Pianist No75 December 2013 January 2014 PDF

Helping you become a better player
DECEMBER 2013-JANUARY 2014
No 75
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WITH EVERY ISSUE
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SHEET MUSIC
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ing of keybo
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HOW-TO ADVICE GETTING STARTED WITH
✓ Cantabile playing
✓ Trills and ornaments
JAZZ
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2• Pianist 74
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Pianist 75
December 2013 - January 2014 CONTENTS
The next issue of Pianist goes on sale 24 January 2014
74
68 14 78
4 Editor’s Note 24 How to Play 2 Lucy Parham on Clara 78 Piano Round-Up Part 2 of our annual
Schumann’s Notturno (Scores page 59) ‘best of ’ uprights, grands and digitals – for
4 Competition Three lucky winners will all tastes and all budgets (Part 1 appeared
receive a copy of the book Ornamentation: 27 The Scores A pullout section of 40 in the last issue)
A Question & Answer Manual – invaluable pages of sheet music for all levels. Plus
for understanding your trills and turns Tim Stein on his new ‘Basics of Learning 82 Subscribe today for just £4.50 an issue
the Piano’ video lessons by Direct Debit and receive a FREE
6 Readers’ Letters Don’t miss Tim’s online lessons! The Classical Piano Method book, worth
up to £12.99
8 News Pekinel sisters on stage in Istanbul, 45 Beginner Keyboard Class
Bösendorfer’s anniversary extravaganza, Hans-Günter Heumann’s third lesson: 84 CD Review It’s Beethoven only in this
celebrity amateur pianists play Schumann, An introduction to pedalling issue, with 5 stars for newcomer Igor Levit
award for Jeremy Denk and more
67 How to Play Boogie-woogie 86 Sheet Music Review A two-page
12 Expert Talk Christian Blackshaw on the Christopher Norton offers up a step-by-step special with Christmas presents in mind:
special touch needed for Mozart, Tim Stein lesson on his Feelin’ Boogie-woogie, written music for the beginner, intermediate and
on finicky fifth fingers in his Q&A column exclusively for Pianist (Scores page 31) advanced player. Plus duets, learning books,
and the PTA on the meaning of ‘overstrung’ non-classical and much more
68 History of Boogie-woogie Ever
14 Jools Holland Erica Worth talks with wondered where boogie-woogie originated? 88 Classifieds
the modern king of boogie-woogie at his Gez Kahan catches a steam train back in
famous recording studio, and discovers that time to Texas and the ‘barrel house’ pianists 90 Back Issues
even if Jools loves what he plays, he still
makes the time to practise arpeggios 72 Learn Jazz! If the Jools Holland
interview and the boogie-woogie history
18 How to Play Masterclass 1 Mark article have whetted your appetite, how do
Tanner on a singing cantabile style you get to play like that? Inge Kjemtrup
points you in the right direction
20 How to Play Masterclass 2
Graham Fitch on improving trill technique 74 Charles-Valentin Alkan Alkan’s
Don’t miss Graham’s online lessons! 200th anniversary has been overshadowed
by Verdi and Wagner. Mark Viner’s article
22 How to Play 1 Janet Newman on on this French Romantic composer makes
Grieg’s ‘Lonely Wanderer’ (Scores page 38) him shine once more VISIT THE PIANIST WEBSITE
WWW.PIANISTMAGAZINE.COM
Cover photo: © Mary McCartney - LGA. Images this page: © Mary McCartney - LGA (Holland). Sign up for our regular FREE e-newsletters
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. PLUS Watch our online piano tutorials
p03_Contents75-FINAL .indd 3 05/11/2013 16:04

Editor’s note Pianist
I
t’s a dazzling end of the year for Pianist, what with the high-energy
Jools Holland as our cover star. With his unique boogie-woogie style www.pianistmagazine.com
of playing some might say he’s not our usual type of cover artist, but as
Jools tells me in his exclusive interview, ‘In music there are no rules.’ PUBLISHER
Indeed, the rules of music must be flexible, for even if they say the two worlds Warners Group Publications plc
of classical and jazz don’t meet, once you’ve read what Jools has to say you’ll Director: Stephen Warner
Publisher: Janet Davison
see there’s a lot of common ground. No matter what style you play, you have
to practise and perfect your technique (even Jools admits to doing the odd EDITORIAL
arpeggio warm-up), and no matter whether it’s classical or jazz, the more you 6 Warrington Crescent,
London,W9 1EL, UK
work on something – whether it’s sight-reading, improvising, pedalling or Tel: +44 (0)20 7266 0760
trills – the better and more quickly you’ll get to grips with it. Fax: +44 (0)20 7286 0748
Trills and ornaments are the topic of Graham Fitch’s masterclass on page Editor: Erica Worth
20. Read his article and then watch his video lesson on our website. In his editor@pianistmagazine.com
Deputy editor: Inge Kjemtrup
article, Graham mentions Ornamentation, a fantastic book that I own myself deputyeditor@pianistmagazine.com
and refer to all the time. (We’re giving away three copies of the book this issue Designer: Nathan Ward
– see competition on this page.) There are many thrilling trilling moments
ADVERTISING
inside this issue’s scores, particularly in the pieces by Galuppi, Clementi and Haydn. The Galuppi is a real gem. Gareth Macfarlane, Advertising manager
I stumbled across it when I saw a film of the great Michelangeli play it. garethm@media-shed.co.uk
Building on the inspiring interview with Jools, we’ve included several articles on jazz and boogie-woogie this Natalie Tuerena, Advertising executive
issue. Christopher Norton has written a boogie-woogie piece especially for us (page 31) and presents a lesson on natt@media-shed.co.uk
Tel: +44 (0)845 226 0477
how to play it on page 67. Gez Kahan looks at the amazing history of boogie-woogie, with its steam trains and Fax: +44 (0)845 226 0377
‘barrel house’ pianists, on page 68. Improvising is addressed in Inge Kjemtrup’s article (page 72) on getting started
with learning jazz, an invaluable read for those who would like to learn jazz but don’t know where to start (the art READER SERVICES
of improvising is a handy tool for classical pianists as well, as a reader letter this issue reminds us).
Jools might be media savvy, but the French Romantic composer Charles-Valentin Alkan certainly wasn’t. He was
a bit of a recluse, but some of his piano music is ravishing, and sadly overlooked. Read Mark Viner’s article about UK & WORLD SUBSCRIPTIONS
the man and his music on page 74, then learn Alkan’s ‘Petit air dolent’ in Scores. (EXCEPT USA & CANADA)
Pianist Subscriptions Department
I’m hoping that by the start of 2014, your trills will have improved, you’ll be dabbling with improvising and Warners Group Publications plc
you’ll be spending that first five minutes of your practice time on technical exercises. I think that’s enough to be West Street
getting on with, don’t you? Bourne, PE10 9PH, UK
Tel: +44 (0)1778 392483
Fax: +44 (0)1778 421706
P.S. There are now over 50 video lessons on the Pianist TV channel Email: subscriptions@pianistmagazine.com
(at www.pianistmagazine.com). Tune in! USA & CANADA SUBSCRIPTIONS
You can subscribe online, via email,
ERICA WORTH, EDITOR fax or by telephone:
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SIGN UP FOR OUR E-NEWSLETTER and receive exclusive articles, Tel: +1 (514) 333 3334
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useful playing tips, and hot-off-the-press news about the world of piano.
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WIN A COPY OF THE BOOK ORNAMENTATION FOR ALL OTHER ENQUIRIES
Contact Janet Davison, Publisher
Answer the question below correctly, and you could be one of three winners to Warners Group Publications
receive the book Ornamentation: A Question & Answer Manual Fifth Floor, 31-32 Park Row,
Leeds, LS1 5JD, UK
Tel: +44 (0)113 200 2929
In his interview, who does Jools Holland state as his first musical influence? Fax: +44 (0)113 200 2928
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Postcard entries are also accepted. Please send to Erica Worth, Editor, COMP PIA0100, Pianist, on the papers. All information, prices and telephone numbers are
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remember to put your name, address and telephone number on the postcard as well as your answer. Printed by Warners Group Publications plc.
Answer to the page 4 competition in Pianist No 73: C (Amsterdam). Congratulations to the three lucky winners: Pianist ISSN 4200395 is published bi-monthly (6 times a year / February,
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4• Pianist 64 ISSN 1475 - 1348
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Readers’
Letters
Get in touch
WRITE TO:The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK
OR EMAIL: editor@pianistmagazine.com
STAR LETTER wins a surprise CD. Letters may be edited.
STAR LETTER recently moved to Durham and have just started

a new group for amateur pianists here as well
Minor or major for ‘Yesterday’? as attending the monthly piano workshop for
amateurs held in Gateshead. In addition to
I sometimes used the song ‘Yesterday’ by the Beatles to explain the differences between major and performance opportunities, such events are
minor keys in music and how they would sound happy, positive or sad. I’ve always considered a great social opportunity. Earlier this year I
‘Yesterday’ to be a lament and therefore in D minor, with the B flat in the key signature and the C returned from two years in Ottawa, Canada,
sharp that is played in the piece. I remember learning about all the keys before I took my Grade 5 where from knowing nobody, organising a piano
theory exam and, had a snatch of this song appeared, would have assumed it to be in a minor key. group led to many firm friendships!
An acquaintance of mine, however, disagrees and declares the song to be in F major, mainly because Liz Watford, Durham
the tonic note of F appears near the beginning and at the end. I’ve not heard of a sad-sounding piece
in a major key. Perhaps there are a few pieces that fall into neither category? (I have heard pieces that Good to hear about pianists banding together for
change key, but ‘Yesterday’ seems to remain as a lament throughout.) Please could you settle this? friendship and playing. Perhaps it’s time for an
Elaine Gourlay, Isle of Wight article on how to set up a piano group.
Thanks for your letter – a surprise CD is on its way to you. Here’s an answer from Pianist contributor (and Steven Osborne gets a fan
composer) Sean Montgomery: Many people associate major keys with happy music and minor keys with sad. I was pleased to see Steven FREE
BEGINNER/
INTERMEDIATE
OCTOBER-NOVEMBER 2013
and 3.
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40 PAGES OF

SHEET MUSIC

Osborne on the cover of the IMPROVE

This is the case much of the time, but not always. There are plenty of examples of sad ‘major’ pieces (‘Moon

OVER 40 ONLINE

PIANO LESSONS

36• Pianist
73
No 74

PLUS AUDIO TRACKS

Helping you become a better player
River’ for example) and happy ‘minor’ pieces. Many elements make music happy or sad music, including new issue of Pianist [No 74] your playing now!
EXPERT ADVICE
✓ Finding the right fingering
tempo, choice of instruments, rhythms and lyrics. ‘Yesterday’ was written in F major. However, it is easy to and to read the thought-
✓ Making a piece your own
✓ Masterclass on scales & arpeggios
 HOW TO PLAY 
Fauré Nocturne No 4
see why people mistake it for being in a minor key, in this case its relevant minor, D minor. The opening is in provoking interview inside.
F major but crucially, the third of the chord is absent, making it harder to determine whether it is major or I own two of his recordings 12LEARN Steven
OSBORNE
PIECES TO
ALL LEVELS AND ALL STYLES
minor. Add to this the fact that the music moves very quickly to D minor. The frequent use of the minor, and but I had never heard
On Beethoven, slow practice
& coping with stage fright
IN-DEPTH LESSON ON
Exclusive visit to
THE SLOW MOVEMENT OF
the Em and A7 progression that lead into it, give ‘Yesterday’ its sad feeling and the sense it is in a minor key.
SCHUBERT SONATA D664 STEINWAY HAMBURG
him ‘live’ until earlier this WIGMORE HALL

The story of the
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p01_pianist74.indd 1 19/09/2013 15:01
Messiaen’s Vingt Regards sur l’Enfant-Jésus at the

Pianist is inspirational for practising compositions which are very well received. We Queen Elizabeth Hall in London. I wouldn’t
I had piano lessons as a little boy but went can all improvise very easily on the piano by usually choose to hear Messiaen in recital, as
over to percussion quite early, but the piano using the sharps and flats pentatonic scale (the I confess I usually prefer the more standard
has served as a tool for my writing for other ebony keys only). With the use of the sustain repertoire, so I was a little apprehensive before
instruments. Although I have always wanted to pedal it can create some charming, beautiful the lights went down. Much to my delight I was
concentrate more on the piano, time has always sounds as there are no wrong notes. Just give mesmerised from beginning to end. It has to
been against me until the last few years. it a go and you will be surprised at the positive be one of the most memorable concerts I have
When I found your magazine the pieces results! Perhaps Pianist might like to consider ever attended. (I am glad to see that most critics
and helpful notes in it got me playing again an article on practical ways to improvise in the agreed with me.)
straightaway. Now even on busy teaching days classical style in a future edition. Steven Osborne, you have a new fan.
I always manage at least half an hour. Issue 74 Mark Pampel, London Michael Salmon, London
has come up with just what I needed at the
right time. The articles on fingering, scales and In the longer version of your letter, you pointed We will make sure that Steven reads your letter!
arpeggios by Mark Tanner and Graham Fitch are out that classical improvisation courses are taught Pianist Editor Erica Worth attended his all-
a terrific help, and I see the next issue will have at Benslow Music Trust in Hitchin, Chetham Beethoven recital at Wigmore Hall in October,
two more subjects that I need help with. International Summer School and Dartington and she, along with the whole audience, was as
I’m sure there are many more musicians/ College. You also mentioned that Douglas Finch mesmerised as you were by his playing.
part time pianists like myself who value the of Trinity College of Music ‘has written many
clear advice from your experts. I have been pages including practical tips and musical score on From sick bed to piano bench
buying Pianist since issue 66 and think it is an improvising in the classical style from Renaissance I am often in awe when I read biographies of
inspirational and very useful magazine. right up to ultra-contemporary, so there is material legendary pianists of the past. Did you know
Edwin Sparrow, Yorkshire out there available to all pianists.’ that György Cziffra was terribly ill when he was
You’re right, there are no good excuses for not a small boy and had to stay in bed most of the
Improvising classical style giving improvisation a try – even if you are a time? His sister could play the piano, but he was
In the Letters page in Pianist No 73, Steve classical-only player. not allowed to touch it. He learned to play the
Langford wrote that apart from a few notable piano under the blanket with his fingers when
exceptions, classical pianists don’t seem able or Forming friendships at the piano his sister was playing. One day a circus came to
confident enough to improvise in public these I was pleased to read in issue 74 about the new town and little György, by then feeling healthier,
days. I have been playing in public for quite a South London Concert series promoted by the went with his father. At the circus, they needed
considerable time and always use improvisation organisers of London Piano Meetup Group. a pianist, so he sat down and played with the
to produce arrangements and variations from For adult amateurs, opportunities to perform other musicians. That was the first time he
well-known popular classics as well as developing can be rather scarce so the role of groups/clubs/ touched a piano!
the technique further to create my own salons for amateur pianists is invaluable. I have Thierry Boulnois, Brussels
6• Pianist 75
p06_letters75-FINAL.indd 6 05/11/2013 15:30

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News All the latest news from the world of the piano
ONE REMARKABLE GIFT,

ONE REMARKABLE HALL
Anonymous £10m gift funds new
concert hall in Saffron Walden
Thanks to a gift of £10 million from an
anonymous music-loving donor, an Essex
comprehensive school has been able to
build a state-of-the-art, 730-seat concert
hall that opens on 30 November. Saffron
Hall was designed for Saffron Walden
County High School by the Tooley &
Foster Partnership with acoustics by Paul
Gillieron. With the acoustically excellent
hall in place and attracting professional performers, the school plans to
launch a specialist music academy in the next academic year.
Master of the Queen’s Music Peter Maxwell Davies has composed a
fanfare for the opening concert, which features the Britten Sinfonia,
conducted by Christopher Hogwood, soprano Barbara Hannigan, tenor
Mark Padmore and pianist Imogen Cooper.
The opening concert is part of a weekend of inaugural events for the hall.
© Ben Ealovega (Saffron Hall); © Bernd Eberle (Hewitt); © Marco Borggreve (Piemontesi); © Simon Fowler (Trpčeski); © Julia Wesely (Igudesman and Joo)
On 1 December, the school hosts an Open Day, which is your chance to
GLITTER AND GOLD tour the new facilities and enjoy free concerts, workshops and displays by
AT BÖSENDORFER’S 185TH
local music and arts organisations. Entrance is free with a day pass that can
be booked via the Saffron Hall website.
ANNIVERSARY CONCERT
To find out more about Saffron Hall or to book tickets, go to saffronhall.com
The Austrian piano maker Bösendorfer presented a dazzling 185th CELEBRATING 100 YEARS
anniversary concert on 22 October in the Brahms Saal of Vienna’s
Musikverein (pictured above). Pianist Editor Erica Worth attended the PIANOFORTE TUNERS’ ASSOCIATION
concert, during which an array of pianistic talents touched the keys of
two very special Bösendorfers. The first half of the concert saw pianists When the Pianoforte Tuners’ Association (PTA) was founded back in
Paul Badura-Skoda, Valentina Lisitsa, Carlo Grante and others perform 1913, every respectable home had a piano taking pride of place in the front
works on the concert grand Model 280. parlour. Piano tuners and technicians were greatly in demand to keep these
At the start of the second half, a ballet troupe unveiled the second much-loved household icons in tip-top shape. The PTA was founded to
piano and star of the night – the Bösendorfer Opus 50,000 – an art ensure that those tuner and technicians kept to the highest standards. In
case piano of neo-classical design with gold leaf mouldings inspired by 2013, the PTA has been celebrating its 100th year in a low-key and steady
Danish architect Theophil Hansen and Anton Grosser, designer of the way befitting an organisation made up of a body of professionals who are
ornate Bösendorfer grand for the Paris exhibition in 1867. Jazz pianist often the unsung heroes of the musical world.
Marialy Pacheco took hold of the Opus 50,000 and seemed to enjoy If the number of pianos in private homes has declined over the past 100
it immensely. The evening came to a rhapsodic end with the Janoska years, the PTA has nonetheless stuck to its original goals: to ‘promote the
Ensemble performing Monti’s Czardas. importance of high professional standards of proficiency and help raise
For journalists and other guests, the concert capped a full-on day those standards, to educate the public on the need for regular, skilled
of anniversary activities including a press conference by Bösendorfer tuning and servicing while bringing together piano tuners and technicians
Managing Director Brian Kemble, followed by a tour of the factory in for mutual protection and benefit.’
nearby Wiener Neustadt. While there, Worth managed to try out three Tuner and technicians who use ‘MPTA’ after their names have passed
huge Imperials, hoping to sneak one back with her on the plane. three difficult exams, and those new to the field must work for at least five
A full report appears in the next issue of Pianist. years after their training before they can be considered for membership.
To find an expert tuner/technician in your area, visit pianotuner.org.uk
PNOscan
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giving you Internet connectivity, along with all the
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PNOscan features is fully optical and has no effect anything on. Captures your inspirations,
on your action, but is capable of recording the practice time, and performances without
complete movement of your keys and pedals. technology getting in the way.
To find out more, visit our website at www.qrsmusic.com

8. Pianist 74
or call us at 800-247-6557 for more information.
QRS-PianistQtr.indd 1
p08 news75-FINALish.indd 8 7/5/13 09:35:42
07/11/2013 09:36
Forsyth 1857
Winter wonders: Angela Hewitt, Francesco Piemontesi, Simon Trpčeski
HOT TICKETS
Winter concerts to warm you up
During December (because of Christmas and New Year) and January
(because of recovering from Christmas and New Year), holiday-themed
programming means that the ‘serious’ concerts take a back seat. A festive
holiday concert always brings a cup of cheer, but if you’re in search of
something a bit more bracing, where do you turn?
Happily, this year there are some excellent concerts that should help you Whatever your musical
© Ben Ealovega (Saffron Hall); © Bernd Eberle (Hewitt); © Marco Borggreve (Piemontesi); © Simon Fowler (Trpčeski); © Julia Wesely (Igudesman and Joo)
through the bleak midwinter. At London’s Wigmore Hall, András Schiff tastes, we have the
continues his fine 60th birthday series with his hugely popular recitals of
Bach and Beethoven (14, 18 & 21 Dec), while another Wigmore favourite, best selection of
Angela Hewitt, plays two Beethoven sonatas and two of Bach’s English pianos for you to
Suites (8 Dec). Interesting turns from a younger generation at Wigmore experience and the
come from Francesco Piemontesi (16 Dec; Schubert and Debussy) and
Roman Rabinovich (10 Dec; Haydn, Ravel and Chopin).
widest ranging
Over at the Southbank Centre, there’s a rare chance to hear pianist- collection of
composer György Kurtág and his pianist wife Márta in a duo recital – his printed and
own music and Bach are on the menu (1 Dec). The International Piano recorded music
Series is still under full sail with recitals from Till Fellner (10 Dec), Boris
Berezovsky (14 Jan) and Martin Helmchen (28 Jan). For something really for you to browse
refreshing, try the dynamic match-up of composers and young musicians through.
that is the Park Lane Group week (6-10 Jan).
At the Barbican Centre, Evgeny Kissin’s performance of Tchaikovsky’s
First Concerto may be sold out (19 Dec), but you can still catch Murray If you don’t get
Perahia and the Academy of St Martin in the Fields in Beethoven’s a chance to
Emperor Concerto (11 Dec), Simon Trpčeski in Prokofiev’s First Concerto
or Maria João Pires in Schumann’s Concerto (21 Jan).
explore our
Kings Place is in the midst of a season-long series of concerts of the five floor Manchester
50 ‘most-loved pieces of chamber music in the repertoire’. Whether you store, then visit our
agree with the chosen 50 or not, you can take advantage of some of the virtual premises online at
performances, which includes Elgar’s Piano Quintet with Benjamin Frith
and the Dante Quartet (17 Jan), Schubert’s ‘Trout’ Quintet with the www.forsyths.co.uk to access all
Schubert Ensemble (5 Feb) and Ravel’s exquisite Piano Trio with Adrian our products and services.
Brendel, Andrej Bielow and Aleksandar Madzar (19 Feb).
But if it is still wacky seasonal fun you’re after, then you’ll want to head Whether you ask your questions in store or online,
to Lincoln Center in New York, where the wild musical comedy duo of
Igudesman & Joo (see profile in Pianist No 73) will see in the New Year the same knowledgable staff will be on hand to
(31 Dec) with an energetic concert. make sure you're happy with your purchase.
For tickets and information, visit wigmore-hall.org.uk, southbankcentre.co.uk,
barbican.org.uk, kingsplace.co.uk and lincolncenter.org
Plus pre-owned pianos by Steinway, Blüthner, Boston and more
www.forsyths.co.uk
126 Deansgate, Manchester, M3 2GR 0161 834 3281
9:35:42 p08 news75-FINALish.indd 9 07/11/2013 09:06

News All the latest news from the world of the piano
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At the keyboard: MP Ed Balls, actor Juliet Stevenson, actor Edward Fox
From the harpsichord to the fortepiano, A CARNIVAL OF

from the modern grand piano to the
latest digital instrument, the sounds CELEBRITY AMATEUR
of the keyboard are impressively rich
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PIANISTS IN LONDON
running Pianoteq software, there’s a way What do actors Juliet Stevenson, Edward Fox and Simon Russell
that you can tap into that rainbow of Beale, Labour MP Ed Balls and journalists Alan Rusbridger and
keyboard sound and colour. Richard Ingrams have in common? They are all friends of concert
Based on academic research at the pianist Lucy Parham and all of them are keen amateur pianists.
prestigious Institute of Mathematics in Toulouse, France, Pianoteq is a physical Parham has rounded up 13 celebrity amateur pianists to each play
modelled software instrument for MacOS, Windows and Linux x86. The tiny a movement from Schumann’s durable Kinderszenen (Scenes from
system footprint and powerful innovative features have made it a popular Childhood) at Kings Place, London, on 8 December at 11.30am.
choice among composers, producers and pianists. Just install Pianoteq on The Kinderszenen play-in will be followed by an equally star-studded
your laptop and connect it to your digital keyboard to start enjoying the performance of Saint-Saëns’ Carnival of the Animals.
vast selection of beautiful-sounding instruments. This concert is the first of a new Kings Place series of Sunday
In addition to acoustic pianos, Pianoteq also offers digital keyboards morning coffee concerts devised by Parham. On 26 January, Martin
(Rhodes, Wurlitzer, Clavinet, CP80), chromatic percussions (vibes, Jarvis recounts the scrappy tales of Just William with the help of
marimba, xylophone, celesta, hand pans) and a wide selection of historical pianist Richard Sisson (formerly of Kit and the Widow) and on
keyboard instruments (pianofortes, harpsichords, cimbalom). The latest 14 February actor Alex Jennings, tenor Andrew Kennedy and pianist
additions include an upright piano and a Blüthner Model 1 grand piano, Iain Burnside explore First World War poets and composers.
authorised by Blüthner. Parham, a regular Pianist contributor, has also launched a Sunday
afternoon series at St John’s, Smith Square, in London. The new
Sheaffer series features Parham’s Words and Music concerts, including
COMPEofTPiaIT ION! to Beloved Clara (19 Jan; about Clara and Robert Schumann and
Brahms) and Odyssey of Love (16 March; about Franz Liszt).
Modartt, the producers noteq, are delighted For more information on these concert series, visit www.lucyparham.com
chance to win
offer readers of Pianist magazine the
one licence of the most advanced ver
sion Pianoteq Pro
thner Model 1
Holocaust survivor makes
along with the add-on instruments Blü
grand piano, U4 upright piano and YC
5 Rock piano – symphony debut in Boston
a bundle worth 526 euros (£447). In the Nazi prison camp of Terezin, imprisoned Jewish musicians
were allowed to present concerts and compose. Although many
of them perished in the Holocaust, some of the stories and the
extraordinary music of Terezin has endured. One Terezin survivors,
© Ben Ealovega (Stevenson); © Michael Wilson (Denk); © Ozge Balkan (Pekinels)
ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM the now 90-year-old pianist George Horner, stepped on the stage of
Answer the question below correctly and you could be the lucky winner! Boston Symphony Hall on 22 October to perform songs by Terezin
In which country was Pianoteq developed? composer Karel Svenk with the cellist Yo-Yo Ma. Horner had played
A. USA B. Germany C. France these songs in the camp on the piano and on the accordion.
The concert came about following a chance encounter between
Postcard entries are also accepted. Please send to: Pianist Competitions Horner and Terezin Music Foundation director Mark Ludwig.
Department, COMP PIA0099, Warners Group Publications, Fifth Floor, Horner, a retired doctor from Pennsylvania, was asked by Ludwig to
31-32 Park Row, Leeds, LS1 5JD. Competition closes 25 January 2014. perform the Svenk songs with Yo-Yo Ma at a benefit concert for the
Quote PIA0099, and remember to put your name, address, email and Foundation in Boston. Horner’s first reaction on being asked to play
telephone number on the postcard as well as the answer. with Ma was disbelief: ‘I couldn’t believe it because it’s a fantastic
thing for me,’ he told Fox News.
To learn more about Pianoteq, go to www.pianoteq.com ‘To have transcended the most horrible thing and to be able to be
positive… is the great testament to the human spirit,’ remarked
Yo-Yo Ma after his performance with Dr Horner.
10• Pianist 75
p08 news75-FINALish.indd 10 07/11/2013 09:07

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

Orchestra on 10 October, not one but two pianists were in the spotlight:
Turkey’s famous piano duo (and identical twins), the Pekinel sisters.
They performed Mendelssohn’s Concerto for Two Pianos in E major with
Borusan’s Artistic Director and Principal Conductor Sascha Goetzel at
the helm. As the photo shows, the Pekinels arrange their pianos parallel
to each other, but with one instrument in front – which means they can’t
really see each other, or the conductor.
Pianist Editor Erica Worth attended the concert, and afterward asked
Güher Pekinel about the unusual seating arrangement. ‘We don’t have to
look at each other when we play,’ replied Güher. ‘We feel it instinctively.
And with such a high-class orchestra and conductor – it works.’
More on the Borusan Istanbul Philharmonic Orchestra in a future issue.
p08 news75-FINALish.indd 11 07/11/2013 09:36

“ EXPERT TALK
The pros share their views
Q&A
with Tim Stein
”
WRITE TO: The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK
PIANIST AT WORK
OR EMAIL: editor@pianistmagazine.com
When I play chromatic

runs or scale passages,
Christian
I notice that my fifth
fingers straighten or
curl under my hand.
Blackshaw
Is this something I The British pianist talks about
should worry about? studying with Clifford Curzon,
performing the complete Mozart
Watch certain concert pianists such as Brendel
and Fleisher when they play, and you may
sonatas at Wigmore Hall and
notice that in scale passages or chromatic runs preparing for ‘lift-off’ in performance
their fifth fingers are outstretched or curled
inwards. It is a common misconception that What are your thoughts on the complete
the only way to play such passages is with your Mozart sonata cycle, which you performed
fingers in this position. When we play, we want and recorded live at Wigmore Hall last season?
to be as tension free as we possibly can, and I have lived with these works for many years. I
by trying to imitate another style of playing, first tried to play the sonatas in a cycle in 1995,
we end up causing even more stress. The ideal and since them I have picked them up and put
placement of the fingers on the keys should be a them down. I have approached them in much
‘down’ position, meaning all the fingers should more of a vocal point of view. So much of Where do I begin! His approach to the keys was
be pointing down towards the keys. Your arms Mozart’s music is written with the voice in mind. so magical. It’s not only in the playing – it’s the
should be loose from the top of the shoulder to It has always fascinated me how one can become thought before you put your hands on the keys.
the tips of the fingers, and they should be free to a voice at the piano – a percussive instrument – I think he recognised himself in my approach,
travel across the torso. One of the reasons that and how one can make the piano sing. sensing things in quite a similar way. I was so
the fifth fingers have a tendency to straighten flattered and forever grateful that he spent quite
or curl under is because the arms are too fixed, Do you need a particular touch to play a lot of time with me. To my mind, Clifford
allowing little flexibility of movement. Mozart’s music? could play Three Blind Mice backwards, and
Of course we are all built differently, and Yes. It’s something that you can’t learn. You have it could still be magical! He could show you a
in some cases it is simply a case of the hand to be born with it. Mozart can sound mechanical path you never quite thought of. I understood
and fingers finding their most natural position and over-studied. In order to portray the completely how he did what he did.
that causes some fingers to move in strange essential beauty of these great undervalued pieces
directions. There are, however, some simple you need a special touch. There is nowhere you Any advice for readers who are learning the piano?
things that you can try to do to help overcome can possibly hide. In Mozart you cannot attack a It’s our duty to follow what’s there in print. I
the so-called ‘riddle’ of this wayward finger. note falsely. It has to be ‘here is the extraordinary always search to make the piano sing, especially
Start with a very simple five-finger position touched by God’. in the slow movements. And just to prepare
(e.g. C-G) and practise just raising the fifth a ‘lift-off’ in a performance. When you are
finger a little (but not too much so as to cause Which are your favourite Mozart sonatas? practising, that’s only to enable you to have a
unnecessary strain), counting 1 as you lift Impossible to say! There are slow movements much more solid foundation on which to give
and then dropping down on to the key on 2. that are truly hymns from heaven, such as the a performance. I don’t think performance should
Don’t worry about making a sound, as the idea second movement of K570. It is one of the be a replication of practice. A performance
is to develop independence and freedom of most sublime movements that Mozart wrote. should be a spontaneous and instinctive
movement. Then take a simple scale and practise The A minor Sonata [K310], which was said representation of that moment in time. You
it just with the fifth finger alone. The important to have been written when his mother was never know how well you prepare for something,
thing is to keep the hand in as relaxed a position dying, is so touching. The older I get, the more how it’s going to turn out. Lights, piano
as possible, with wrist flexible, knuckles reverence I have for these genius composers such stools, noises – things can go wrong. The joy
rounded and fingers curved. as Mozart. He could write an opera, a concerto, (and the challenge) is to make the music live in
In the end, getting too stressed about your a symphony – there is beauty in everything he that moment.
fifth fingers will lead to even more tension, so if wrote. There are also moments of huge wit,
you are not being too restricted by their strange humour and laughter, but then again there’s lots The first volume of Christian Blackshaw’s Mozart
movements and they don’t impact too severely of contemplation, sadness, and spirituality. Piano Sonatas series was released on Wigmore Hall
on your playing, don’t worry too much about it. Live in September (WHLIVE0061/2 (2 discs)).
© Herbie Knott
Go to www.pianistmagazine.com to watch Tim’s You studied with Clifford Curzon. What did The second disc in the series is due to be released at
online piano lessons for beginners and visit Tim’s he teach you? the end of 2014.
website at www.pianowithtim.com
UNDER THE LID

Top tuners and technicians from the Pianoforte Tuners’ Association (PTA) tackle your instrument queries
What exactly does ‘overstrung’ mean? third of the notes) if the bass strings are not in the same plane as the treble
It is generally accepted that the bigger pianos with their longer bass strings strings but slightly nearer the player. Many strings therefore cross over each
produce bass sounds preferred by composers and concert pianists. In an other, giving rise to the expression ‘overstrung’. This is a positive thing!
upright, bass strings can be made longer by placing them roughly top left to Gordon Nelson, MPTA
bottom right. This is only physically possible (for approximately the lowest Turn back to the News pages to read about the PTA’s 100th anniversary.
12• Pianist 75
p12_expert talk75-FINAL.indd 12 29/10/2013 16:21

13• Pianist 75
p13 Ads.indd 13 06/11/2013 14:21

INTERVIEW
C O O L
JO O L S
A fixture on UK television and radio with his boogie-woogie
piano playing, jovial personality, and banter with other
musicians, Jools Holland really does love what he plays.
Erica Worth meets the high-energy star
14• Pianist 75
p14_interview 75-FINALV2.indd 14 07/11/2013 09:53

I
t’s a balmy day at the end of
summer, and I’m sitting in a
tranquil room in a Greenwich
recording studio, with not just
one recording device facing
my soon-to-arrive interviewee,
but three. Yes, when you’re
offered the opportunity to interview
Jools Holland for a 20-minute session
face-to-face at his famous studio,
Helicon Mountain, you come prepared.
Jools bounces in, right on time, looking
quizzically at my neat row of recording
contraptions. In fact, the first thing
he says is that he likes the way that
I’ve propped one up on a nice piece
of tartan cloth. He looks just like he
does when I’ve watched him on the
television: the bright open smile, relaxed
manner, informal attire. Jools might
be relaxed, but I’m not, as I’ve only got
those precious 20 minutes with him. Jools with his Clavinova in his Greenwich studio
But he says there’s no rush at all. Phew.
I like him already.
For those of you unfamiliar with the which there wasn’t (I found one the The big Squeeze
name Jools Holland, he’s the British other day made by Ashley Wass – it’s Whether he learned to read music to
pianist, bandleader and TV presenter great). It was the piano and the piano perfection or not, Jools’s path to fame
– oh, and ‘king of boogie-woogie’. sound that I loved. Unwittingly, at seems to have been like a breezy walk
And he’s busy. As you flick leisurely about age eight, I had chosen the right in the park. At age 15, he formed the
through this magazine, Jools will be instrument: I think the piano is the best band Squeeze, with Glenn Tilbrook and
whizzing around the UK with tour dates tool for writing music on. Everything is Chris Difford. They started off by
in London, Newcastle, Birmingham, laid out in front of you. playing in pubs around the East End,
Manchester, Nottingham, Cardiff, ‘The first album I bought was a and when Gilson Lavis came on board
among other places. He has his BBC boogie-woogie album with Pete Johnson (he is still Jools’s drummer today), the
Radio 2 programme on Monday nights and Albert Ammons doing duets, and band began to hit the big time.
at 11pm and of course his famous Jimmy Yancey doing blues. Jimmy had Jools has since made his name as a
show Later… with Jools Holland, which this incredible feel for the blues. For media celebrity – he’s a performer
appears on Friday evenings on prime- me, it’s about finding the person who and presenter who at times has seemed
time TV (some 42 series to date). Don’t connects the music to you. It could to put others in the limelight more than
forget his cult-like Hootenanny, the himself. Then there’s his famous
‘If you play what you

annual TV show that sees in the New 18-piece Rhythm & Blues Orchestra,
Year. That show hits the 20-year mark which started its life on a smaller scale
this year and I’d imagine he’s preparing in 1987 as the duo outfit Big Band (just
for it already. No wonder I’ve been
allocated only 20 minutes with Jools.
love, you will learn it Jools and Lavis). Jools obviously
enjoys communication with other
I’m here to talk piano playing. I want
to know how he has created his ‘once much quicker’ musicians but he also wants time to sit
down to practise alone. Practising, and
heard, never forgotten’ style. What’s perfecting his style, have clearly been
his secret? It all began, as it often does, be your aunt playing the “Moonlight” one key to his success.
with the influence of something or Sonata that you love the best of all. ‘Ultimately, the real thrust of it is that
someone. Jools tells me, ‘The first thing Brendel won’t mean the same to you! It’s you can only teach yourself. You have
that I remember was hearing my Uncle finding something that connects. The to start off by playing what you love
Dave play boogie-woogie.’ (Uncle Dave more you look, the more you will find.’ and loving what you play. Then as you
played bass in a blues band called the So far, our conversation has been a evolve you have to play what you mean
Planets.) ‘It was fascinating, particularly lot about ‘feel’ and ‘connection’. What and mean what you play – that is, you
the staccato and percussive way that he about the more technical theory aspect have to be confident about it, and clear,
played it. His left-hand style was the of music? Did Jools learn to read music? and play your own thing. Whoever you
same as the left-hand style Ray Charles ‘I didn’t really read music. I learned listen to, whether it’s Chopin or Fats
had learned from an old man in his the theory of music, which I found Waller, you’re never going to sound the
town, and the same left hand that Dr very useful. I learned the chords, ah yes, same as someone you’ve listened to.
Main photo and photo page 16: @ Mary McCartney - LGA
John’s aunt had shown him! Obviously, from dear Mr Pixley in school.’ Jools Two people cannot be identical. It’s like
it must have had the same sort of effect was the only pupil who opted for two voices – no two voices can sound
on lots of people. Hearing Dave play music in his school. That might sound the same. You need to be inspired, but
stimulated me to want to learn boogie- odd, but remember, this was Deptford, ultimately you have to make your own
woogie music and piano music. South London in the 1960s. ‘Then thing up.
‘We also had a 78rpm recording of there was a jazz pianist called Duke ‘One thing I learned is that if you
Sheep may safely graze and I thought, Burrell and he showed me a chord, a want to play something and you really
“I’d like to learn that on the piano.” great chord. There were pianists along love it, that’s what you should try to
I also remember liking Beethoven’s the way that showed me great things, play. Don’t bother with those you don’t
“Pastoral” Symphony. I tried to figure new riffs and so on. They were all useful like. If you play what you love, you
out if there was a piano version of it, and helpful.’ will learn it much quicker. The other
15• Pianist 75

thing I have learnt is that the more They all have their different purpose.
you do, the more you are able to So for touring we have a Yamaha GT7
do. Your mind gets in a set way GranTouch. We use our samples in
of learning. You become more it to make the sounds even broader.
familiar with the paths that music An acoustic piano would be great,
takes – the chords, the themes but impractical for touring. This one
etc. The process becomes easier.’ has both the attack and the action of
That sounds familiar territory for an acoustic. Here [at the Greenwich
classical musicians. Haven’t we all studio], we have a Yamaha acoustic
been told that if we do our daily grand I bought new 25 years ago. We
sight-reading, we’ll learn music record everything in here on it. Ideally
more quickly? I’d always use an acoustic. Nothing
As I continue to talk with Jools, beats that. But I endorse Clavinovas and
it strikes me more and more how they are the best in that field.
there are many parallels between ‘I also have a Wurlitzer spinet that I
classical music and ‘modern’ (for first saw in a shop in Texas. They were
want of a better word) styles. I pose trying to sell me a new piano, but this
the question: do they share common Wurlitzer wasn’t very much, and I asked
Jools Holland ground? ‘My definition of good music is how much to ship it back to Greenwich.
ON HIS TECHNIQUE that if you want to hear it again, that’s a
good piece of music,’ he replies. ‘It’s like
They said something like 150 dollars.
A month later I still hadn’t heard and I
Do you need a special technique for boogie-woogie you think, “What’s that piece? I have thought, “Oh well, it will never arrive.”
and stride piano playing? to hear it again”. It’s that longing and Then one day I had a ring on my bell
Stride left hand is more demanding than boogie- desire, and as a pianist, the desire to play and there it was! At home I have a big
woogie because you have to think about it first. For it. That’s one of the great things that Yamaha grand. That piano has the best
both, though, you have to figure out what the left hand Duke Ellington said about music – the bass – and it really sings. I also have
is, and then do it on its own and not think about it. It’s more you look at it, the more faces it a Steinway, which was given to my
like rubbing your tummy and patting your head at the reveals to you. Yes, the more you look, mother-in-law as a wedding present
same time. And then you are also playing music that’s the more you are likely to find. in 1958. I am thinking of having it
syncopated. So you are being a drummer as well! ‘They say the two worlds don’t meet, restored, but I don’t want it to lose its
That’s the interesting conundrum of learning a piece but it’s all the same thing, that’s the sound. So I’m in a conundrum. It’s like
– exercising your mind to learn and work out all the point. It’s music – connecting and the friend that you love in the corner of
chord changes – and then forgotting it and letting it go. communicating with people. I suppose the living room – like the family dog. If
with classical music, it’s stricter in that a certain piano has been with you for a
Are you left-handed? there’s a whole form that has to be long time, it something special.’
No! gone through. With pop music you Does a day go by when Jools
can condense it into three minutes. doesn’t sit down at one of his beloved
What about the pedal? Here’s an example: there was a stride instruments? ‘Well, sometimes, if I’m
One of the biggest errors in this type of music is the pianist called Donald Lambert who did away,’ he admits. ‘But I’m much
pianist’s use of a sustain pedal. Certainly for boogie- a great version of the Pilgrim’s Chorus happier when I’m playing. Then you
woogie, you mustn’t use it. But in music, Rule No 1 from Tannhäuser. I heard his version are in another world. Your requirements
is that there are no rules! Same with stride piano – if and I thought, “What’s that? I want to are completely different. Your whole
you need to use the pedal, do it sparingly. You need to learn it.” So I got a copy of the original spirit has changed into something else.
hear the staccato. It won’t sound like a rhythm section Tannhäuser – and it’s three hours long! You’re like one of those monks seeking
otherwise. It will sound more fluent, which is not what But I kept listening to it. How did something. Sometimes, though, I have
you really want. Your left hand has to be like a rhythm Lambert end up getting it into such a been away somewhere for five days or so
section of a band. It wants to be quite choppy to make short bit? I thought there’s no point me – like when I’m on holiday where they
people dance. just copying him, so we made a three- haven’t had a piano – and I come back
minute version of it, which will most and feel refreshed.’
Do you find playing boogie-woogie physically tiring? probably drive the Wagner obsessives I feel pretty refreshed too, having
No, not really. But one thing I have learned comes mad. But the chords are just great – the spent this inspiring time with Jools. As
from a comment Stan Greig made to me some 20 changes, the melodies.’ I gather up my array of recording
years ago (he was a great boogie-woogie and jazz devices and place them back into my
pianist): ‘You play quite hard. Do you want to try to Piano space bag, I look at the timer on one of them.
playing a bit lighter? I’ve worked with Count Basie and If you’ve seen Jools on Later… with Jools Forty-five minutes. Wasn’t I lucky?
he used to play quite light’. So I’ve lightened up and Holland, you’ll notice that his piano has
I have found it less strenuous. I suppose it’s because something of a dual identity. On the
I played for years on acoustic pianos that weren’t very show’s set, each guest band has its own
WATCH ONLINE
loud… and everyone else was. perch in a semi-circular setting. Jools
himself talks to his interviewee while We’ve rounded up a few of our
Do you play any technical exercises at the piano? sitting at the piano (a Yamaha S6). ‘The favourite Jools video clips at
Sometimes if I’m finding I’m missing something piano in Later is the prop that we use to www.pianistmagazine.com
consistently, I will. An upward glissando is very lean on, to sit against – and you learn
easy for me, but downwards not quite as concise. far more about the interviewee from You can watch Jools giving a
Sometimes I will deliberately do a lot of arpeggios what they sing or play. Getting a tune Clavinova demonstration at
up and down, in different keys. Sometimes I notice out of them is great. Each band has its www.yamahamusiclondon
I’m speeding up, so I will turn on the metronome and space, and my space has a piano where .com/jools
really listen. Particularly with boogie-woogie and stride most would have a desk instead.’
piano (a small part of my live repertoire), it’s all about So how many pianos does a musician For more about Jools Holland and all
timing and making people want to dance. Too fast or like Jools Holland own? ‘I have roughly tour dates, visit his website
too slow is no good. seven or eight. Something like that. www.joolsholland.com
16• Pianist 75

1,500 adjustments to your new Yamaha piano.
Obsession or Perfection?
Will Venables prepares a new Yamaha CF4
“The last technician to work on a piano is as responsible Voicing at multiple dynamic levels is crucial in heightening tonal contrast
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and smooth subtlety at pianissimo.
As piano technicians and a genuine family business, this fact is the
foundation on which Venables Pianos has succeeded in becoming a We transform the depth and ‘bloom’ of tone. Power and body can be
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Additionally to fine tuning and polishing, when a
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Each piano will be prepared to the same standards
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The magic really begins when we understand what you do like, and experience a Venables-prepared Yamaha piano at our showrooms in
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17• Pianist 75
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play HOW TO
Making it sing
CANTABILE STYLE
With the right technique, a pianist’s cantabile can be as persuasive as a violinist’s, says pianist
and teacher Mark Tanner, who reveals some of the secrets behind this great illusion
C
antabile, from the yet pianists might learn something from Concert pianist, teacher, writer
Italian verb ‘cantare’, the Italian composer’s lucid distinction. and festival adjudicator Mark
meaning ‘to sing’, For our purposes, a reasonable Tanner has also published over
is as old as the hills. working definition of cantabile might 30 volumes of compositions,
In an instrumental be an invitation to draw out the arrangements and editions
context we find the melodic potential in a piece, i.e. to for Spartan Press, pitched
term attached to emphasise its songful, soloistic character at Grades 1-8. He edited the
keyboard music from Scarlatti onwards, above, for example, its potential to complete piano works of Peter
broadly interpreted as ‘in a singing’ or sound ‘fiery’ or ‘brilliant’. Applied to Wishart (Edition Peters) and
‘songlike’ style. It is perhaps ironic that Scarlatti’s harpsichord sonatas, cantabile John McLeod’s epic Haflidi’s
pianists spend so much time emulating can hardly be taken to mean quite the Pictures (Europa Edition). Two
singers because for us, a true cantabile same thing as it might in a piano piece pieces from his 11-volume
remains tantalisingly elusive. It is in the by Fauré or Chopin. The fact that piano series Eye-Tunes are on
nature of our instrument that from the Scarlatti only sometimes used the term the current London College
moment a note has been struck it will in conjunction with a tempo direction of Music syllabus. His new
start to decay (albeit more slowly than on should not distract us from the implicit Scapes series is an evocative
earlier keyboard instruments). Moreover, requirement to choose a moderate, 4-volume collection. Find out
for all our talk of tone colour and lyrical perhaps more leisurely tempo, and to more at www.marktanner.info
style, pianists can essentially control look for ways to elongate phrases rather
just two things: the speed at which the than spotlight local detail. In Romantic
hammer strikes and the length a note piano repertoire, where musical It therefore becomes necessary for
lasts. Granted, we have three pedals phrases are frequently less compact or pianists to anticipate the impact of
with which to stir in additional effects, symmetrical, there is an especial need to their playing some distance away, i.e.
and for those who possess sufficient take a broader view of cantabile lines. where the audience is situated, rather
artistry and technical skill there is scope than fixate on how it sounds sat at the
to finely balance the texture of piano Voicing and balance piano. Moreover, the larger the hall
music. Nevertheless, we are striving to In the right hands a pianist’s ‘illusion’ the more projected and contoured a
create an illusion of a shapely singing of cantabile can be as persuasive as melody will need to be, else the music
line since pianists cannot grow through a violinist’s, and yet achieving such will hit the audience as a dull one-
a note as a singer or clarinettist might, an illusion is no easy matter. For one dimensional wall of sound. I recall,
let alone colour it with a bit of vibrato or thing, the closer to the instrument in my student days, turning pages for
portamento for extra expressive impact. the audience is positioned the an eminent veteran pianist during a
Cantabile is not the sole province more distracting the attack of the rehearsal for a Mozart piano concerto
of instrumental music. Singers will hammers tends to become, however and was struck by the seemingly
be familiar with the term in relation well controlled the playing may be. overpowering cantabile he employed
5
to the ‘double aria’ in a 19th-century – it was far too loud, I felt, while his
Italian opera in which the second part, a exaggerated dynamic shaping bordered
cabaletta, emerges with less emphasis on TOP on the vulgar. I then listened to the
TIPS
its songlike quality in favour of a more FIVE TOP TIPS FOR A SWEET CANTABILE performance from my seat 20 rows into
vivacious character. Later cantabile the stalls and was utterly persuaded by
could be understood as an instruction
to promote a single melodic strand, 1 A purposeful singing tone is frequently paramount, not just
where a composer writes ‘cantabile’.
the elegantly poised cantabile, exquisite
balance and controlled expressiveness
albeit a fragmentary or less obvious one, of the phrasing; an important lesson
and hence, not unlike my discussion
of rubato (Pianist No 73), the term 2 Tease out melodic fragments concealed within the texture using
your newly honed chord-voicing skills.
for me. Anyone who has done a little
public speaking will be aware how
can be seen to tolerate a somewhat much louder and more slowly one
elastic definition. Giuseppe Tartini, for
example, writing in the middle of the 3 Take account of the acoustic and size/quality of instrument
when projecting your sound; make sure the audience in Row M
must articulate, and pianists would do
well to bear this in mind also. Besides
18th century, took care to differentiate will revel in your melodies. these factors, we need to be aware that
‘singing’ style from ‘playing’ style, a warm acoustic will effectively do
by which he meant a more smoothly
joined-up legato for the former and a 4 Good piano playing close up invariably sounds loud; nevertheless,
get to the bottom of the keys, even at a dynamic of p.
some of the pedalling for us! So, the
next time you find yourself practising
more separated mode of expression for at home in anticipation of an event
the latter, especially where notes are somewhere a little grander, don’t shrink
5
Cantabile is not exclusively a right-hand phenomenon; melodies
approached not by steps but by leaps. in the tenor/bass register need even greater promotion and care. from producing a full cantabile, and
Tartini’s primary preoccupation was consider the impact of your pianissimo
with bowed instruments, not keyboards, effects particularly, which may sound
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MASTERCLASS
exquisite in your furnished living room chord is repeated. The B should sound
but would likely dissolve into an weedy
mush in a larger performing space.
noticeably more prominent now, and as
you continue experimenting you should
ENDLESS MELODY
Understanding how sound carries is soon be able to remove any unwanted Mark Tanner’s tips for bringing a sumptuous
partly a matter of physics, but your asynchrony of notes. Now try sliding in
ears remain the ultimate arbiters of an the thumb or fifth finger instead of the
cantabile to 3 of this issue’s scores
effective cantabile. As an experiment, third – interesting things should start to
place a recording device at the back of
a hall; you’ll be amazed at how different
your playing sounds compared with
happen! My article on fingering (issue
74) touched on the need to use stronger
fingers for chord voicing wherever the
1 Grieg Lonely Wanderer, No 2 from Lyric Pieces op 43 [Scores
page 38]: During much of the piece the main melody is,
fortunately, doubled in the LH, easing the cantabile. Guard against
when seated at the piano. opportunity arises, so in this case you over-pedalling initially – the tied notes imply ‘finger pedalling’. Use
could substitute the fifth finger for strong fingers wherever possible when playing chords, such as
A good cantabile in 3 steps the fourth to good effect. Even dense, at bars 3-4. At bars 12-15 (marked ‘stretto’) restrain the LH during
Some pianists seem to feel that melodic complex chords can be successfully the crescendo and work harder with your RH third, fourth and fifth
lines will cut through the texture by a voiced in this way, with a selected note fingers to bring out these important melody notes.
process of osmosis, apparently assuming or two becoming more prominent
that the mere act of wishing for a
delicious cantabile will miraculously
bring it about. Unfortunately, this is
in each hand simultaneously. Bear in
mind that the closer notes are spaced
within a chord, the more imperative
2 Tanner Lullaby for Prince George [Scores page 32]: Though
cantabile is first indicated at bar 15, the entire piece calls for
your most immaculately graded tone – even the first innocuous-
not the case unless the melody happens it is to highlight one for voicing. looking RH chord needs careful voicing by ‘pulling in’ the second
to be conveniently positioned two Step 3 is to smoothly link together finger on the D. The main melody should be easy enough to bring
octaves above a relatively unobtrusive each of the emphasised chord notes. out, especially as it rises higher and further from the static LH
accompaniment. When the melody is Congratulations, you have achieved one chords at bars 20-21. Come up with something freshly expressive
situated lower down the keyboard in the of the hardest yet most rewarding of for the passage at bars 27-28, remembering to notice the
tenor area – the piano’s ‘sweet spot’, as goals – a sumptuous cantabile! descending LH line, and cultivate as much shape and expression
I like to call it – the pianist’s role needs as possible in your playing throughout. Extra poignancy is invited
to be more active in teasing it out from Different pianos during the repeated section (bars 15-39), and there’s no need to
within the texture, and this brings us to Uprights operate differently from hurry the delicate, ‘dreamy’ chords at bars 8, 47 and 49 – just take
the heart of the matter. grands in a number of key respects, your time and lull the baby to sleep!
Have you ever played a melody not least of which is their actions and
convincingly with just your second
finger? It’s a great discipline and you
could think of it as the first step in
comparatively small capacity for tonal/
dynamic projection. Expect to work
a little harder when playing smaller
3 Alkan Petit air dolent, No 30 from 48 Esquisses [Scores
page 40]: The reclusive French composer Charles-Valentin Alkan
composed four volumes of Esquisses (Sketches). This gorgeous
the process of producing a delicious grands. Contrary to intuition, larger miniature, ‘Petit air dolent’ (‘short, sad melody’) comes from Book
cantabile. Allow yourself dabs of pedal grands frequently possess a lighter touch 3. It’s a good example of a RH melody with thumb accompaniment;
to ease the process and aim to achieve due to the increased distance between once again, you’ll need to dig deep with your third, fourth and
as smooth and shapely a line as if the hammer’s strike-point and the fifth fingers here. The ‘chugging’ LH chords, which hover around
using a conventional fingering. With position where the finger depresses a key the tenor register, further broaden the texture, while Alkan’s
all fingers at your disposal you can – as Archimedes said, ‘Give me a place instruction to really bring out the melody and sustain a supportive
of course achieve a more compelling to stand and with a lever I will move the accompaniment heightens the need for a handsome cantabile
legato, but consciously overlap the whole world.’ Resist over-working the throughout. Take your time with the grace notes – dispatch them
notes fractionally. You should vary una corda pedal when pursuing a softer lyrically and expressively.
the amount of overlap according to cantabile because it fights against your
a) the speed at which you are playing, ability to project a resonant tone (it’s
b) the style/genre of the music, and a bit like trying to simultaneously seemingly any contrapuntal line of his
c) the acoustic. In all cases graduate apply the brake and the accelerator choosing, while there are many who
the dynamics as creatively as you can, when driving). With digital pianos, feel that Arrau, Richter, Moiseiwitsch,
listening acutely. including most weighted models, you Argerich, Uchida and Brendel are
The second step is somewhat more need to be especially aware of the fact unsurpassed for their singular treatment
involved. Let’s say we wish to ‘voice’, that, since there is no ‘action’ per se, of cantabile.
i.e. highlight selected notes forming a you can be lulled into imagining you In conclusion, we need not await
potentially interesting counter-melody are producing an effective cantabile, a composer’s instruction to employ
from within a chain of chords. How only to discover when sat at an acoustic cantabile, for melody is king! It is
might we achieve this? For a single piano that the sound seems somewhat the melody we go out singing after a
note to sound appreciably louder than thin, lacking in sonority or full of concert, not the accompaniment. A
its neighbours it must travel faster. It’s ‘holes in the line’. singing tone is as intrinsic to good piano
not a case of ‘hitting’ a particular key playing as it is for a flautist or cellist, so
harder or jabbing at it aggressively, but Cantabile masters if you spot an intriguing counter-melody
generating additional key velocity by We all have our favourite pianists, but buried within the texture, consider
sliding the finger in question towards one attribute all great players possess bringing it to the audience’s attention
you while playing the other notes in a is an ability to coax out an expressive, by engaging your ears, your fingers
more uniform way. Play a triad of G singing tone. You’ll doubtless have a and your utmost artistic imagination.
major in the middle of the piano using view on Lang Lang’s individualised Finally, listening to singers will feed you
the normal fingering of 1, 3 and 5, mode of expression, but his ability ideas regarding expressive nuances, e.g.
taking care to apply moderate but equal to control and project tone to the ornamentation, rubato, portamento
downward pressure from the wrist – let’s back of a large hall is undeniably and tenuto effects, all of which can
say at a dynamic of mf. Repeat this a impressive. I have great admiration for potentially add to the pianist’s illusion
number of times, keeping the sustain Howard Shelley’s tasteful cantabile, of a meaningful cantabile.
pedal depressed. Now begin quickly Murray Perahia’s splendidly consistent
sliding your third finger about half management of tone and Ivo In the next issue, Mark Tanner talks
an inch or more towards you as each Pogorelich’s startling ability to draw out about pedalling.
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play HOW TO
A turn for the better

IMPROVING YOUR TRILL TECHNIQUE
Trills are not created equal – some are delicate and sweet, others brash and bold. Teacher and performer
Graham Fitch shares some of the best techniques for creating your own trilling moments
I
am often asked what is the secret of a good trill, and I find myself Graham Fitch is a pianist, teacher,
answering with another question: what sort of trill do you mean? writer and adjudicator. He gives
There are so many different types of trill that it is impossible to lump masterclasses and workshops on piano
them all together. Some trills are feather light and delicate, others playing internationally, and is in high demand
strident like an alarm. Some are exuberant and invasive, others as a private teacher in London. A regular tutor
elegant and sensitive. So let’s think of trills (and indeed other ornaments) at the Summer School for Pianists in Walsall,
as chameleons that blend into and enhance their surroundings. In this Graham is also a tutor for the Piano Teachers’
article I am not going to get into the vast topic of ornamentation and Course EPTA (UK). He writes a popular blog,
embellishment but instead deal with the practical aspects of what we need www.practisingthepiano.com.
to do to manage trills skilfully. If you are confused by all the rules and
Graham demonstrates everything
regulations concerning ornaments of different style periods, I would direct on these pages in his video lessons
you to an excellent basic guide on the subject, Ornamentation: A Question & (filmed at Steinway Hall, London)
Answer Manual by Valery Lloyd-Watts and Carole L Bigler. [Note: You can on the Pianist website,
win a copy of this book! Turn to page 4 to find out how.] www.pianistmagazine.com.
We pianists tend to think that trills need to be as fast as possible.
They don’t! First, you need to determine whether the trill is rhythmic or
expressive, and whether it is fast or on the slower side. Often trills and In many situations, it is not so much the trill itself that is problematic but
tremolos sound better when they are measured out and played evenly, coordinating it with the other hand. The solution for this is to practise all
whatever the speed. I mean ‘played evenly’ both in terms of time (precisely trills in a measured way initially, including those that will eventually be
rhythmic) and tone (with no unwanted accents). free and unmeasured. Work out exactly how many notes are in the trill and
There are, however, some situations when you won’t want a precisely how the trill fits together with the other hand. Once you’ve mastered the
measured trill. In slow or expressive music you might prefer to start the trill coordination, you can then allow the trill to be spontaneous and go its own
slowly and gently, perhaps with a crescendo to the middle, then end it with way in performance. When possible, I suggest practising using a variety
a slight ritardando. In Galuppi’s Sonata in C (in this issue’s Scores, page of different measurements (from slow to fast) so you avoid ingraining just
34), the ornaments add a delicate sheen to the melodic line and need to be one. With the trill towards the end of Clementi’s Sonata in F sharp minor
played fast, lightly and gracefully. The ornaments in the slow movement (Scores page 51, bars 123-124), you might practise it in two different ways,
of Haydn’s Sonata in F Hob.XVI:23 (Scores, page 42), on the other hand, either of which would be acceptable:
need a more expressive approach. Slow them down a bit, and linger over
them. The opening ornament in the Haydn may be played either as a
# #2
mordent (a) or as a turn (b):
& # 4 ffffffffffffffff f
{
3
(a) (b)
? ### 2 ff f ff f #ff f ff f ff
f nf f f f nf f
We can often make such decisions about trills based on our own judgement
4
and good taste.
The register of the piano determines the speed of a trill as much as
# #2
& # 4 ffffffffffffffffffffffff f
the musical context. Trills in the high registers are often faster and more
brilliant than those in the lower registers. Because of the greater resonance
{
of the tenor and bass registers, trills in those registers might need to be
played more slowly and clearly so they do not cloud the texture.
In this example from Schubert’s G flat Impromptu (featured in Scores
issue 68), you have to take care that the trill does not dominate and become ? ### 2 ff f ff f #ff f ff f ff
louder than the top melodic line. Remember – the lower the register, the 4
slower the trill. The speed of the trill here depends so much on the chosen
tempo, the instrument and the resonance of the room. Very softly and
rather slowly, with only a few repercussions, play the trill starting on D flat:
Fingering, tension and freedom
b 4 F f ff bF ™ f
& b bbbb 2 w
Working out a fingering for trills and other ornaments is just as important
f f F
‰ fbf ff ff f ff ‰f f f f‰ f f ‰ bf
f as working out a fingering for the rest of the piece. The obvious trill
{
fingering is between 2 and 3, but we need to be able to trill skilfully
between many different pairs of fingers. Non-adjacent fingers are often
Ÿ
much stronger than adjacent ones because of the design of our hand (1 and
? bb b b 4
cresc.
3, 2 and 4, and 3 and 5). We might experiment with beginning with one
b b 2 bw F
pair of fingers and changing to another during the trill. For example, begin
F ff w with 2 and 3 then change to 1 and 3 for a crescendo (do the opposite for
a diminuendo). An especially strong fingering is 1-3-2-3, 1-3-2-3, etc., or
20• Pianist 75
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MASTERCLASS
1-3-2-3, 2-3-2-3 (bringing the thumb in

for the strong beats). We can also begin Exercises for Trills
with 1-3-2-3, then after a while change Exercises to develop the trill can be very helpful. Here are some that work well. Mozart himself used an
to 1-3-1-3. There are many possibilities. exercise for equality of all pairs of adjacent fingers, such as this Exercise No 1:
If we examine what happens when
4 2f 1f f f f f f f f f f f f f f f f33 11f f f
we play a trill, we notice it is made ExerciseR.H.
No 1 2 1
up of two notes that repeat rapidly in
4 f f f f f f f f f f f f f f f f f f f f ???
&R.H.
alternation with each other. In order
to play trills skilfully, we have to be 4 1 2
&L.H. 1 3
???
able to manage these repeated notes in L.H. 1 2 1 3
a loose and easy way, without tension.
32 4 2 43 5 3 5 4
& f f f f ??? f f f f ??? f f f f ??? f f f f ??? 5ff ff4 ff ff ???
Of paramount importance is to play f f f f f
inside the keys, without bringing them f 32f f
2 f 4 3f f f f
5 3 ff
f
& 2 3 ??? 2 4 ??? 3 4 ??? 3 5 ??? 4 5 ???
4
all the way back up to the top. On a
grand piano, thanks to Sébastien Erard’s
double escapement mechanism (patented 2 3 then build up2speed
Start off slowly 4 3 4systematically, in3 a5strictly measured
gradually and 4 way.
5 The
in 1821) we don’t need to lift the key metronome can really help with this. Practise the above exercise not only in C major but in other keys
all the way to the surface to repeat it, too. You can develop this into a transposing exercise, first with trills a semitone then a whole tone apart
we can lift it only about halfway up in (as in Exercise No 2). Don’t forget to use a variety of different fingerings.
order to play it again. This means we
can repeat a note much more efficiently Exercise No 2
(upright pianos generally do not work
4
this way, unfortunately, although some
manufacturers are addressing the issue.) & 4 f bf 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 f f f etc.
Keeping inside the key is only part
of the story, since there is only so much As with the other exercises and suggestions, make sure to practise this in the LH as well. Additionally you
Ÿ
pure finger strokes will deliver in terms can follow a rhythmic design that starts off slowly and increases speed incrementally, as in Exercise No 3:
Exercise4No 3Ÿ
3 3
of speed and endurance. In order to
keep a trill loose and free, especially one
& 44 F f3 f33
& 44 FŸ
that goes on for any length of time, you f f f f f f f f
should keep two things in mind. One f f f3 f f
&4 F
f f f f f
is to add to your fingerwork a gentle f f f f f f f f f f
undulation of the arm and the wrist (see
6 6
my video lesson for a fuller explanation).
The second thing is to use forearm & f f f f f f f f f f f 6f f f f f f 66f f f f f f f f f f f f f f f f f f f
6
rotation rather than lifting the fingers up
& f f f f f f f f f f f f f f f f f f f f ffffffffffffffff
& f f f6f f f f f 6 f f f f f f 6f f f f f f 6f f f f f f f f f f f f f f f f
and down from the knuckle joints. This
is nearly always the best and most natural
movement, allowing us to trill freely
and powerfully (if required) without
& f f f 66f f f f f f 66f f f f f f 66f f f f f f 66f f f f f f f f f f f etc.
& 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 etc.
any tension whatever. The best rotary
fingerings are 1 and 3, 1 and 2, or 2
and 4 (again, my video lesson shows how It is &
worthwhile
f f fmaking
f f fsure
f fyour
f frhythmic
f f f control
f f f isf asfprecise
f f fasfpossible
f f f(again,
f f afmetronome
f f f f isetc.
a good
this works). Now look at the exercises for way to check this).
trills in the column opposite. Next, build the trill up in increasing groups (see Exercise No 4). Starting off with the smallest cell of
Finally, a word about pedalling. three notes, increase this to five notes, then seven, and so on. The fast notes should be up to speed and
The pedal blends the notes of a trill very light – you may pause on the long notes as long as necessary to relax and prepare ahead:
Ÿ
together and this produces an effect
that is pleasing in most situations. Trills
4 FŸ
Exercise No 4
can sound faster and stronger this way.
& 44
&4 F
™™ f ™ f f f™ f f ™™™ ™™™ f ™ f f f f f™ ffff ™
Beware of pedalling through short ™™ f ™ f f f™ f f ™ ™ f™ f f f f f™ ffff ™™™
Baroque trills (and other ornaments
such as turns) where clarity of line and 6 6
texture is paramount. Use light or partial
&
6 6
pedal (or avoid it completely) when the etc.
&
™™ f ™ f f f f f f f™ f f f f f f ™™™
trill is in the bass register. The ability to ™™ f ™ f f f f f f f™ f f f f f f ™ etc.
manage trills, like any other aspect of
technique, will improve with detailed Another good practice tip is to build up the trill by making a chain, adding one note at a time (Exercise
and concentrated study. Since trills No 5). Think of the fast notes as grace notes, playing them very lightly as upbeats to the main final note:
appear in music from all style periods, it
is definitely a skill worth mastering. Exercise No 5
Watch Graham’s video lessons at Pianist’s 1

website, www.pianistmagazine.com. In his
article in the next issue, Graham offers up
&4 ff f fff f ffff f fffff f etc.
some of his own invaluable exercises for
improving technique.
21• Pianist 75
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play
Ingasas
’T MISS
DONNEWMAN’S
WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
TRACK 6
JANET SON
LESTHIS
ON
PIECE
E
Edvard GRIEG (1843-1907) INTERMEDIATE
PAG Lonely Wanderer, No 2 from Lyric Pieces op 43
HOW TO
22
The Norwegian composer Edvard Grieg wrote ten volumes of Lyric Pieces over the this piece and of course, as with all Grieg’s Lyric Pieces, it needs to sing and to ‘speak’
course of his lifetime. Each volume contains between 6-8 pieces for solo piano. Many to the listener. It’s very bleak, and full of yearning. But the piece is just glorious and
of the pieces are in a descriptive vein, such as this beautifully forlorn piece. ‘Ensom a pleasure to play. The climax appears between bars 15-17. Make the most of it! Pedal
vandrer’ – ‘Lonely Wanderer’, or as it’s sometimes translated, ‘Solitary Traveller’ – markings have been added on to the score. As Janet Newman writes in her ‘How to
comes from the third volume of Lyric Pieces, which dates from 1886. Play’ lesson, there is something very sad about this wanderer.
Playing and pedal tips: You need to feel a lilt within the rhythm from the start with Read Janet Newman’s in-depth lesson on this piece on page 22.
Allegretto semplice (e = 116)

> >j
FULL SCORE ON PAGE 38

4 5
#6 j
5
2 1 2
& # 8 ff
4
f f
f f ™ #f f f
5 2 1
ff ™™ f f ff ff ff ™™ f f ff f f ff ™™
{
J fJ #f ™ f
p
> >f
? ## 68 Jf ff ™™ f f ff ff ™™ f f ff
1 1
f™ f f
1
J f f Œf ™ fJ f ™
°
1
ø ø ø
3
ø ø
>j >j
5
# j j
1
& # ff ff f ‰ f f
4 3 2
f™ f f ff ff f™ f f ff
f f™ fJ f™ f f
{
J Jf J
j >f >f
fj ‰
ff ™™ f f ff ff ™™ f f ff
? ## ff f J J
1 21
f f
f
f
GRIEG
1
3 3
°
5
ø ø ø ø sim.
5 4 5 4
fj fj
3
1 2 1
#
2 1 45
7
& # ff ™™ f f f f
#fff ™™™ f f #ff ™
4
fJ ff fJ ‰ f f
5 5
J
1
f™ f f f # f ™™
{
f™
fj f fj
f f™
1
f f f™ f f
1 1 1 21
? ## f ™ f™ f f J
Œ fJ f™ f f ‰
5
3
f 2 1
10
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38• Pianist 75
p38_Scores_Grieg-FINALish.indd 38 30/10/2013 09:43
Give yourself plenty of musical freedom and expression, add some subtle pedalling and you’ll master
this introspective gem in no time. Teacher and performer Janet Newman guides you through it
Ability rating Intermediate rush the ends of phrases and in bar 3, marked (though if you actually look at
Info Will improve your the sixths may well suffer from this. the markings at the beginning of the
Key: B minor ✓ Understanding of rubato Practise in parts (with rigorous attention piece, the score does suggest two pedal
Tempo: Allegretto semplice ✓ Tone and colour to consistent fingering) and again, take changes per bar – so remember to keep
Style: Romantic miniature ✓ Pedalling enough time over it so that each note doing this in bars 11 and 22). I feel
has a chance to speak. that the dramatic quality implied by
the diminished harmonies really needs
Grieg composed ten volumes of Lyric Because much of the music repeats,
Pieces during his lifetime, and many
of these short miniatures are gems.
you, as the performer, need to ring the
changes by using colourful dynamics Learning Tip
In fact, there are so many wonderful as well as varying the shape of your Imagine the phrasing as breaths
Lyric Pieces to choose from, that it rubato. The dynamic markings are – think fluidly and flexibly!
was hard to settle on just this one. limited in this piece, so I would suggest
Grieg’s unique voice informs much that at bar 5 when the key moves to
of the writing of these pieces, and a brighter, more positive level, play the greater texture and support that
his championing of Norwegian folk out with a greater tone to show the the pedal can supply. The two pedal
music is evident throughout the several key change. Again, practise the phrase changes in these bars are here because
volumes of Lyric Pieces. If you want ending at bar 7 as you did for bar 3, of the harmony changes. If one were to
to listen to recordings of these pieces and always take time over the cadence hold onto the pedal all the way through,
then you will find many out there – resolution. As it ends in D major, this it blurs and smudges the sound too
including some of Grieg playing. One has a different emotional impact than much, which detracts from the musical
definitely worth listening to is the 2002 the first time and you’ll need to show effect considerably. You will need
version by Norwegian pianist Leif Ove this with plenty of spacious playing. to experiment with pedalling in the
Andsnes, performing on Grieg’s own opening theme (bars 1-3 and bars 5-7)
Steinway at his home in Troldhaugen. The section from bar 9 onwards in the same way. And again, try what is
Absolutely beautiful playing! introduces a feeling of uncertainty marked – that is, two changes per bar.
and, to my mind, anxiety into the If used carefully like this, it can help to
Grieg chooses quite a bleak key for music. The harmonies in bars 9 and 11 give you a warm and persuasive sound.
this introspective piece – B minor. are based on diminished triads, which
This in itself suggests that the overall give the music an urgency and tension. Make sure that you keep your heel
tempo needs to be taken at a speed To hear how effective these harmonies firmly on the floor when pedalling
that lets you feel the two dotted are when used well, you only have to and lift your foot up on the changes
crotchets in a bar. 6/8 has a particular listen to Beethoven’s ‘Appassionata’ of harmony, not before. I may have
character and if you play too fast, then Sonata where he uses diminished chords suggested this practice exercise before
the lilting flow becomes disturbed leading from the slow movement into in previous articles but it is useful: try
and panicky, which is completely the the finale with such shocking force and pedalling one note at a time (which you
opposite of the mood required in this power. It is completely clear that they play with one finger so that you don’t
piece. Try to let your hands sink into represent something foreboding within join the notes in the hand) and use the
the bed of the keys with total contact the music. I feel that in the Grieg at this pedal to seamlessly connect the sound.
at all times and give the music plenty point, the music begins to surge forward Lift the foot up on the note then depress
of time to speak. and increase in intensity of both tone the pedal so that you ‘catch’ the sound
and direction. The stretto indication before moving onto the next note.
Throughout this piece, you need in bar 14 tells us to get faster. You Your foot should lift up when your
to give yourself plenty of musical should really feel that you arrive at the finger presses down, and not anticipate
freedom and expression. Teaching climax at bars 15-16 with a sense of the the movement and release before the
rubato is a very difficult thing to do, wanderer’s exhaustion rather than relief change, which will just give the line of
even in a one-to-one lesson, and on – this is an arrival tinged with sadness, the music an ugly gap.
paper it becomes even harder. [Readers not happiness.
might wish to refer to Mark Tanner’s From bar 20 to the end, the music
article on rubato in issue 73 for further The pedalling throughout the piece repeats what has gone before and so
suggestions.] So, avoid playing strictly adds texture and depth to the tone the question of variation in dynamics
in time but allow the phrases to ebb colour. The suggested markings in and rubato arises once again. Right
Janet Newman is Head
and flow even though there is always a this issue’s score work very well on the at the very end of the piece I suggest
of Keyboard at the Royal
secure sense of the pulse underpinning whole. There are some small additions that you take as much time as you like
Grammar School in
the overall shape. If you find this to the marked pedalling that I would for the final phrase so that the music
Guildford. In addition to
difficult to do, listening to good you suggest you experiment with to see fades and disappears – stay on the
her teaching, she is in
recordings of the piece will give you a if you prefer the effect. And that is in final B minor chord until the sound
demand as a freelance
sense of what to aim for [listen to our bars 11 and 22 – try pedalling on the dies away completely, mirroring the
© Arnie Scull
pianist and is an examiner

wonderful house pianist Chenyin Li on two dotted crotchets beats in the bar emotionally dark, exhausted character
for the ABRSM.
this issue’s CD]. Very often, we tend to instead of leaving them unpedalled as of this poignant little work.
22• Pianist 75
P22 HTP Janet 75-FINALish.indd 22 05/11/2013 15:16

pianostreet.com
- the website for pianists, teachers,
students and piano enthusiasts
The newly discovered

piano piece by
Johannes Brahms
- download the score at:
pianostreet.com/albumblatt
#40129 - Amended Piano View_Layout 1 06/11/2013 14:51 Page 1
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23• Pianist 75
www.uk.yamaha.com
p23 Ads.indd 23 06/11/2013 16:41

play HOW TO
CLARA SCHUMANN
Notturno, No 2 from Soirées musicales op 6
Written when she was just 14, Clara Sc umann s dreamy octurne as a ve note motif t at was er
secret code with Robert. Concert pianist and teacher Lucy Parham helps you decode the music
Ability rating Advanced I would suggest you try to learn the Crescendo until bar 17, where your top
Info Will improve your central section (bars 57 to 90) first. C should really ring out. Notice the
Key: F major ✓ LH thumb dexterity Then go back to the start of the work LH ascending scale in bars 15-18. It is
Tempo: Andante con moto ✓ RH deep singing tone and try to master a perfectly smooth
Style: Romantic ✓ Sense of movement left hand (LH). Weave the hand over
the thumb, thereby ensuring that you
Learning Tip
Clara Schumann’s early F major eradicate all the bumps. Remembering Try to learn the central section
Nocturne (Notturno) is remarkable that your LH thumb remains on A for (bars 57 to 90) first.
for many different reasons. The the first few bars can be very helpful,
fact that it was written when she was too. Use it as a guide and weave your a vital part of the harmonic progression
only 14 years old is in itself quite other fingers around it. Keep your and should be brought out.
extraordinary. But that is not all! The LH close to the keys and really try to
opening theme – a figure of five falling overlap the notes so that it is as smooth Bar 18 allows you to take a little time
notes – later became the opening of as possible. Transposing the LH first and rubato – revel in the enharmonic
Robert Schumann’s great C major bar into F sharp major, for practice change. As you can see, Clara was,
Fantasy. He wrote of this theme that purposes, is also a useful trick. very specific about the dynamics that
it was ‘a single cry from my heart, for she wanted and bar 19 is an excellent
you, Clara’. If you have the score of his Concert pianist Lucy When the right hand (RH) melody example of this. Lean into the RH
Fantasy, do go have a look – it really is Parham performs enters at bar 3, use the ‘flat’ of your accents. They should be weighted and
worth seeing how he transformed the Nocturne at Malvern finger tip and really sink deeply into not ‘jabbed’. Notice the descending
same theme. Theatre with Harriet the key bed. Remember the importance progression in the melody from where it
Walter and Henry of this theme, too. Try to draw the starts at bar 19 (G¨) to bar 25 (A). Clara
This falling five-note motif was also Goodman (1 Dec), at sound out of the piano with the weight highlights the LH here, so feel as if you
their private code to one another. the Middle Temple with of your forearm. These opening bars are are really sinking into your fifth finger
It allowed Robert Schumann to Juliet Stevenson and crucial as they state the melody for the and tracing the bass line.
communicate with Clara through Samuel West (2 Dec) and first time. I would use a third finger on
music at a time when her father and at the Hawth, Crawley the opening RH A [as printed in this Make a perfect decrescendo to bar 25
teacher, Friedrich Wieck, forbade the with Harriet Walter and version that appears in issue’s Scores] to as the first section comes to a close.
two young lovers to see each other. This Robert Glensiter (15 give the best weighted tone. When the melody returns in bar 28,
code became their own unique message Dec). Her new series of it is in the form of a variation, and is
to one another, and it assured Clara Sunday Coffee Concerts The composer asks for ‘dolce’ at the more elaborate and more decorated. Bar
that Robert was not only thinking of at Kings Place begins on opening, so try not to over-project 30, with all its repeated Fs, can prove
her, but composing for her, too. The 8 Dec (see this issue’s the tone. Pay attention to the LH at really tricky to bring off in performance.
ensuing importance of this special code News). January dates bar 7 when the F of the previous bars Take your time and allow the rubato to
in Robert Schumann’s music cannot be include Beloved Clara at becomes an F©. When you arrive at bar give you the space to fit them in. Start
underestimated. But that would be the St John’s, Smith Square, 7, aim to keep the grace notes in the immediately after the LH D (that is, the
basis of another article in itself! London on 19 Jan with turn melodic, as if you were singing third quaver) and crescendo through bar
Harriet Walter and Henry them. Lean into the rf B¨ in bar 11 31 to arrive at bar 32.
This haunting Nocturne is the Goodman. and then make a decrescendo in bars
second of Clara’s opus 6 set, Soirées For further details, visit 12-14 so that you can begin the rubato Bar 33 it is almost like a small echo
Musicales. This is not her only piece www.lucyparham.com. stretto (bar 15) at a lower dynamic level. of what has gone before. There is now
from which Robert ‘borrowed’ musical a long line that goes from bar 33 to
ideas. Clara’s G major Mazurka turns bar 57 più mosso. Pay attention to the
up in another of his piano works – as sweep and direction of this line, as there
the opening of his Davidsbündlertänze is a danger of sectionalising it. With
opus 6. Clara’s Nocturne also features the rinforz at bar 36, in the RH really
in one of the Davidsbündlertänze, but cling to your thumb (make the melody
this time transposed into E flat. more focused here) and open the hand
out. You don’t want to be constricted
As a child prodigy, Clara performed here in your RH.
and studied a lot of the music of
Chopin, Schubert and John Field, The RH stretto Cs at bar 44 need to
so it is not difficult to see where the have a sense of really moving forward.
influence for this nocturne comes Your LH can really help here so that you
from. Her Nocturne is basically in an can have a wonderful feeling of floating
A-B-A structure, with the dance-like at bar 46. This is a very Chopinesque
© Sven rnstein
central section (più mosso) providing moment and should sound like
a perfect contrast to the dreamier outer gossamer! For me the highlight of this
sections of the piece. passage is the pp figuration at bar 52,
24• Pianist 75
P24 HTP Lucy 75-FINALish.indd 24 08/11/2013 09:06

Ingasas
’T MISS
DON PARHAM’S
TRACK 11
LUCY
SON
LESTHIS PIECE
Clara SCHUMANN (1819-1896) ADVANCED
ON
PAG
E Notturno, No 2 from Soirées musicales op 6
24
The famed piano teacher Friedrich Wieck saw in his daughter Clara the opportunity Playing and pedal tips: When you first listen to this piece on CD, you will likely
to shape a musical talent from birth and show the rightness of his ideas. Clara was in hear the influence of Chopin. The RH has the singing melody and the LH is the calm
her early teens and already a fine pianist when she wrote a suite of six pieces, the Soirées accompaniment. Of course there are many tricky moments, but they are is do-able
musicales, and Wieck may have felt that success was his, not knowing that the presence – and how nice to have such an unknown gem in your repertoire.
of a student, Robert Schumann, would shortly overturn his neatly laid plans. Read Lucy Parham’s step-by-step lesson on this piece on page 24.
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59• Pianist 75
p59_scores_Schumann-FINAL.indd 59 29/10/2013 16:28
which gives the performer a real piece but still, don’t be tempted to let
opportunity to create something very it fly away!
still and distant. This is perfectly
contrasted with bar 54 – the risoluto. The LH line in bars 102-107 is
You get the feeling that Clara is now harmonically crucial. Sink into
preparing you for the forthcoming your fifth finger in order to get the
central section (bars 57-90). Here the sense that you are really following
mood changes and she presents us this descending LH passage – it
with more of a dance feeling rather also gives a good feeling of security.
than a nocturne. Use the LH to set Aim for the forte RH C in bar 108
the rhythm. Try to lighten the quaver and then let it subside (with the
over the crotchet so that it doesn’t help of the rit) before the next sf at
become too earthbound. Also, use bar 110. Take your time in the rit
the line of the RH melody to get you semiquaver chord passage in the RH
over the bar – try not to get stuck on at bar 111. Play the grace notes quite
this opening phrase (up to bar 62). quickly and direct everything to the
Feel the tension of the LH chords top A note at bar 111 with the sf.
from bars 63-68 and use the G© in Immediately try to match the end of
bar 63 (in both hands) to enhance bar 111 with the two pp chords with
this feeling of tension before the the bar that follows. This can be a
resolution onto the A major chord. moment of exquisite beauty if you do
it very well.
Bars 73 and 74 should have a real
feeling of lilting. Try to get a swing When you are back in the tonic
into these two bars. Clara uses the of F major (bar 112) you can
‘calando’ perfectly to unwind from a really sense the unwinding of
capricious mood to the return of the this short coda. In my mind, it
theme at bar 91 (Tempo I). In the slowly becomes più calmato, with
preceding bar (90), aim to find a the bass line providing invaluable
dolente of real quality as this will support. The bass B¨ of bar 117
help you to return to the mood and is of particular importance, too.
tempo of the start of the Nocturne. Personally, I would take the top note
This mood is soon broken with the of the final bar (that is, the last note
outburst of the fabulous risoluto of the piece) with the third finger of
octaves in bar 95. Pronounce each your LH (even if the score suggests
one – they are not that fast and they an alternative fingering). Release
need to have gravitas. It is one of the pedal slowly to capture the last
the few virtuosic moments in the moments of calm and tranquillity.
Clara’s ‘joy of composing’

Although Clara Wieck Schumann had multiple identities as composer, musical
mentor, wife, mother, and daughter, she was first and foremost a concert
pianist. Born in 1819, Clara grew up in a musical hothouse with her ambitious
teacher and father Friedrich guiding her career. She was nine when she made
her debut and by 18, she was being compared with the likes of Liszt and
Thalberg. From her first appearance on stage to her last concert at the age of
71, she gave about 1,300 performances.
Composing was another side of her musical personality. ‘There is nothing
greater than the joy of composing something oneself, and then listening to it,’
Clara wrote in her diary in 1846, just before the first rehearsal of her Piano Trio
opus 17, a work regarded by some as her greatest achievement. Her catalogue
includes a piano concerto (a youthful work that received its official premiere
with an orchestra directed by Mendelssohn), songs and many solo piano works.
Lucy Parham, who has recorded and performed Clara Schumann’s music
extensively, recommends the Three Romances opus 11 and the Mazurka opus 6
as other approachable works to explore.
Clara Schumann’s Notturno is played on this issue’s covermount CD by Lucy

Parham, whose performance of the finale of Clara Schumann’s Piano Concerto
is also included in the CD’s bonus tracks.
P24 HTP Lucy 75-FINALish.indd 25 08/11/2013 09:06

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

AND IN EVERY ISSUE OF THE DIGITAL EDITION
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p26 Vids74.indd 76 13/11/2013 09:54
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. . œ. œ. .œ. œ Œ œ œÓ œ. œ. . œ. . œ. œ˙œ. .œ. .Œœ.. 
œ. . œ. œ. œ. œ. œ œ œ5
Œ Ó
Ó . . œ-2.5 œ. œ œ -
. . -œ. œ. œŒ œ  œ.  Œ. . 
5
-2
œ52
œ. œ œ. the
œ. nœ œWe

œ. . œ œ. œ. œ. œ œ -2 bœ bœŒ œ. œ.œœ˙. œ. . œ.Œœ.  .œ. .      

Œ

- p  For Examp
più p

. piùerbœ. bœ. œ.  œ. ˙4-4 INTE

œTRACK
- 13
˙ p.
bpœ

b
.
œ  .
. . -œ. œ. œ œ.    
 - 

œ.. areœ.. seeing

Now let’s 
œ fourth

œ œœ. how
œ.œ. 
œ.œ. essentia
second general
œ. 

œ  4. . œ œœ. œ.
.
. .  -œ œ. œ œ
 œ
.
4
˙

- (Track 13) I’ve
œ œ œ. œ.  œ.

œ  Œ.  
     
.  œ.. the
consider
œl.œ.bluesœ.œsound
ly being
œ. . toœ.the
and
œ
. desired
le 3
. 


Œ
œ
 . . 
œ œœ. frequen
the entirety

œ fifthœ.thatœ.œœ.is (this

.
-   œ œ.
œ. . 
œ œ 



.
RMED IATE
JOHN


œ    

œ.
          
œ. t use of chord

 of 
œ. is Sometim

omitted . 

the blues
œ. effect
of importa



KEMB

added a few 
IV togethe
 
scale.
es, though,
also the case

more notes
 
  


    
In any key,
with Exampl
b

r with 



ER KE
     
  
    
    
 

the 
as in Exampl blues





       



the A (minor
scale
e 3 above,


 






YBOA
for the RH, 

but still keeping
 

 third)



is more


          
  

RD C

to a simple 

      

        
influenc

minor

 e the ‘blue-ne
   

 
  ss’ of tone.
than
major,
LASS
repeated
           

{
   



  # 3 œ3

   & #83


 



#
TRACK 10
Brahms was
111
DON’T MISS
LUCY PARHAM
ON THIS
 A da g i o
°
mf
p

& #8 œ œœ œ œ œ5 œ

’S
LESS
PIECE
57 years old
pp
SSON
PAGE 24
in
collection of on, instead produci

three Interme
 you know
noting
piano
Brahms biograph
œ œœ
ON
motif: to when he resolved to 1890 and had just complet

this resoluti give up compos
pieces, opus
 thatClara Schumann, writing

er Malcolm
ng
5
Joh ann es
ing Rhapso
œœ œ œ œ4
œ
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J Jœ œ
ø con molto pedale
BR AH MS
Intermezzo
ing altogeth ed the String Quartet

some profoun
zzi and a conclud116-119 (1892-1
dy.
 They look as if they wereto Brahms, likened

them?
MacDonald
er.
893). The
describes this
veiled, and
Howeve
Intermezzo
it to
r, he
including
opus 119 set
.’
4
compris
as ‘ravishin
‘a grey pearl.
are very precious
œ
op 119 no
opus
œ
œ
œ
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?J œ œ
(18 33- 189
Playing
1
d last works, did not stick execute tips: It’s often said
the sound, this piece. Its deep,
es really
g’,
colour,
controlling
challeng
with musical
phrasin
See Lucy Parhamissues than flashy
J
œ
’s in-depth
œ
5
œ ≈ œ œœ œ
≈œ œ œ
7)
that you need

introverted
good for practising, rather than just
g
inner
So the reason
to be a real
finger techniq
lesson on
this piece
œ ≈ œ #œ œ œœ œ œ 1
ø
ue.
≈ œ ≈ œ nœœ#œ œ
Œ
œ œ
J 1
5
ADVANCED
quality requires musician to successf

playing
exactly
the perform
Do to do e throughout this piece.voices. Trying to keep right – and it’s good

the notes even
it is classifie
d as Advanc
on page 24.
er to
sound in the pp – never easy to get the notes accurate think of
and soft is
ed has more
œ œ
ully
ly. It’s also
for
a
Scores
{
 the major 
Œ œ
 nce to the e9  despite 
.

ø ø 5 ø1 etc.
pianist. Unlike on the opposite page). third is used each
. . œ œ °ø

œ
the sixth
Œ œ

.
{
- . . .œ. œ. œ œ. w Œ . œ œ. are
 time in chord note and the
œ

the. ‘perfect
 that we 
.  œ. slaid– œ.out
 other jazz It
les 
4-7 
can 
achieve
 instruments is the careful use I without

with  -
Œ . œ œ
our  the pianist of the extra losing
- œ
fixed-pitch 1

. w. . œ. note œ. referred
’ interval below.  instrum is unable note
Examp  to ‘bend’ notes between
Œ

œ. The

œ. toC inhas
the scale. 
are le 4 (Track ent.
 
œ.
unchan
œ 

{{
 ged, while 14) is the and this gives
.
b   
.
bracket the blues scale
s around
 and the seventh 
third  
of F. Here
30 Exampl it that’s
es 5, 6 and – 
because  notes are 
the fourth

Contents
 extra note  
and

&bb 2. . . . 1
 it is an flattene
 fifth notes
the # œ
30 In Examp 7. d, which  6
2   squeeze  
further above
 the
# ‘extra’
les

œ
5-7   key
tone ofœ
emphasises
œ. œ œ œ -^1
d between note –
&
(Track
&It is the ≈bœœ ≈ nœœ ≈œ œœ ≈ œœ œœnœœ #œœ œ œ œ
passing note s 15-17)
  
^ œ œ. œ. œ. -œ^.. œ.. œ.. œ.. œ. œ. . .

(either accente 
, that 
extra,  
the fourth
and the fifth. minor
a C , as it
b
would look d or not) ‘in-betw een’
 

# œ nœ ≈ œ œ œ
30 or as a grace  note flattened
note. Note: – the 
œ œ œ œ . . œ. œ. -^. . . . 1 2. . .  
show the clumsy and
pp^ 2

œœ œ œ œ œ
 
note unnecessarily fifth – is an 

#

30 b œ
. . .  .   
additional
œ
enharm


& .
In Exampl
e 5, I have 
œ
NEW! THE BASICS


œ œ œ ≈
onically
ppœ . ^

œ
awkward
OF LEARNING THE PIANO

œ

? . œœ œ. œ. œ. ^ œ œ
œ-. œ. œ. œ. w

, and much
≈ œ. bœ. Examp    

nœ
to read as  interval that is
œ. œ.le≈≈4 (Track œ œœ œ œ

clearer to written out
? b w-^wœ-. .2 œ.. œ.œ. œœ. œœ. œ1-^. œ. œ.œ œ. œ. œ^ . . .

 b a C grace
  
1 1  read the best
. œ.14)œ. œ.
as flattene used

2 such.
 note followed by d fifth as a as a
& wv œ bœ œ œ œ   ? # better to œ œ œ #œ œ™ œ

§ a C . For § B rather

bpp51 œ œ. œ. . œ. . -^œ. œ. œ. wœ-. œœœ. œœ. œœ œ.œ -^ . œ œ œ ≈
  this exercis than
    # ≈ œ œ

. ≈1v 2. . .  . œ œ. œ œ    œ
e, it’s
.. œ . .œ . TRACKS .  .    

? ppw-^œ5.1 œ. œ. œ œ œ. œ œ. . œ. w-^ œ. . œ. œ. œ. œ.. œ. œ.. ^œœ.. œœœ. œœ. œ14-17w .  
-. . . . œ. . œœv1. œ2œ. bœ. œ. œ. ≈ œ œœ. œ. œ
Example
     & nœ œ œ
5 (Track
b . . œ. œ. œ ^œ. œ œ œ ‹œœ#œ
15)
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VIDEO LESSONS

. œ5 œ. (Track

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33 1 2
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Cédez un 
2 
33
. 
peu 
. . . .
  & ## œ œ œ ≈
1 2
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33
v œ œ œ Œ z un peu œ œ œ œ. œ- œ2 ˙-1  
7 (Track
  
≈ . . . . . .     
17)
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  5
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pp 4-5
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
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? b ≈œw
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b pp  œ. ≈œnœ œ œ # œœ œ ≈ œœ œœ ™™ œ
n œœ ™™ œ
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≈ œ œ #œ.
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? pp œv . œ. & ≈œ œ bœ œ pœun peu œ en .dehor 3 .

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? œ. . œ. œ œ. œ. . œ & pp 4 .
2 .un peu . .s.œ . .3œ .œ œ≈ œœbœ œ œ œ œ œ œ œ œ. œ. 3 œ.œ
. . en≈.dehor œ #œ œ œ ≈
28 WARM-UP EXERCISE
p
.
35 2 . . . ≈
b œ. œ .
œ. . œ. œ. œ. & ≈œ. œ bœ.5œ œ. œ œ. œ œ. œ œ . œ . œ . . .. ... ...œ . .œ ≈œ≈. .œ œ..œœ œ 3œœ œœœ
œ ≈ nœœ œœ œ
5
5
œ. . . ≈ . œ . œ . œ œ. œ bœ œ œ . . . . . . . R œ
≈œ 5œ bœ3 5œ œ2 œ. œ œ. Pianist œ J
p45-48_K 46• Pianist
œ œ. œ œ. œ . œ . ≈ . ..œ . œ . œ ≈œ. œ œ. œ œ. œ. œ .
eyboard-F 65
INAL.indd
p49-65 Scores2-F 4 54• 46 p49-65 Scores2-F 63• Pianist
4 .
≈
INAL.indd 65 INAL.indd 65
. œ
. . . . œ ≈œ œ bœ œ œœ œ œ. œ . œ . . . . œ
54 63
2 .
. . . œ œ œ.
inger strength study
3
. . ≈ . .œ œ œ
5
5
. .
from Tim Stein

5/3/12 16:08:20
5/3/12 16:12:00 6/3/12 09:17:03
29 BEETHOVEN
Go to the Pianist website to find video lessons on the basics o learning to play the Ode to Joy (arrangement)
piano taught by expert teacher and Pianist contributor im tein, who gives his 30 BISCHOFF
lessons on the oland H - piano. ead ims introduction to his latest lessons, and The Industrious Student op no
I
then click on www.pianistmagazine.com or a complete learning experience
31 NORTON
n my continuing series of videos on the
Feelin’ Boogie-woogie
basics of piano playing, I aim to cover
what I call the ‘nuts and bolts’ of piano
playing. Once you start to understand 32 TANNER
these basics and incorporate them into Lullaby for Prince George
your playing, you should start to become
a more confident piano player. All of 34 GALUPPI
my video lessons are meant as general guides for onata in , irst movement
helping you along the way, giving you tips for
improving your playing and explaining how to
38 GRIEG
avoid bad habits and injury. Nothing should be
set in stone, and you should always experiment onely anderer, o rom
with the ideas set out here, on your own or with Lyric Pieces op
the help of a teacher, until you settle on what
actually works for you. 40 ALKAN
Petit air dolent, No 30 from
Sight-reading is the topic of my first of three and intervallic relationships so you can become 48 Esquisses op
lessons for this issue. Sight-reading makes it faster more and more aware of the sound you are
to learn a new piece, which means that you’ll be producing. It’s also really vital to imagine a sound 42 HAYDN
abel to add to your repertoire more quickly. You before you play it. You will develop what we call a
will also be far more confident when someone puts better ‘inner ear’. The same applies to the rhythm
onata in Hob. , Adagio
a new piece of music in front of you. Remember, of a piece. It’s good to get used to the rhythm and
sight-read pieces that are below your level: so if know it (by tapping it out) before you play it. 45 NEW! BEGINNERS
you are Grade 3, then read a Grade 1 or 2 piece. KEYBOARD CLASS
In my video, I talk about how best to approach Leaps are the subject of this last lesson for this ntroduction to pedalling
sight-reading and offer tips on how to improve. I issue of Pianist. In nearly all music that you study,
discuss the important things to look for when you you will find large distances between groups of 50 RAVEL
sight-read, such as key signature, time signature, notes, which can often be difficult to execute. I inuet in sharp minor
rhythm and dynamics. Some top advice: Don’t show you some simple techniques for making the
stop when you are in the middle of sight-reading. leaps easier to play and that you can develop into
You can slow down during tricky moments, but more complex exercises. I use examples of music 51 CLEMENTI
never come to a halt. If you practise sight-reading by Brahms and Mozart that contain leaps, and talk onata in sharp minor op no ,
daily, I promise you that you will improve! you through how to play them smoothly. irst movement
Aural training is covered in my next lesson. If there are any topics you’d like me to touch on 59 CLARA SCHUMANN
I talk about developing the ear and why it’s in future videos, please contact me via the editor Notturno, No 2 from Soirées
so important to listen exactly to what you are at editor@pianistmagazine.com. musicales op
playing. I demonstrate several exercises that you Happy learning and exploring!
can develop into more complex ones. I discuss Tim Stein
Quick guide to
such things as the importance of pitch, rhythm www.pianowithtim.com
UK/North American
note value terminology
YOU CAN WATCH A VARIETY OF BEGINNER w = semibreve/whole note

LESSONS ON THE PIANIST TV CHANNEL h = minim/half note
AT WWW.PIANISTMAGAZINE.COM q = crotchet/quarter note
e = quaver/eighth note
For a full list of Scores go to www.pianistmagazine.com x = semiquaver/16th note
Tel: +44 (0)1778 392 483 E: backissues@pianistmagazine.com y = demisemiquaver/32nd note
p27_Scores_Intro-FINAL.indd 23 29/10/2013 16:23

52 A Minor 5-Note Pattern
WARM-UP EXERCISE BEGINNER
Finger Strength Study
40. Finger Strength Study: 1

Over the course of the next issues of Pianist we will be presenting exercises for the
beginner composed by our new Keyboard Class contributor, Hans-Günter Heumann.
off the piece, with the left hand (LH) playing accompanied chords until it takes on
the tune at bar 3. Start off learning this piece slowly and increase speed over time.
They are also good warm-up and sight-reading exercises for the more advanced pianist. Keep the fingers well-articulated throughout.
This exercise is for gaining finger strength in both hands. The right hand (RH) starts Take a look at the technical tips within the score.
q = 144
Nice easy key There are few fingerings. However, all the note patterns fit comfortably within the hand, Hans-Günter Heumann
       

of C major. so you will be able to work out the finger positions quite easily.
                 
1
Start on the
thumb in
the RH.
f
    
Forte dynamic.You
      
need strong fingers!
  
      

1
Hands up from the keyboard Use third finger on Now use the fifth finger
the first A. on the first A.
3
5 for the rests.

 
               
   

5
 
Remember to lift both
       

hands on the crotchet rest.
   
      
Keep both hands down for
the duration of the minim.
Weaker fingers are used towards the
A strong fifth finger is needed end of bar 10 (3, 4, 5).Try to keep
on the top E here. them strong and controlled.
            

     
9
       
               

  









Weaker fingers are used at the beginning
of bar 12 (5, 4, 3).Try to keep them
strong and controlled.
This is the longest phrase. Remember to start
quietly, as you need to allow room for the
crescendo over the 3 bars.

                           
13
© 2013 Schott Music Limited, London
ff
 
                        

© 2013 Schott Music Limited, London

28• Pianist 75
p28_Scores_Warmup-FINAL.indd 28 08/11/2013 08:54

TRACK 1
Ludwig van BEETHOVEN (1770-1827) BEGINNER
Ode to Joy (arrangement)
Most readers will know this very famous melody from the final movement of long – four bars each. Keep the fingers close to the keys at all times to ensure a
Beethoven’s Ninth Symphony. It has been arranged here for solo piano. The most smoothness and legato to the melodic line.
important thing is to try to give shape to the melodic line in the RH. The phrases are Take a look at the technical tips within the score.
Look at the long phrasing (over 4 bars). We suggest that you make a little crescendo
Moderato q = 108 — 116 up to the G at the beginning of bar 2, and then decrescendo into the fourth bar.
4 j
4 f3 f3 qf4 = 108f5 — 116f5
& Moderato
The key is
3 3
Moderato q4 = 108 5
— 116 5 4 3 2 1 1 2 3 3 2 2
f f™
{{
C major.
4 3 3 q4 = 1085 — 1165 f f f f f f f F
& 4 ff f f f j
4 3 2 1 1 2 3 3 2 2
Moderato
f f f f f f™ fj
& 44 f f f f f f f F
4 3 2 1 1 2 3 3 2 2
f f f f fw™
& 444 ffw
? fw f fFF f ff fj F
3 3 4 5 5 4 3 2 1 1 2 3 3 2 2
w f f f w f f f™
{
fw
f f fF f f f F
? 44 f w FF f w
?Place w w f w
1 1 1 4 5 1
F keyboard at allf
?keys44 atw
4 w
4 5 3
w
the two fingers onto the
w Keep fingers close to the
FF over the keys. f w
w w f
1 1 1 4 5 1
exactly the same time.
4
1
4
5
1
5
times, as if they are crawling
3
1
3
4 f5 1
1 1 1 4 5 1
5 4 5 3 Make sure the dotted crotchet/quaver
rhythm is spot on1 in bar1 8, with both hands
& j
3 3 4 5 5 4 3 2 1 1 2 3 2
f f
touching the keys at exactly the same time.
f f
{{
5
f f f f f f f f f™ f F
& j
3 3 4 5 5 4 3 2 1 1 2 3 2 1 1
5
f f f f f f f f f f f™ fj
&
3 3 4 5 5 4 3 2 1 1 2 3 2 1 1
5
f f f f f f f f f f F
?
& w w f fFF f f ff™
f ™™ ffj FF
3 3 4 5 5 4 3 2 1 1 2 3 2 1 1
w f f f
w f ff f
{
f f f f fF f f™ fJf FF
? w w FF ff ™™ ff FF
? w w F
f f ff ™™ fJ F
w
1 1 1 4 5 1 1
w
4
w
w
5 3
f f
2 3
fJf
? w
1
w
1 1 FF 4
f f
5
ff ™™1 FF
J
1
4 5 3 2 3
1 1 1 4 5 1 1
4 5 3 2 3
1 1 1 4 5 1 1
9 4 5 3 2 Lift the
3 RH for the crotchet
Œ
Start this
2 phrase
2 a bit softer,
& f
3 1 2 3 4 3 1 2 3 4 3 2 1 2 3
with a mf dynamic. Make the quavers a little rest, then ‘fall’ onto the E,
f f
{{
9
f f f f f
lighter than f f
the3crotchets.
f f f f f f
feeling the syncopation of
f
Œ
that
2 fourth beat. 3
& mff
2 2 3 1 2 3 4 1 2 3 4 3 2 1
9
f f f f f f f f f f f f Œ ff
& f
2 2 3 1 2 3 4 3 1 2 3 4 3 2 1 2 3
9
fF f f f fF f f f f >
?
& mfFfF f f fF f fF #fF f f #ff nŒf f
2 2 3 1 2 3 4 3 1 2 3 4 3 2 1 2 3
Ff f Ff f Œff
f
{
Ff f Ff f f
? mfFF
f F f F F f F #F f ff #f
f n>>f fŒ
? mf
1
FF1 1
F 1
FF F1
#F 2
f
1
#f
3
nf
2
Œ
? FF FF FF #F n>f
5 4 5 4 5
FF FF f #f
F
1
5
1
1
4
1
1
5
1 F
1
4
1
1
F
5
1
2
2
1
1
3
3
2
2 Œ
5 4 5 4 5
1 1 1 1 1 2 1 Make
3 sure2 to accent
13 5 4 5 4 5 the G natural above.
& j
3 4 5 5 4 3 2 1 1 2 3 2 1 1
f f f f
{{
13
f f f f f f f f f™ f F
& j
3 4 5 5 4 3 2 1 1 2 3 2 1 1
13
f f f f f f f f
& f f f™ fj
3 4 5 5 4 3 2 1 1 2 3 2 1 1
13
fw f f f f f f f f f F
?
& fw f fFF f f ff™
f ™™ ffj FF
3 4 5 5 4 3 2 1 1 2 3 2 1 1
fw f f w f ff f ff FF
{
f f f fF f f™ Jf
? w w FF ff ™™ FF
? w w f f ff ™™ ff
w F Jf FF
1 1 1 4 5 1
w f
3
f
3
w w
4 5 3 2
? fJf
5
FF ff ™™
5
w
1 1
w
1
f 4
f
5 1
FF
J
4 5 3 2 3 3
1 1 1 4 5 1 5 5
4 5 3 2 3 3
5 5
1 1 1 4 5 1
4 5 3 2 3 3
5 5
Again, in this last bar, make sure the rhythm is
spot on, with both hands acting at the same time.
29• Pianist 75
p29_Scores_Beethoven-FINAL.indd 29 08/11/2013 08:53

TRACK 2
K J BISCHOFF (1823-1893) BEGINNER
The Industrious Student op 31 no 3
A well-known composer in his day, the now almost-forgotten Karl Jacob Bischoff tied notes, as there are many of them. You need to keep certain fingers down while
was also a theorist and teacher who founded a sacred choral society in Frankfurt. This others need to carry on playing. Things becomes trickier for the LH from bar 17 to
German composer wrote symphonies, chamber music and piano works. the end, when the fourth finger plays a leading role. Keep the notes even here and try
Playing tips: There are many accents throughout, but remember to use them in not to slow down or die away too much as you reach the ending.
context – that is, don’t make them too abrupt. This is also a great piece for practising Take a look at the technical tips within the score.
Make gentle accents on the top Es. But We suggest a small decrescendo
Allegretto q = c.116
> > >
only in context. Don’t thump! in bars 5-8.
3 f F f F
&4 f f f f f f f f f f f f
3 3
{
The key is
A minor. mp
3 > 2
&4 f f
1
F™ f fF ™ f f f f f
F™ fF ™ f f f f f
F™ # fF ™ f f
5
Keep the tied As down throughout the two bars... ... And again.
Hold down the top E. Bars 9-16 should sound cheerier.That’s because the key of C major is now implied.
7
> >F >F
ff FF™™ f f f f f f
3
& f f f f
{
mf
> 1
& #f f nf fF f f fF ™ f fF f f fF ™ f
F ™ FF ™™ ™ f ™ f
5
Slighly louder dynamics now – mf.
> >
At last – the mood changes. No more tied notes!
#f f nff FF ™™ >F
13 2
f f f #f f f
3
f f f
3
& f
{
mp Lower the dynamics to
2 > mp again.
& f f f #fF f f #fF f nf FF ™™ f f f f f f f f f f f f

F™ ™ ™
1 5
Play the LH notes evenly. Articulate the fingers well. Fourth and
fifth fingers will feel weaker, so concentrate on them.
Remember to tie over the top E.

>F > >
19
ff FF™™
& f f f f f f f f f f f f
{
2 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 nf f f f f f f
Die away towards the end, but don’t slow down.
30• Pianist 75
p30_scores_Bischoff-FINAL.indd 30 08/11/2013 08:54

ISS
’T M ’S
DON NORTON
TRACK 3
IS
CHR
ADTV
ICCEE
IE
Chris NORTON BEGINNER/
HIS P INTERMEDIATE
ON
PAG
E Feelin’ Boogie-woogie
67
Christopher Norton kindly wrote this piece for Pianist as a paean to the boogie- Jools Holland. Read what Norton has to say about this piece and how to play boogie-
woogie style and to one of the style’s greatest exponents (and this issue’s cover artist), woogie on page 67, and don’t miss a history of boogie-woogie on page 68.
f f bf f
Triplet feel q = 126
4‰ j ‰ ?J f. & f bf j nf f Œ Œ ‰ j
&4 b ff nf f
f f f bf nf f b f f
{
f. f f f #f >
>
mf
? 44
ff ff b f n f ff ff b f n f ff. ff. bfnf ff. ff. bfnf ff ff b f n f ff ff b f n f ff ff b f n f ff ff b f n f
.. .. .. .. .. ..
To Coda Ø
5 %
>f
2nd time
f nf
& fj f f f ff ‰ fj ff f bf ffŒ fbf nf f ‰ fj f#f f f ‰ fj nf #f f f Œ
‰ f b f ff ff##ffnnff ff#f
. . . .
{
. . > >
? ff f Œ ff Œ
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31• Pianist 75
“‘
p31_Scores_Boogie-FINAL.indd 31 29/10/2013 16:24

ri e o ommemora e
lla e bir
oreor e ri
of
ce eor e
le a der o is ambrid e e e ri e
2
lla or ri ce eor e 2
Mark TANNER
TRACK 4 Lullaby for Prince George INTERMEDIATE
2
Written to commemorate the birth of George Alexander Louis Cambridge, Prince George of Cambridge
Composer Mark Tanner writes: A lullaby is a tranquil work, typically in triple time, the newest member of the British royal family, George Alexander Louis Cambridge,
with a simple style intended to send a child to sleep. Rarely will a lullaby become Prince George of Cambridge, who was born on 22 July 2013. Its lilting melody
overly complex or dramatic, and many of the best-known examples go under the unfolds from the tenor register but soon wends its way higher, set against a slowly
name of ‘Berceuse’ (French for lullaby). Lullabies may gather cultural resonances descending left hand chordal sequence.
from all around the world, and in popular/jazz idioms there are many enduring Playing tips: Aim to anchor yourself to an easy, unhurried pulse and follow the
œ œ
examples too, such as Lullaby of Broadway
elic a(HarryeWarren, pre1935) i and
e Lullaby t ofe tl o natural
music’s t emelodic
mo contours.
e Keep in mind the need for variety in each of its
œ œ œ
Birdland (George Shearing, 1952). In the main, lullabies such as Brahms’s Wiegenlied short sections and gauge dynamics with care so that the grand moment at bar 34
b œ
of 1868 (possibly the most famous lullaby of all) rely upon a ‘rocking’ pattern. Even comes over warmly rather than stridently. 4
b œœ ˙˙˙ œœ œ ˙˙ ™™
2
&
˙˙ œœ ˙˙˙ œœœ ˙˙
where the writing becomes more florid, such as in Chopin’s silvery Berceuse opus 57, 1 Pedal tips: Pedal is needed throughout, but look out for places where the pattern
œ œ ˙ ˙ œ œ ˙ ™ œ œ
{{
œ œœ œ œ ˙
the music invariably conveys a soothing,
elicunflustered
a eimpression.
pre i e t e alters o
tl slightly,
t i.e.
e where
mo two e bars should be pedalled together, such as at bars 13-14.
œp œ œ
This piece, Lullaby for Prince George, was written to commemorate the arrival of For more on Mark Tanner and his music, visit www.spartanpress.co.uk.
b œ
4
b œœ e˙˙˙ œœ œ ˙˙ ™™
2
& ˙ œœœ ˙˙˙

mp elic a
1
˙ œœ ˙˙ œ œ ˙ ˙ œ œ œ œ™ œ ˙™ ™ œ˙ ™ œ
e pre i e t e tl o t e mo
? bbb ˙ œ œ˙œ œ œ ˙œœ œ˙™ œ œ
2
œ ˙™ ™
5
˙mp œ œ
4
b œ ˙ ˙ œ Jœ ˙˙ ™
2
& œ ˙ œ
˙˙ œœ ˙˙ø˙ œœœ ø˙˙˙
1
˙ ˙ œ ˙ œ
p
œ œ ˙ œ ˙˙ ™ ™
{
? bb ° œ œ˙øœsim.œ œœ ˙œ œ œ œ œ ™ œ œ ° ˙™
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˙mp œ
œ ˙ œ J
p
œ ˙ œ ˙™ ˙™
? bb ø œ ø˙˙ ˙ø sim. œ œœ œ œ œ ™ œ °
2
° ˙™ ˙™
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˙ ø
œ ˙ œ J
poco rit. a tempo
-˙
b œœ°œ ™ jø œœ œ ø œœ œø sim. ˙ ™ ° ™ œ œ ™ œø
™
9 a abile
b ˙
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1
& œ œ™ œ œ œ œ œ œ poco
2
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b œ j œ ˙
9
œ
b œ œœ ™ œ œœ œ œ œ œœ
™ œ œ b œ œ ˙ ™ ™
mp
œ œ œ™ œ
1
&
2
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œ œœ œ ˙ œ œ œœbœb œœ œœ ˙-œ˙™™ ˙ -˙ ™ ˙a abile J
œ
mp œ ™ œ
˙
3 poco rit. a tempo 1
? bb œœœ œ œ ™ j œœ ˙ œœœ œ œ ˙
2
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9 2
œ œ œ œ œ bœœœ bœœ œœ ˙˙ ™™ & ˙ ™ œ ™ œœ œ

3
? ™
1
& œ œ™ œ
2
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{
œ œ œ øœ œ ˙ øœbœ b œ œ ø˙™ ˙
ø˙ œ
œ ø
3 1
? bb œ œ øœ
2
˙ ˙
2
b œ ˙
3
? ™ mp
œ & ™ ™
œ œ œ œ œ ˙ bœb œ œ œø˙™ ˙ œ ˙ ? ™ ø˙˙ œœ
3 1
? bb œ œ øœ œ
2
ø ˙
2
bœ & ˙™
3
ø ™ ø
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œ
5
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4
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2
b œ ™ J ™ J
&b œ œ ˙™ œ œ œJ
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4 4 1
1 2 4 2
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{
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4
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2
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bb ˙˙˙ œ œ™ œœœj œ˙˙ œ œ™ œœ œ ˙˙™ œ œ œ ™ œœ ˙
4
˙ œ
1
˙ œ
4
& œ J ˙ œœ ˙ œJ ˙˙ œ™œœœ ˙˙ œœ œ ˙˙ ™ œœ
1 2 4 2
? bb œ ˙
{{
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5
4
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2
b ˙™ œ œ ™ œ
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4 1
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4
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1 2 4 2
? bb ˙ œ ˙ œ ˙ œ ˙ œœ
˙ œ ˙ œ ˙ œ ˙ œ ˙ œ œœ ˙˙˙œ œ œœœœ œ˙˙ œ œœœ
dreamily
? bbbb˙˙œ˙˙ ™™ œ œœœ ø˙˙œ˙™ œ œœ ˙œø˙˙ ™™ œ øœœ œ ø˙ ˙˙˙ œ œ ˙ø˙ œ œœ œ sim. ˙œ œœ

23
2
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4 4
& œ œ ˙
1 2
œ
3
∏∏∏∏
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ø ø ø ø ømp sim.
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œ œ
3
? bb œ œ ˙ œ œ œ
4 5
Pianist 32•
° 75
ø ø ø ø
œ™ œœ œ œ ˙˙ œ œ œ œ œ œ œ œ œ œ œœ™™ œ œœ œœ œœœ œ
b œ™
5
œœ œ
29 3
p32_scores_Tanner-FINAL.indd 32 29/10/2013 16:24
& b ˙ ™ œ œ œ œ œ ˙ ™ œ œ ˙˙ œ œdreamily œ œ œ œœ œœœœœœ
œ œ
{{
2 23
b œ ˙ ™ œ ˙™ œ˙ ™ œ ˙ ˙˙
∏∏ ∏∏∏∏∏∏∏∏ ∏∏∏∏
& bb œ˙˙ ™™ œ œ œ œ˙™ œ œ œ˙˙ ™™ œ œ œ ˙˙ œ mp œ œ œ œ œ œœ œ œ œ œ œ œœ
4 4
1 2 3
2 23
b œœ œ œœ œ œ œœ œ ˙˙ œ œ œ œœ œ œ œ
4 4
&
1 2 3
œ œ œ œ œ œ œ œ œ œ œ œ œœ
œ
dreamily
œ œ œ œœ mp
? bb œœ˙˙œ™™ œ œ œ˙™ ˙œ œœMark ˙˙œ™™ ˙ œ
3
˙
23
œ œ œTANNER
2
œ ˙˙ mp œ œ œ œœ œ œ œ œ œ INTERMEDIATE
œœ
4 4 4 5
TRACK 4& œ œ œ œ
1 2 3
œ œ œ œ œ
{
3
? bb œ œ œ œ œ œ œ ˙ Lullaby œ
œ œ œforœ Prince˙ George œ œ œ œ œœ œœœœœœ
4 5
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3
? bb œ œ ˙ œœ œ ° øœ øœ ø
4
mp 5
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3
?
29 bb œ
œ ˙ œœ œ °
4
œ œ
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5
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ø
5
b œ œ
3
& b œœ™™ œ œ œ ˙˙ œ œ œ œ œ œ œ œ œ œ°
œ
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œ œ™ œ œ œ œ œ œ
5
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29 b œ ™ œ œ ˙ œ
29
œ
3
& bb œ™ œœ œœ œ ˙˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ™™ œœ œœ œœ œfœœ œ œ

5
3
&b œ™ œ œ œ œ ˙ œ œ
œ œ œ œœ
œ œ œ œ œ
œ œ œ
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œ™ œ œ œ œ œ œ™™ œ œ
5
? bb œ œœ œ ˙˙œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ f˙ œœ œ
29 3
f
& œ œ œ œ œ œ œ
? bb œ œœ œ œ œ œœ œ œ œœ œ œœ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œœ ˙ œ œ
{
? bb œ øœ œ œø œ øœ sim. œ œ œ œ œ f˙ œ œ
œ œœœ œ œ
? œ œ ø œ œ ø œ œ ø sim.
œ œ œ œ œ œ œ œ poco œrit. œ œœ
˙ œœ
35 b œ œ œø œ œ
bb ø ø sim. œ œ œ #poco rit.
b œ œ œ œ œ œ
4 2
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3 3
{{
35 b œœ
35
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4 2
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3 3
& b œœ œ œ œœ œ œ œ œ œœ œ œ œœ œ œ œœ œ œœ œœ œœ œ ##œ˙™ #œ # œ bn ˙œ˙™ ™™

4 2
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3 3
? bb œ œ œ œ œ œ œ œœ œmfœ œ œ œ #œ#œ#œ œ œ
3
35 4 2
& œ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œœ œ œmfœ œ œ œ # œ˙™ ##œœ # œ bn ˙œ˙™ ™™ œ ™™

3 3
{
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3
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3
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b
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&b ° œœ ˙˙˙ œœ œ ˙˙ ™™
2
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˙ œ ˙ ˙
ø œ
ø ˙ ø ø œ œ ˙
ø ˙ øœ ˙ ™
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40 b ˙ œ ˙ œ ˙ œ œœ œ œ ˙ œ
40 a tempo
& bb mp œœ ˙˙ ˙ œœ œ ˙˙ ™™
2
œ
1
˙ ˙
a tempo
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& b ˙a˙˙tempo œœœ ˙˙˙ œœœ ˙˙ œ œœ œ œœ ˙˙˙ œ œœ ˙˙˙ œœ œ ˙˙ ™ ™™
2
1
? bb ˙mp œœ ˙˙ œœ ˙˙ œ œ˙œ œ œœ œ ˙œ˙ œ œ œ ™ œ œ ˙˙™˙ ™
{{
40
˙mp œ œœ œ œ œ ˙˙ œ œJ ˙˙ ™ ™
2
& ˙ œ ˙ œ ˙œ˙˙ œœ ˙œ œ ™ œœ œ ˙˙ ™™
1
? bb (pedal
˙˙˙ asœœœbefore) ˙
˙˙˙ œœœ ˙ œ ˙œœ œ œœ œ
? bb mp ˙˙ œ ˙ œœ œ œ œ œ ™ J ° ˙˙™™
˙ as before) œ œ œ œ ˙™
œ ˙ ˙˙ molto rall. œ ˙ œ œ œ œ œ™ J ° ˙™
? bb (pedal as before) œ
(pedal
˙ œ œ ˙™
˙œ œ œ -œ -œ -˙ œ œ J U°
œ
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b
47 molto rall.
œ - œ ˙ œ U°
& b œœ œœ œ ˙˙˙ ™™™ œ œ - ˙˙ ™™™ ˙ ™ j
˙
(pedal
-œ -œ
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
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˙ ™™ U
∏∏∏∏∏ ∏∏∏∏∏∏∏∏∏∏ ∏∏∏∏∏
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47 b p - ˙ ™™ ˙
47
œ œ ˙
5
& bb œ œ œ ˙˙˙˙ ™™™™ œ œ rall. ˙˙˙ ™™™ ˙˙ ™™ ˙™

j
˙
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pp
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5
? bb ˙™ ™ ™ ™
2
p
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pp
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ppp
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? bb ˙™ ˙™ ˙™ ˙™ ˙™ ˙ø ™™ ˙ ™™
˙ø ™ ˙ø ˙
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ø ø
33• Pianist 75
p32_scores_Tanner-FINAL.indd 33 29/10/2013 16:24

WATCH CHENYIN LI PLAY THIS PIECE ONLINE AT WWW.PIANISTMAGAZINE.COM
TRACK 5 Baldassare GALUPPI (1706-1785) INTERMEDIATE
Sonata in C, first movement (Andante)

Baldassare Galuppi was a Venice-born composer who wrote many operas as well as sweet, piercing tone, while the LH is the calm and totally even accompaniment. The
liturgical works and many works for keyboard, including 130 keyboard sonatas. trills play an important role throughout, so we suggest you read Graham Fitch’s lesson
During an extended period in London, from 1741 to 1743, his keyboard skills were on trills on page 20. For trill fingering, we suggest 2-3-2-3 etc, though some might
much admired. If you’ve never heard this tender Andante before, then listen to prefer 2-4 or 1-3. Some dynamic markings are placed within the score, though
Michelangeli play it on YouTube. You will be hooked! Galuppi would not have made any.
Playing tips: You need light, even and controlled fingerwork for this piece. Each Pedal tips: Don’t over-pedal. You will see that we have marked a dab of pedal on
finger must work independently from the next. The RH is the melody, requiring a each beat. Allow your audience to hear the rests.
Andante
fff m fffm fffm

232
f™ f f
1 2 3 3 232
f 1 2
f™ f f
1 2
f ™ f f™ f f f fj f f
&c
2 1 2 4 3 2
{ fff f ff
mp
fff
f
&c f f f f f f f f f f f f f f f f f f f f ?f ?f
&
° ° sim.
2
° ° °
1 3
5
3 1
f
2 fffm
f™ f f fffm
f™ f f fffm
f™ f
& f™ f F
{ &
fffffffffffff
fff
fffff
fff fff
f
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fff
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5
f™ f f f™ m
f™ f m f f
f f f fj f f f ™ f F
4 232 232
f™ f f
2 5
2
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{ ? f
fff f ff
f
&
ffffffff f fffff ff ffffffff
mf
f f f™ m
f ™ fm ™ ff f f #f f ‰ #f f ‰ #f nf ‰ #f nf ‰ #f f ‰ #f f ‰ #f nf ‰ #f nf ‰
7 2
f
2
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{ mp
f f f f f
mf
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f
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34• Pianist 75
p34_scores_Galuppi-FINALish.indd 34 29/10/2013 16:18

m f™ m f™ j f #f f m
f™ f f fff m
232 1
n f™ f
232 4 3
& f ™ f f f f ™ f f f ff #FF
1 1 2 1
f
2 1 2
{ f f f
mp
f f f f f f f f
? f #f f f f f f #f
‰ #f F
m
m f™ f f f f™ f f f
1
5
& f f f f f™ f f f f fj f #f F
{
#f ™ f
f f
? f f f f #f f f f f f f f f f ffff fff fff
& f f
f f #f f
f #f f f f f f f f f m
f™ f f f f #f f f f f f m
#f #f nf f f f ™ f f
4 2 2
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f f #f f f f f f ? #f
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p
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35• Pianist 75

#f f f f f f f f #f f f f #f f f f n f f n f f #f f #f f #f f f
& ™™ #f #f f
2
f f
2 1 1 2 4 2 2 1 2 2
{ j j
f
f f f f nf
? ™™ f f ‰ ‰
f f nf
° ° ° ° °
#f f nf f nf #f f nf f f f f f f f f f
f f nf f f f
5
#
3 3 5 2 1
f f
1 2 3
&
2 1 1
{ ? f™
mp
#f f ™
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mf
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p mf
f f f f f f f f f f f f f f f
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36• Pianist 75

f f f f fj f nf f f f f fj f #f f ‰ #f f ‰
3
f™ j F
& f
{ & ffff
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f ff
f
fff
f
fff
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p
f f f f f f
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3 232
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3 2
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mf
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f f f f f ff
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37• Pianist 75

ISS
’T M
DONNEWMAN
’S WATCH CHENYIN LI PLAY THIS PIECE AT WWW.PIANISTMAGAZINE.COM
JANE
T N
TRACK 6 L ESSO CE
HIS P
IE Edvard GRIEG (1843-1907) INTERMEDIATE
ON T E
PAG Lonely Wanderer, No 2 from Lyric Pieces op 43
22
The Norwegian composer Edvard Grieg wrote ten volumes of Lyric Pieces over the this piece and of course, as with all Grieg’s Lyric Pieces, it needs to sing and to ‘speak’
course of his lifetime. Each volume contains between 6-8 pieces for solo piano. Many to the listener. It’s very bleak, and full of yearning. But the piece is just glorious and
of the pieces are in a descriptive vein, such as this beautifully forlorn piece. ‘Ensom a pleasure to play. The climax appears between bars 15-17. Make the most of it! Pedal
vandrer’ – ‘Lonely Wanderer’, or as it’s sometimes translated, ‘Solitary Traveller’ – markings have been added on to the score. As Janet Newman writes in her ‘How to
comes from the third volume of Lyric Pieces, which dates from 1886. Play’ lesson, there is something very sad about this wanderer.
Playing and pedal tips: You need to feel a lilt within the rhythm from the start with Read Janet Newman’s in-depth lesson on this piece on page 22.
Allegretto semplice (e = 116)

> >j
4 5
## 6 fj
5
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4
f
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p
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1 1
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1
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°
1 3
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5
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1 21
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f
3 f 1
3
°
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2 1 45
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1
38• Pianist 75

TRACK 6 Edvard GRIEG (1843-1907) INTERMEDIATE
Lonely Wanderer, No 2 from Lyric Pieces op 43
poco rit r
> > 3
# #ff #f #ff f #f #f f f f f f #ff f

1
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f
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4
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2
1
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& ff ff ™™ f™ #ff ff f
2
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{
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p
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1
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tempo
1
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39• Pianist 75

TRACK 7
Charles-Valentin ALKAN (1813-1888) INTERMEDIATE
Petit air dolent, No 30 from 48 Esquisses op 63
In the view of admirers such as Marc-André Hamelin, the French composer Charles- the accompaniment needs to be ‘très soutenu’ – very much softer. There will be tricky
Valentin Alkan has been much misunderstood, particularly in his singular reputation parts, such as the ornamental triplets in bar 3 and elsewhere. They should be light
for writing dense, unapproachable music. To counter this perception, we present this and lead into the following note. Don’t make them stick out. You will come across
lively, accessible piece, dating from 1861. Read more about Alkan on page 74. really thick chords, and they’re hard to execute if you don’t have a big hand span (such
Playing tips: This short poignant work is perfect for working on your voicing (see as in bar 23). Note the amazing change of harmonies right after that. And really
Graham Fitch’s lesson in Pianist No 67 on voicing if you’d like a refresher). The die away towards to the end.
markings ‘Le chant bien en dehors’ means to make the song come to the front. And Pedal tips: In general, two pedal changes per bar.
Allegrettino q. = 72 Le chant bien en dehors

5
2
3 1
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p L'accompangnement très-soutenu
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f f f f f f f f #fff fff #fff
40• Pianist 75
p40_Scores_Alkan-FINAL.indd 40 29/10/2013 16:25

TRACK 7
Charles-Valentin ALKAN (1813-1888) INTERMEDIATE
Petit air dolent, No 30 from 48 Esquisses op 63
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f ‰ ‰ f ‰ ‰ f
41• Pianist 75
p40_Scores_Alkan-FINAL.indd 41 06/11/2013 11:45

TRACK 8
Joseph HAYDN (1732-1809) INTERMEDIATE
Sonata in F Hob.XVI:23, Adagio
Haydn wrote his Sonata in F Hob.XVI:23 in 1773, probably composing it for a ornaments will be of especial value for this, and he discusses this particular piece as
harpsichord rather than the fortepiano, which became his preferred keyboard well. This slow movement is so romantic and gorgeous. Get the rhythm right at the
instrument a decade later. This slow F minor middle movement from the sonata is start with the RH against LH, and you’re almost there. You’ll find that it’s not that
surrounded by two faster movements, both in F major. difficult and you can listen to the CD for guidance.
Playing tips: This is one of several pieces in this issue that offers a great exercise in Pedal tips: Listen to Chenyin Li on our CD and you will note that she rarely uses
trying to get to grips with your ornaments – Graham Fitch’s article on page 20 on the pedal, just small dabs here and there to make the sound more sonorous in places.
Adagio
M 2
Æ Mn
2
fÆ
Adagio
bbb 6Adagio n
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f Æ
2 2
b M f Æ ‰ ‰ M f ‰ ‰
1
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1
& 8Adagio
2 2
f f f
{{
b 6 Mf™ n f f
2
f n
& b bb 8 dolce
2
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1
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2 2
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2 2
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bbbbbbbb 6668 dolce
2
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& b bb
b f f f f f fcresc. cresc. f
f fbf f f f f f f f f ? 5f f f f f f bf f b f f f f
fff
1
f f bf f
5
f
f f f f f f f f fbf f f f f f f f f
1 1
bbbbbbbb ff ff f f ff ff ff f bbff ff f f ff ff ff f
2
?
&
5
?
&
5 1 5
f ff f
ff ff ff f f
1 1
f ff ff f bb ff ff ff f ff ff ff ff ff
2
5
1 1 5 1 5
2 1 1 5 1 5
2 5
5
42• Pianist 75
p42_scores_Haydn-FINAL.indd 42 29/10/2013 16:25

TRACK 8
ff f ff ff ff ff f f f ff ff f
5
b f
5
b f f f f f ff f f ff f f f
f
5 1
f f
bbbbb f f f f f f f
1 3 2 5 1 5 5 1 4 2
&
1 1
3 1 5 5 1 4 2
& b f f ffffff
1 2
{
ff ff b f ff
1
f f f f ff ff
f d . bf
? f
f d .
f™
? bbbbbb f™
f™ f™ f ‰‰ ≈≈ f ff f ff ff bf ff
bb f f 2 4 bf 4
ff
2 4 4
ff ff nf ff ff f f ff ff nf bf nf bf f
bbbbbbb f
1 1 5 1 5 2 3 5 3 4
& f f nf ff nf bf nf bf f ff ff ff f f
ff f ff ff f ff f f ff
1 1 5 1 5 2 3 5 3 4
& b ff
{
ff f
mf Æ
mf
ffÆÆ f ff ff ff f f ff
?
? bbbbbbb f ‰‰ ‰‰ ffÆ ŒŒ ‰‰ ff f f ff f
b f 5
1
ffÆÆ ffÆÆ fÆÆ fÆÆ fÆ Æ Æ Æ Æ

1
M
5
M
321 5
M
213
bbbbbbb ff f f fÆ ffÆ ffÆ nfÆ ffÆ M

3
f ff ff bf
5
nnff
321
f ff ff ff
2
‰‰ ‰‰
213
3
& nf bf
2
& b
{ ff f f f f p f f n f f f f f f f n f f f f f
p
? f f nf nf
? bbbbbbb ff f f f f ff f f ff f f f f ff f f ff f f f f ff f f ff ff ff f f
& ff
b f
ff f &
5
5
1
1 f ff f5
1
1
ÆÆ ff f fjj f f ÆÆ ff ÆÆ ff f fjj f f Æ ff
5
b
5
b Æ
4 2 2 4 2 2
bbb f ≈≈ f f f f ff f f
≈≈ f f f ff f ≈≈ f f f f f ff ≈≈ ff
4 5 4
f f f
5
& b bb f f f f
& ff ff
5 4 2 2 4 2 2
4 4
{
f
mf pp
bbbbbbb
mf pp
& f
& b f ff ff f ff ff f ff ff f ff ff ff ff ff f ff ff ff ff ff f f ff f f ff ff ff f f f ff
f
ff f f ff f f f fff
f 5 f f f 5
1
1 5
5 5 5
bbbb f ff bbff ff
4
ff f f
7
ff f ff f ff ff ff ff f bf
4 1
b j
4 1 1
n
7 2 3 5
& b f
f f f nnff f bbff f
bbff nf f nf f ff f
2 2
f f f
4 1
&b b
1 1
fj
f f f bf
2 3 5
{
2 2
nf f
f f
3
ff ff ff f f ff
cresc. 3 3 3 3 mf
bbbbbbb
f
cresc. 3 3 3 mf
& f ‰‰ ?
? ff f f ff f
& b f ff ff f ff ff f ff ff ff ™™ ff
f f 3 2
2
M M
3
312
M
312
b ŸŸ ff Mf f ŸŸ
312 5 312 5
b
2 1 2 1 1 2
b bb f f f f f ‰‰ ŒŒ ™™ ™™™
& b bb f nnff f f bbff f™
5 1 1 5 1 2
&
2 2 3
ff ff ff ff f f ff ff ™™ ff ff ff
{
3
ff ™
f™ p
? fff ff ff
p
ff ff f ff f f
b
? bbbbb b f ‰ ‰ f ff f ff ff jj ‰‰ ‰‰ ™™™™
b ‰ f ff ‰ f ff f
2
2
3 ff 1
1
2
2
3
3
3
5
43• Pianist 75
5

TRACK 8
Mn Æ
f f ffff
2
f
2
b b f™ f f ffff f
4
& b b ™™ ‰ ‰ ≈
1 1 5 1 5 1 5
2
f fff ff
{
dolce
f bf
bb ‰ ? f f f f f f bf
& b b ™™ f f bf f f ff f f f f f f f ff
‰
nf 1 f f f 1
5 2 3
f f f bf f f f Æ ffff Æ 1 2 4
nf 3 5
b
3 1
f f f f
& b bb
nf f nf f f nf
4
n ≈ ≈
1 1 4
b f
1
f
nf f
{
f n f
mf
? bb b f bf nf
nf f f f f f f nf f f nf f f f f f
b f nf & f f
nf f j
nf
2
f f f
3 3 2 1
2 1 5
5 3
b b f f nf fÆ Æ Æ
f f f f fÆ
5
f f f
≈ f f bf f f
5
b ≈ ≈ffff ≈
4 4 2 4 3 4 2
& b f f f
{
p cresc. se re
b
& b bb f f f f f f f f f bf f f f f f f f f f f f f f
?
bf nf
f f f 3fff fffff 5
1
5 5 2 1
f f f nf Mf f f
ff f ffff 312
bbb f f nf f nf f
7
ff
3 5 3 5
b n ‰
4 5 1 2 5
f f ff
2 1 3
& f
1
ff
{ ? bb b f
b
5 2
f f nf f & nf f f f f bf ™
5
f f™
1
4 3
f™
f™
9 9 10
j
f bf 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 fff f f nf fÆ ‰
4312
b n
123
b j
4
f
4 1
f
&b b ff
3 1 5 1
f f f bf ™
1
{
ff
f p
b f f f f f ff f f f f
& b bb n ff ™™ ff ™™
? f bf f f f f f
5 5
44• Pianist 75 Continued on page 49

A Z E R T Y
H A NS - G ÜNTER HEUMA NN
B E Gzerty
INNERS XXXX (XXXXX) PLAGE
KEYBOARD CLASS
LESSON 3: THE SUSTAIN (RIGHT) PEDAL
Over the course of the year, Pianist will be covering the most basic stages of learning the piano through a series of Keyboard Class
lessons written by Hans-Günter Heumann, the author of The Classical Piano Method (from Schott Music). This third lesson aims to help
you get acquainted with the use of pedal.
The Right Pedal (Sustaining Pedal)

The right pedal, also known as the sustain or sustaining pedal, is
used to sustain and connect notes. When you depress the pedal, the
felt dampers are raised from the strings so that all the strings can
vibrate freely and the notes sound for longer.
The sustaining pedal is used with the right foot. The heel remains
firmly on the ground and the ball of the foot remains in contact
with the pedal.
The pedalling symbol is usually a bracket sign, which shows you

exactly how and when to use the pedal. (Some editions use the
word ‘Ped’ and other signs.)
The pedal is usually used after the keys are depressed.
Pedal Exercise 1
• Play middle C with the RH (as in the excerpt).
• After striking the note, depress the pedal
on beat 2.
• Hold the pedal down.
• As you play the next note, raise the pedal.
• Then immediately press the pedal down again.
Pedal Exercise 2
• Repeat the exercise above, but this time playing
chords (as in the excerpt opposite) with the RH.
45• Pianist 75
p45-48_Keyboard-FINALish.indd 45 07/11/2013 12:54

HANS-GÜNTER HEUMANN KEYBOARD CLASS
A Z E R T Y
PLAGE XXXX (XXXXX)
Liebestraum No 3 – Theme zerty
A
Franz
du fauxLiszt
texte(1811-1886) arr Hans-Günter
Bella terra et mari Heumann
civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus
Liebestraum
tuto ignosci potuit, conservare quam excidere malui.famous
(Dream of love) No 3 is the most of a set
Millia civium of three and
Romanorum sub was published
sacramento meo1850.
fuerunt circiter quingenta. Ex quibus deduxi in colonias aut
Pay special attention to the pedal markings as you play this gorgeous piece.
remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi
sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus
civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta.
Ex quibus deduxi in colonias aut remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis
militiae dedi. Naves cepi sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot.
46• Pianist 75

A Z E R T Y
XXXX (XXXXX) PLAGE
zerty
Franz Liszt Franz Liszt was a pupil of the famous piano pedagogue Carl Czerny, who was
(1811-1886) himself a pupil of Beethoven. Liszt performed concerts from an early age
throughout Europe. He was without doubt one of the greatest piano
Country: Hungary virtuosos of all time and paved the way for the modern concert pianist. He
created a whole new palette of orchestral sounds with the piano.
Period: Romantic Liszt undertook extensive concert tours before his appointment as
(1820-1900) Hofkapellmeister in Weimar in 1847, where he also composed his most
significant works. He supported musicians and taught many well-known pianists
Works: over 700 and renowned piano pedagogues. In later years he took on the modest post of
abbé, while continuing to compose, teach and perform until his death.
Among his most famous works are the Piano Sonata in B minor, Transcendental Studies (dedicated,
with gratitude, to his teacher Czerny), Mephisto Waltz No 1, Liebestraum No 3, Années de pèlerinage,
Hungarian Rhapsody No 2, the La Campanella study, Consolation No 3, Piano Concerto No 1 and the
symphonic poem Les Préludes.
Now turn over the page for another simple piece of music where the use of pedal is required.
Hans-Günter Heumann continues his beginners series in the next issue.

To find out more about Heumann, go to www.schott-music.com
47• Pianist 75

A Z E R T Y
PLAGE Sound Painting XXXX (XXXXX)
zerty
A
Note the clear pedal indications below. With the pedal depressed through a number of bars, you can really hear all
the wonderful sonorities. Make sure to change the pedal when required or things will sound ‘smudged’.
du faux texte Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus
tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut
remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi
sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus
civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta.
Ex quibus deduxi in colonias aut remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis
militiae dedi. Naves cepi sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot.
48• Pianist 75

TRACK 8
f nf nf
Æ Æ
1
bb ff nn ff nn ff ‰
f
3
j f f f fÆÆ f
& bbbbb nf f™ ≈ ÆfÆ ≈ff
1 4 2 4 5
ff f f f f
1
3 1
f f fj
{{
3
b b ‰‰
≈≈ ff ff ff f ≈≈ f ff
4 2 4 5
f
& b bb nnff f™
& j f ff ff ff
1 4 2 4 5
ff
1
f™e o f f ff f f
f f pp mf
f f mf bf f f
ff
? bb e of f
e of
f
pp
f
mf
f f f ffff ff f f f f ff
f f f n n
nf nf f ff f f f f f f nf ff ff ff f f f ff nf ff bbff ff ff ff f ff ff f ff ff
pp
b f f f f f
? bbbbbbb
? f ff f ff f
bb nnff nnff f f ff ff ff f ff nf
5 1 5
f ff f nf 1
f f 5
5 f
5
1 5 5
5 1 5 5
5 1 5 1
Æ f ffff f nf nf bf f f f f f f f f f
b ≈ nn ff nn ff bb ff ff f ff nf f ≈ ff ff nnff f ff f nf ff
33
b
3 3 3 3 4
& bbbbb ff f f fÆÆ ≈ ff f ≈ ff ff f ff f f f f

4 1 1 5 1 1 2
33
f nnff f ≈≈
3 3 3 4
nf f ff nnff
{{
33 3
bb bbb f ff ff f ≈≈ ff ≈≈ f ff f f ff ≈≈
4 1 3 1 5 3 1 3 4 1
&
4 1 1 5 1 3 2
1
& p
2
f f
f nf f
cresc. f
f cresc.
? bb b ppf ff f nn ff f ff f ff f f cresc. ‰ nf ‰
f
f™
b
f
? b
? bbbbbb ff f f f f f
f f f f ‰‰ ‰‰
b
f nnff ff ™™
nn ff ff ™™
b j bf
bf nf ff bf f nnff f f nf f nf f f f f f f f
35 5
ff f
& bbbbbb
n
2 2 3
nf f
2
bf
5 1 2
fjj
3
nf f ff nnff nnff ff b f
2 2 2 1 1
35
f
5
bbff nnff f bbff f nf f f nnff f nf ff f f ff ff f ff f ff ff

2 2 3
{{
35
b
2 5
& b bbb
5 1 2 3
&
2 2 2 2 2 2 3
ff ff ff
1 5 1 1 2
3
nf ff f
2 2 2 1 1
f f f f nf f f f p cresc. nf
? bb b f f f ff
p
ff ™ ff nf
cresc.
≈f ff f
1
1 p
nf
cresc.
f™
? bbbbbbbb
? nnff ≈≈ ff ff f
1
1
n f nnff
1
ff ™™ ff ™™
1
b
5 1
ff ™™ 5
5
5
5
1
1 nn ff
5
5 5
5
nf f f f33f f
f M M 312
nnff f fff f
Mf ff f f
312
b
& bbbbbb ≈ ff ffnfbfnfbf fbf f
Mf f MMf f
5 1 312 5
f nf f f f M M ‰ Œ ™ ™™
4 4 3 2 312 2 4 1
j
3 2 312
n n n M
312 5
f f f
1 5
{{
b ≈ nfbf f f f f ‰‰ ŒŒ ™™ ™™™
& b bbb mf≈ fnfbfnnffbbff ffbbff ff fff f ff f f ffnf f fff f ff f nf f
4 2
fj nf f f f
4 3 5 5 2 4 1
j
&
3 4 2 2 1
f nf f pf f nf f
3 4 3 2 2 4 1
nf f ff ff f f fppnf f ff ff f nf f
f f fpp
? bb b mf
‰ ‰ f f f f f f ‰ f fpp ‰ fj
f f f f pf j fnf f f f ‰‰ ™™
b j f j j j
mf p
? f f f f f j j f f
? bbbbbbb fj ‰‰ ‰‰ ff f f f f f ff f f ‰‰ ff f ‰‰ ff f fnnff f ff f ff f f j ‰‰
f f f f f f ™™
b fj ff f f ff fj ‰‰ ™
1 2 2 4 1 2
3 3
f 1
1
2
2
3
3 ff
2
2
4
4
1 2
1 2 3
3 5
49• Pianist 75 5
5

TRACK 9
Maurice RAVEL (1875-1937) INTERMEDIATE
Minuet in C sharp minor
Maurice Ravel evidenced early keyboard talents and became a student at the Paris Playing tips: This is a gem of a piece. Dig the fingers into the keys, like dipping
Conservatoire. However, having failed to win any prizes, he left the Conservatoire in them into honey. The chords need to feel like floating footsteps. From the unexpected
1895, aged 19, to devote himself to composing. As he sought to establish himself as harmonies of bar 16 onwards, it’s just heavenly, and the ending offers further fantastic
a composer, he supported himself in part by teaching. He penned this short work for changes of key. It’s a great exercise in creating colour.
a student in 1904, and it was published posthumously. Pedal tips: Pedal markings have been placed on the score as guidance.
Modéré 4 4 5
4
2
4 4 4 5 2 2
5 4 2 2 1
j j ff f ff f ff ff f
2 2 2 1 5 5
#### 3Modéré
Modéré 2
1
2
1 1 1 5 1 2
1
1
4 4 1
5
1 4
2
4 3
f f f f f f
5
ff ffj ‰ ff ff f f ff 3 f fj ‰ f
4 2
f f f f ff f #f ff
4 2 2
& # # 4 ff fff ff fff

5 2 2 2 4 1 5 5 2 1
2 2 1 5 2 1 1 1 4
1 4
{{{
f f
1
# 3 f
4
f f f
1
f f ff #f ff f
5
& ### 4 fff fff fff fff- f ff Jffj ‰ fff ff f ff ff f3 f Jfj ‰ f

1 4 1 2
f f f f f f
4 4 5 2 2
5 2 2 2 4 1 5 5 2 2 1
Modéré
ff ff f
2 2 5 2 1 1 1 4
f f
1 1
-
4
f f
1
# 3 . f
4
f f f.
1
f f f
5
& ### 4 fff fff ff fff- f ff-. Jff-. j ‰ fff ff f f ff f3 ff-. Jffj ‰ f
1 4 1 2
f f f f f f
4 5 2
f f ff f #f ff
5 4 2 4 2 2 2 1
2 2 2 1 1 5 5
5
-
2 1 1
p21
.
1 1
-
1
3 f
& ###### 443 pŒfff Œfff Œfff fff-. f fff-. fJff-. ‰ fff. f fffŒ f fffŒ fff-. f f fff-. fJff-. ‰ f. f
f f f
1
f f ff #ff ff f
1
? ∑
{
#
? ## # 43 Œ Œ Œ f
p f . J
f
-. -. f. - Œ Œ f-f . J
f
-. -. f. - ∑
# °
? ## # 43 Œ Œ Œ f -. f - . f -
1 2 3
ø ø ø f
-. -. f. ø ø ø ø f
-. -. f. ø ø ∑ø ø
5
p
f Œ Œ f f
? #### 43 ° ø f -ø ø f -ø
1 2 3
ø Œ ø ø Œ ø ø ∑ø ø
5
Œ Œ f Œ f
-ø. -ø.
4
° ø
4 5 1 2 3
# ø ø ø ø ø ø ø ø3
5 2
#
54 4
j
1 3
6
#
2 1
#
2 2 5
f f
& # # f #F °F øf #f fø f fø fj ‰ øf fø f f fø ø fj ‰ øf f føf f ø f ø3
4
f f
1 1 1
4 5 1 2 3 5 2
1 54 4 3
{{{
6
#
2 1
f
& ### f #fF
2 2 5
f f fF f #f f f f f ‰ f j ‰ ff
1 1 1 4
4 5 5 2
f f f f
4 4
j ‰ mff espress.f f f f f fj ‰ f f
1 3
6
#
2 1
# f f3 f
2 2 5
f f
4
#f f #
1
& # # Œf f f fj fFF f f f f #f fj nf f nfFF f f f f3 f

4 5 1 1
F
f f
5 2
F f
f #fFf fff fF f #f #ff f ff ffj ‰ nmfff espress.
1 4 4 3
6
# n
2 1
##
2 1 2 5
? # ‹ff f fjj ‰ f f f f f ‹ff

R.H. 1 1 3 R.H. 1
& # # Œf ff f ff ffj nmff espress.

2
f F
5
f
Œf Ff ‰ f nFf Œ ‹Œfff f #ffŒ fFf ‰ nff nFFf Œ ‹Œffff f
{
f
? #### Œ Œf ff FF #ff F f
1
R.H. 3 R.H.
j nmff espress. FFf Œ Œ #ffŒ ffFj nff nFFf Œ Œ

2
ŒŒø Œø ø Fø
5
# # ffø Œf f n
1
? ## # F
f f j ‰ nf F f ‹ff j ‰ nf ‹ff
R.H. 3 R.H.
f ff F
5 2
Œ ff
5
#
sim.
Œ
? #### ø ø fø FøŒ #ffø Œf f ‰ f nF
f f Œ Œ Œ
‹ff f f ‰ f nF
f f F Œ ‹Œff
1
F f F f
R.H. 3 2 R.H. 3
5 4 2
sim. 3 5 2
Œø Œø ø ø Œ F f Œ Œ Œ F f fŒ Œf f
5 2 5 1
1
# ø
2 3
# j f
2 1
j 2 f f nf f 3 #Ff f n#ff FF f #ff f

12 5 4
& #### fø føj ‰ øf f ø f™ føj f f sim.

1 3 1 2
3 4 sim. 5 2 1
n ff # ff j nfff 2 #‹ff nnfff f 43 # f f #ff fF f #fff

4
5 2
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ 1
f ™ f f
2 1 2 3
4
{{{
12 5
#
1 2
# #
1 3 2
& # # f fj ‰ pf f f™ fj f f n ff ™ # f fj nfff f 4 #‹fff f nff 4 ##Fff ff n fff Ff f # >ff f

3 4 5 2 5 1
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
2 1 3
2 1 4
12
2 f f nf f 3 #Ff f n##ff FF f>f f
& #### #f fj ‰ pf f f™
1 2
# ff ™ f f
1 3 2
3 4 5 1
ff ‹#ffF jn f #n ff # >ffF j n f 2 #‹>ffF nnfff f 43 # Ff f #fff fFF f #ffff

4
5 2
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
1
f f
2
f
2
f f f
1
12
# #
1
#
R.H.1
? # f fj ‰ Œ ™ # >f f nff f 4 ‹>ff f nff 4 ##Fff ff n# fff FF

4
& # # #Œf fF pf f f™ >ff

3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
f ‹# f f n f f n f #
{
#
? ## # f f f # f f 2 f 3
f fj‰ Œ > f
F f
F F F
R.H.
f #fff FF
f
>fff
# Œ
f f f ‹ f
#f>F n f > 4 > 4
? #### f fj ‰ Œ
1 1
F f 2 F 3 F
4
f F
R.H.
F ff
3 2
4 4 #
p
‹ f
4
f
? #### #Œff fFf ‰ Œ f #f>F n f
f f f >F 2 >F f F f
1 1
3 F
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F n f
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50• Pianist 75
p50_Scores_Ravel-FINAL.indd 50 29/10/2013 16:26

TRACK 10
Muzio CLEMENTI (1752-1832) INTERMEDIATE/
Sonata in F sharp minor op 25 no 5, first movement ADVANCED
Although this Italian composer wrote many short sonatines, this is one of his meatier bar 125, mean it must be even more expressive!). At the development section, which
works and is by no means easy. The first movement of a sonata written in 1790, this starts bar 65, increase the intensity. There’s lots of syncopation too, such as around
Allegro is a great example of the Classical style for you to study. bar 134 onwards. Lean into the syncopated notes. You will need a strong LH
Playing tips: We are sure you will get lots of pleasure out of practising this piece and throughout, as it is the keeper of the pulse. The trills are obviously tricky, and we
it will help get your fingers into shape, what with all those scale-like runs. We suggest suggest you read Graham Fitch’s article on trills on page 20.
slow practice, articulating the fingers and keeping the notes even. There are lots of Pedal tips: Try to find your own subtle way with the pedalling. Don’t over-pedal
dynamic changes too, which make it very expressive (and expressivo signs, such as at though – it has to sparkle, and sound crystal clear.
f # f f n f f f f f- ™
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51• Pianist 75
p51_Scores_Clementi-FINAL.indd 51 29/10/2013 16:26

TRACK 10
0
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f ‰ f
2
3
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f f nf f f f f f
cresc.
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3 3
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f 1
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f f 5 4 5 4 3
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52• Pianist 75

TRACK 10
f ff f f
### f f f #f f nf
f f #f #f f f nf #f f f f #f f f f #f f f f f
f ff f
1 2 5
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4
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53• Pianist 75

TRACK 10
# f nf f #f f nf nf Ÿf #f
f f 65n Ÿf
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f f Ÿf
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54• Pianist 75

TRACK 10
### ‰ ‰ ‰ f™
& f f f™
{
F f f F f f F f™
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55• Pianist 75

TRACK 10
105
### f f f f f f f f f fffffff f fffffff f
5 3 2
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& f f f f
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56• Pianist 75

TRACK 10
Ÿ
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f f f f f f #f
2 3 5
f
24 23
1 3
J
1
& J F
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57• Pianist 75

TRACK 10
f ff f ff . . .
f f f f #f f f f f #f fj f f fj f f #f f f f
4 3
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1 4 3
3
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ff ff f f ff ff f f#f f nf f#f f nf f #f #f
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5 4
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& f f f f f f f f nf f f f f f
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2
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pp
58• Pianist 75

ISS
’T M ’S
DON PARHAM
TRACK 11
LUCY ON
LESTHSIS PIECE
ON
PAG
E Notturno, No 2 from Soirées musicales op 6
24
The famed piano teacher Friedrich Wieck saw in his daughter Clara the opportunity Playing and pedal tips: When you first listen to this piece on CD, you will likely
to shape a musical talent from birth and show the rightness of his ideas. Clara was in hear the influence of Chopin. The RH has the singing melody and the LH is the calm
her early teens and already a fine pianist when she wrote a suite of six pieces, the Soirées accompaniment. Of course there are many tricky moments, but they are is do-able
musicales, and Wieck may have felt that success was his, not knowing that the presence – and how nice to have such an unknown gem in your repertoire.
of a student, Robert Schumann, would shortly overturn his neatly laid plans. Read Lucy Parham’s step-by-step lesson on this piece on page 24.
Andante con moto

6
& b 8Andante ∑ moto ∑ Œ ‰ f™
3
con f™ f™
{{
bb 668Andante con
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3
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3
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b 68 p sempre
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3
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f f f f
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59• Pianist 75

TRACK 11
Clara SCHUMANNr tenuto e e ato (1819-1896) canto canto
marcato
marcato ADVANCED
ff ™™ Notturno, No
r tenuto e e ato
ffrr tenuto
e oco a oco morendo
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5 Pianist 60• 75

TRACK 11
Notturno, b fjj Soirées
No 2 from fjj j fj
fmusicales op 6j
j j j fjj
3
 bf
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3
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FF ™™ f f F ™™ ff ff ff
F™ 61• Pianist
F™ 75
FF ™™

TRACK 11
>f j
53
&b >>J ‰ ‰ f ™ fjj ‰ ‰

3 4 2
f j j
1 2
53
f. f f f f f. f.
ff ‰‰ ‰‰ >ff ™™ ff. ff. f.. f. f. f. ff ‰‰ ‰‰ f ™
3
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b
53 3 4
4 2
2
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1 2
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1
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2
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62• Pianist 75

TRACK 11
ff ™™ >>f ™™
3
ff >>f ™™ f f
j
3
>ff ™ ff
ff f >ff ™ ff ff ff
3
ffjj
bb ff
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63• Pianist 75
ø ø
2 1 3

Clara SCHUMANN
f. b f.. f. . (1819-1896)
Notturno,f. No f .Soirées musicales op 6
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64• 75 1 5
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TRACK 11
a tem o ma
a4 tem o ma
Notturno,
ento
ento
No 2 from Soirées musicales op 6
11
f
a14 tem o ma ento
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f f FF ™™ >ff f f f
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f f f fj f
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23
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f f f f f FF ™™
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3
f f f f 2
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f f f f f FF ™™
2 3 4
ø 2 3 4
f ff
Fø ™ 65• Pianist 75
2 3 4
ff
ø
2 3 4

Email: info@hurstwoodfarmpianos.co.uk
Web: www.hurstwoodfarmpianos.co.uk
Tel + 44 (0) 1732 885050
Fax + 44 (0) 1732 883030
PIANO STUDIOS Hurstwood Farm Piano Studios

The Hurst, Crouch
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Specialists in and
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experience these beautiful instruments.
66• Pianist 75
p66 Ads.indd 66 1
Hurstwood.indd 06/11/2013
25/10/2013 11:17
16:38
play
Ingasas
’T MISS
DON NORTON’S
CHRIS
VIC E Chris NORTON BEGINNER/
H WT
TRACK 3 ADTHIS PIECE
INTERMEDIATE
ON
PAG
E Feelin’ Boogie-woogie
67
Christopher Norton kindly wrote this piece for Pianist as a paean to the boogie- Jools Holland. Read what Norton has to say about this piece and how to play boogie-
woogie style and to one of the style’s greatest exponents (and this issue’s cover artist), woogie on page 67, and don’t miss a history of boogie-woogie on page 68.
f f bf f
Triplet feel q = 126
4
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f f f bf nf f b f f
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>
mf
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F S E P E
ff. ff. b f n f ff. ff. b f n f f. f. .. ff. ff. b f n f ff. ff. b f n f ff. ff. b f n f ff. ff. b f n f
To Coda Ø
%
>
2nd time
f nf
5
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f
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.. . . .. ..
10
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Ø Coda
j j j j
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“>‘
Feelin’ Boogie-woogie
31• Pianist 75
p31_Scores_Boogie-FINAL.indd 31 29/10/2013 16:24
How can you maintain a rock steady left and w ile playing syncopated gures in your rig t T at s
the challenge of Feelin’ Boogie-woogie in t is issue s scores a fun new piece written especially for
Pianist by composer and educator Christopher Norton, who shows you how to tackle it
Ability rating Intermediate Christopher Norton is

widely regarded as the
Info Will improve your world’s leading crossover
Key: C major ✓ Position changing educational composer. He
Tempo: Moderate ✓ Articulation has been a presenter at
Style: Er, boogie-woogie ✓ Playing of thirds the EPTA UK conference.
He has recently lectured
Boogie-woogie is an early jazz style mainly played by solo pianists. In in Singapore, Malaysia
boogie-woogie the pianist’s left hand (LH) plays a primitive drum rhythm and Hong Kong, and led
with a sonorous fifth where the bass drum might play, and a bluesy minor piano festivals in Seattle,
to major where the snare drum might play. Vancouver and Halifax, Nova
Fig. 1 Scotia. The next few months
snare drum take him to Chicago, St
4
/4œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ
œ œ Louis, Toronto, Indonesia
and Australia. More details
bass drum at www.oliveland.com/
nortonmicrolessons.html.
Christopher Norton wrote
Once this drum rhythm has started up, the right hand (RH) is free to a Keyboard Class series for
indulge in syncopated flights of fancy. A flattened third and a flattened Pianist from issue 56 to 62.
seventh give the RH melodic figures a minor pentatonic flavour, which You can order your copies
contrasts tangily with the major thirds in the LH. at the back issues section
of the Pianist website:
Getting the rhythms right www.pianistmagazine.com
Start by tapping your left leg with the palm of your LH, but switch from
the left side of your leg to the right side like this:
Fig. 2 (Left hand tapped) you play the thirds, have your hand over the keys so that your wrist can do
the work and is dropping onto curved fingers that are already in place.
Left hand tapped:
R R
4
/4œ œ œ œ
etc
œ œ œ œ œ œ œ œ œ œ œ œ Dynamics
Look at all of the dynamics in Feelin’ Boogie-woogie before you start. What
L L is the loudest moment? What is the quietest dynamic? If you see an accent,
drop with your arm but otherwise try to shape each phrase gracefully in
Once this feels comfortable, try tapping the rhythm of the RH melody, your hand.
a small section at a time, with your RH on your right leg (not too Don’t be tempted to start too loud – mf is not that dramatic! In a similar
fast!). Next, tap the LH rhythm and play the RH as written. If this feels way, don’t allow yourself to play bar 9 too loud just because it’s harder – the
comfortable, make things harder for yourself – tap the RH and play the first crescendo in the piece is not until bar 11. Don’t forget to drop down to
LH! If you can do all of the above, when you play with both hands on the mf again when you go back to bar 5.
keyboard, you will have become aware of how it feels, not just how it looks, Create a slight contrast with the phrase that starts on the last quaver of
to coordinate the hands successfully. bar 3 – drop down to mp. In general, there is a feeling of a bold question
followed by a very slightly quieter answer.
The left hand You can exaggerate the crescendo at the end. Go down to about mp and
The LH staccato fifths should be played with relaxed drops of the wrist. push towards a minimum ff. Make the audience jump (in a good way!).
I like a slight down/up movement with the wrist, the first chord slightly
accented, the second chord marginally quieter. The same applies to the Touch
slurred notes – a down/up movement, the first note slightly accented, the Keep your touch quite light – it’s not really a loud piece. Fingers should
second note lighter. Think Mozart two-note slurs! be close to the keys and you should concentrate on precision rather than
The legato figure in bar 11 should be kicked off with a slight accent and volume. Not too heavy and not too fast.
there should be a slight rise of the wrist throughout the phrase. The figure The staccato chords in bar 13 and 15 should be very crisp, very short,
in bar 21 should also start with an accent – a drop. The last note should be contrasting with the legato phrases that answer them.
done with a relaxed drop of the arm through the wrist – loud, but not harsh.
Listen to the style
The right hand Listen to my performance of Feelin’ Boogie-woogie on this issue’s covermount
The articulation of the RH should be almost exaggerated. In bar 1, start with CD. It will give you the sense of the triplet feel (also known as a shuffle)
© Hanya Chlala
a loose-wristed staccato C, then a drop/rise in each group of two. Every first and shows the cheerful, extrovert nature of the piece. Be precise as you play
note of a longer phrase should be slightly accented, with a rise of the wrist it, but do try to create the impression that you are enjoying yourself hugely
through the phrase, leading to a graceful, lighter last note each time. When at the piano (which you will be!).
67• Pianist 75
P67 HTP Norton 75-FINALish.indd 67 30/10/2013 09:46

POPULAR PIANO
The roots of
boogie-woogie
Gez Kahan hits his stride as he traces the history of boogie-woogie from its Texas
origins to its swing era heyday and as s the di ficult uestion is boogie-woogie ja
T
hanks to Jools Holland took place much later and a good story
and others who are always grows in the telling, they aren’t
determined to keep the necessarily reliable. You have to start
tradition alive, most somewhere though, and Marshall,
people have a pretty Texas, makes a good case for being
good idea of what where it began – good enough for its
boogie-woogie sounds like – an ostinato city commission to have enacted an
bass line with a clattering right hand and official declaration in 2010, naming
(usually) a blues-based chord sequence. itself the birthplace of boogie-woogie.
But where did it come from? How is it
related to stride piano and the blues?
And can you class all three as jazz or are Boogie-woogie came from the
they separate branches? These are very
deep (one might almost say muddy) African-American community,
waters, Watson. We’d best tread carefully.
For starters, many of the early and there are rhythmic elements
practitioners died young and their
stories died with them. Their
contemporaries gave several accounts
that hark back to the traditional
of how and where boogie-woogie
music of west Africa
oogie oundation www.bowo o.org

originated, but because the interviews
Photos, this page, Marshall was a rail hub, and there’s

clockwise from top left: definitely the sound of the steam train
‘Cannon Ball’ Engine 359 in boogie-woogie’s insistent rhythms, its
of the Texas and Pacific repetitious and percussive treble figures
in Marshall, Texas, the and the flattened fifth and third ‘blue’
ome images courtesy o boogiewoogiemarshall.com and the oogie
likely birthplace of notes that seem to mimic the whistle’s

boogie-woogie; railroad diminished triad. Some scholars have
construction in Texas; also examined regional differences in
Kansas City boogie- bass patterns and suggested that the
woogie planist Pete more intricate the bass line, the further
Johnson, ca 1946 you’d travelled along the tracks from
Marshall. As the railways evolved, that
argument goes, so did boogie-woogie.
And let’s not forget that ‘bogie’ is a
railway term.
But it might be a stretch too far
to assume that the train-like sound
(and associated etymology) were the
68• Pianist 75
p68_Boogie-FINALish.indd 68 05/11/2013 15:28

founding fathers of, as distinct from a
heavy influence on, early boogie-woogie. Ragtime, stride, blues and boogie-woogie
What is certain is that the genre came
from the African-American community, Melody, rhythm and harmony – that’s what makes music, and every
and there are rhythmic elements that solo piano work has to address the question of how to distribute
hark back to the traditional music of those elements between the hands. It’s perhaps less of a problem in
West Africa. The name itself may well ‘art’ compositions, but wherever the form is influenced by dance it
have come over with the slaves: ‘boog’ becomes a left-hand problem, because the right hand will generally
or ‘booga’ means to beat (a drum) in take the melodic lead. You could break up the chords to deliver rhythm
some of the region’s languages, while while suggesting melody (as in classical music’s Alberti bass), or
in others ‘bogi’ means to dance. And indulge in bass and chord acrobatics (as any Chopin waltz or polka
perhaps the most compelling theory is will demonstrate).
that it comes from the Bantu phrase Ragtime (so-called from its ‘ragged’ or syncopated right-hand
‘mbuki mvuki’ – get up and dance as if melodies) adopts the latter course. It began as an improvised form,
to shake your clothes off. but its most famous exponent, Scott Joplin, had a classical piano
upbringing and harmonic sensibility, and his pieces, though popular,
I hear the train a-comin’ are generally to be performed as written.
The best guess for boogie-woogie’s Take ragtime’s oom-pah left hand and syncopated right and begin
genesis as a piano style is 1870-ish, embellishing them in the way that Baroque players would improvise
shortly after the end of the American around a figured bass and introduce ornamentation to the melody
Civil War. Prior to that, slaves would and you’re well on the way to stride – ragtime on steroids. And because it was essentially an
have had little access to expensive improvisatory process, the style could be adapted to popular songs. For examples, listen to
instruments, save a brief opportunity Teddy Wilson with the Benny Goodman Trio playing ‘So Rare’ or Fats Waller playing his own
to play the church piano after services. compositions ‘Honeysuckle Rose’ and ‘Alligator Crawl’ (which also incorporates a touch of boogie-
Emancipation, in 1865, may not woogie bass). And for technical wizardry, listen to anything by Art Tatum.
have made their working lives much Blues and boogie-woogie (really a fast blues) adopted the Alberti approach to the left hand.
easier, especially for those labouring An ostinato C-E-G-E left-hand pattern in crotchets gives a bass root, harmonic information and a
in the lumber camps in Texas’s Piney rhythm. Make it more intricate – using broken octaves in quavers, for example, as well as bringing
Woods and building the railroads that in passing notes, or introducing chordal elements – and you’ve got the boogie-woogie left hand
connected them to the towns and cities, style. Both these forms use similar melodic elements, based on a pentatonic scale plus ‘blue notes’
but at least they could set up their (predominantly the flattened third, fifth and seventh) as distinct from ragtime and stride’s diatonic-
own entertainment centres known as influenced scales.
barrelhouses. Along with the barrels of
booze, these generally had a beaten-up
upright piano in the corner. Out back, not coming into common use until Above: Fats Waller, 1938 helped crystallise improvisations into
there was usually a ‘sporting house’, as much later. Some also referred to it as defined pieces.
red-light establishments were called. ‘Dudlow Joe’, which sounds as though By that time, boogie-woogie was
(You can find an interesting discussion it may be named after a long-forgotten already on the move, spread by the
of the music’s symbolic relationship player. And there would have been railroad. George Thomas, originally
on the Boogie Woogie Foundation’s many such. Though the blues guitarist from Texas, was in New Orleans by
website; see box, page 70.) Huddie ‘Lead Belly’ Ledbetter said his 1910 where he wrote ‘New Orleans
The music they played was style had been influenced by boogie- Hop Scop Blues’ (published in 1916),
improvisatory in nature – a series of woogie piano players in 1899, we don’t which has some claim to being the
right-hand ‘riffs’ or ‘licks’ strung together know their names. The first recordings first 12-bar blues to feature a boogie-
over a left-hand backing that had to with recognisable boogie-woogie woogie bass. Even more important
combine bass, chords and rhythm. The elements didn’t appear until nearly 20 was ‘The Fives’, co-written by George
slower style was ‘Barrelhouse’, while the years after that. It being, at the time, an Thomas with his brother Hersal in
up-tempo version was ‘Fast Western’ aural tradition, sheet music music was 1921 and published the following year.
or ‘Fast Texas’, the term boogie-woogie late on the scene too, but once there, it Almost all the different boogie-woogie
elements are there, and it became a
standard set-closer among performers
during the 1920s. And by then the
Thomas brothers had followed the
tide of southern popular music and
migrated to Chicago, taking boogie-
woogie with them.
Don’t shoot the piano player

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

POPULAR PIANO
(including telling ‘the girl with the red
dress on’ to ‘shake that thing’ a full 30 Yes, boogie-woogie’s good, but is it jazz?
years before Ray Charles’s ‘What’d I And how, pray, do you define jazz? Is it the improvisation, is it
Say’). He would have made a follow-up the harmonic structure, is it the rhythm, is it the choice of notes?
in March 1929 had he not been shot The answer might be any or all the above, but it’s perhaps even
dead in a dance-hall altercation, possibly more down to the player’s intention – to go with the flow rather
accidentally, the day before the session. than stick rigidly to a script. Early boogie-woogie, up to and
‘I saw Pinetop spit blood’ was the rather including performances and recordings by Meade ‘Lux’ Lewis,
insensitive headline in Down Beat Albert Ammons and Pete Johnson, definitely qualifies. Pieces
magazine. intended to be performed as written, such as Morton Gould’s
For a while, Smith had lived in the study, definitely don’t.
same rooming house as Albert Ammons Tommy Dorsey and Will Bradley? There’s a jazz feel, but a purist
and Meade ‘Lux’ Lewis, two other might argue the toss. The Andrews Sisters and Glenn Miller have
pianists destined to become major a quasi-jazz sound, but it’s really the pop music of the time. You
names in boogie-woogie. It was Lewis, can apply the same qualification process to the derived forms
with ‘Honky Tonk Train Blues’, who such as rock’n’roll and rockabilly, and you’ll hit just as many
gave the style its next big hit, while grey areas. One thing is for certain. If you play a transcript of
Ammons had his big hit in 1936 with ‘Boogie Woogie Stomp’ exactly as written (even if you leave
‘Boogie Woogie Stomp’. The tide was your genteel manners at the door) you’re not playing jazz. If, on
becoming a flood. Tommy Dorsey had the other hand, you buy a boogie-woogie tutor book, learn a
a huge hit with a big band version of few tricks from it, and slip them into your performance without
‘Pinetop’s Boogie Woogie’ in 1938, premeditation, you probably are.
while Ammons and Lewis, along with For more on boogie-woogie and its history, visit the Boogie
Pete Johnson, a boogie-woogie pianist Woogie Foundation website, www.bowofo.org
from Kansas City, appeared in the From
Spirituals to Swing concerts at Carnegie
Hall in 1938 and 1939. Those concerts Top: The Andrews Me Daddy, Eight to the Bar’ in 1939, withdrawn from distribution in 1949.
featured Johnson, with his ‘shouter’, Sisters, 1952 as did Glenn Miller, Woody Herman Less controversial was the Andrews
Big Joe Turner performing ‘Roll ‘Em Bottom: Union Station in and the Andrews Sisters the next year. Sisters’ recording of another Don Raye
Pete’, which is arguably where boogie- Texarkana, Arkansas Bradley followed that with ‘Scrub Me number, ‘Boogie Woogie Bugle Boy’,
woogie sowed the seeds of rock’n’roll. Mama with a Boogie Beat’, also by Raye, which is positively genteel.
Before then, though, boogie-woogie which formed the basis of an eponymous
became a staple of the big band cartoon in 1941. Unfortunately, the From bordellos to suburbia
repertoire. Will Bradley’s band had a hit cartoon itself stereotyped African- In just 20 years, boogie-woogie had gone
with the Don Raye composition ‘Beat Americans so offensively that it was from black bordellos and rent-house
parties to the concert hall and the radio
sets of white suburbia. It went further
than that, moving into different genres
In just 20 years, boogie-woogie went such as country (‘Cow-Cow Boogie’
for instance), rockabilly and, of course,
from black bordellos and rent-house rock’n’roll. The sound is omnipresent in
Jerry Lee Lewis’s upbeat numbers and
parties to the concert hall and the a component of Little Richard’s piano
playing, but stylistically it’s just as great
an influence on guitar-based recordings
radio sets of white suburbia and by the likes of Chuck Berry.
The highbrow world wasn’t immune,
moving into genres like rock’n’roll either. Conlon Nancarrow’s Boogie-
Woogie Suite studies for player piano
take the form to its illogical conclusion
(watch on YouTube for a laugh, but
don’t attempt playing it unless you’re
a multi-limbed machine), while
Morton Gould’s 1943 composition
Boogie Woogie Etude can claim as much
‘classical’ legitimacy as Gershwin.
Ultimately, however, politeness is not
what it’s about. Boogie-woogie works
best in its original, rough and ready,
vibrant, exciting and exuberant format.
Roll ’Em Jools!
Boogie-woogie is everywhere in this issue!

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

71• Pianist 75
Lucy Parham full.indd 1 04/11/2013 11:47

p71 Ads.indd 71 06/11/2013 14:39
E D U C AT I O N
Jazz YOU LIKE IT
How do you find a ja or boogie-woogie teacher an you really learn to improvise

How tric y is ja theory wo leading ja piano teachers reveal all to Inge Kjemtrup
W
JAZZ RESOURCES
Courses and jam sessions e’re all so Matching a student to the right to, particularly music with pianists, and
computer-savvy music teacher is at the core of Cristall- bring a list of your favourite recordings
UK these days (or Clarke’s business. Jazz piano students, to your first lesson. He also recommends
Hideaway, London we imagine we he explains, can be divided into that you devise ‘a vision of yourself in a
www.hideawaylive.co.uk are), so what’s two broad categories: those who are year: what would you like to be playing?
the first step to interested in ‘playing for enjoyment and Jazz piano lessons are very individualised
Jazz Academy, Surrey take when you’re looking for a jazz or want to play repertoire that’s jazzy or to the student and their goals.’
www.jazzacademy.co.uk boogie-woogie piano teacher? Of course: bluesy but they don’t want to improvise Listening is also an important part
you go to a search engine and type in or play with ensembles’ and those who of Cowie’s teaching. ‘To use a language
Jazz Course UK
www.jazzcourse.co.uk ‘jazz piano teacher’ along with the name are ‘interested in improvising or the analogy, you can’t learn to speak a
of your town. The search might turn up more creative elements of jazz’. Once he foreign language without spending a lot
Jazz Factory, Wiltshire a list of teachers in your area – but it uncovers a student’s favourite jazz style of time listening to it being spoken by
www.jazzfactory.org.uk won’t necessarily help you find the one and their reason for branching out into native speakers,’ he says. ‘It’s how you
who will guide you in making the leap jazz, Cristall-Clarke is better able to learn “the music” of the language.’ For
Jazz Workshop, Bucks from classical to jazz. To get a better find the perfect teacher for them. beginners, Cowie has specific listening
www.jazzworkshop.org.uk understanding of how best to take the ‘Ideally you want to find a teacher recommendations including Miles
first steps in studying jazz, I spoke to who plays jazz professionally and has the Davis, John Coltrane, Art Blakey and
Morley College, London two experienced jazz piano teachers empathy and pedagogical technique to the Jazz Messengers, Wayne Shorter,
www.morleycollege.ac.uk
from opposite sides of the Atlantic. give the student what he or she needs,’ Herbie Hancock, Thelonious Monk, Bill
Music Place Jazz Summer For starters, do you really need a says New York City-based jazz pianist, Evans, Keith Jarrett and Gene Harris.
School, Cheshire teacher to learn to play jazz? Could composer and teacher Robert Cowie. As ‘Jarrett is just an amazing improviser,
www.themusicplace.co.uk you try to go it alone, using books and for locating a teacher, he says, ‘I would whether playing solo, with his trio,
recordings? I put this question to Jonah ask around music schools or universities or with his quartets in the ‘70s. Gene
USA Cristall-Clarke, director of the London where jazz is taught, or, if you go out to Harris is just so swinging and bluesy,
Interplay Jazz Camp, MA Piano Teachers website. ‘What I would listen to live jazz, ask some
www.interplayjazz.com say is there is a lot of information out players you like if they teach
there – there are tons of books on jazz or know people who teach.’
Jazz Camp West, CA theory –and it can be overwhelming,’ Once you have scheduled
www.jazzcampwest.com he says. ‘Lots of students who come your first lesson, other
to me say they tried to learn on their than spending a lot of time
New York Jazz Workshop own, but now they need some guidance. wondering if you’ll ever
www. It’s maybe more straightforward for learn to swing, what else
newyorkjazzworkshop.com classical, but with jazz, especially when can you do to prepare?
it comes improvising, students have Cristall-Clarke suggests
Stanford Jazz Workshop trouble finding their way and that’s that you think about jazz
www.stanfordjazz.org where a teacher can help.’ music you enjoy listening
72• Pianist 75
p72_Jazz lessons-FINAL.indd 72 05/11/2013 15:32

while not being super technical. Every the individual student. ‘If theory comes
time I hear him play, I just want to smile.’ naturally to a student, we can just dive STUDYING JAZZ: USEFUL BOOKS
in. If not, we need to know how to As selected by Robert Cowie
All black notes back off. We have to approach jazz from
You should bring blank manuscript lot of different angles to play to the The Real Easy Book (Chuck Sher, editor; Sher Music)
paper, a metronome and an open mind strengths and weaknesses of a student.’ An excellent book of tunes geared toward the beginning
to your first lesson with Cowie. ‘When Like professional jazz pianists, a novice improviser, with information about theory and how it applies to
I am teaching a first-time jazz student, I jazz pianist will eventually want to seek each particular tune.
want to get them improvising as soon as out playing partners. Cristall-Clarke
possible,’ he explains. ‘I usually will play eases into this, first playing along with Effortless Mastery (Kenny Werner; Jamey Aebersold Publishing)
some kind of vamp in the lower end his students in lessons: ‘I’ll be the bass An inspirational book that explains this pianist and composer’s
of the piano that they can improvise player and then they can learn how approach to playing and practising.
over using “all white notes” or “all black to play with a bass (for example, they
notes”. I also often teach a pentatonic can’t play lower notes because that will The Jazz Musician’s Guide to Creative Practicing (Dave Berkman;
“blues” scale and show the student interfere).’ Then he points his students to Sher Music)
a simple vamp over which they can jazz jams – open mike sessions that are Geared more towards advanced students, this practice guide is
improvise using the blues scale.’ often surprisingly friendly to novices (see also interesting for the beginner.
‘One of biggest challenge of a jazz boxout, opposite). ‘Jazz is communal,
piano teacher is to structure material social music!’ exclaims Cowie. ‘It’s meant The Jazz Piano Book (Mark Levine; Sher Music)
in a way that students feels they know to be played with other people.’ An excellent reference on different jazz piano styles. (It can also
they are progressing,’ says Cristall-Clark. Cowie draws parallels between be overwhelming to the beginner, so don’t think you need to
‘I choose a jazz standard and think of learning a language and learning jazz. learn how to play everything in it.)
goals for a student to achieve as they are ‘When you speak in your native tongue,
working on it. Maybe they focus on a you don’t have have to think about
specific idea like using root and seventh vocabulary, grammar or accent to have to express yourself musically in the
and melody in left hand, for instance.’ a conversation. However, when you various dialects of “jazz”.’
Now for the tough question: if you’re learn a new language you gradually Who could resist the idea of
not comfortable with music theory, build your vocabulary, grammatical becoming fluent enough in jazz to join
must you learn jazz theory? Cowie says knowledge and accent to a point where the musical dialogue?
it’s a key learning tool. ‘You have to you can have conversations of greater
know the vocabulary and grammar to depth and complexity. Likewise, as you Find out more about Robert Cowie
speak. Even the great players who played learn to improvise, you gradually build at www.robertcowie.com and
“by ear” knew what they were doing.’ up a vocabulary of rhythms, harmonies, Jonah Cristall-Clarke at www.
#40129 -Cristall-Clarke
Amended Pianoexplains it in terms
View_Layout of
1 06/11/2013 and
14:51melodic
Page 1fragments that you can use londonpianoteachers.co.uk
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73• Pianist 75
www.uk.yamaha.com
p72_Jazz lessons-FINAL.indd 73 06/11/2013 16:38

{ALKAN{
H I S TO R Y
WELCOME TO THE
WONDEROUS WORLD OF
µ µ µ µ µ µ µ µ µ µ µ
CHARLES-VALENTIN
Recluse, virtuoso and musical genius, the 19th-century

French composer Charles-Valentin Alkan was little
understood in his day, but his mysterious and brilliant
piano music is ripe for rediscovery, says Mark Viner
µ µ µ µ µ µ µ µ µ µ µ
C
On this issue’s CD harles-Valentin Alkan, perhaps the most enigmatic and won a number of prizes. By the time of his adolescence,
Marc-André Hamelin figure in the history of music as a whole, let alone Alkan was showcased among the glittering salons of the elite.
performs two Alkan the 19th century, has celebrated his bicentenary Once established as a leading virtuoso, he had moved to
works on this issue’s in 2013. What is unfortunate for this unjustly the fashionable Square d’Orléans where, in 1842, Chopin,
covermount CD. See neglected genius, who played an integral role in the a life-long friend, became his next-door neighbour. Both
CD for full repertoire evolution of French music and piano literature as men profited from the rich environment of the artistic and
details. For more about a whole, is that he has had to share his bicentennial aristocratic circles of Parisian society. Other influential friends
Marc-André Hamelin, year with two operatic giants, Verdi and Wagner – a stroke and colleagues included the novelist and cultural mover and
go to his website, www. of misfortune that has ensured a real lack of media coverage shaker George Sand, the great painter Eugène Delacroix and
marcandrehamelin.com. in the media as well the concert hall during the year in which the pianist and composer Franz Liszt.
his name should shine. However, for a mixture of complicated reasons, from
‘Alkan has just died. It was necessary for him to die in order 1848 Alkan more or less disappeared from public view to
Inside this issue’s to suspect his existence’ – thus ran an obituary in Le Ménestrel live the life of a recluse for almost a quarter of a century. It
Scores on 1 April 1888. This has remained one of the most enduring was during this period that much of his finest music was
Alkan's 'Petit air dolent', quotations written about this extraordinary composer, and composed while he busied himself with a translation of the
No 30 from his 48 emphasises the extent of obscurity and reclusion that had Bible from its original languages into French.
Esquisses op 63, appears enshrouded him throughout his life. The year 1873 witnessed his phoenix-like return to the
on page 40. Born into an Ashkenazi Jewish family in Paris on 30 concert platform when, with the assistance of his youngest
November 1813, he was the second of six children in a brother, Gustave Alkan, he established a series of Six Petits
Ingasas
TRACK 7
Charles-Valentin ALKAN (1813-1888)
op 63
Petit air dolent, No 30 from 48 Esquisses
INTERMEDIATE
prodigiously musical household. His father ran a small Concerts de Musique Classique at the Salle Erard. The choice
boarding school in the Marais district of Paris where of repertoire affirmed Alkan’s propensity for music of a
– very much softer. There will be tricky
the accompaniment needs to be ‘très soutenu’ light
Hamelin, the French composer Charles- in bar 3 and elsewhere. They should be
In the view of admirers such as Marc-André parts, such as the ornamental triplets
particularly in his singular reputation make them stick out. You will come across
Valentin Alkan has been much misunderstood, this and lead into the following note. Don’t
To counter this perception, we present if you don’t have a big hand span (such
for writing dense, unapproachable music. really thick chords, and they’re hard to execute
Read more about Alkan on page 74. of harmonies right after that. And really
lively, accessible piece, dating from 1861. (see as in bar 23). Note the amazing change
is perfect for working on your voicing
Playing tips: This short poignant work The die away towards to the end.
67 on voicing if you’d like a refresher). per bar.
Graham Fitch’s lesson in Pianist No Pedal tips: In general, two pedal changes
young, mainly Jewish children received elementary musical Classically oriented aesthetic. Alongside his own works, which
to make the song come to the front. And
markings ‘Le chant bien en dehors’ means
Le chant bien en dehors

Allegrettino q. =
72 5
2
instruction as well as lessons in the rudiments of French he modestly programmed only during intervals, the majority
3 1
2 3
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f
L'accompangnement très-soutenu
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of the repertoire was by Baroque and Classical composers.

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grammar. This ancient area was largely untouched by the
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renovation of Paris under Napoleon III and remains a unique What is of further interest is that he still played in the old-
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feature of the capital today with its narrow medieval streets fashioned position with his back to the audience rather than
and is still ‘a lost world of exotic bazaars, sombre bookshop with the piano positioned so that the pianist’s profile faced
f
ten.
j f f f f f f #f f f f ff
5 4 3 4
#
2 2
j
8
& # f™
1 1
nf ff f f f f f f f
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f
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f
and twilit cafés’ as one of Alkan’s erstwhile exponents and them. By 1877, the series of concerts more or less came to
ff ff ff ff ff ff
f f f f f f f f f f f ff ff
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biographers, Ronald Smith, describes it. an end, and Alkan withdrew to even greater obscurity than
f 5
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40• Pianist 75
At age six, Alkan was admitted to the Paris Conservatoire, before right up until his death on the 29 March 1888: a
p40_Scores_Alkan-FINAL.indd
40
29/10/2013 16:25
where he studied under Pierre-Joseph-Guillaume Zimmerman circumstance which prompted such convoluted rumour that
74• Pianist 75
74
p74_Alkan 75-FINALish.indd 74 05/11/2013 15:23

him as a note-spinner, which he was anything harmonies that are definitely bluesy. Also,
but. There was a profound musical mind at work La chanson de la folle au bord de la mer (The
– harmony and counterpoint held no secrets Song of the Mad Woman on the Seashore) opus
for him, but it goes a lot further than that. He 31 no 8, paints a wonderfully evocative picture.
was a master architecturalist, bringing a perfect Astonishingly, a snippet of it can be heard on Tori
sense of proportion to very large forms, as well Amos’ album Night Of Hunters.
as chisel the most exquisite miniatures so that, Alkan wrote many miniatures of this kind, and
in both cases, everything seems inevitable and only a few are truly on an advanced level, so
natural. And as far as smaller details, he was dedicated amateurs are likely to find much within
always full of surprises, and every page of his the opus 31 set of preludes, as well as the 48
Marc-André Hamelin music has some kind of innovation or fascinating Esquisses opus 63. The First Nocturne in B major
detail. His imagination was boundless. (opus 22) is very touching, and simplicity itself.
on Alkan
How and when did you discover Alkan? What piano technique does one need for You have recorded the ‘big’ works for Hyperion.
This may seem bizarre, but I’ve known about playing/learning Alkan? Do you also play the smaller pieces?
Alkan since I was a little boy of seven or so! Especially for the most difficult works, a I certainly have. There’s a beautiful piece called
My father had been curious about Alkan after heightened sense of what I call ‘keyboard Aime-moi (Love me) opus 15 no 1 that is
reading about him in Harold Schonberg’s The geography’ is essential. By that I mean ease in wonderfully lyrical, and not any more difficult
Great Pianists, so when he spotted Raymond moving around, with rapid hand displacements, than the average Chopin.
Lewenthal’s first Alkan LP on RCA, along with often at very quick tempos. One must also
a collection of the piano music that Lewenthal have a strong touch. Pianos at the time were What are your favourite Alkan works?
had edited for Schirmer’s, he brought these two considerably easier to play, with actions that The Symphony for solo piano is his masterpiece.
things home and we listened to the LP together, required next to no effort on the pianist’s part. It’s a four-movement work, and these four
following the scores. It was certainly weird and Playing some of these difficult Alkan pieces on movements are also four of his Douze études
wonderful for a lad like me, and it helped me modern pianos can be quite a challenge. dans tous les tons mineurs opus 39. This series
becoming aware of Alkan around the same time of etudes represents a major achievement, full
as I discovered Liszt, Chopin and Schumann. Are any of Alkan’s works accessible to an of marvellous invention and a great deal of
Alkan has always been a presence in my life. intermediate/advanced amateur pianist? substance. Within that set of 12 etudes one must
First and foremost would be the Barcarolle in also mention the Concerto for solo piano, as well
Do you think Alkan’s music is underrated? G minor opus 65 no 6 [featured inside Pianist No as Le festin d’Esope (Aesop’s Feast), one of the
Perhaps not so much underrated as little known. 39], which besides being extremely accessible most diabolically original things ever written,
© Fran Kaufman
Many people haven’t gone beyond dismissing pianistically, is hauntingly beautiful, with whether for the piano or not.
until relatively recently, it was widely accepted that he was work, and in which the composer is at his driest and most
crushed to death beneath a falling bookcase. neoclassically abrasive in character. [You can hear the first
movement of the Grande Sonate, played by Marc-André
Terrifying grandeur Hamelin, on this issue’s covermount CD.] The set of Douze
Alkan’s output is extensive and includes some of the most études dans tous les tons majeurs opus 35 (1848) also contains
arresting music ever written for the piano. It is generally many attractive works, the most striking of which is perhaps
recognised that his Douze études dans tous les tons mineurs opus the fifth, a furious Allegro barbaro on the white keys alone.
39 (1857) is the fullest single embodiment of his creative Alongside these masterpieces of terrifying grandeur and
powers. This monumental set of studies runs to 275 pages sometimes chilling demands are many shorter pieces of no
in total and comprises some of Alkan’s best-known music, lesser importance and musical value. The 48 Esquisses opus 63
including the Symphony and Concerto for solo piano (the (1861) [No 30, ‘Petit air dolent’, is in this issue’s Scores on
latter work lasting nearly an hour in length) as well as a page 40] encompass a rich array of kaleidoscopic miniatures,
magnificent set of 25 variations on an original theme, Le festin many within the reach of the fluent amateur and providing a
d’Esope. Other masterpieces include a Grande Sonate opus 33 wealth of choice to those seeking the escapism of fanciful titles,
(1847/8), whose four movements are each successively exotic tonal worlds and excursions into different eras. For the
slower than the previous, representing the four ages of man, more courageous, the five suites of Trente Chants contain many
and a gigantic Sonatine opus 61 (1861), his last large-scale attractive pieces, notably the five barcarolles that close each
LISTEN TO ALKAN µ µ µ µ µ µ µ µ µ µ µ
Grande Sonate ‘Les quatre Concerto for solo piano, etc Piano Music of Alkan Alkan Piano Works
âges’, Sonatine, Le festin Marc-André Hamelin Raymond Lewenthal Ronald Smith
d’Esope, etc Hyperion CDA67569 BMG High Performance Series EMI 7243 5 85484 2 6 (2 discs)
Marc-André Hamelin 09026 633310 2
Hyperion CDA66794
75• Pianist 75
74

H I S TO R Y
set [Barcarolle opus 65 no 6 appeared in Pianist No 39]. The Deuxième Suite opus
EXPLORING
38 no 2 (1857) contains one of the most radical and daring conceptions in musical
history: an Allegretto in A minor during which the note F is repeated 414 times
while the piece modulates to a host of distant keys and is never resolved.
A consequence of the diversity and scope of Alkan’s music is that the novice’s
ALKAN
first impressions can be so misleading, and it is necessary to assess large portions
of his music at a time before drawing conclusions. If the same circumstances of
obscurity had befallen a composer as exploratory and experimental as Liszt, for
example, we would be faced with a similar problem. Many have remarked that
the wide-ranging style and scope of Alkan’s staggering output is one of the factors
3 TOP PLAYING TIPS that renders him so utterly unclassifiable as a composer as well as disconcerting to
the newcomer. Most interestingly for Alkan’s musical aesthetic was the historical
1 Much of Alkan’s music hasn’t been re-engraved since it first

appeared in print during the composer’s lifetime. The innocent
eye can all too easily be led astray, not only by such things as the
context in which he found himself: he was essentially a Classicist. All the large-
scale works are born of a Classical pedigree. Even the most demonic sweeps of
virtuosity are bound by the shrewdest economy and severest logic. The rhapsodical
employment of archaic crochet rests (which appear as backward ecstasies of Chopin and Liszt are more or less absent as are the cadential arabesques
quaver rests), but also by the notes themselves. This kind of that adorn so much piano music of his time.
unfamiliar musical terrain can be so unpredictable, especially when This isn’t to say, however, that Alkan was immune to or rebelled against the
outre harmonic twists abound, that misreadings can easily occur. more universal Romantic ideals. The dichotomy of his Classical aesthetic and the
A definite eyes open is required at all times!
THE VITAL IMMEDIACY OF ALKAN'S

2 In many works, Alkan prescribes a fingering: do take them
seriously whenever they occur. What often, at first glance, seems
cumbersome and unnatural usually, in time, becomes absolutely MESSAGE AND MUSICAL LANGUAGE ARE
MORE RELEVANT NOW THAN THEY WERE
logical and the ultimate means to an end, musically speaking.
3 Regarding the general interpretation of Alkan’s music, treat it

classically. Approach it with the same authority and respect with
which you would Beethoven, and the music will take flight. Always
OVER A CENTURY AND A HALF AGO
bear in mind that Alkan was a staunch Classicist and an ardent Romantic idiom was the catalyst for many of his masterpieces in which a Classical,
exponent of the style sévère or strict style. His lyricism is always often Germanic mould is adopted and enlarged, and piano writing, which so often
beautiful yet seldom rhapsodic and sensuous. While all music must constitutes formulae of a Classically tailored aesthetic, is expanded, sometimes
breathe, if you refrain from any niggling rubatos and maintain a beyond recognition. Technical elaboration and consequent difficulties of so many
Gallic tightness of rhythm, you will be halfway there already. -MV of Alkan’s works are never ultimately for their own sake but are justified by their
respective contexts. This is what has led me to firmly believe that Alkan’s music is
not ‘virtuosic music’ but ‘music for the virtuoso’.
µ µ µ µ µ µ µ µ µ
Vital immediacy
The often-asked question, ‘Why is Alkan’s music so unknown?’, comes with many
5 TOP PIECES TO TRY answers. During his lifetime, Alkan was never really a public idol. If he had been,
his music would have been vastly different. Aside from this, his general reticence
(in order of difficulty: 1 = easiest, 5 = hardest) in society, reclusive nature and complete lack of self-promotion are not factors
conducive to a successful career, and his music possibly lacked the immediate
1 Barcarolle op 65 no 6: One of Alkan’s best-known short pieces

and one of the most frequently played. A hauntingly beautiful
work of arresting simplicity and striking originality. The so-called
appeal to satisfy the tastes and whims of the pleasure-seeking audiences of the 19th
century, even though he was considered France’s leading pianist and was the only
person before whom Liszt was reputed to feel ill at ease when performing. Indeed,
‘blue notes’ that echo through twilit Venetian canals belong to some Liszt declared in later years that Alkan possessed the finest technique he had ever
60 years after the piece was written and must surely have raised seen. Yet Alkan preferred the life of a recluse. The notion of a ‘lofty, somewhat
some incredulous eyebrows in the 19th-century Paris salon. puritanical artist’, as Ronald Smith put it, trapped amid the gaudy and excessive
frivolities of the Second Empire readily gives one the impression of a creator at
2 Canon opus 65 no 3: An achingly beautiful work of intense

lyricism. A fleeting, eight-bar passage, indifferently earthbound,
provides an unlikely foil before a cradle-song ensues.
odds with the society within which he dwelt. However, the qualities that may have
repelled 19th-century ears have the power to attract those of the 21st century.
Indeed, many have remarked that the vital immediacy of Alkan’s message, together
with the radical nature of his musical language are attributes that are perhaps more
3 Le premier billet doux op 63 no 46: Translated as ‘The First Love

Letter’, this miniature of but 20 bars is one of those conceptions
that affirms Alkan’s uncanny ability to crystallise the subtlest and
relevant now than they were over a century and a half ago.
Coupled with the advocacy of past pioneers such as Raymond Lewenthal
and Ronald Smith, the endeavours of some of today’s leading pianists such as
most elusive of human emotions. Steven Osborne, Marc-André Hamelin and a host of younger pianists of my own
generation have ensured that there are no longer blank stares when Alkan’s name
4 Nocturne op 22: A fine essay in the genre, very much à la John

Field with its cool, chaste lyricism. Two themes are introduced
before they are interwoven on the closing page; their close-knit unity
is mentioned. Of equal importance are the various organisations that have done
so much rallying – notably, the Alkan Society in England and its sister society
in France, the Société Alkan. More recently, their Hellenic counterpart, the C.V.
yielding beautiful harmonic clashes before fading into dawn. Alkan–P.J.G. Zimmerman International Music Association of Athens has been
responsible for the founding of an international piano competition: a step of
5 Air à 5 temps op 32 Bk 2 no 3: This piece is effectively a zorcico

– a Basque dance in quintuple time. The zorcico was a form
that captivated Alkan and was one in which he could explore his
considerable significance as Alkan’s name has finally secured a solid footing in the
arena of international piano competitions. Despite a somewhat overshadowed
bicentennial year, the tables do seem to finally be turning.
penchant for quintuple time without too much persecution. An
unceasing left-hand ostinato provides the impetus to this quintuplet British pianist Mark Viner won first prize in the inaugural C.V. Alkan–P.J.G.
rumba – the effect is irresistible! -MV Zimmerman International Piano Competition in 2012, and has long had a special
interest in unfamiliar pianistic territory.
76• Pianist 75
74

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77• Pianist 75
p77 Ads.indd 77 06/11/2013 14:41

MAKERS
This year’s top pianos PART 2

If you’re in search of a piano, Gez Kahan tells you where to start with the best uprights, grands
and digitals – and how you can take advantage of some great special year-end offers as well
W
Kemble Cambridge 12
elcome to Part 2 of our piano round-up. As with
Part 1, which appeared in the last issue of Pianist,
we’ve picked a cross-section of about a dozen upright,
grand and digital pianos that will broadly suit
everyone from complete beginners to advanced players – at prices
ranging from very affordable to money-no-object. We can, of course,
only give a brief overview of these models here, so hurry on down
to your dealer’s showroom, try them out for yourself, and place your
order in time for Christmas morning.
UPRIGHTS
We start with uprights and, appropriately enough, a Christmas offer. The C Bechstein Millenium
116K may be compact at just 116cm in height, and but there’s no compromise in build quality
from the legendary firm celebrating its 160th anniversary this year. This piano also looks great,
thanks to a collaboration with product designers Rommel & Schoen – who really do design
everything including the kitchen sink. Their modern yet understated vision for the Millenium
(yes, that is the correct spelling) has won three international design awards. At £17,135 in black
polyester or £19,779 in white polyester, it’s the most affordable model in Bechstein’s flagship
range. Even better, if you order one from an authorised C Bechstein UK or Ireland dealer by the
end of November for delivery by the end of the year, you also get, free of charge, the C Bechstein
Vario HDS Silent System, a rise-and-fall bench, ground floor delivery and first tuning – an
impressive goodie bag worth £3,650. [Note: The end-of-year offers mentioned throughout this
article may not be available to purchasers who live outside the UK; check with your local retailer.]
For those who would rather look for modernity inside the case, the Kawai K6 (listing at £8,450)
has its own millennium story. This piano uses ABS-Carbon components in its ‘Millennium III
Upright Piano Action’. Carbon fibre is stronger, less likely to fail, lighter (and therefore not only
more controllable for pianissimo passages, but also faster and so better for key repetition) and
delivers more power than traditional wood. And the sound? At 132cm in height, the K6 has plenty
of soundboard and resonance to help generate a full, rich tone.
Next, another award winner. The 112cm Cambridge 12, part of Kemble’s Family Collection,
was voted top of its class for overall excellence by leading French publication Le Monde de la
Musique. The latest in the Cambridge series, with a redesigned scale (enhancing the quality of
sound, especially in the bass) and an enlarged soundboard area, this piano can also be fitted with
Yamaha’s latest SH Silent system. And though Kembles are no longer manufactured in England,
all UK-destined Kemble models are voiced and prepared in England before going out to dealers. Yamaha b3
The Cambridge 12, in black polyester, lists at £4,839, and those purchasing by 15 January 2014
can also take advantage of Kemble’s ‘Cash for Keys’ part exchange initiative.
Equally compact, at 112cm, is the Reid-Sohn Samick 112, part of a Klaus Fenner-designed range
from the 1980s and priced from £2,740 to £4,340. We chose this model (listing at £3,170) because
the UK distributor, Reid-Sohn, participated in the design of its cabinet, inspired by 18th-century
furniture maker Thomas Sheraton. Buyers can decide
whether they want ‘Samick’ or ‘Reid-Sohn’ on their piano.
Also take a look at the 121cm Yamaha b3, the largest
instrument in the company’s entry-level series, for which
the soundboard has been changed from a laminate to
solid spruce with a reinforced crown. The upgraded
soundboard, from Yamaha’s specialised wood factory
in Kitami, Japan, delivers extra richness and resonance.
There’s no upgrade to the b3’s list price, however, which
stays at £4,483 for the standard polished ebony finish. The
smaller b2 (£3,823) gets the same upgrade, while the baby
of the range sticks with the laminated soundboard but has
been re-priced downwards to £2,275. To sweeten the deal
even further, there’s also a buy-back scheme running in
C Bechstein Millenium 116K the UK until mid January.
Ritmüller R9
78• Pianist 75
p78 Piano Roundup-FINALish.indd 78 05/11/2013 15:20

Steingraeber A170 Kawai K6
Steinway Arabesque
Schimmel K175
Yamaha C2X Chrome
GRANDS
If you have designs on a grand, you’ll have to shell out rather more money,
both the design and manufacture of the company’s new ranges. It has the
same key length as the 9ft 2in K 280 concert grand, allowing unusually
precise control of dynamics, Triplex Scaling to enhance the middle and
but we do have one option in this round-up that comes in (just) under five treble and an enlarged soundboard with dynamic bars for a longer sustain
figures. The Ritmüller R9, a 5ft 3in (161cm) baby grand in black polyester, when playing pianissimo.
normally retails from £9,599 for black polyester finish, but Pianist readers Fazioli, established in 1981, is a relative youngster in the grand piano
can take advantage of a seasonal offer to buy it through participating market, but there’s nothing immature about its offerings. The factory
dealers for £8,499 when they produce a copy of this article. This is really in northeast Italy produces around 120 instruments per year, with
an exceptional piano for this price. soundboards made of red spruce from Val di Fiemme (the same wood that
Moving up, in size as well as price, is the Yamaha C2X Chrome, a 5ft 8in Stradivari used for his violins). We particularly like the big projecting tone,
instrument listing at £19,949. The CX range has a more ‘European’ sound and well-balance bass and treble of the 6 foot (183cm) Fazioli F183. This
than C-series, but it also has an elegant modern look, this one with a silvered retails at £65,000 in black polyester, with other finishes available.
frame and chrome fittings. There’s limited availability, however. Forsyth Bros But if that’s still a bit small time when you come to choose a Christmas
of Manchester has the only one in the UK, itself one of just ten in Europe. gift for your significant other (or your significant self ) we’ve got just the
A touch smaller than the Yamaha C2X Chrome, but with a fine German thing for you. The Steinway Arabesque has been produced to celebrate the
pedigree (and a price to match) is the Steingraeber A170, a baby grand company’s 160th anniversary, in a limited edition of only 50 instruments.
that sounds a lot bigger than its 170cm (5ft 7in). Helping the bass response Inside it’s a Steinway concert grand. But to look at, the Arabesque is a
is a larger soundboard area than is normally found on such a relatively short design masterpiece by Dakota Jackson, who also collaborated with Steinway
instrument, allied to low string tension with a straight bass bridge located on its Tricentennial limited edition model in 2000. It takes its name from
at the most active area of the board. There’s a range of case designs ballet’s Arabesque pose, where the ballerina appears almost to be frozen in
and finishes (including exotic woods), while technical features include suspended animation. Particular features that build on the theme include
Steingraeber’s climate-resistant carbon fibre soundboard and carbon fibre/ the spiralled legs, the bevelled rim and, especially, the suspended lid and
composite action, plus the option of mammoth tusk ivory key tops. with curved prop. It’s a beauty, in silver plate and black ebony high polish
Recommended retail prices start from £44,412. or silver plate and Macassar ebony, and it’s bound to be highly sought-after.
Similarly priced (at £45,000) to the Steingraeber A170, the 5ft 9in Price? If you have to ask, it’s not for you (just to sate your curiosity, though,
(175cm) Schimmel K175 also benefits from the latest technology, used in the black ebony version runs at £136,000).
79• Pianist 75

MAKERS
DIGITALS
Dream as we might, most of us have neither
the pocket nor the room for a concert
grand. And if budget, space, unsympathetic
neighbours who’d rather you played on
headphones, portability or additional sonic
and technological possibilities are deciding
factors, digital is probably the way to go. The
Casio CDP-120, at £329 without the stand
and another £100 with the stand, is aimed at
beginners, students and the budget-conscious, Korg LP380
but nonetheless has a weighted keyboard,
realistic sounds and a high-quality speaker system as well as a headphone socket.
Also aimed primarily at the beginner market, the £649 new Roland F-20 likewise has a
weighted action and convincing sounds, plus a range of interactive features to keep learners
motivated and provide extra enjoyment to more accomplished players. These include not only
metronome, in-built recorder and rhythm accompaniment, but a range of free Roland piano
Fazioli F183 apps for iPhone, iPad or iPod, including some to help with ear-training and sight-reading.
As you’d expect, Yamaha also has an instrument designed for aspiring pianists. The PreCF
tone generator in the Yamaha YDP-142, part of the Arius range, uses samples from the
company’s flagship CFIIIS concert grand – but instead of a six-figure price tag, it lists at
just £732. Along with Yamaha’s Graded Hammer Standard action it incorporates Damper
Resonance to add acoustic piano depth when pedalling, a two-track recorder and a USB
port to connect the instrument to a computer.
If space is an issue, the Korg LP380, available in black, white or red, is designed to be
slim enough (just 26cm in depth) and stylish enough to suit any room, while still, with a
£1,019 list price, ticking the economy box. It has a three-pedal design with half-damper
support, a sound system with plenty of poke and, like all the digitals here, a weighted action.
Finally, for anyone from learners to teachers (and a great option for gigging pro players
and itinerant university students too) there’s the Kawai ES7 (complete with sustain pedal and
music rack at £1,249). It sounds good and plays beautifully. Not only that, but it also has an
amazing array of functions from accompaniments to amp simulations (for use with electric
piano sounds) to a ‘virtual technician’ allowing you to adjust touch, tone, temperament and
Roland F-20 partial components such as string resonance, damper and fall-back noises, the key-off effect
and hammer delay. The ES7 comes in black or white, with an optional matching stand.
Casio CDP-120
MEET THE MAKERS

Bechstein www.bechstein.com
Casio www.casio.co.uk | www.casio.com
Fazioli www.jspianos.com | www.fazioli.com
Reid-Sohn Samick 112
Kawai www.kawai.de | www.kawaius.com
Kemble www.kemble-pianos.com
Korg www.korguk.com | www.korgusa.com
Reid-Sohn/Samick www.jreidpianos.co.uk Yamaha YDP-142
Ritmüller www.intermusic.com
Roland www.roland.co.uk | www.roland.com
Schimmel www.forsyths.co.uk (Manchester)
www.peregrines-pianos.com (London) www.schimmel-piano.de
Steingraeber www.hurstwoodfarmpianos.co.uk | steingraeberpianos.com
Steinway www.steinway.co.uk | www.steinway.com
Kawai ES7 Yamaha www.uk.yamaha.com | www.usa.yamaha.com

80• Pianist 75

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81• Pianist 75
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REVIEW CD
Can today’s Beethoven players match the legends? Yes, says Marius Dawn
praising Igor Levit, Sunwook Kim and more in this all-Beethoven round-up
Pianist star ratings Essential – go get it! Really great
ne release Average For specialists only
Edit o r’s
ABDEL RAHMAN ANGELA HEWITT
EL BACHA
C HOI C E
Complete Piano Piano Sonatas
Sonatas Vol 4. No 11
Mirare op 22, No 18
MIR 187 op 31 no 3,
(10 discs) No 28 op 101
IGOR LEVIT Hyperion
The Late Piano Sonatas: Opp 101, 106 CDA67974
‘Hammerklavier’, 109, 110, 111
Sony Classical 88883703872 (2 discs)
Beethoven playing has come a long way since the days of Backhaus, Abdel Rahman El Bacha is a cult In the booklet notes in this
Kempff, Solomon and Schnabel – all giants who came to dominate many figure in the piano world, the ultimate continuing series, Angela Hewitt
people’s conception of how the Beethoven sonatas should be played. insider’s favourite. His complete explains the reasoning behind her
Their fidelity to the score and their musicality were second to none, so it’s Chopin and Ravel rank among the unusual mixture of early and late
difficult to imagine how anyone could follow in their footsteps without very best. So how wonderful to have sonatas – she wants to offer up a
simply copying their way of playing. Yet Igor Levit has succeeded. He has this reissue of his complete Beethoven recital programme experience. Hewitt
better fingers than Schnabel, while his musicality is a match for Kempff sonatas. Here is Beethoven playing is, as always, rhythmically secure, and
and Solomon’s. He also has a better Steinway (and piano tuner) than any that’s anything but idiosyncratic, her trademark sharp accentuations
of the oldies, and he stays close to the printed score as Backhaus did. but it’s not bland. It is fascinating eliminate the oversentimentality
So, what makes Levit the Beethoven player of our times? Answer: his to follow El Bacha’s playing with the that’s a problem for other artists.
ability to make us listen to Beethoven as if we have never heard him score: he’s able to observe every single However, a sweeter approach might
before. All this without compromising anything and while still managing detail, without being pedantic. There have worked wonders for some of
to put his own personal stamp on every bar. The first movement of the are pianists with a more personal tone sonatas, such as the early B flat major
‘Hammerklavier’ sums it all up. From the hair-raising first chords to the who can produce greater miracles on opus 22. Hewitt’s many admirers
impossible fugue, Levit catapults the music into a towering soundworld. the piano, however few can show such will not mind her preference for the
His dynamic range is nothing short of phenomenal, helped by a recording understated beauty and sheer bliss in brilliant-sounding Fazioli piano and
sound of rare brilliance. The last three sonatas, especially the very last, their interpretations as El Bacha. As a the bright recording – but for more
simply have no competition from a living pianist. I can’t wait to hear him reference version, his outshines more weighty Beethoven, you will want to
in the Beethoven concertos. famous names. look elsewhere.
SUNWOOK KIM HJ LIM DANIEL-BEN PIENAAR ANDRÁS SCHIFF

Concerto No 5 Complete Piano Diabelli Variations; Diabelli Variations,
‘Emperor’, plus Sonatas Six Bagatelles plus Sonata No 32
Symphony No 5 Warner op 126 op 111 & Six
Seoul PO/Myung- Classics Avie Bagatelles op 126
Whun Chung 464952 2 AV2260 ECM New
Deutsche (8 discs) Series
Grammophon 481 0446
481 0312 (2 discs)
I cannot recall a more secure winner When HJ Lim released her first I very much enjoyed Daniel-Ben There is no question that a pianist of
of the Leeds Piano Competition than Beethoven sonatas disc, it created near Pienaar’s Bach Goldberg Variations Schiff’s calibre ought to be entitled
Sunwook Kim, who won in 2006 chaos among Beethoven cognoscenti. and I’ve had the same pleasure in the to five stars for this rendition of the
when he was just 18. His understated Practically every movement of the Diabelli Variations here. His stylistic mighty Diabelli Variations – he is in
elegance and round, sonorous piano sonatas was played in what some conviction and straightforward line with the old school of Beethoven
tone on that occasion linger forever in called a new and original way; others approach are surely what Beethoven playing and he is far above any
my memory. All of these qualities are felt she was forcing her own ideas had in mind when he turned the technical obstacles. So why only three
evident in this live performance of the on Beethoven. Yet her playing is simple theme from publisher stars for this CD, in which Schiff
Beethoven ‘Emperor’ Concerto. Kim fascinating, because she is brave Diabelli into one of the greatest sets offers not one but two versions of
is partnered by the experienced and enough to present ideas rooted in a of variations after the Goldbergs. the Diabelli Variations? The answer
much underrated conductor Myung- stunningly secure piano technique. Pienaar never over-accentuates the is that you would need to be a real
Whun Chung and they keep the Some of the sonatas here are faster, often-abrupt rhythmic changes in historic piano buff to put up with
concerto in a firm rhythmic basis. If slower or dynamically so far removed the faster variations, and he gives the limited range of the 1820 Franz
the orchestra lacks the shine of many from the score that you wonder what us a lovely forward-moving pulse Brodmann fortepiano on the first
Western orchestras, it is enthusiastic, edition Lim might be using. Yet no in the seductive slower variations in version, while the 1921 Bechstein
and its version of the Fifth Symphony one can deny her ability to make you which Beethoven is often at his most on the second cannot compete with
is classic and restrained. A good sit on the edge of your chair. Hers is harmonically inventive. It is hard to a modern instrument’s sonority. One
recording in a resonant hall rounds not a Beethoven for everyday listening, imagine why anyone would not be for serious Schiff fans or those not
out this delightful release. but we would poorer if it did not exist. delighted by this fine modern version. unduly worried about piano sound!
84•• Pianist
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p84_CD Review-FINALish.indd 84 05/11/2013 15:26

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Pianist75
TEL: 0161 977 0075
85 75
Britannia.indd
p85 Ads.indd 856 05/11/2013
06/11/2013 10:25
11:31
REVIEW SHEET MUSIC & BOOKS
Michael McMillan offers a bumper crop of music this issue – from sight-reading and
tutorials to Schumann, Mendelssohn and duets to give as a gift or to keep for yourself
L E A R N I N G TO O LS BEGINNER
IMPROVE YOUR SIGHT-READING! TRINITY EDITION PIANO REPERTOIRE
Paul Harris LEVELS 1 AND 2
Faber Music Mike Cornick
ISBN: 978-0-571-53750-1 Universal Edition
(Initial); -53751-8 ISBN: 978-3-7024-7110-1 (Level 1);
(Grade 1); -53752-5 -7111-8 (Level 2)
(Grade 2); -53753-2
(Grade 3); 53754-9 This pair of books provide supplementary repertoire at Grade 1 to 3
(Grade 4); -53755-6 (Grade 5) for students working their way through Mike Cornick’s two-volume
piano tutorial called Play the Piano! There are 30 pieces in each book,
Paul Harris has already written a set of Improve your sight-reading! volumes divided equally across five styles: Baroque, Classical, Romantic,
for the graded ABRSM exam syllabus. These ones are written for the Trinity Folk/Traditional and Modern (including Jazz, Jazzy, Latin, Ragtime).
College London exams, which have slightly different requirements. The layout Of the 60 pieces in total, nine are original compositions by Cornick,
is almost identical to the ABRSM set, in which a new element (a different key, four are piano solos presented in their original form and the remaining
time signature or note value, for example) is introduced one stage at a time. 47 pieces are adaptations, arrangements, simplifications or transposed
Each stage begins with a few rhythmic exercises to tap, followed by several versions of other music. As expected, Cornick’s arrangements are all well
melodic exercises (i.e. pieces without the distraction of dynamics or contrasts in written for their target audience and my only quibble would be that
articulation), a couple of prepared pieces (i.e. pieces prefaced with questions to although the pieces are described as ‘favourites’, I suspect that a high
help the reader assess the music), and, finally, a page of six-to-eight bar pieces to proportion of people will only be familiar with about half the music.
try unaided. Although Trinity does provide samples of their sight-reading tests Demo and/or backing tracks of several pieces can be downloaded from
in their books called Sound at Sight, these ones from Faber offer the student a the Universal Edition website.
more structured approach and contain more exercises at each grade.
THE CLASSICAL PIANO METHOD: I N T E R M E D I AT E

FINGER FITNESS 1 & 2
Hans-Günter Heumann VENETIAN GONDOLA SONGS
Schott Felix Mendelssohn
ISBN: 978-1-84761-290-8 (1); -291-5 (2) Henle
ISMN: 979-0-2018-1172-7
Last year, Schott published a new set of piano-
starter books written by Hans-Günter Heumann [the author of Pianist’s A picture may be said to be worth a thousand words,
current Keyboard Class]. The set included volumes devoted to Method, but, according to Mendelssohn, true music is that which
Repertoire and Duets. In Pianist No 69, I noted the overall thoroughness and ‘fills one’s souls with a thousand better things than words’. This book
clarity of their presentation, and these two new exercise books help to enhance gathers together the four Venetian gondola songs that Mendelssohn
the effectiveness of the series. Each book has 63 pages and contains roughly wrote for solo piano, three of which were published among his eight
50 exercises, all one to two pages long. The chief purpose of the exercises is to volumes of Songs Without Words – op 19 no 6, op 30 no 6, and op 62 no 5.
develop a student’s finger strength and independence, coordination between The remaining piece (Gondellied in A major, U 136) was written in 1837
the hands, and articulation, but the repetitive and easy-to-read nature of the and was published as a supplement to the Neue Zeitschrift für Musik.
music also helps to increase reading skills. Where appropriate, Heumann has All four pieces are written in 6/8 time, are around 60 bars long and
recycled material from other composers (e.g. Czerny, Hanon and Burgmüller) are Grade 6 to 7 difficulty. This is not a new edition of these beautiful
to achieve his pedagogic aims. As with the other books in this Classical Piano works, but it comes from Henle’s larger collections of Mendelssohn’s
Method, Book 1 leads up to around Grade 1, and Book 2 up to Grade 2. piano works. Editorial fingering is included.
[Note: Pianist features one of Heumann’s Finger Fitness exercises per issue –
inside this issue’s Scores, you’ll find it on page 28.] SCENES FROM CHILDHOOD OP 15
Robert Schumann
BEGINNING PIANO FOR ADULTS Bärenreiter
Karl Mueller ISMN: 979-0-006-53962-8
Alfred Music Publishing
ISBN: 978-0-7390-9273-6 It’s interesting to note that when Schumann’s collection of
short pieces, Scenes of Childhood (Kinderszenen), was first
Karl Mueller’s piano tutorial has two stated primary goals: 1) to published in 1839, there were mixed reviews, with one reviewer railing
teach the fundamentals of musicianship at the piano so that you about ‘the complete inanity of the entire undertaking’. What do critics
can play easy classical piano pieces and 2) to help you play popular music by know! Bärenreiter’s new Urtext edition of these 13 miniatures is based
introducing basic chords, chord inversions and chord progressions. It succeeds on the corrected first edition, which dates from 1839. Both Robert and
in a methodical and gentle-paced manner, reaching about Grade 1 by the end Clara Schumann’s pedal indications are included in this new Bärenreiter
of its 100-odd pages. There are plenty of written instructions to cater for those edition, and Clara’s fingering has been lifted from her ‘instructive edition’
without a teacher, and the enclosed CD will help you to hear how the tunes (1887) of her husband’s music. Informative introductory notes covering
go if you don’t recognise them. In terms of presentation, musical content, the genesis of the work, Schumann’s problematic metronome marks,
and ease of use, however, there are more attractive adult-orientated tutorials fingering and performance practice completes the volume. The whole
around, e.g. Pianoworks by Alan and Janet Bullard, Play the Piano! by Mike desirable package is available for just a fiver – if you like Schumann, then
Cornick and Adult Piano Adventures by Nancy and Randall Faber. what more could you want?
86•• Pianist
86 75
Pianist #13
p86_Sheet Review-FINALish.indd 86 08/11/2013 09:02

A D VA N C E D ON THE LIGHTER
SIDES (3 VOLUMES)
PETITE SUITE Artful Musical Moments
Béla Bartók Johannes Berauer
Universal Edition Chillin’ with jazzy feel good songs
Béla Bartók
Petite Suite
für Klavier solo
ISBN: 978-3-7024-7152-1 Michael Publig

Music from an imaginary garden
Don’t confuse this suite of pieces with Bartók’s more famous UE 36 013
Universal Edition
Monika Stadler
Suite op 14, or his Dance Suite or his Out of Doors Suite. Doblinger
This is the third published version of the ‘little suite’ that ISMN: 979-0-012-20136-6 (Berauer); -20135-9 (Publig); -20137-3
was composed in 1936, and includes revisions by Peter Bartók (Béla Bartók’s (Stadler)
second son). It contains six short piano solos, about Grade 6 to 8, that
Bartók adapted from the 44 Duos for Two Violins, which he had written These three publications all contain music that is described as being ‘on the
five years earlier. All except one of the characteristically folk-inspired pieces lighter side’. They contain between ten and 20 pieces each at around Grade 2
are one or two pages long, and the complete set should take around seven to 5, and most of the pieces are one or two pages long. Berauer, Publig, and
minutes to play. (Bartók has given precise instructions about the length of Stadler are three contemporary jazz composers who all have individual styles
each piece, as usual, but the time given for the first piece is surely mistaken of writing, and all their music is well written for the instrument at this level.
– 2 minutes 66 seconds!). Across the 11 pages of music, there are just three I particularly enjoyed Monika Stadler’s tuneful pieces, which were in fact all
pedal indications and eight fingering markings supplied. originally composed for the harp (she is a harpist) and arranged for piano
by Michael Publig. Publig apparently wrote most of the works in his own
volume in just one day! You can decide whether or not you like their music
NINETY SONATAS by listening to all the pieces in these three books at www.lighterside.at.
IN THREE VOLUMES
Domenico Scarlatti, edited by
Eiji Hashimoto DUETS
Dover
ISBN: 978-0-486-48608-6 SONATAS FOR ONE PIANO, FOUR HANDS
(Vol 1); -48616-1 (Vol 2); Wolfgang Amadeus Mozart
-48617-8 (Vol 3) Alfred Publishing
ISBN: 978-0-7390-9171-5
In 1993, Dover published four volumes of Scarlatti’s sonatas that were
a direct reprint of the set that Alessandro Longo had edited for Ricordi. Mozart’s first two four-hand piano sonatas (K381 and K358)
The three volumes reviewed here have just been added to Dover’s catalogue, predate his first piano sonata by a couple of years, and his last
and have been edited by Eiji Hashimoto. These volumes originally appeared (K521) was written four years before his death. In between,
in print between 1999 and 2002 from Zen-On Music, the Japanese he wrote what is considered to be one of the finest sonatas in the four-hand
publishers, for whom he had already edited 100 of Scarlatti’s sonatas. Note repertoire, K497. In this edition, the parts are presented on separate pages
that none of those 100 sonatas, nor the 90 sonatas in this collection overlap rather than above each other (as is the case with the other duet reviewed
with the 60 sonatas in Schirmer’s catalogue that were edited by Hashimoto’s here), and editorial fingering is included, as are suggested realisations of
teacher and mentor, Ralph Kirkpatrick (whose chronological catalogue of ornaments. Henle Verlag and Wiener-Urtext have volumes of Mozart four-
Scarlatti’s works is most commonly used). There is no fingering included in hand works that contain six sonatas, but other editions, including this one,
this revised edition, and the original key signatures are preserved, meaning contain just the four mentioned above. The two sonatas left out are K357,
that in several sonatas you will find one fewer sharp or flat present compared an unfinished, two-movement work, and K19d, which is now considered of
to modern practice. At the beginning of each volume, there are some pictures doubtful authenticity.
of the sources consulted (various first editions and manuscripts), followed by
a short history of each source. Extensive notes about Scarlatti’s ornaments BALLET FROM ORPHÉE ET EURYDICE
and their performance are split between the second and third volumes, and Christoph Willibald Gluck arr. Anderson and Roe
Hashimoto has listed his editorial decisions at the back of each volume. All Alfred Publishing
in all, this is a super collection of books – fairly expensive, but easy to read, ISBN: 978-0-7390-9283-5
and worth every penny.
Greg Anderson and Elizabeth Roe are a youthful duo noted for
their dynamic performances and creative presentation in their
NON-CLASSICAL music making. This arrangement of Gluck’s popular melody
from Orphée et Eurydice is one of four pieces by Anderson that Alfred has
JOPLIN MEETS STRAUSS published so far (more are available through www.andersonroe.com), and it
Gerald Schwertberger is an essentially faithful transcription of the original orchestral score. Sensitive
Doblinger musicians around Grade 6 should be able to handle the technical difficulties
ISMN: 979-0-012-20040-6 of the lower accompaniment part, while the upper part is significantly easier,
with about half of it requiring the use of just the right hand.
Do you sometimes find yourself getting cravings to play
the music of Strauss in piano solo ragtime, blues and boogie-
woogie arrangements? If so, this book may be just the thing Sign up to the FREE Pianist
for you. The book begins with a Strauss-ed up arrangement of Joplin’s
Entertainer, followed by 12 of Strauss’s best-known pieces, such as The Blue e-newsletter
Danube, Du und Du from Die Fledermaus, and Wine, Women and Song. Receive the latest news, offers, competitions and
They are all reimagined here in the style of Joplin by Gerald Schwertberger, in-depth articles direct to your in-box every month
an Austrian composer who was born in 1941. The pieces are two to six pages
long, and sympathetically written at around Grade 6 to 7. It’s certainly an Visit: www.pianistmagazine.com
original project, one that is sure to prompt amusement and befuddlement and click on ‘FREE E-NEWSLETTER’
in equal measure.
87 Pianist#13
87•• Pianist 75
p86_Sheet Review-FINALish.indd 87 08/11/2013 09:34

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MOZART’S Get festive! Pianist 61 63
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SCORES BY BACH FRANCK MACDOWELL GRANADOS 8/11/11
CHOPIN ILYINSKY AND MORE… performed by Chenyin Li 13:10:41
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Helping you become a better player

DECEMBER 2013-JANUARY 2014

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