
The rhythm of these RH phrases is predominantly in quavers, as you here: pianistm.ag/bevans1;
may have observed in Lesson 1. This quaver rhythm is the norm in jazz pianistm.ag/bevans2
improvisation, and there are two ways of playing it – straight (which is
suitable for playing over Latin American, funk, and rock grooves) and
swung (for playing over swing grooves). Jazz is more of an aural tradition
than a written one. Swung rhythm is best mastered by listening to others
play it; in the accompanying videos I play all the examples in both straight
and swung rhythm. Do also listen to the links of great jazz pianists playing
‘swung’ rhythm.
Try both rhythmic approaches in the following examples: four bars using
straight quavers, then the same four bars using swung quavers.

Example 3a: Improvised phrase using the natural minor scale on A

\ . . . . . . . . .
&\ . . . . . . . , ,
,, ,Q ,,, , ,
% \\ , ,,, ,,,

Example 3b: Improvised phrase using the minor pentatonic scale on A

\ . . . . . . . .
&\ . . . . . . . . , ,
,, ,
,, ,, ,, ,,
% \\ , Q,,,

Example 3c: Improvised phrase using the harmonic minor scale on A

\ . . Q. . Q. . . . .
&\ . . . . . . P. , ,
,, , ,, ,, ,, ,,
% \\ , Q,,,

It’s a good idea to use the top half of the harmonic minor scale over the
dominant chord V in this progression, E7#5(b9), because the G# from that
scale fits with the major third (G#) from the chord at that point, but then
it’s also good to move away from the G# as we approach chord i, Am9, and
use the G§ instead (as above).
These initial suggestions of RH phrases are quite basic; they simply run
up and down the scale with a few alterations to the pattern here and there.
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 E D U C AT I O N

UNDERSTANDING THEORY
PART 12: SONATA FORM
Our anniversary issue brings you an accessible introduction to the most significant
and expressive of classical structures in music: Nigel Scaife is your guide

O
ur exploration of theory has now brought us to the structural
principles which underpin many of the greatest piano pieces Nigel Scaife began his musical life as a chorister
ever written, from the Classical sonatas of Haydn and Mozart at Exeter Cathedral. He graduated from the Royal
through to Beethoven, Schubert, Chopin, Brahms and on into College of Music, where he studied the piano with
the music of our time. The term itself – sonata form – is misleading as it Yonty Solomon, receiving a Master’s degree in
doesn’t refer to the way in which an entire sonata is constructed. Instead it Performance Studies. He was awarded a doctorate
describes a particular approach to composition, especially of first movements. from Oxford University and has subsequently had
The name is also misleading in that this approach to form is used in many wide experience as a teacher, performer, examiner
genres, especially of instrumental music: not only sonatas but also overtures, and presenter. Nigel has contributed to many
symphonies, concertos and string quartets. publications as a writer on music and music education.
What sonata form isn’t is a rigid structure governed by rules to be
followed by composers according to their own lights. Think of it more of
a principle by which musical material is organised; a tonal process or strategy. These forms are generally cast in either binary or ternary form (covered
The fundamental concept is of an opposition initially stated, then intensified in Pianist 98 and 99), and so it is unsurprising that sonata form draws on
and eventually resolved. This might sound a bit abstract, but the idea elements of both forms. The harmonic structure of a sonata-form movement
of dynamic opposition being resolved is at the heart of sonata form. has a binary shape, as the music moves from tonic to dominant, followed by
The resulting musical drama is what it’s all about. a repeat, and then back to the tonic at the end via modulations. In terms of
The danger of setting out the underlying principles, as they are outlined thematic development, however, sonata form is more ternary in nature:
below, is that when we come to analyse a given work we do so by considering
the ways in which it deviates from the textbook definition of ‘sonata form’ Exposition Development Recapitulation
rather than by properly looking at it as a unique musical entity. This is a
point well made by the late pianist and scholar Charles Rosen in his book
Sonata Forms – note the plural! The standard description ‘applies rather In the exposition section the composer ‘exposes’ or presents the core material.
badly to many 18th-century works, and in general misrepresents the practice At first there is a collection of themes stated in the tonic key: the first subject
of that century.’ So bearing these important caveats in mind, let’s now look group. The composer may begin with a particularly arresting idea; an
briefly at the historical roots of sonata form and how its core features came introduction of some kind, perhaps at a slow tempo such as in Beethoven’s
into being. ‘Pathétique’ Sonata Op 13, where the opening material is later integrated into
Originally the word ‘sonata’ (from the Italian suonare, to sound) referred the main body of the movement.
to a piece of music ‘sounded’ by instruments as opposed to a piece which Within the first subject group there is often a degree of repetition,
is sung. For a long time the term didn’t refer to any formal pattern, but the allowing listeners to absorb the ideas which will later undergo development.
Classical-era piano sonata has its antecedents in the keyboard sonatas of The repetition of these initial ideas may lead into a modulation known as
Domenico Scarlatti and the work of later 18th-century Italian composers a bridge passage. This modulates to the dominant of the home key, or to
such as Baldassare Galuppi. ‘For most of the 18th century,’ observes Rosen, what is often called a ‘half close’ on the dominant of the dominant (V of V).
‘sonata form does not exist as a separate, clearly definable form – and this is This allows the second subject group of ideas to be stated in the dominant,
true even for most of the second half of the 18th century. What does exist is if the music is in a major key, or the dominant or relative major in a minor
a series of procedures for enlarging, articulating, and dramatizing short key. Of course, it doesn’t always happen like that! Take Beethoven’s Op 53
patterns of two, three, and four phrases – brief dance forms and song forms.’ ‘Waldstein’ Sonata, for example. Beethoven opens the second subject group
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 with a chorale-like theme in the distantly related key of E major, the mediant,
which greatly intensifies the effect of a polarising contrast. Six sonata first movements to explore
Compared with the first theme, the second subject group tends to be
strongly contrasted in mood and texture, often more lyrical than the opening
ideas. Towards the end of this section, a closing theme or themes may serve 1 Mozart: Sonata in F K332
Straightforward in its form, this movement is a good example for easy
analysis of a sonata form structure. The three ideas in the first subject
to wrap up the exposition and lead towards a final cadence on the dominant.
At this point, especially in Classical-era sonata form, a repeat sign often brings group (bars 1-12, 12-22 and 22-31), each quite different in character, are
the entire exposition round again. Alternatively a short transition or codetta followed by a bridge passage that is later adapted in the recapitulation.
leads back to the tonic followed by a repeat or, if no repeat is marked, the
music may carry straight on to the development.
2 Beethoven: Sonata Op 57 ‘Appassionata’
There’s no exposition repeat in this stormy movement and the
development shifts into remote keys. The usual tonic resolution into
Exposition the recapitulation is harmonically sidestepped and there’s a climax in
First subject Bridge Second the coda before its dramatic ending.
subject group
Modulation
group
: 3 Schubert: Sonata in B flat D960
One of the longest in Schubert’s sonatas, the sublime first movement
Tonic moving to V of V Dominant
or relative key has a three-key exposition. It has many of the harmonic, melodic and
expressive hallmarks of Schubert’s late style.

During the course of the 19th century, the exposition repeat became
something of a convention: one commonly ignored in performance of 4 Liszt: Sonata in B minor
Structurally complex and endlessly intriguing, this one-movement
sonata is a classic of Romantic piano repertoire. The core elements of
Romantic piano music such as Chopin’s B minor Sonata. However in this
work, as in other sonatas, the last couple of bars of the exposition are slightly sonata form are subverted and overlaid with other structures.
adjusted so that for the first time they lead naturally back to the start and
for the second they lead seamlessly into the development: like a kind of
musical junction. Ignoring the repeat may upset the equilibrium of the 5 Dutilleux: Sonata
This combines traditional elements of sonata form with a personal
language, often ambiguously combining major and minor modes,
music as the temporal relationship and proportion between the sections
is altered – often working against the composer’s stated or implied intentions. and a jazz-inflected rhythmic energy.
In the development section the ideas presented in the exposition are
creatively explored. Another misleading term: the development of musical
ideas takes place throughout a sonata-form movement, not only within its 6 Barber: Piano Sonata Op 26
A fast and highly energetic movement which fuses sonata form
with compositional techniques such as serialism. It has become a classic
middle section. Composers may build musical drama and sustain the
narrative with infinite variety at this point. Different themes may be of 20th-century piano music.
combined so that they appear in a new light, or a theme might be broken
into fragments. A theme first heard in a major key could appear in the minor tonic, just as it was heard at the start, and this is a significant moment
and so on. The composer may begin the development with the idea presented within the structure. Composers handle recapitulation in many different
in the transition or codetta passage heard at the end of the exposition, ways. The return of the opening idea might be understated and creep in
in order to create a seamless movement between sections. without fanfare; at the other end of the scale there may be a huge build-up
Sometimes an entirely new idea (known as episodic material) is introduced of tension to be released in an outburst of glory. Whatever the process and
within the development section: a device frequently encountered in piano approach, we will now hear the first subject ideas quite differently from the
sonatas by Mozart such as K283 in G and K333 in Bb major. Modulation start, having experienced the music of the development and absorbed more
often occurs within a development section, perhaps abruptly and frequently. fully the nature of the material being presented.
Schubert typically moves through many keys and in relatively close Now the composer finds a way to arrive at a point where the second
succession, sometimes taking us far away from the home key. subject group can also be stated in the tonic, as opposed to its original key.
In early Classical sonata movements the development section is often This section is sometimes called a transition and may be an altered version
relatively short and harmonically unadventurous. From the turn of the of bridge passage used in the exposition. Much of the original exposition
19th century, however, it expanded and grew into a space where the composer will be restated, but not necessarily complete. The recapitulation sometimes
would fully explore the inherent possibilities of the material and create a introduces new material which can be called ‘secondary development’.
greater degree of instability, tension and excitement. Beethoven was the great However the composer deals with this, the second-subject ideas will
innovator here: his piano sonatas are central for an understanding of how reappear in a new guise, transformed by what has happened from their
sonata form evolved from the Classical era into the Romantic. previous statement and now heard in the new light of the tonic key. In fact
Towards the end of the development section, there is a harmonic sometimes the recapitulation begins with the second subject, especially if
preparation for the return to the tonic key through reaching the dominant the first subject material has been to the fore in the development section.
seventh of the tonic, known as the retransition. As with all features of sonata Substantial sonata-form movements tend to close with a coda – ‘tail-piece’
form, there are notable exceptions. For example, in his First Piano Sonata as it is in the Italian – which rounds off the music and brings a sense of balance
to the narrative. The coda is often a significant part of the whole movement,
as in Beethoven’s ‘Appassionata’ and ‘Waldstein’ sonatas. I like Charles Rosen’s

The fundamental concept is of

formulation: ‘The purpose of a coda is, if we take a common-sense attitude,
to add weight and seriousness: like an introduction, it promotes dignity.’
an opposition initially stated, then Having followed the journey of sonata form, we might try to understand
how and why it has fascinated and stimulated composers for well over two
intensified and eventually resolved centuries. I think of it as an interplay of contrasting ideas, a way to present
conflict and resolution in sound. It is about the tension within a harmonic
framework and a set of thematic ideas which can interact with that framework
in expressive ways. The methods and approach to sonata form may vary
Brahms concludes the development section with a dominant seventh on the immensely, but the overall effect will be to reconcile tension between
tonic. Such harmonic and thematic twists and turns are at the heart of what opposing ideas. To return to our caveats at the start – there is a textbook
makes sonata-form music so expressive and endlessly fascinating! definition of ‘sonata form’ which we’ve covered here, but every sonata has
The recapitulation then restates the music of the exposition in a slightly its own form and its own framework of expressive communication which
different way. It usually opens with a restatement of the first subject in the we should hear and analyse on its own terms. n
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 100
PIANO LEGENDS

not
th

out
Writer and publisher Martin Anderson recalls his encounters
with three centenarian pianists who were living proof that music
keeps you young at heart – and sometimes in body too

I
can’t remember exactly when I met My first impression was of a small, 1939: Alice Herz-Sommer she was 110 years old, made the news
Alice Herz-Sommer. I was giving a bird-like creature who radiated happiness. below with her son bulletins around the globe.
talk at a symposium organised by When you talked to her, you had the Stephan (later Raphael) Alice had a mantra, ‘Life is beautiful’.

Opposite page, top © Christopher Nupen; bottom © Archiv Alice Herz-Sommer.This page, top: Regina Hepner-Neupert; bottom left © Archiv Reinhard Piechocki
the Westminster Synagogue in impression that she was delighted to be Sommer before their She held to it despite her memories of
Knightsbridge, about the composers talking to you, such was the direct internment in terrible times and the death of her only
whom the Nazis had interned in the sincerity of her warmth. I could hardly Theresienstadt son, the cellist Raphael Sommer, in 2001.
Terezín concentration camp outside have imagined that over the next decade concentration camp. She lived alone in a flat in North London,
Prague. Alice, then in her late 90s, was a she would become not only an important Above, her hands at the ate frugally and was clear-headed and
guest of honour, having spent nearly two figure in my own life but an international piano healthy, studying and exercising until
years in Terezín and given over a hundred symbol of tolerance and forgiveness. late in life, happily receiving a stream of
concerts to her fellow prisoners there. Her death, on 23 February 2014, when visitors almost every weekday afternoon,
maintaining her diary in her memory.
And she played the piano for three hours
every morning, even though arthritis had
bent her fingers out of shape.
Alice had no public career as such.
Its beginnings were crushed by the
outbreak of war, after which she and
her son left Czechoslovakia to resettle
in Israel: having survived the Nazis,
she had no intention of going through
another round of oppression with the
Communists. In Israel she became an
important teacher and made some
recordings for Kol Israel, the national
broadcaster, but (as far as I know)
nothing was released commercially. As a
result, although I was in no doubt about
Alice’s qualities as a human being, I had
no real idea of her standing as a musician.
Then, in 2006, when Alice was 103,
Reinhard Piechocki and Melissa Müller
published Ein Garten Eden inmitten der
Hölle (later translated into English as
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 A Garden of Eden in Hell: Macmillan,
2007), a biography written on the basis
of three years of daily telephone
conversations and occasional meetings
with their subject. A companion CD
included recordings made by Alice between
the 1960s and 1995, with a spoken
introduction from Alice herself. So what
if the piano is often out of tune, and if
birdsong offers unexpected counterpoint:
the recording reveals music-making of
the highest order. Alice plays with an
unerring sense of pulse and the
profoundest understanding.

Memories of Kafka
Alice lived at the forefront of history. Her
mother was a childhood friend of Mahler’s,
and her elder sister, Irma, was married to
one of Kafka’s best friends. She recalled
Kafka a century later: ‘I remember one
very beautiful situation. We were maybe
seven years old, my [twin] sister and
myself; we were outside Prague in the
summer days. He took us and we went
to the forest and we were sitting on a
bench and he was sitting in front of us
on a stone, and he was telling us a story.
I can’t remember the story but I remember
the impression we got. He was like a child, Above: Herz-Sommer and I got a kiss from Ansorge! One dark and I played a lot of first performances
with big eyes. We were three children, at the age of 108 with moment in this masterclass I noticed from young composers’. After she had
sitting there. […] He was a man who Martin Anderson. from the beginning: he was a drinker. played a sonata by Alois Hába, ‘in the
apologised to himself for being alive: Below left: with her So I asked if I can be the first, at 9 in break he came and thanked me. I said
shy, didn’t speak and afraid of living. husband Leopold (right), the morning, because even at 11 or 12 he to him: “You didn’t know I forgot two
Life was a fight for him’. Irma had some and below right: her was not quite so interesting. But it doesn’t bars?” – and he didn’t […]. Hans Krása
lessons from the composer Alexander public debut as a pianist matter: we learned.’ She then spent a was a good friend of mine, not only him
von Zemlinsky, whom Alice also got in 1924 year studying with Eduard Steuermann but his sister and his parents. He was the
to know: ‘He was not good-looking, (‘a very strange character’). In 1933 she contrary of Ullmann: not knowledgeable,
not tall at all, but he was enormously went to Berlin to play for Artur Schnabel, he was a charmer, a womaniser. He was
charming and was surrounded by the who pocketed the fee and said there was already 40-something and living still
Opposite page, top © Christopher Nupen; bottom © Archiv Alice Herz-Sommer.This page, top: Regina Hepner-Neupert; bottom left © Archiv Reinhard Piechocki

most beautiful women; they were nothing he could teach her. with his parents at this time – very
enthusiastic about him’. She frequently performed the music strange. His mother took care of him’.
Alice’s own development as a pianist of her Czech contemporaries. She knew Alice and her son spent two years
likewise featured some noteworthy the composer Viktor Ullmann well in Terezín, where – almost from the
names. Her first important teacher was before they were locked up in Terezín grave – her husband saved her life: ‘My
the composer-pianist Václav Štěpán. together: ‘He was a shy person and very husband was only there in the first year,
She also was a ‘grand-student’ of Liszt, polite, and he was very knowledgeable, then he was sent with the other men of
having studied with Conrad Ansorge, not only musically: literature, poetry, he the best age, from 20 to 35. Before he
one of Liszt’s later disciples: ‘He spoke knew everything’. Through Štěpán, ‘I left us – and this I can’t understand even
a lot about it. Liszt got a kiss from knew Josef Suk a little bit, not very much. now – I had to swear to him that I will
Beethoven, Ansorge got a kiss from Liszt I knew a lot of young Czech composers, not do anything voluntarily. This was
on a Monday. On the Thursday again
a transport, and a thousand more were
sent away. Under the instruction “Follow
your husbands”, mothers and children
followed their husbands – but they never
found their husbands and were killed’.
Her concert activities in the camp
took place in the teeth of terrible
material deprivation: ‘We didn’t eat:
in the morning we had a black water
named coffee, at lunchtime a white water
called soup, in the evening a black water
called coffee, so my son didn’t grow a
millimetre. It was really very miserable.
I played the 24 Études by Chopin
without eating. […] We played without
music: we were not allowed music; it
was all in our head’.
For all the dislocations of her life – the
last of which was moving to London at
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 PIANO LEGENDS
the age of 84, when Raphael was
appointed to the teaching staff of the
Royal Northern College of Music in
Manchester – Alice retained a supreme
equanimity of temperament, holding to
that mantra: ‘Life is beautiful’.

Mieczysław Horszowski
One of the longest careers of any
performing musician was that of
Mieczysław Horszowski, born in Lemberg
(later Lwów and now Lviv, in Ukraine)
on 23 June 1892. By the age of seven he
was a pupil of Theodor Leschetitzky in
Vienna (making him a grand-student of
Carl Czerny). His recital debut came in
Vienna in March 1902 and his concerto
debut (Beethoven’s First with the Warsaw
Philharmonic under Emil Młynarski)
late that same year. In 1905 he played for
Fauré and met Saint-Saëns. Based in Milan
from 1914, at the outbreak of the Second
World War the Jewish Horszowski fled
to the USA; an invitation to join the
teaching staff of the Curtis Institute
of Music then gave him a base for the
rest of his long life. His students there
included Cecile Licad, Richard Goode,
Steven De Groote, Anton Kuerti, Horszowski continued to play in Portraits of Horszowski: Wigmore Hall, I went backstage to ask
Murray Perahia and Peter Serkin. public until October 1991, by which as a young boy, in his later him if he might consider writing a
There was a week in the mid-1980s time he was 99 years old. His programmes years and at the piano foreword to a book on Donald Tovey
that was some week for London piano in those last years usually opened with which I, as founder of Toccata Press,
enthusiasts. On Sunday Horowitz gave a Bach, followed by a Chopin selection would be publishing (Horszowski and
recital at the Royal Festival Hall, Arrau and then, after the interval, perhaps a Tovey had known each other in the
made a concerto appearance there on piece written for him by one of his 1930s). He responded quickly, agreeing
Wednesday evening, and on Thursday composer friends such as Szymanowski to preface the Tovey book (which was
Horszowski gave a recital at Wigmore or Villa-Lobos, concluding with an early never written) and thanking me for my
Hall. I gave Arrau a miss but was hardly Beethoven sonata. I heard him a handful comments about his playing, in a tone of
going to be so casual about two of times in his later 90s, in London and such genuine humility that it still amazes
musicians whom I considered among Paris, and his behaviour on two of those me now. I once translated a letter of
the greatest pianists alive. Horowitz occasions says much about his personality. Einstein for the granddaughter of its
performed as if he wanted to show to all Parisian audiences are poor listeners addressee, a fellow physicist, and the
3,000 people in the Festival Hall every because many of them are there to be seen, same was true there: a complete lack
intricacy of piano sound and texture. of ego in someone who did what he
Four days later the 94-year-old did supremely well.
Horszowski played as though there was
no one between himself and God. It was The 94-year-old Horszowski Leo Ornstein
the most sheerly beautiful tone I have
ever heard from a pianist, before or since. played as though there was no The third piano centenarian with whom
I had some kind of contact (indirect in

one between himself and God this instance) had a life-story even more
remarkable than the other two. In 1993
I auditioned for review a CD of cello
sonatas by Samuel Barber and Leo
Ornstein. I was surprised to discover
and they filled the Théâtre des Champs- that Ornstein was still alive and repeated
Élysées not because they were about to my surprise in an online classical-music
hear one of the great musicians but forum. A fellow member of the group
because a pianist still playing in his late gave me contact details for Ornstein’s
nineties had a circus element to it. son, Severo, so I dropped him a line,
Horszowski, a tiny man, by then attaching my review. The answer was
virtually blind, was guided onto the stage swift: a word of thanks and the statement
and pointed in the general direction of that ‘I’ll take it to show to Dad the next
the piano. He felt for the keyboard for a time I go to see him.’
moment and then banged out a handful For most of his life Ornstein’s date
of dissonant chords. The audience of birth was clouded in obscurity, not
suddenly stopped applauding to draw in least because his father had falsified his
its collective breath – and Horszowski age to allow him to enter the St
calmly sat down and began to play his Petersburg Conservatoire, and then
first Bach piece. because his family, fleeing persecution
About the same time, after what in Imperial Russia in 1906, had left
turned out to be his last appearance at their papers behind; they settled in
▲

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 The refresher course in two books for all abilities

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 PIANO LEGENDS

Centenarians of the Piano

Frances Adaskin (1900–2001), who married into a well-
known Lithuanian-Canadian family of musicians (the composer
Murray Adaskin was her brother-in-law)

Katja Andy (née Käthe Aschaffenburg, 1907–2013), whose

mother studied with Clara Schumann and who became yet another
Hitlerflüchtling in the USA – one well enough respected to
occasion a newspaper salute from Alfred Brendel on her centenary

Ralph Berkowitz (1910–2011), who accompanied

Piatigorsky, Enescu and others and acted as Koussevitsky’s assistant,
becoming Dean of the Berkshire Music Centre at Tanglewood
Leo Ornstein in his 90s
Roy Douglas (1907–2015), a beacon of support for British
New York in 1907. Ornstein made his confirming that Ornstein was just as composers, acting as Vaughan Williams’ amanuensis from 1947,
debut in 1911. At first his recitals were feisty a composer at the end of the 20th though he’s best known for the Chopin orchestrations in the ballet
well received – but then he began to century as he had been at its beginning. Les Sylphides
introduce his own compositions into his Marc-André Hamelin recorded No 8 and
programmes, drawing incomprehending some other Ornstein works for Hyperion Jan Ekier (1913–2014), doyen of Polish Chopin scholars who
jeers from members of his audience who in September 2001, and I was asked to prepared the authoritative edition of Chopin’s music
didn’t know what to make of the write the booklet notes – at last the
‘vehement, unruly rhythm, […] dense perfect opportunity to consult the Irving Fields (1915–2016), composer of countless light-music
chord clusters [...] and brutal accents’ composer in person and get to know hits who at 100 was still playing six nights a week in an Italian
(Gordon Rumson) of a work like Wild him. It was not to be: he died on 24 restaurant in New York
Men’s Dance. Ornstein enjoyed a few February 2002, at 108 years of age.
years at the top of his profession, filling Severo Ornstein told me a story of his Randolph Hokanson (b1915), Seattle-based but a student of
huge venues. He was all of 22 when a father’s continued acuity in advanced old Harold Samuel, Carl Friedberg and Myra Hess and professor at the
biography of him first appeared – 89 age: ‘Very late in life, when he was well University of Washington
years before the second one, Leo over 100, knowing how my Dad loved
Ornstein: Modernist Dilemmas, Personal Bach, I decided to make him a tape of Conrad Leonard (1898–2003), British composer of light
Choices (Indiana University Press), by Bach cantatas and got a small tape player music who shared the stage with Fred Astaire and Gracie Fields
Michael Broyles and Denise Von Glahn. for him. When we tried it out, however, and who at 99, on doctor’s orders, reduced his tally of engagements
This later volume finally confirmed he was unable to hear it clearly – his to 75 a year
Ornstein’s year of birth as 1893. hearing having started to fail. When I
In the 1920s Ornstein began to tire of expressed my sorrow to him, he looked Draga Matković (1907–2013), Croatian-German composer
being expected to outrage his listeners – up at me with a sly smile and, tapping his and teacher – a YouTube clip shows her reviving one of her own
and in any case the richest late-Romantic head, said “Not to worry”. Clearly there piano pieces at the age of 102, 82 years after she wrote it
harmonies could sit side by side with the was plenty of music still churning around
avant-garde in his music – and he in there to keep him entertained.’ n Andreja Preger (1912–2015), born a citizen of the Austro-
gradually withdrew from the concert Hungarian Empire, who survived the Holocaust by joining
platform. He disappeared from public Tito’s partisans, and founded the Belgrade Trio, with which
view early in the 1930s, by which time on film and CD he toured widely
he and his wife had established careers as
teachers in Philadelphia, going on to Alice Herz-Sommer Eleanor Sokoloff (b1914), Cleveland-born member of
found their own school. When Leo and The Lady in No 6: Music Saved the faculty of the Curtis School of Music since 1936, with
Pauline retired in 1953, they effectively My Life dir Nick Reed Leon McCawley, Lambert Orkis and Craig Sheppard among
vanished as far as the musical world was Everything is a Present her innumerable students
concerned, and were ‘rediscovered’ only dir Christopher Nupen
in the early 1970s, when Pauline Ornstein’s See also YouTube, including a clip Jenő Takács (1902–2005), much-travelled Austro-Hungarian
efforts to preserve her husband’s music of Herz-Sommer playing a Chopin student of Joseph Marx and Hans Gál, professor of piano in Egypt,
came to the attention of the musicologist waltz on her 108th birthday the Philippines, the USA and elsewhere. Before a proposed visit
Vivian Perlis. In his late 70s, Leo Ornstein Mieczysław Horszowski to interview him (which never came off), when he was 102, I was
was on the point of being heard again. Wigmore Hall, June 1991 (Chopin, warned that he was now fairly deaf, ‘Aber reden kann er noch’ – ‘he
He had been composing all the while, Schumann etc) WHLIVE0023 can still talk’
Photo courtesy of Severo Ornstein

often dictating his music to Pauline, and Search ‘Tokyo 1987’ on YouTube for a
finished his last work, his Eighth Piano live film of the first Chopin Impromptu Izabella Zielińska (1910–2017), a descendent of the famous
Sonata, in September 1990, when he was Leo Ornstein Ogiński musical dynasty in Poland and with a flourishing concert
in his later 90s – only Elliott Carter Piano Music Marc-André Hamelin career either side of the Second World War before the arrival of five
would write for longer. The last few bars Hyperion CDA67320 children forced her to concentrate on teaching
are marked ‘As strident as possible’,
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2018_01_Pianist 08/01/2018 16:28 Page 1

OFFICIAL HOME
OF THE INEXTINGUISHABLE
PIANO SERIES
www.hyperion-records.co.uk

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 YO U N G S TA R S

th

Stars of
Tomorrow
Over 17 years and 100 issues Pianist has featured all the great pianists of our day. Who will you
be reading about in Pianist 200? Who will make you queue around the block to buy a ticket or
an album? We looked into our crystal ball and came up with six answers

Kit Lara
Armstrong Melda

Born 1992, Los Angeles, USA

TRAINING Degrees in music from the Royal Academy of Music and
in science from the Pierre and Marie Curie University, Paris. He has
studied regularly with Alfred Brendel since 2005 and has a substantial
Born 1993, London, UK

© Jaka Vinsek (Churnchetz), © Aaron Abbott (Diehl), © Eva Vermandel (Kolesnikov), © Kaupo Kikkas (Bartlett)
body of work as a composer

What the critics say ‘OK, Kit, you’ve proved that you’re Awards BBC Young Musician (2010)
amazingly talented and smart. Now you can afford to lighten up.’
Gramophone, after his Sony recording debut of Bach, Ligeti and Armstrong, What the critics say ‘Unquestionably one of the most outstanding
January 2014 performances of the piece I’ve ever heard, it evoked its yearning,
energy, loneliness, lyricism, fury and gutsiness with playing of stunning
What Pianist says In the delicacy and parody of Couperin, in the precision, technical adroitness and immense, perceptive feeling.’
tense, post-Mozartian landscape of Beethoven’s C minor concerto, and 365 Bristol, after her performance of Chopin’s Second Sonata, May 2016
in his own tonal and often witty compositions, Armstrong is a pianist
with edge – a master of singing line, no doubt, but always in command What Pianist says It’s Melda’s range and depth of tone that marks
© Neda Navaee (Armstrong), © Emrah Bostan (Melda)

of competing and contrasting voices her out as a pianist mature beyond her years. There’s nothing brittle
or skittish about her playing: she has a command of the big picture,
In his own words ‘I’ve always been interested in many things. especially in late-Romantic music.
I’ve never tried to specialise. But the concerts keep me excited. I need
them to renew my great love of music’ In hER own words ‘We are fighting a losing battle when we try
to “sell” music. It should not have to be sold, but should be shared’
See and hear him on C Major Entertainment, playing the Goldberg
Variations (741608); and in Set the Piano Stool on Fire, a documentary See and hear her at Wigmore Hall, London (28 January) and the
film by Mark Kidel Theatre Royal, Nottingham (18 February), playing Mozart and Brahms

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 Marko Aaron
Churnchetz Diehl

w Born 1986, Maribor, Slovenia

Awards Various; a degree in jazz piano from the University of Graz
What the critics say ‘A suite of excellent compositions with
an attachment to the themes and composing techniques of the
great Russian classical composers of the early 20th century’
Jazz Journal, reviewing his fourth album Ruthenia, June 2017

What Pianist says An exquisite-sounding studio pianist,

Born 1985, Columbus, USA
Awards Jazz Journalists Association Award for Up-And-Coming Artist
(2013), Monterey Jazz Festival Commission Artist (2014)

What the critics say ‘Space Time Continuum upholds a traditional

framework while crisply demolishing the usual notions of conservatism.
It’s a jubilant, swinging outing’ The New York Times, June 2015

What Pianist says Classical cred from a Juilliard School training and
whom we suspect would be quite something to hear in concert New York Philharmonic gigs; partnerships with the likes of Quincy Davis
and Cécile McLorin Salvant; elegance, polish and restraint are the hallmarks
In his own words ‘I would describe it [Ruthenia] as a jazz of a sound and a style that exudes class
record with a classical touch. It is not necessary to be just a jazz
fan to like this record’ In his own words ‘If I say I’m going to learn a piece by Chopin, the
music is right in front of me and I learn that piece. With jazz, there are so
Hear him on Fresh Sound Records New Talent in Ruthenia many references musicians must absorb just to sound remotely mediocre’
(FSNT524) and on Whirlwind Recordings (WR4653) in Devotion
Hear him on the Mack Avenue Records label in two albums of his own
compositions, The Bespoke Man’s Narrative (2013, also featuring neat
tributes to Ravel and Gershwin) and Space Time Continuum (2015)

Pavel Martin
Kolesnikov James
Born 1989, Novisibirsk, Russia BartleTt
Awards Prize Laureate of the Honens Prize for Piano (2012), Born 1996, London, UK
© Jaka Vinsek (Churnchetz), © Aaron Abbott (Diehl), © Eva Vermandel (Kolesnikov), © Kaupo Kikkas (Bartlett)

BBC New Generation Artist (2014-16)

Awards BBC Young Musician (2014)
What the critics say ‘If individual greatness is to be found
in the way an artist begins and ends a phrase, or finds magical What the critics say ‘Martin James Bartlett brought maximum feeling
transitions both within and between pieces, then Pavel Kolesnikov to the music and played with astonishing delicacy and punch.’ The Daily
is already up there with the top pianists’ The Arts Desk, after his Telegraph, after his BBC Proms debut playing Rhapsody in Blue, August 2015
Cadogan Hall BBC Prom, August 2017
What Pianist says We like his ready way with both notes and words:
What Pianist says A Russian poet of the keyboard in the MJB is a born communicator, both at and away from the keyboard.
tradition of Neuhaus and Gilels, Kolesnikov already exhibits a He’s also a sparkling partner in chamber music who takes an evident,
phenomenal command of Scriabin and Prokofiev as well as the infectious joy in the physical pleasure of making music
requisite sense of fantasy in Schumann
In his own words ‘I’ve never really concentrated on my technique.
In his own words ‘There is no stronger power than sincerity, I’ve always thought that the more you push yourself with different
and being true to yourself is the only possible form of existence – in repertoire, the more it will come anyway’
art as in life’
See and hear him at the Royal College of Music with Bernard
Hear him on Hyperion in Mazurkas by Chopin (CDA68137) Haitink (1-2 February) and with the Tokyo Symphony at Tokyo Opera
and The Seasons by Tchaikovsky (CDA68028) City on 25 March – and maybe on a major record label before long

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 99• Pianist 100

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 "All instruments try to imitate the human voice and
this piano does it on a very, very high level."

Sir András Schiff

The new 280 Vienna Concert.

www.boesendorfer.com

100• Pianist 96

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 MAKERS

TRADING PLACES
Bricks and mortar? New technologies? Selling your piano can be a tricky process.
John Evans brings the benefit of recent first-hand experience to his guide

Y
ou may be bored and frustrated with and unattractive; some have been cared for but
your old piano, but if you’re many have not. The list goes on. All that said, not Top tips for selling
thinking of replacing it, you should
regard it as a treasured investment.
surprisingly, newer pianos are easier to value than
older ones. In the end, experience and knowing your piano
Unless it’s fit only for firewood, it’s their market is what dealers rely on when
worth money – money you can put calculating the value of a second-hand piano. Valuing your piano Establish its value
towards a newer, better replacement (you may find Remember: if you want to sell your piano by consulting dealers, your tuner and checking
the Pianist Piano Buyer’s Guide 2018 helpful effectively, you need to think and act like a prices online.
here). Exactly how much money is in part down piano dealer.
to what it’s worth – but it’s also about how Pricing your piano Be realistic – you’re
effectively you sell it. Added value competing with dealers who can offer
A piano doesn’t sell itself, you see. Just look at I have learnt this, because I’ve just sold my piano. guarantees and aftersales support.
the trouble taken by piano shops to prepare their I decided about a year ago that I wanted to change
second-hand instruments for sale. And then, when my Broadwood Stratford upright, bought new in Part-exchanging Ask any dealer to break down
the piano is eventually sold, the dealer delivers it 1997 for £5,500. It was a lovely instrument but their sales quotation to show what discount they
free of charge to the customer’s home and arranges there were aspects about it I found frustrating. are offering on a new instrument and what price
for its first tune to be carried out (also for free) a So I decided to invest in a new one. they will put on your old piano.
few weeks later. First of all, I visited piano dealers with a view
Doing all this means that dealers can charge to part-exchanging my Broadwood for a new Commission-sale Make sure you know what
more money for a used piano. However, to do that, instrument. This method may not seem like selling a dealer intends to sell your piano for, as well
as how much money they will give you from
its sale.

If you want to sell your piano effectively, Selling privately Prepare and present the piano
properly. Include delivery in the price or be able
you need to think and act like a piano dealer to suggest what it will cost and a reputable firm
that can do it. Ask a local piano dealer or your
piano tuner to inspect the piano and issue a
they need to know what it’s worth in the first place. but it is; dealers are effectively buying your old report confirming its condition that you can
This isn’t easy. There’s no industry price guide to piano from you. Banish from your mind the idea show your buyer.
advise dealers. How could there be? There is such that dealers are doing you a favour. In fact, you’re
© AdobeStock/corund

a huge variety of second-hand pianos out there. doing them two favours: selling them your piano Even so, avoid complacency. Your first job when
Some are over a century old. Many were made which, if it is fit to be sold in their showroom, part-exchanging your piano must be to establish
by manufacturers no longer in existence. Some they can make a profit on; and, of course, buying its value. Check the prices of identical or similar
instruments may play well but look old-fashioned a new piano from them. instruments on dealer websites, on sites such as
▲

90• Pianist 100

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 Improve your playing
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 MAKERS
eBay and in classified advertisements. Be aware
that dealer prices include a sales margin which is
What the professionals say
intended to cover all the factors already discussed,
The dealer
and more besides. Knock at least 40% off a piano’s
Dominic Barnett, piano sales manager, Chamberlain Music
advertised price for all this and you may be close
‘You’ll never make money on a piano unless you’re in the trade. It’s very difficult to value them. Take
to its real value.
soundings and make enquiries; that’s all you can do. A commission sale is a very good way to sell a
Don’t forget to consult other dealers. Ask them
piano but you need to know all the figures beforehand. Selling on eBay is next to impossible unless
what they think your piano is worth as it stands,
you’re a dealer. Selling privately will net you a few hundred pounds more than a dealer will offer you.’
not as a part-exchange, which will be an inflated
figure because it includes some of the dealer’s
The piano tuner
profit margin on the piano which they are trying
Henry Trezise, Farnham, Surrey
to sell you. Your piano tuner may also have an
‘Do have your piano tuned when selling it. First impressions count and it’ll sound its best. Not doing so
opinion of value. Bear in mind that tuners may
is like not washing your car when you’re selling it. People are turned off by an out-of-tune piano and even
not be in touch with current prices and market
if they aren’t, they’ll use it to knock your price down. Give it a good polish and have any rattly keys fixed.
conditions, but they do know how your
It’ll be worth it!’
instrument compares with others they tune.
Most dealers will want to see your piano before
The dealer
making an offer. This is your chance to play them
Andy Wilson, director, Clement Pianos
at their own game by presenting it properly.
‘The older a piano gets, the harder it is to value. A lot of people ask too much money for grands and
Don’t just give it a polish; have the piano tuned
especially older pianos, where they confuse them with antiques. We provide a service where if someone
so that it sounds at its best. This is sure to add
wants to sell their piano privately we’ll inspect it and issue a signed report stating its condition, which
value to the instrument and strengthen your
gives a prospective buyer some peace of mind. It only costs £50 and so far this year, we’ve done
hand in the price negotiations to follow.
50 reports, so it must help.’
Going it alone
I calculated my piano was worth around £2,500.
The part-exchange offers I received ranged from The advantage for dealers is that they don’t have buying is free of faults and guaranteed. Only a
£1,000 to £2,000, so I decided to try my luck to spend money on buying the piano for stock, dealer can provide this level of service. As for
and sell it privately. only on preparing the instrument and, having the absence of guides, that’s understandable, too,
I could have placed an advertisement in the sold it, to deliver and tune it. Depending on the since pianos are infinitely varied.
local paper, or in the window of my local dealer. disposal figure agreed, the seller has a buyer However, I’ve also learned that a canny private
Instead, I put it on eBay at a ‘Buy it now’ price of prepared to pay more for the piano than it would seller can pull a few tricks in order to secure a
£2,500 plus £150 delivery. Adding delivery like fetch in part-exchange. The catch is that the seller good price for their instrument. I’m not saying
this removes one of the biggest obstacles in a could be without a piano for some time while that I did; in fact, I’m sure I could have got more
buyer’s mind, while letting them see exactly what it’s in the showroom waiting to be sold. money for it. If there’s a next time, and if I go
their costs will be. I sent the dealer photographs of my piano; the commission-sale route, I’ll be sure to press
Listing a piano on eBay might appear strange he agreed to sell it on my behalf, with a promised the dealer on his intended resale price, and to
given the specialist nature of instrument-buying, return to me of £2,000. At this point I should insist on a percentage of that price. If I advertise
but the website has a huge reach and is seen not have asked the dealer how much he intended the piano privately, I will use several platforms
only by the public but by piano dealers looking to to sell it for – but I didn’t. To my surprise he at once, including music shops, eBay, Facebook
buy stock. I was encouraged by the fact that there reckoned it would take only a few days to sell. and piano forums. If I part-exchange it, I’ll be
were some very expensive pianos for sale – even a He collected the piano (paid for by him, not me) absolutely clear about its value. All being well,
couple of Steinways for around £55,000 each. and put it in his showroom. A few days later I saw, when I return to this topic in print, I’ll be trading
However, prices quickly fell away to around to my astonishment, that my piano was for sale up to a Steinway! ■
£5,000 before plunging to £3,000 and below. at £7,500. Unless he had spent a small fortune
Most were dealer-advertised instruments; there refurbishing it, I couldn’t understand how the
were few private-sale pianos. dealer had arrived at this price. Was he using
Undaunted, I scheduled my listing to run for a sales ploy, an artificially high figure he could
two weeks, and waited for the offers to roll in. reduce to tempt an interested buyer? Or was I just
a mug who didn’t know the value of what I had?

BUYER’S
My ad attracted a fair number of online views
but by the first week no one had bitten. I’m by Probably the latter.
nature a bit impatient so, to excite more interest, However, I simply wished him luck. He wasn’t
I changed my listing to include the delivery costs.
This generated still more views but by the end of
the second week, no one had responded.
taking any financial risk since he didn’t own the
piano but he was providing the environment that
would leave me financially better off. And true to
GUIDE
2018
By this stage I had persuaded myself that his word, the dealer sold my piano within a few
the only people even vaguely interested in my days. I don’t know its eventual selling price but
piano were beginners and the inexperienced. considering he hadn’t had it long and was therefore
However, these people would be reluctant to buy under no pressure to get rid of it, it can’t have been
an instrument which they knew nothing about, for less than £6,500. He transferred £2,000 to my
from a private seller who was offering no bank account shortly after and within a few days,
guarantees. I cancelled the listing. I’d bought my new piano.

Calling in the experts Buyer and seller beware

I soldiered on with my Broadwood until a couple So, what have I learned from selling my piano?
of months ago, when I visited the website of a Firstly, that the piano market is heavily skewed in P01 Cover.indd 1 08/11/2017 13:52

dealer who was offering to buy and sell pianos on favour of dealers. The absence of a thriving private The Piano Buyer’s Guide 2018 can be found at
a commission basis. In this arrangement, the market and accurate valuation guides sees to that. www.pianistmagazine.com/piano-buyers-guide
dealer prepares and displays your piano in his There’s nothing sinister about this. A piano is a The guide is also available by downloading the
showroom, and pays you a sum of money for it, sophisticated and expensive object. Pianists like free Pianist app from the App Store
agreed beforehand, when he sells it. to try before they buy and know that what they’re
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 93• Pianist 100

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 REVIEW

CD reviews
The many voices of Chopin speak through three contrasted pianists, but it’s a thrilling double-
act that takes the palm. Reviews by Dave Jones, Warwick Thompson and Erica Worth
Pianist star ratings: ★★★★★ Essential – go get it! ★★★★ Really great ★★★ A fine release ★★ Disappointing ★ Poor

DANIIL TRIFONOV EDITOR’S CHOICE

Chopin Evocations: Concertos Nos 1 & 2 (arr. LEIF OVE ANDSNES &
Pletnev); plus Chopin and Chopin-related works. MARC-ANDRÉ HAMELIN
With Sergei Babayan, Mahler Chamber Stravinsky: The Rite of Spring; Concerto for two solo pianos;
Orchestra/Pletnev Circus Polka; Tango; Madrid
Deutsche Grammophon Hyperion CDA68189
DG 479 7518 (2CD) ★★★★★
★★★★ When La sacre du printemps hit the stage in 1913, it prompted
The rise and rise of the most notorious musical riot of the 20th century. The ballet’s
Tchaikovsky Competition raw barbarism and rhythmic intricacy may not have dimmed
winner Daniil Trifonov isn’t over the intervening century but its reception has undergone
likely to be halted by this a sea-change: the Rite is now part of the standard repertoire.
excellent and wittily Stravinsky’s own arrangement for two pianos is less frequently encountered: it takes a pair of
programmed double album. special pianists to pull off the illusion of evoking the massive orchestra of the original; or even
There’s a wonderfully operatic more challenging, to banish memories of it altogether. But that is the singular achievement of
account of the early Variations on Là ci darem la Leif Ove Andsnes and Marc-André Hamelin on this outstanding new release.
mano, and a performance of the Rondo for Two On the surface, they may present a study in contrasts – the cool elegance of Andsnes against
Pianos – all jaw-dropping fire and flash – with the virtuoso flamboyance of Hamelin – but as a pairing, they bring incredible rhythmic attack,
Trifonov’s former teacher Sergei Babayan. There precision and clarity to Stravinsky’s music. Dovetailing seamlessly, with the coordination of a single,
are also several short pieces in homage to Chopin four-handed pianist, they bring carefree nonchalance to the complex rhythms of the first part of
by Schumann, Grieg, Barber and Tchaikovsky. the Rite. The percussive offbeats of the ‘Ritual Action’ and ‘Sacrificial Dance’ were obviously
The two concertos form the meat of the composed on the piano and work perfectly on the instrument. But it’s not all thumping and
programme. Mikhail Pletnev’s reorchestrations banging: Andsnes and Hamelin draw a kaleidoscope of colours from their modern Steinways in the
thin out the texture and reassign melodic lines shimmering, Impressionistic introduction to Part 2 and the ‘Mystic Circles’.
to different instruments; they feel somewhat The pair plays with tenderness in the central Notturno from the Concerto for two solo pianos, and
wilful and don’t quite fulfill their intention of sparkling finesse in the final Preludio e fuga. The encore is the riotous Circus Polka, in Victor Babin’s
creating ‘a more faithful interaction between arrangement, and it brings the house down. An intense experience from beginning to end. EW
soloist and orchestra’. As conductor, Pletnev sets
ultra-slow tempi which won’t be to everyone’s
taste, but they lend grandeur and majesty, and FAZIL SAY LOUIS LORTIE
allow Trifonov’s improvisatory brilliance to Chopin: 15 Nocturnes Chopin: Mazurkas Opp 7, 33, 59; Polonaises Op
sparkle in a thrilling manner. WT Warner Classics 0190295821814 26 Nos 1 & 2, Op 44; Allegro de concert Op 46
★★★★ Chandos CHAN10943
Turkish pianist Fazil Say ★★★★
MICHEL CAMILO was once (and rather With their oddly accented
Live in London: I Got Rhythm, Caravan, preposterously) convicted rhythms, unpredictable
Sing Sing Sing, Island Beat and more of blasphemy in his native melodies, chromatic
Redondo Music 191924129394 Turkey. The conviction harmonies, sudden dynamic
★★★★★ was eventually overturned, changes and dissonances,
Recorded at the Queen but it still feels like a privilege Chopin’s mazurkas present
Elizabeth Hall, this is Michel to be able to celebrate his very personal pianistic unique challenges to the
Camilo’s first live solo piano voice. That individuality distinguishes this performer, which if they’re not met may result
release, a sequel to What’s Up, selection of Nocturnes, which he performs in in disjointed and ungratifying performances for
his excellent studio album from order of opus number rather than chronology. the listener. In his fifth volume of Chopin for
2013. Very few pianists move Several early works thus appear at the end of Say’s Chandos, Louis Lortie take us on a convincing
between jazz, classical and Latin selection, reminding us how polished and fully mazurka journey from the Op 7 set to the late
with the easy style and fluidity of Camilo, but his formed was Chopin’s own voice, even as a mere Op 59, with all the subtle rubato needed within
best work is in bringing these genres together, in stripling. Say draws a compelling line through a firm Slavic folk tempo. He convincingly moulds
both solo and group contexts. Live in London the disc, finding a prevalent mood in the the short, delicate phrases and his pedalling is
reprises three tracks from the studio album, and Nocturnes rather than exploring their individual crystal-clear on a finely voiced Fazioli.
with even more charisma: Camilo is an extremely peaks and troughs. The result is a recital of mood Passing by the fragmented, forgettable Allegro de
dynamic performer. Some would even say he’s a rather than drama, with oneiric, soft-focus concert, Lortie brings sweeping line and powerful
showman, but it’s all delivered with poise, beneath lyricism and avoidance of extremes. It may not bass to the polonaises without crashing through
a veil of classical reserve. A companion DVD please everyone, but the disc certainly held the their loud octaves and dense chords. Even if the
would be even more welcome, but it seems we’ll attention of this particular lover of the power of middle section of Op 44 could be more
have to wait a little longer for that. DJ the sustaining pedal. WT audacious, this is noble Chopin playing. EW
94• Pianist 100

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 XIAYIN
WANG
GRANADOS
ALLEGRO DE CONCIERTO
GOYESCAS
VALSES POÉTICOS
ZAPATEADO

CHAN 10995
“She plays with a vitality
and fluidity”
Pianist Xiayin Wang follows her
critically-acclaimed Chandos recording - The New York Times
of Ginastera’s Piano Concerto No. 2, hailed
by Gramophone as “jaw-droppingly
impressive,” with an exploration of
solo piano works by Enrique Granados,
including his Goyescas, Ochos valses
poéticos, Zapateado, and the beloved “She can be at one moment sensual and
Allegro de concierto. the next rhythmically driving…with such
assuredness, such delicacy, that one forgets
the difficulties inherent in the performance,
and is left breathless in musical awe”

- Musical America
www.chandos.net
95• Pianist 100
www.xiayinwangpiano.com

p95_pianist100.indd 95 08/01/2018 13:54

 REVIEW

Sheet music
From the boundless invention of late Haydn to ingenious arrangements
and delightful works for students: the latest scores reviewed by Michael Macmillan
HAYDN: LATE PIANO GRADED KEYBOARD educational piano music, but the 18 pieces in
SONATAS MUSICIANSHIP both these books (Grades 0-3 and 3-5) lie well
Bärenreiter Anne Marsden Thomas under the fingers. McDonagh understands the
ISMN: 979-0-006-53847-8 & Frederick Stocken instrument from a pedagogical perspective, and
The Haydn-shaped hole in Oxford University her music is always pleasing to listen to, rarely
Bärenreiter’s catalogue has now Press straying into banality. Cheeky Tango in Book 1 is a
been partially filled by the six sonatas which Haydn ISBN: 978-0-19-341193-7 hit, and there’s much to enjoy elsewhere. You can
composed between 1784 and 1795: Hob. XVI: (Bk 1); -341194-4 (Bk 2) sample all the music at www.boosey.com, where
40-42, 48, 49, and 50-52. Individual movements Many piano students have little or no training in complete audio files are available for download.
from them have appeared on higher-grade exam five areas identified by Thomas and Stocken as the
syllabuses, but several complete sonatas feature on traditional pillars of keyboard musicianship: PREMIER PIANO
associate and licentiate level diploma lists. All figured bass, score-reading, harmonising, EXPRESS
pianists should appreciate Bärenreiter’s spacious transposing, and improvising. These two books Alfred Music
and clear engraving, and the 16-page preface and will go some way towards rectifying that deficit ISBN-13: 978-4-4706-3369-1
notes on performance practice reflect impressive through graded exercises which are presented (Bk 1); -3370-7 (Bk 2); -3802-3
scholarship. Fingering is included. Wiener Urtext’s across five lessons per level (Book 1: Levels 1-5, (Bk 3)
fourth volume of its revised complete sonata Book 2: Levels 6-8). The written instructions and Heavyweight educational
edition contains the same works for about the explanations should prove useful to students who composers including Dennis
same price; there’s little to choose between the two. are working through the books on their own. Alexander, Gayle Kowalchyk, E.L. Lancaster,
Whether you’re an advanced student looking Victoria McArthur, and Martha Mier have
AT THE PIANO SERIES to take an intensive course in keyboard contributed to this accelerated piano course.
Henle musicianship or you want some supplementary Premier Piano Express is a three-volume
ISMN: 979-0-2018-1822-1 material to enhance and diversify your practice compression of the first six levels in Alfred’s
(Chopin); -1815-3 (Debussy); regime, these books have much to offer.  Premier Series, which has books at each level
-1812-2 (Mozart) Highly recommended. devoted to Lessons, Theory, Performance, and
I encountered this valuable Technique. Book 1 opens with material for
12-volume series when it was PIANISSIMO: MODERN complete beginners and the end of Book 3 reaches
first published in German only; PIANO Grade 2. The presentation and pacing are
now it is available to English-speaking students. Schott appropriate for children who have moved beyond
Each volume covers a different composer; the three ISMN: 979-0-001-17725-2 the age of colourful printing, pictures and cartoon
under review comprise around 60 pages of 9-17 Ninety varied pieces of Grade 2-5 characters. Each book includes a CD of
separate pieces presented in order of increasing standard have been selected by demonstration performances and orchestral
difficulty from Grade 1 to Grade 8+. Historical Hans-Günter Heumann and Rainer Mohrs from backing tracks. 
information and practical notes preface every piece, a range of diverse genres including jazz, blues,
and the spacious presentation makes them ideal pop, crossover, new age and meditation music. MORE PIANO
compilations for students. This foray into the There’s still room for classics by Debussy, SOLOS (GRADES
educational market is overdue from Henle, and Gretchaninoff and Satie alongside less familiar 1-5)
these books are up to the publisher’s high standard.  names such as Fortner, Hiller and Moser. Chester Music
Heumann’s Modern Sonatina, Hiller’s Butterfly ISBN: 978-1-78558-
PIANO GALLERY Waltz, and Kember’s Soft Blue were particular 362-9 (1); -363-6 (2);
Pam Wedgwood highlights for me but there is such a wide -364-3 (3); -365-0 (4);
Faber Music spectrum of styles and moods that everyone -366-7 (5)
ISBN10: 0-571-54048-1 should find something here to suit their tastes. In 2016 Chester Music published five useful
The indefatigable Pam Wedgwood Attractively priced for over a hundred pages of repertoire albums (Graded Piano Solos), each of
carries on doing what she does best: music, Modern Piano adds lustre to Schott’s which contains 16 pieces dedicated to a different
composing attractive educational piano works that excellent Pianissimo series, of which this is the grade standard from 1 to 5. This new set adds a
lie well under the hand. All 14 pieces in Piano sixth volume. further 16 pieces to the pool of repertoire at each
Gallery are two pages long, and most of them are level. The music is notably diverse – from Bach
around Grade 5 standard. A two-page pull-out IT’S A PIANO THING to Justin Bieber – and sympathetically arranged
reprints the 14 paintings that supplied the Ailbhe McDonagh by Alistair Watson except for a few works printed
inspiration for each composition, by Renoir, Van Boosey & Hawkes in their original form. Purists may frown upon
Gogh, Monet, Degas and others. Each piece is ISMN: 979-0-060-13363-3 simplified and truncated versions of works such
prefaced by a brief but useful introduction from (Bk 1); -13364-0 (Bk 2) as Chopin’s ‘Raindrop’ Prélude (Grade 3) or Liszt’s
Wedgwood. If the idea of playing pieces inspired Ailbhe McDonagh is an Irish Hungarian Rhapsody No 2 (Grade 5), but each
by fine art appeals, but this material is too advanced, composer and a member of the volume contains a good selection of music which
try Catherine Rollin’s Museum Masterpieces cello faculty of the Royal Irish should motivate practice in most students: surely
(Grades 1-4) published by Alfred Music. Academy of Music; there are few cellists writing a cause for celebration in itself.

96• Pianist 100

p96_Sheet Review-FINAL.indd 96 09/01/2018 14:59

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 T H E L A S T WO R D

P i a n o
My ion
Pass There are deadlines, but there are compensations, like Lang Lang playing in
my flat: Erica Worth reflects on the joys of editing 100 issues of Pianist

M
onday morning, 9am. It’s deadline sound amid the Vienna Woods. A trip outside Venice took
week, and there’s a ‘to do’ list the me to the classy home of Fazioli, where I was taken on a
length of a page. I look at the tasks guided tour by Paolo Fazioli himself. One afternoon at the
marked Urgent, and I’m already Steinway factory in Hamburg, I witnessed ‘piano technician
feeling the pressure. Have I gathered to the stars’ Ulrich Gerhartz test drive 13 model Ds in a row.
all the pictures for our News pages? And it’s always nice to feel some of that respect returned.
Did I mark ample pedalling Last week I put my head around the door of a London piano
indications for the Chopin Prélude score? Did I credit the showroom where the MD said to Bechstein’s visiting CEO,
photographer for the Hands picture on page 80? Did I make ‘You must be nice to Erica Worth. She’s the queen of the
sure the piano is tuned in time to record the cover CD for piano world.’ (I did enjoy that.)
Pianist 101 later this week? Pianists and pianos come together in plenty at
As I cross the first task off my list, I ask myself, ‘Have I competitions. I have the fondest memories of the 2012
really been doing this for 100 issues?’ Stress and deadlines Leeds, where I was truly impressed by winner Federico Colli;
aside, I wouldn’t have it any other way. The pros of being the Grieg International Piano Competition in Bergen, which
editor of Pianist definitely outweigh the cons. gave me the excuse to visit the composing hut in
Firstly, there are the artists – those fascinating creatures Troldhaugen where Grieg wrote his Lyric Pieces; the
who have adorned a hundred covers of the magazine, and Beethoven Piano Competition in Vienna, where I bumped
some of whom I have come to know quite well. A few have into my piano teacher from New York days, whom I hadn’t
even practised in my apartment (I have a nice piano). Steven seen for three decades (she’s now head of piano at Juilliard,
Osborne has played through Beethoven bagatelles, a few I note with some pride); and the finals of the Chopin
steps away from the desk where I type this (he has also visited Competition in Warsaw, where I had to listen to five First
for trio rehearsal with partners Lisa Batiashvili and Alban Piano Concertos in a row but still found time to be
Gerhardt); Oleg Marshev has worked on Prokofiev 3, and interviewed live on Polish TV.
larger-than-life Lang Lang once practised Rach 3 here all day. Pianist the magazine is all about playing the piano. There
Oh my. The neighbours loved it (they thought it was me). must be music to play, and music to read. Pulling the Scores
Further afield, I’ve seen the Pekinel Sisters on stage in section together keeps my fingers in shape, and it’s a treat:
Istanbul, witnessed Grigory Sokolov engulfing a piano in who else can claim to sight-read piano repertoire as part of
a tiny Provence church, seen Daniil Trifonov battle the their nine-to-five? There’s a world of music out there, and
elements under a tent on a Swiss mountain and heard I’m still discovering new and hidden treasure after 100 issues.
András Schiff in a farmyard barn. Tonight I’m off to join the Right now, I’m on a mission to get the Prelude Op 11 No 1
celebrations at Wigmore Hall for Piers Lane’s 60th-birthday of Liadov in shape. We printed it in Pianist 81 (there’s
concert: it should be quite a party. Even phone interviews, nothing like flipping through back issues to be inspired), and
which can be tricky, have had their moments. The late I recalled how magically our pianist Chenyin Li played it on
Earl Wild, after a most delightful conversation, murmured the covermount CD. I am so proud of all the people I work
‘We both have the same initials’ with a confiding undertone. with – from Chenyin, to my loyal contributors, to the
(I knew we had something in common.) dedicated team that brings you this magazine.
Some pianists have remained elusive, such as Brendel and What we have in common is a passion for piano – and
Pollini. Arcady Volodos is one of my heroes of the piano, that’s where you step in, dear reader. It’s you that I share my
but he is a tricky man to pin down. And then – well, most passion for the piano with, every day. I encounter you
long-standing readers will be aware by now of my esteem everywhere – at concerts, at workshops, in Selfridges food
for Martha Argerich. Warsaw, Lugano, Verbier, London, hall – and your words of praise, encouragement and advice
I’ve followed her everywhere. But my closest approach to a make me feel very humble. I love to hear how we have helped
meaningful exchange was during an interval at the Wigmore you improve your playing or make a delightful discovery.
– when she asked if I could find her an espresso (I did). A magazine needs readers, and it is engaged readers who
After the pianists, there are the pianos. My work has taken make every issue fresh and exciting.
Photo: Jesper Buhl

me to some remarkable piano factories: to the chocolate-box Back to the present, and the countdown to my print
town of Bayreuth, shrine and home for both Richard Wagner deadline. What do the next 100 issues have in store?
and the Steingraeber firm. I discovered Bösedorfer’s golden Heaven knows. I’ll be happy to give them a try. ■

98• Pianist 100

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