HELPING YOU BECOME

A BETTER PLAYER
()')1&)6¯.%29%6=

2S

AS EASY AS 1 -2 -3

(RE)START The colourful

world of
TODAY! HIROMI
 Returning to the piano
 5 scores for beginners
The basics of fingering

IN-DEPTH
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FESTIVE
TREATS
Learn yuletide
EX
XPER
RT GUIDANCE classics, including:
SAINT-SAËNS Silent Night &
Valse nonchalante The Holly and
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2• Pianist 103
Pianist 123 CONTENTS
December 2021-January 2022
The next issue of Pianist goes on sale 21 January 2022

10
70 68
4 Editor’s Note 20 How to Play 1 It’s all about 68 Adult returnees Warwick
steadiness and calm in Hedgwige Thompson on navigating the ups
4 Reader Competition Chrétien’s lilting Bébé s’endort, and downs of returning to the
Win a Boosey & Hawkes diary explains Melanie Spanswick piano later in life

6 Readers’ Letters 21 How to Play 2 Let’s take Liszt’s 70 Stage Appeal In anticipation
Trifonov mania and small hands advice when learning the slow of Lucy Parham’s Celebrity
for Rachmaninov movement of Beethoven’s famous Christmas Gala concert, John
‘Pathétique’ Sonata, encourages Evans speaks to her amateur
8 First Person Alim Beisembayev Nils Franke celebrity pals to find out what
speaks to Erica Worth about his draws them to the stage
victory at Leeds and what the 22 How to Play 3 Try singing the
future has in store right hand melody while playing 74 Pianoteq Andrew Eales reviews
the left hand in Saint-Saëns’ the latest version from Modartt
10 Hiromi The quirky jazz favourite waltz, says Lucy Parham
pianist on coping with isolation, 78 Piano Round-Up A new
performing with Chick Corea 24 Beginner Keyboard Class keyboard from Casio, a
and a special new album Lesson 50: Exercises for trills collaboration between Henle and
Steinway, plus an entry-level
14 How to Play Masterclass 1 26 The Scores Five pieces for the C.Bechstein upright
Avoid getting into a rut when festive season, a stately Sarabande
learning a new piece: try different by Handel, an unknown gem by 80 Album Reviews Five stars for
approaches, says Mark Tanner Moszkowski, a wide choice of five pianists including Chopin
beginner pieces and more from Stephen Hough and
16 How to Play Masterclass 2 Kapustin from Yeol Eum Son
There’s no one-size-fits-all 67 Piano Teacher Help Desk
approach when it comes to Teaching adults is a different 82 Sheet Music Reviews
fingering, explains Graham Fitch ballgame, says Kathryn Page, Jazz for beginners and Schubert
who offers advice on how to get for the more advanced player
18 WIN a Korg piano the best out of the mature player included in this issue’s round-up
Cover image: © Mari Amita. This page, from left to right: © Mari Amita; © VadimGuzhva/AdobeStock
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.

(VW 

FKHVWHUFRXUWDOEDQ\VWORQGRQQZEX
ZZZPDUNVRQSLDQRVFRP
 (32´81-77396
*6))320-2)
:-()30)77327

Reasons to be festive
Winter is always a time for taking stock and looking back over the year.
Twelve months ago most of us were isolated by lockdown. Our cover
artist Hiromi shared the sense of loneliness felt by many of us. As a jazz
pianist who thrives on live music-making, she found that the pandemic
had threatened both her career and her creative identity. But she learnt [[[]SYXYFIGSQ
from the experience, emerging with a new album, Silver Lining Suite, 4MERMWX1EKE^MRI
which traces her story, through music, of life in temporary solitude.
We can all relate to Hiromi’s situation in our own ways. At Pianist,
we were pleased to discover how much readers looked to us for support.
So many correspondents told us how the magazine had become a lifeline
and how the Scores had motivated and inspired them in dark times.
We gained new readers: those who found themselves with unlooked-for
time to pursue or rekindle their passion for the piano.
Pianist
[[[TMERMWXQEKE^MRIGSQ
I’d like to honour the adult beginner and returnee with some hand-picked playing advice:
49&0-7,)6
Mark Tanner writes about learning a new piece from scratch, Graham Fitch tackles the basics of Warners Group Publications plc
fingering and Kathryn Page reflects on the particular pleasures of working with mature-beginner Director: Stephen Warner
Publisher: Collette Lloyd
pupils. If you nurture ambitions to perform in public, you may take inspiration from Lucy
Parham’s Celebrity Christmas Gala. Accustomed to life in the limelight but not in front of a )(-836-%0
Warners Group Publications plc
keyboard, her amateur pianist friends enjoy playing to a crowd – and never mind the memory slips West Street, Bourne, Lincs PE10 9PH, UK
and wrong notes. If these journalists, actors and politicians can do it, so can you. Editor: Erica Worth
editor@pianistmagazine.com
As adults, we often have to face up to the fact that our minds and bodies don’t work the way Tel: +44 (0)20 7266 0760
they used to. Warwick Thompson addresses the hardships (and joys) of learning and re-learning Editorial Assistant & Online Editor: Ellie Palmer
the piano in later life: the physical and mental challenges, as well as tips to overcome them. ellie.palmer@warnersgroup.co.uk
Marketing: Lauren Freeman
Complementing this focus, the Scores section features no fewer than five pieces specially chosen lauren.freeman@warnersgroup.co.uk
for the beginner/restarter. Senior Designer: Nathan Ward
As we approach the festive season, it’s a relief to see concert hall doors opening once more. %(:)68-7-2+
If you can’t make it to Parham’s concert, or any other festive event, there’s always Christmas at the Advertising Manager: Mark Dean
mark.dean@warnersgroup.co.uk
piano. Get in the holiday mood with Schumann’s Wintertime II from Album for the Young, three Tel: +44 (0)1778 395084
arrangements of classic carols – including Silent Night in the style of Rachmaninov! – and Liszt’s Mobile: +44 (0)7503 707023
evocative Evening Bells from his Christmas Tree suite.
6)%()67)6:-')7
P.S. Don’t miss our special holiday competition: one lucky reader will win a Korg piano! Details can be
9/
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4• Pianist 123
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5• Pianist 101 @KawaiPianosUK
LETTERS
Your chance to
HAVE YOUR SAY
EMAIL: editor@pianistmagazine.com WRITE TO: The Editor, Pianist, Warners Group Publications, The Maltings, West St, Bourne, PE10 9PH.
Letters may be edited.

Left hand discoveries therefore I need every assistance I can get The advice you have received has been far
I was amazed when I opened issue 122 from helpful fingering. However, I have from helpful! There’s always a solution. Can
to find so much relating to left hand purchased three editions of the any of our readers help Roger?
playing. About a month ago I injured my Rachmaninov Preludes so far, and none
right hand and had carpal tunnel surgery of them offer fingerings. I contacted a Terrific Trifonov
a few days ago. Recovering from this US sheet music publisher about this I enjoyed reading editor Erica Worth’s
surgery will take some time, so you can some years ago and he said that if I opening statement inside the October/
imagine my elation reading the articles in intend to play Rachmaninov then I November issue (No 122) where she
issue 122. Indeed, it is correct to say that should have the ability and experience to writes that Daniil Trifonov was a toddler
every cloud has a silver lining and Pianist create my own fingering. This is certainly when Pianist launched in 2001. Indeed,
magazine is mine. Issue 122 has opened true but not very helpful. I was once told how time flies! Peter Quantrill’s interview
up a new world to me. Thank you! that as I have small hands then I should inside the same issue was also a
Peter A Jones, New South Wales forget Rachmaninov and play Bach. But, fascinating read. I’ve always been a huge
much as I admire Bach, the music of fan of the Russian pianist and try to
Small hands, big Rachmaninov Rachmaninov is close to my personality attend his recitals when I am able (I also
I am grateful to Lucy Parham’s lesson on and therefore my soul. If anybody can own most of his recordings). Trifonov
Rachmaninov’s Prelude Op 23 No 6 help and produce an edition of never ceases to amaze me – so he’s a
(issue 122). This prelude has been a Rachmaninov Preludes which includes worthy artist to place on the celebratory
special of mine for some years as I fingering then I will be the first in the 20-year anniversary issue.
continue to try and master it! The queue to purchase it! Congratulations to all at Pianist!
problem is that I have small hands and Roger Watts, Chesterfield, UK Roland Barton, London, UK

Online Piano Masterclass :

How to ‘Cheat’ at
the Keyboard
With Alisdair Hogarth

Wednesday 1 December
Live on Zoom at 7pm GMT

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6• Pianist 123
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7• Pianist 101
FIRST PERSON

GENTLE GIANT
A pianist wise beyond his years, 23-year-old Alim Beisembayev gives
)VMGE;SVXL the background story behind his triumph at the Leeds

L
eeds Town Hall is packed. Waiting for the results to me. Interviewing several of the Purcell School’s most
of the jury’s deliberations, the audience is on talented students gave me the opportunity to meet him
tenterhooks. Finally, jury chair Dame Imogen properly some years ago.
Cooper and her colleagues take to the stage. As He struck me then as a calm and thoughtful soul, and so
she announces the results, the odds of 23-year- he does when we meet virtually for a chat, just two days after
old Alim Beisembayev taking First Prize at the 2021 Leeds his First Prize at Leeds. How did he control his feelings on
International Piano Competition narrow, and I can feel the stage, with the Royal Liverpool Philharmonic and Andrew
tension rising. And, yes – he has won. A roar of applause – Manze behind him, sitting ready to perform his Finals
almost relief, really – erupts through the hall. Smiling, and concerto? ‘I think in this type of competition,’ he replies, ‘I
frankly a touch dazed, Beisembayev clutches his trophy and make myself believe that the audience is already supporting
takes in the acclaim. you and loves you. You actually do feel that on the stage at
The Kazakh pianist isn’t exactly an unknown quantity or a the Leeds. It’s all so positive. Nobody wants you to fail.’
© Nabin Maharjan

bolt from the blue. I’ve seen him play in London and Beijing: His performance that night had the critics spellbound.
how he didn’t make it through to the finals of the 2019 ‘Alim Beisembayev was a worthy winner, with a polish and
China International Music Competition remains a mystery maturity to his playing that marked him among the all-male

8• Pianist 123
quintet of finalists,’ wrote Andrew Clements in The
Guardian. For Graham Rickson of The Arts Desk, his
‘electrifying, exhilarating take on Rachmaninov’s Rhapsody on
a Theme of Paganini was one of the most exciting things I’ve
witnessed live.’
My own review for the Pianist website was hardly less
enthusiastic. Yes, Beisembayev gave the ‘Rach/Pag’ all the
prerequisites of flair, humour and panache, but I was even
more impressed by an artistic maturity which made me feel
he’d lived with it for years. ‘I have played it with an orchestra
before,’ he tells me. ‘It’s one of the most exciting concertos.
It’s really tricky, the play between piano and orchestra, with
all those syncopations, but that’s why it’s fun.’
Each finalist at the Leeds is required to offer two concertos
for the jury’s choice. Was he happy when they settled on the If you get out of touch with this, it’s hard.’ However,
Rachmaninov over Beethoven’s Fourth Concerto? ‘It’s funny Beisembayev’s preparation stretches back way past the last 18
you should ask that,’ he laughs. ‘I’ve had several friends ask months. ‘I think it was a very slow build-up from a young
me about what my thoughts were. My reaction was filmed as age – from when I took the piano seriously at around the age
they chose the piece and I believe I had a slight smirk on my of 16. It was always my dream.’
face, so my friends thought I was happy about it. The truth is
that I didn’t really mind. I think that I just happened to be 2IZIVIRHMRKWXEMVGEWI
exchanging smiles with someone at the time!’ When he spoke to me, Beisembayev was still on a high: ‘I‘ve
There was nothing to take the edge off Beisembayev’s been trying to catch up on sleep. Still replaying the
success. He won the hat-trick of First Prize and the Dame triumphant moment.’ He was shortly off to Liverpool to
Fanny Waterman Gold Medal, the Royal Liverpool reprise his ‘Rach/Pag’ with the RLPO: ‘This time, I will really
Philharmonic Society Award (awarded to the best be able to enjoy it!’
communicator of contemporary music) and the Medici.tv However, having taken stock, it will soon be time to press
Audience Prize. You can hear for yourself how his playing on and capitalise on his new-found acclaim. Firstly, there is
stood out from the crowd: the Medici site hosts films of all repertoire to be learnt: ‘I took advantage of lockdown and
the contestants, and Warner Classics have rush-released an focused on widening, and listening to, lots of repertoire. It
EP album of Beisembayev’s performances from the earlier looks like lockdown has helped me!’ Beisembayev seems to
rounds featuring repertoire by Scarlatti, Ravel and Ligeti. take life at his own pace. ‘I think we will have to have a long
chat about repertoire,’ pondering his full debut album, due
4VITEVEXMSRHYVMRKETERHIQMG for release from Warner next year. ‘You need to have lots of
Born in the Kazakh capital of Almaty in 1998, Beisembayev repertoire behind you and the piano repertoire is too wide
began piano lessons at the age of five, and moved to the UK and too great. I will need to have lots of advice from different
in 2010 to attend the Purcell School for Young Musicians in people... for my Wigmore Hall recital as well.’
Bushey where he studied with Tessa Nicholson. Previous Beisembayev has a formidable team of teachers and coaches
awards include First Prize at the Junior Cliburn International ready and waiting to guide him through the early stages of
Competition: how did he fancy his chances of winning in his career. He is presently completing a master’s degree at the
Leeds? ‘To be honest, I had very little hope,’ he says. ‘I never Royal College of Music in London with Vanessa Latarche
thought I would win. I never allowed myself to expect and Dmitri Alexeev. Support and coaching is also offered by
anything. It came as a wonderful surprise. I kept my hopes his new agency, Askonas Holt, and the PR firm Premier.
down… even at the last second… even when the jury were The Warner Classics EP album includes his breathtaking
knowingly smiling at me… I thought maybe they won’t account of Ligeti’s étude L’escalier du diable (‘The Devil’s
award a first prize! Even then I couldn’t believe it.’ Staircase’), which became the talk of the competition and
This 20th edition of the competition took place in won him the RLPS Award. ‘That’s one of the most difficult
September, just as the lockdown fog was beginning to lift in etudes,’ he admits. ‘It’s also one of the longer ones. Ligeti is
the UK, sparing everyone the administrative nightmare of so great. There are some wonderful patterns that you can
postponement faced by many other international explore and find in the piece… with the devilish and
competitions over the last 18 months. Nevertheless, never-ending staircase.’
preparing under the shadow of a pandemic can’t have been Will Ligeti feature in his next set of recitals? ‘I might well
easy. Beisembayev found that the hardest part of the process include it as an encore. People want to hear new things,
was his international first round audition which – because of though, so there will be a mixture. From now on I need to be
the social distancing restrictions – took place in front of a very focused about how I programme things and how I play,
video camera. of course. This moment in time is something I have been
‘That first round was during the second or third lockdown, dreaming of, so I am really looking forward to it!’ n
and I hadn’t performed for a long time. It was nerve-racking
because there was no audience to calm me down. It’s tough For further information about Alim Beisembayev’s Wigmore
without the consistent performance opportunities because Hall recital and Warner Classics album release dates, visit
they keep you afloat – you keep learning how to perform. www.alimbeisembayev.co.uk.

9• Pianist 123
INTERVIEW

SILVER LINING
Japanese pianist Hiromi thrives on collaborative live performance – so when the pandemic
struck, she felt lost: but with an abundance of creative energy and a generosity of spirit,
she emerged victorious, with a new album to boot, as Nick Shave discovers

‘I
t’s happening,’ Hiromi says, over a Skype call from ‘I wanted to write about my emotional journey since the
Tokyo. The Fuji Rock Festival will start tomorrow, pandemic started because my life has changed so much: after
she assures me – ‘or at least it looks like it’s travelling round the globe five times a year I was suddenly
happening, but you never know until you spending all my time in a space that I can walk round in ten
perform. It can change any minute.’ More than a minutes. The change was so weird, and I had to somehow
year and a half into the pandemic, Hiromi is still adapting to find how to release my energy. Also, writing was my way to
the uncertainties that surround her concert schedule. The fight against the virus: I didn’t want to be defeated by the
fallout began in March 2020, when she left Seattle for situation and when I was creating something I felt like at
California, where – as the rate of Covid infection soared – a least I am doing this, that I still could create something, that
state of emergency was announced and her concert in San I had fortitude.’
Francisco was cancelled. It would be the first of many:
cancellations in Hawaii, Canada and on the East Coast
followed. Psychologically, it took its toll. ‘When you have the right
‘Every time there’s a last-minute cancellation I feel like I
lose the place for my energy to go, because I prepare – not musicians you can really have
just the material, but mentally I’m prepared too. Then all of a
sudden I lose the opportunity to perform, so where should all great chemistry with, so many
this energy go? It’s really difficult, I feel lost every time.’
Hiromi says she has got better at coping with the sense of magical moments can happen’
anticlimax, and has been adapting to an altogether different
kind of day-to-day schedule. Whereas in pre-pandemic days
she would travel all over the world to perform concerts – Stylistically, Hiromi’s composition echoes some of the
basing herself in New York and Tokyo between tours – over patterns of early 20th-century classical composers: the
the last year she has been living full-time in Tokyo, with her rhythmic cells in Isolation are reminiscent of Bartók – she was
husband, fashion designer Mihara Yasuhiro, and their son. a big fan of his Mikrokosmos, she says, which she learned
With much more time on her hands, she has been focusing when she was ten. In Isolation, too, the strings coalesce
more intensely on composition. She says she’s always written in harmonies that are rich in Ravelian charm. Perhaps
music – usually a small motif or idea each day, keeping a it’s no coincidence that Hiromi mirrors the styles
musical diary – but as social restrictions became more intense, of wartime composers, such as Prokofiev and
composition became her lifeline. ‘It’s what made me feel alive Ravel – who themselves turned to the
– I felt like I could breathe when I was writing,’ she says. vibrancy and colour of jazz during
dark times. But here the piano
(EVOXMQIWERHIRGPSWIHWTEGIW embraces improvisatory
The results are heard on her latest album, Silver Lining Suite, freedom as Hiromi’s
where she reflects musically on her experience of the right hand takes
pandemic. Scored for piano, two violins, viola, and cello, the flight with
four-movement title work explores a range of emotions and
reflections, from Isolation – with its folkish, restless ostinato
– to the fourth-movement Fortitude, in which big, strong
fistfuls of piano chords free up playful chromatic spirals
in the melody. Between these two movements, Hiromi
explores the lyrical flow of Drifters and the mercurial
shades of Uncertainty, where minimalist-style motifs and
Arvo Pärt-like melodic simplicity give way to Romantic
sentimental flourishes.

10• Pianist 123

 runs and cascades of chromaticism that sparkle brightly – her
articulation is always crystal clear.
Besides the Suite, the album also features arrangements of
Hiromi’s ‘One Minute Portrait’ duo series, in which she
collaborated on miniatures with a range of artists – including
double bassist Avishai Cohen, and pianist Stefano Bollani – via
Instagram. The most striking of these realisations is the tango-
inspired Ribera Del Duero, in which Hiromi expands the ideas
she had initially performed with long-term collaborator harpist
Edmar Castañeda. The piece is named after Hiromi’s favourite
wine (she was looking forward to being able to have drinks
with friends) but it’s also inspired by the virtuosic folk
playing of Romanian violinist Lakatos. ‘I’m a big fan of
his,’ she beams.

8LIGSPSYVSJQYWMG
Ever since she started playing, Hiromi has been
absorbing and reinterpreting the music she hears,
drawing from jazz and classical styles. Born in
Hamamatsu, Shizuoka, Japan, she began learning the
piano at the Yamaha School of Music at the age of
six and began writing music at the same time –
little pieces, with titles such as ‘Why Can’t
Chickens Fly?’ The household piano had
originally been purchased for her brother,
who in time pursued other interests (he is
now a newspaper journalist). And so
Hiromi became the first musician in
the family. Her father was a banker
and her mother was a housewife:
both of them enjoyed listening to
music, but neither were fans of
jazz or classical repertoire: ‘They
just wanted their daughter to
love what she was doing,’
recalls Hiromi.
The biggest musical
influence on Hiromi’s musical
development was her first
piano teacher, Noriko
Hikida, who brought the
music she was learning to
life. One of her teaching
techniques involved
marking the score with
different colours to evoke its
emotion: for an espressivo
passage, she might colour it
red; or if it were melancholic
then blue. As a result,
Hiromi has developed a
highly visual concept of the
music she plays – even now,
she relates every piece to a
mental image: ‘Landscape,
movies, sporting events – anything
Photos: © Mari Amita

that moves me.’

When she was eight, Hikida gave
V

11• Pianist 123

INTERVIEW
Hiromi some jazz LPs to listen to – Erroll Garner’s Concert
by the Sea (1955) and Oscar Peterson’s We Get Requests

Hiroclomsei
(1964) – and she fell in love with the sound. As for
improvisation: ‘My teacher told me that I should just play
what I feel at the moment – she said I didn’t have to read or
Up play the written part, all I had to do was improvise.’ And so
Hiromi began with classical themes, jazzing up her Hanon
technical exercises with different harmonies. From Bach and
Beethoven to the impressionism of Debussy and Ravel: it all
provided Hiromi with a springboard for new ideas. ‘I didn’t
think of classical as being a different language to jazz –
improvisation just came really naturally,’ she says.

)RGSYRXIVW[MXL'SVIE
Even before she had moved to the US to study composition
at the prestigious Berklee College in Boston, Hiromi had
caught the attention of Chick Corea, another pianist who
moved freely between jazz, rock and Bartók. Hiromi was 17
when they met by chance at the Yamaha School in Tokyo,
where Corea was rehearsing for a show. ‘He was really
welcoming and said: “So you play the piano? Play
something.”’ They improvised together, playing a little piece
Hiromi was writing at the time and he invited her to play at
the concert the following day: ‘I had done no preparation,
he asked me to just sit in the audience and said I will call
If you could play only one piece from now on, what would you to come and play. At the time I didn’t speak English so
it be? I had to watch for my cue.’ Were you nervous? ‘No, I was
A big orchestral piece with an open piano cadenza so just happy because I had listened to his material and
that I can play whatever I want. watched his videos. Jazz was not big in the town where I
grew up, so I would play along with CDs, always telling
If you could play only one composer from now on, which people I play with Chick Corea and Herbie Hancock. And
would it be? on the night, for the first time, Chick Corea really did
I’m too greedy: I can’t choose one. respond to what I was playing – I was just so happy, it was
the real thing.’
One pianist, dead or alive, you’d travel long and far to hear? They next met when Hiromi played at the Blue Note
Erroll Garner. New York in 2004, after which they would see each other
every year on the concert circuit, with Hiromi watching
One concert hall you’d love to play in? Corea’s recitals from the side of the stage, and Corea
La Scala, Milan. (I love the recording by Keith Jarrett.) sometimes calling her on stage to play unplanned – just like
at their first performance. Their collaboration at the Blue
Any technical struggles? Note Jazz Club in Tokyo led to a duets album in 2009
I have small hands – I can’t reach a tenth, so it’s extra (Duet), one of the most cohesive pieces of two-piano
effort for ragtime, stride… and Liszt. improvisation you’re ever likely to hear. To watch the film
footage of the performance, it’s as if they are playing as one,
What would be your advice to an amateur pianist about with Hiromi bringing a playful reinterpretation of Corea’s
how to improve? style to the mix. Her technique is astonishing – she plays
Apart from practice, listen to amazing pianists, with such virtuosic ease.
especially live. Corea is just one of the many great musicians who have
helped to inspire Hiromi’s creative talent down the years.
If you weren’t a pianist, what would you be? At Berklee, where she studied composition with Richard
A chef. I love food. Evans, she was introduced to Ahmad Jamal who co-
produced her debut album, Another Mind (‘he literally
One person you’d love to play for (dead or alive)? opened my career’). As well as recording with her quartet
Frank Zappa. His music has influenced me a lot. Sonicbloom and the Stanley Clarke Band, she has explored
the freedom and equality of trio playing – most intensely
One composer you’re not quite ready to tackle? with bassist Anthony Jackson and drummer Simon Phillips,
I can never play Liszt – his hands are so big, he with whom she recorded four albums. ‘A trio is like a
can reach a thirteenth. three-piece orchestra to me – when you have the right
musicians you can really have great chemistry with, so many
What other kinds of music do you like listening to? magical moments can happen, when you’re improvising,
I’m a huge fan of The Who, they’re just so cool. you feel like you can pass a ball and shoot at any time.’

12• Pianist 123

6IEGLMRKSYX
So what made her choose strings for her latest album project?
‘I always had a big passion about writing for them,’ she says.
Hiromi first engaged with the art of arranging when she was at
Berklee, and has since written orchestral arrangements for the
Forza Chronicle Orchestra. But the project also grew out of a
desire to support many of the musicians who were unable to
travel due to the pandemic. As travel restrictions were put in
place last year, Hiromi began collaborating with Blue Note
Tokyo, offering to fill in the gaps that had been created by
cancellations from visiting musicians. ‘I was trying to find some
way to help Blue Note because I had been hearing so much
news about the music industry and how clubs were having such
a hard time and closing that I felt had to do something for the
music industry.’

‘I realised that if I don’t play

the piano, then the technicians
don’t get to work, the piano
movers don’t get to work, nor
do the club’s waiters, and so on
– there are so many people
who get jobs in one concert’
She performed 32 solo shows – with half-capacity due to
social distancing, and with the audience remaining quiet,
wearing masks – over 16 days, between August and September
2020. ‘I realised that if I don’t play the piano, then the
technicians don’t get to work, the piano movers don’t get to
work, nor do the club’s waiters, and so on – there are so many
people who get jobs in one concert.’ When it came to launching
a second series at the end of the year, she decided to widen the
net and team up with local string players – violinists Tatsuo
Nishie and Sohei Birmann, violist Meguna Naka, and cellist
Wataru Mukai – in what would become known as the Save Live
Music series: ‘I needed players who could be open-minded and
engage with many different genres,’ she says.
This astonishing period of creativity – she later performed at
the Tokyo Olympics – in what for many has been difficult times
is characteristic of a pianist who draws her material directly
from how she feels about life. Every ten years, Hiromi records a
solo album that captures her experiences of the previous decade.
Looking back on her 20s, after an intense period of travel, she
released her album Place to Be, which takes listeners on a
musical journey around the world, from the frenetic torrents of
BQE evoking the Brooklyn-Queens Expressway, to Germany
with her reimagining of Pachelbel’s Canon on prepared piano.
At the end of her 30s she released Spectrum, which drew on the
full range of colours that had imbued her music over the previous
decade. Silver Lining Suite has given us her early 40s, what will
her solo recording at 49 bring? ‘It’s difficult to talk about it now,’
she laughs. ‘I suppose I just want to live a real life again.’ n

Silver Lining Suite is out now on Telarc/Concord Jazz

(CJA00538).
 HOW TO PLAY

IN THE BEGINNING
HOW TO LEARN
A NEW PIECE
Don’t be tempted to dive right in and hope for the best:
1EVO8ERRIV offers up some valuable tips which will make
the process of learning a new piece just a little bit easier –
and a little less bumpy

T
he challenge of )RNS][LEX]SY´VIHSMRK circumstances the piece was not
learning new This is your leisure time you an ideal choice to start with –
music keeps us are spending, so you should over-stretching ourselves can be
feeling inspired enjoy what you are doing! A key injurious, both psychologically
and motivated. component in making steady and physically. Emerging from the
Done efficiently, the pleasure and progress with a new piece is to practice room looking as though
satisfaction gained far outweighs strike a balance between patient, we’ve just been working out in the
any patches of frustration we methodical learning and our gym, is a telltale sign that we’ve
may face along the way. Learning innate human desire for quick probably not been following a
how we learn best is crucial. It’s rewards. This may sound obvious, calm, mindful approach. It’s also
not unusual to sense that our and yet I’ve seen so many learners a clue to how much we’re likely
fingers or brains are coping less become unwittingly embroiled in to have enjoyed or benefitted
well with one or more aspects. As a head-to-head battle with learning from what we’ve been doing.
an examiner and adjudicator, I a piece, this sometimes dragging Importantly, this scenario is not
frequently witness a misalignment on over several years, which to be confused with taking a
of skills – players whose rhythmic has long since stopped being a determined, ambitious approach
or coordination control appears gainful experience. Often in such that elevates our playing at a pace

5
to be a couple of stages behind we can comfortably handle.
(or indeed ahead of ) their current TOP
TIPS
expressive capacities perhaps, or 'SRUYIV[IQYWX 7TEHI[SVO
whose nimbleness conspicuously Take a moment to score-study
outstrips their present ability to
phrase effectively. Such unevenness 1 Punctuate your learning of new pieces with brief
score-study sessions, to grasp how the music
the passage(s) you’re planning to
tackle first. This needn’t involve
is to an extent inevitable for all of fits together structurally and help root out basic high-level analysis, but will give an
us of course, though with patience errors/misconceptions. early opportunity to trace out the
we can discover for ourselves ways structural shape of the music and
of smoothing out the learning
process. As with anything in life, 2 Systematic repetition is valuable, but often best
done in short-ish passages to avoid fatigue or
gauge the scope of the challenge
ahead. Following this initial survey,
the payoff from investing time staleness. learning the piece might initially
and effort should ideally be equal happen along these lines.
to or greater than any moments
of self doubt we encounter. We’re 3 Experiment regularly with different speeds –
some suited to methodical spadework, others
• Check the key of the piece and
use it to do regular familiarisation
all familiar with the theory that better suited to ‘performance mode’. warm-ups before you launch at the
a spiral of positivity feeds off music; play the scale or arpeggio in
encouragement, effort, progress
and reward, and that we need to 4 Avoid getting into a rut by trying out new
approaches when learning new pieces – e.g.
question a few times to help oil the
machinery. This will help to head
minimise the risk of this cycle tackling certain chunks out of sequence, off glaring misreadings of sharps,
slipping into reverse. With this in practising straight rhythms as dotted, or flats or accidentals. Integrate this
mind, here are some of the things memorising short extracts. approach with any scalic passages
we can all do, irrespective of the found in the music itself.
level we have reached, but perhaps
especially for learners at a relatively 5 Aim always to keep technical work a musically
rewarding, enjoyable experience.
• Crucially, tackle the main
rhythmic aspects straight away,
early stage. however slowly. Check that each

14• Pianist 123

rhythm fits accurately within its reduces the potential for
part of the bar – pencil in the mis-learning, while at the same *VSQWXEVXXS½RMWL
beats if helpful, plus any trickier time helps us to feel we are steadily Advice from 1EVO8ERRIV on how to begin
subdivisions, e.g. ‘one and two moving forwards. Into the bargain, learning three of this issue’s Scores
and…’. Split down troublesome correctly learned details often
corners into their smallest possible reward us tenfold, either further TRACK 1

The Holly and the Ivy Perfect the

TRAD arr. Mark TANNER
The Holly and the Ivy
BEGINNER

units and tap these out on the into the same piece or in repertoire tune first, rendering it as legato and
piano lid. On the page, draw in we’ll soon be tackling. contoured as you can. Then begin
vertical lines between the hands to threading in the harmonies,
give an added visual aid. Important ,EZIEKSEXQIQSVMWMRK keeping an eye (and ear) out for an
rhythmic features frequently tend If you are able to memorise these occasional quirky chord (e.g. bar 6
to recur, perhaps multiple times on really small corners, one by one, and 14) as well as the jazz-infused
a single page of music, increasing before slowly and methodically final line (16-18) where a Phrygian
the importance and value of connecting them into longer cadence adds an unexpected colour. An occasional
getting these tidily coordinated sequences or patterns, your touch of pedal could also ease the musical flow.
straightaway. learning of every new piece will
• Throughout your learning of be more efficient – and hence TRACK 8 0)7732
Beethoven ‘Pathétique’ slow
Ludwig van BEETHOVEN (1770-1827)
‘Pathétique’
Slow movement from Sonata No 8 Op
13
INTERMEDIATE

a new piece, but especially earlier pleasurable. Once memorised, movement Tune is king! At each
on, experiment regularly with a you’ll be able to glance down at melodic variant, especially when
range of different speeds to ease your hands from time to time, to positioned in the delicious tenor
the practising/repetition process guard against ungainly wrist or register, as at the beginning,
and to help with building an finger movements. Repetition in ensure from day one that all chords
interpretation. Even advanced more extended passages is also key are thoughtfully and expressively
pianists get themselves locked into to keeping all these hard-won skills voiced. Use stronger fingers for
a tempo prematurely and become securely in the fingers, as well as this where possible rather than defaulting to the fifth
incapable of adjusting this later. gradually building up stamina. finger. You could learn the harmonies as block
• Thread in as many musical • First, isolate a few small, chords, thus minimising unnecessary hand
details as you can, even while specific aspects you’re wanting movements as you finesse each chord transition.
you’re at the nuts and bolts stage, to improve – probably hands Don’t linger at bar lines, or submerge with pedal.
such as balancing the hands, separately. Creating flash cards
phrasing and adding in the can be a useful way of avoiding TRACK 11
Liszt Evening Bells This piece will
Franz LISZT (1811-1886)
Evening Bells, No 9 from Christmas Tree
suite S186
INTERMEDIATE

articulation and dynamics. overlooking such aspects. clearly benefit from lots of
• Before attempting to memorise sectional practice, and once you’re
6ITIXMXMSR each small chunk, ensure what fully acquainted with the bell-like
Ingraining motor skills necessitates you’re doing is accurate! melody, hunt it out in its various
a fair amount of repetition. • Initially, exaggerate the guises thereafter. Tackle the final
Consigning a technical skill to the movement(s) needed at a slow page pretty early on, if only to
fingers gives the conscious brain pace, then attempt it quite a bit dispel unnecessary fears over
less to trouble itself with. That faster without the exaggeration coordinating the music printed over three staves –
said, we need to be confident that – this helps to future-proof the follow the l.h. (left hand) and the r.h. (right hand)
what we’re repeating is helpful to particular fingering/rhythmic markings carefully to assist with producing a
the cause, rather than leading to detail/coordination skill. smoothly flowing lyrical line.
the wholly dispiriting chore of • Try some out at the kitchen
unlearning further down the line. table, thereby reducing the future problems, while striking
Hastily chosen fingerings would distraction of the piano. a healthy balance between
be a prime example of failing to • Avoid fatigue when repeating, improvement and enjoyment.
imagine playing up to tempo. taking frequent pauses to relax Finally, remember to distinguish
Repeating a single specific and reflect. Vary your repetition/ clearly in your mind between
manoeuvre – a subtle change of memorisation practice to prevent practising and performing at
hand position perhaps, or tricky staleness or tension. each stage along your learning
rhythmic corner – should ideally • Experiment with learning journey. Switching regularly from
be approached in much smaller certain bars or passages out of one mode to the other will help
blocks than we might intuitively sequence (even from back to to a) confirm that your progress
target. Even a single line of new front). Doing this awards equal is effective, b) avoid the urge to
music might contain a dozen status to the various challenges and correct in the moment, and c)
technical challenges and 20 avoids procrastination. reassure you that there will soon
musical ones! By continually reflecting on come a point when all the pieces of
Reducing the amount of music your pace of progress with each the jigsaw fit satisfyingly together!
we are learning through repetition new piece (I’d suggest keeping a
(sometimes down to two or three video or written diary), you can More about Mark Tanner at
notes rehearsed as ‘practice loops’) feel confident you are sidestepping www.marktanner.info.

15• Pianist 123

HOW TO PLAY
ONE SIZE
DOESN’T FIT ALL
PERSONALISE
YOUR FINGERING
If you go with what feels comfortable and follow some
VIPMEFPITVMRGMTPIW]SYV½RKIVW[MPPXLERO]SYJSV]SYV
LEVH[SVOEW+VELEQ*MXGL explains

O
ne of the first tasks we face when learning a new not a rule as such, since there are many situations where we use
piece is to organise a fingering that suits our the thumb and fifth finger on black keys, but it is a rather
individual hand size and shape. We carefully helpful guide.
select fingering to help us recreate the piece with
the sounds, phrasing and touches the music 7XVIXGLMRK
requires with the maximum of ease and comfort. It’s important Another general principle is to avoid stretching between fingers
to take time over this stage, experimenting with different 2, 3, 4 and 5 wherever possible. The hand opens naturally
possibilities over the course of a few days until the right fingering between the thumb and the second finger, but not so readily
comes. This painstaking process is made more challenging if between the other digits. How many pianists have struggled
the piece is fast. We need to find a way of getting the feel of with Chopin’s own fingering in bar 30 in the C major Etude Op
the fingering at performance tempo even if we can’t manage it 10 No 1? A stretched-out hand is a tense hand. The alternative
skilfully yet, because a fingering that seems fine at a slower tempo fingering I recommend is strong and tension-free, making the
might not work so well at full speed. Try as much as possible arpeggios much easier by eliminating the stretches and replacing
to work the fingering out hands together; a fingering that feels them with a more closed-handed attitude. Shift the arm across in
comfortable when we play one hand by itself might not make so each change of position.
much sense when we put it together with the other hand.
Once we have selected a fingering and written it in our score,
practising always with that fingering means that after a while 
 


 



the sequence of finger strokes becomes automated. We will not 
 

  


 

have to think about which finger goes where, because when
 

 



we master a new motor skill we go from active effort (thinking  

and concentrating) to automatic ability. If we haven’t taken the    

trouble to organise a good fingering, or we practise with different 
fingerings each time, we make life difficult for ourselves – 
especially if we are preparing a memorised performance. 
Open any score and the chances are you will find fingering
suggested by an editor, and sometimes even by the composer. 4EWWMRKXLIXLYQF
If you consult another edition of the same work, the fingering is When passing the thumb under in scale patterns, aim to play
likely to be different (sometimes markedly so). What does this the thumb after a black note if you can, but avoid passing the
tell us? There can be no one-size-fits-all fingering, no matter what thumb under too often. In the chromatic scale in bar 10 from
the source. The only correct fingering is the one that works for the introduction to the ‘Pathétique’ Sonata, use groups of four
your hand. Fingering in any score is a suggestion only! adjacent fingers whenever possible, except when to do so would
Practice makes permanent, so whatever we repeatedly do bring the thumb onto a black note, in which case we use a group
is going to stick. This is why it is very difficult to correct of three adjacent fingers. This is much faster than the more
embedded errors later (wrong notes, poor technique and elementary chromatic fingering that places thumbs on all white
tension, and sloppy fingering). Let’s look at a few principles notes (except where two white notes appear consecutively):
that will help guide us in forming good fingering habits from
the start.














 


    







 
   


  










)VKSRSQMGW






 

 




The first principle is that the long fingers (2, 3, and 4) are 
ergonomically better suited to the short (black) keys, and the      

 
short fingers (1 and 5) to the long (white) keys. This is obviously

16• Pianist 123

 WATCH GRAHAM’S ONLINE LESSONS AT WWW.PIANISTMAGAZINE.COM/LESSONS




 

Here are a few general guidelines for working out fingerings:
                
           
8VMPPW
When considering fingerings for trills, 1 and 3 (played with a
rotary motion) is far stronger and easier than 2 and 3. I try to
use non-adjacent fingers when possible, such as in this double

  








trill from Mendelssohn’s Rondo Capriccioso: 

     
                     


   

 
















































 

      
 



 

 

;SVOMRKFEGO[EVHW the physical connections in bar 3 work well, but those in bar 4
There are a few fingering possibilities for the LH in the opening feel very awkward (simply use all 5s on top – as above).
of Bach’s Two-Part Invention in A. Rather than starting at the
beginning, you might notice certain notes where the fingering is 6ITIEXIHRSXIW
obvious. My hand wants to put a thumb on the second A, and Another relic from the past is the supposed rule that we
on the last note of the first bar. From these anchor points, I am should change finger on repeated notes. Absolutely, when
able to work out the fingering for the rest of the phrase. fast. Changing finger when the tempo is slower, especially in a
melodic line, is pedantic and often unnecessary.

     

       4EXXIVRW

If possible, using the same fingering each time the same motive

 
   
                  
 recurs aids the memory. Your brain has already learned the
  sequence of fingers, so try not to confuse it by learning a new

   
fingering unnecessarily.

0,NYQTW 6IHMWXVMFYXMSRW
When fingering waltz accompaniments, try to avoid reusing 5 Be on the lookout for possibilities to redistribute notes between
on the chord after the jump. This is based on the principle that the hands. A great example of this is how Alexander Siloti, in his
excess motion is inefficient technique. In this Schubert Valse edition of Rachmaninov’s D major Prelude Op 23 No 4, allows
sentimentale, I recommend a 4 on the lowest note of the first the RH to take some of the notes written in the lower stave.
chord, and a double thumb in bar 7. This is not cheating; these redistributions make certain corners
so much easier to manage.
 %VXMGYPEXMSR



    
     


  Fingering should always serve the expression and articulation.
In the opening of Mozart’s Sonata in B flat K333, the upper

 




 





 

 



  fingering makes the phrasing much clearer without our having
to do anything much.

 



 
               







  











        
     
 


To sum up, mark in more fingering than you think you’ll need.
*MRKIVWYFWXMXYXMSRW It’ll help you when you practise starting from different places
Substituting one finger for another while holding a note can other than the beginnings of phrases or sections, and when you
often be helpful in achieving a better-shaped legato in a melodic go back to working on the piece after leaving it for a while. We
line than releasing the hand and letting the pedal do the work of don’t want to have to change a fingering once we’ve practised
joining. While it is considered good practice to hold onto long it in, but sometimes we might need to if a better one suddenly
notes and to join by hand wherever possible, this is not a hard- jumps out at us as we get more familiar with a passage. n
and-fast rule. In my opinion, some of Walter Gieseking’s finger
substitutions in Schubert’s G flat Impromptu take this principle For more about the art of fingering, see Penelope Roskell’s series of
a step too far, creating a potential trap for tension. For example, articles on the Online Academy. Visit bit.ly/roskell.

17• Pianist 123

 READER COMPETITION
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SV-2S 88
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PIANO

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18. Pianist 123
 THE SCORES
Pianist 123 • Read the lessons • Play the scores

LESSONS FROM THE EXPERTS SCORES

24 KEYBOARD CLASS
MELANIE SPANSWICK is a pianist, writer, teacher
and composer. As an author, she is published by Preliminary exercises for trills
leading publishing houses, and has written a
three-book piano course for those returning to 26 TRAD arr. TANNER
piano playing; Play It Again: PIANO (Schott Music). The Holly and the Ivy
Melanie teaches the piano at Junior Guildhall
School of Music & Drama and Eton College. As a 27 SPANSWICK
composer, her music is published in the renowned Rose Tinted
Edition Schott Composer Series.
Read Melanie Spanswick’s lesson 28 MAYKAPAR
Little story

NILS FRANKE is Dean of Higher Education at the 29 CHRÉTIEN

University Centre Colchester, UK, having previously Bébé s’endort
held posts at the London Academy of Music and
Dramatic Art (LAMDA) and the University of 30 HANDEL
Reading. He has recorded for Warner and Brilliant Sarabande from Suite
Classics. Nils specialises in historical performance in G minor HWV 452
pedagogy, with a particular focus on 19th-century
pianist-composers. His editions are published by
Wiener Urtext and Schott Music International.
31 TRAD arr. WELBURN
Read Nils Franke’s lesson Ding Dong Merrily on High

34 MOSZKOWSKI
Moment Musical Op 84 No 2
LUCY PARHAM is a concert pianist, writer, teacher
and broadcaster. She has performed with all the
38 BEETHOVEN
major British orchestras and is a regular presenter
Slow movement from
and contributor on Radio 3 and 4. Her Composer
Portraits series – featuring the lives of Chopin, Sonata No 8 Op 13 ‘Pathétique’
Debussy, Rachmaninov, Schumann and more – has
resulted in hundreds of performances with some of 43 SCHUMANN
the UK’s finest actors. Lucy is a professor at the Wintertime II from Album
© Erica Worth (Spanswick); © Sven Arnstein (Parham); Hao LV/Lumira Studio (Li)

Guildhall School of Music & Drama. for the Young Op 68 No 39

Read Lucy Parham’s lesson
47 TRAD arr. BERTENSHAW
Silent Night
CHENYIN LI is a celebrated concert pianist known
for her fiery and intelligent performances of a wide 52 LISZT
variety of repertoire. Having won multiple Evening Bells from
international competitions, she has established Christmas Tree suite S186
herself as a versatile player who shines in both solo
repertoire as well as concerto. Chenyin has 58 SAINT-SAËNS
performed in many prestigious venues across the Valse nonchalante Op 110
UK, Europe and Asia and her extensive discography
includes more than 50 albums for Pianist.
Listen to Chenyin Li perform on this issue’s CD Typesetting by Spartan Press Music Publishers Ltd
 HOW TO PLAY
%&-0-8=6%8-2+BEGINNER

HEDWIGE CHRÉTIEN
BÉBÉ S’ENDORT
1IPERMI7TERW[MGOtells you how to bring out the
¾YMHWMQTPMGMX]SJXLMWGEPQPYPPEF]F]LERHPMRKXLI
GLSVHWERHH]REQMGW[MXLGEVI
Key G major Tempo Andantino Style Late Romantic
Will improve your Cantabile Phrasing and shaping Legato

This delightful miniature was 9-16) due to the many tied notes. rubato, offering a moment’s
written by French Romantic The upper notes of each chord can breathing space. Similarly, in bars
composer Hedwige Chrétien. be softly added into the texture. 3-4, the minim D in bar 4 needs a
The second of her Six Petits préludes Keep the chords smooth and deeper touch. For greater intensity,
récréatifs, I found it when searching legato, with fingers sliding from
for works by female composers. one note to the next in order to
The piece evokes a lullaby, as the avoid any gaps in the sound. 0)%62-2+8-4
title (‘baby falls asleep’) suggests. Take time on the final pause, and
The lilting character of the music Chromaticisms add spice! The play as softly as you dare!
works well at a pace of crotchet LH part contains the occasional
equals 80. Aim for a steady four added accidental: see the Eb at
beats per bar: it is a lullaby, but the bars 8, 13 and 14. This suggests make sure to crescendo through
pulse should ideally be firmly kept. the key of G minor, which depicts the five previous notes up to the
a melancholic mood, perhaps minim D, and then tail off quietly
The LH provides the as baby experiences unsettling on the following crotchet A.
accompaniment. The whole dreams. Aim to highlight these
piece consists of two-note notes with a slightly deeper touch. The inconclusive feel at bars 7-8
semibreve chords – usually one might suggest that baby hasn’t
per bar. Be sure to take note of The RH part is the melody. It is quite fallen sleep. The addition
fingerings; notice how the LH mostly focused around five-finger of the A in the LH part (bar 6),
stays in exactly the same hand hand positions. Employ the weight adds a dissonant flavour, and this
position throughout, with the G of the arm via a loose flexible wrist is emphasized in the melodic line
below middle C acting as a tonic so that fingers delve into the key with the RH tenuto markings that
pedal. In terms of pedalling, the bed, thus producing a gorgeous follow in bars 7 and 8. Aim for a
sostenuto pedal should be used cantabile sound. A ‘touch and firmer touch on these notes (E and
sparingly (see score). press’ finger approach is usually G), crescendoing to the G at the
effective. This should produce a start of bar 8, and then phrasing
When placing each chord, play richer, more sonorous tone. off on the F#. Similar shaping
both notes at exactly the same will be required in the RH part
moment. Keep the LH close to Shaping the melody is crucial. between bars 11-12.
the keys, with the fifth finger Notice how the piece has been
hovering over the G, and balance constructed in four-bar phrases, Observe the mf marking at bar
fingers on the keys with the aim with a short two-bar coda at the 9. From here the music moves
of avoiding split chords. As the Hedwige CHRÉTIEN (1859-1944)

end. The opening two bars consist towards bars 13-14 which form
BEGINNER
TRACK 4 0)7732 Bébé s’endort

works, songs, two ballets and

in France. She was pieces for piano, orchestral and chamber
Hedwige Chrétien was born in Compiègne, (‘baby goes to sleep’) is No 2 from
in 1889, where she had two one-act operas. This sweet lullaby
appointed professor at the Paris Conservatoire her Six Petits préludes récréatifs.
of Ernest Guiraud. Chrétien
previously been a student under the tutelage Read Melanie Spanswick’s lesson on
this piece.
about 150 in all, consist of

dynamic markings throughout are of two mini climactic points: the the climax of the piece. It’s at this
was a prolific composer; her compositions,

predominantly soft, it can help to D in bar 1, and the minim A in point that the RH part will need
practise depressing keys slowly; the bar 2. To highlight these notes, be greater sonority. At bar 16 make
slower the key is played, the softer sure to use a very smooth legato a calm ritenuto and a noticeable
the sound. But when playing the touch, and place the D with diminuendo, thus bringing the
lower note of the chord (G), be slightly more tonal colour than piece to a tender close.
sure to use a slightly firmer touch, the preceding and succeeding Bs.
© Erica Worth

as the sound must sometimes last 7))7'36)7 Then, in bar 2, place the minim More about Melanie Spanswick can be
for up to eight bars (as in bars 7)'8-32 A with a very small amount of found at www.melaniespanswick.com.

20• Pianist 123

HOW TO PLAY
%&-0-8=6%8-2+INTERMEDIATE

BEETHOVEN
SONATA OP 13 ‘PATHÉTIQUE’
SLOW MOVEMENT
If there was any time to be ‘Grande’ and expressive, it’s in
this masterpiece, says 2MPW*VEROI, who recommends
that you practise Beethoven Liszt’s way
Key A flat major Tempo Adagio cantabile Style Classical
Will improve your Voicing Ornamentation Discipline (with ornaments!)

Any suggestions from Liszt’s suggestion works brilliantly The turns in bars 20 and 21
Beethoven’s students? Actually, in the slow movement of the may present some challenges,
yes. Ferdinand Ries claimed in ‘Pathétique’. His advice is almost as might the beginning of bar 22.
1803 in relation to Op 13 that forensic in its impact, because The key to the entire passage is
‘the precision he [Beethoven] you can build up an aural image rhythmic consistency, so that the
demanded is hard to believe’ and of melody versus bass line, and ornamentation sounds like an
Carl Czerny advised that ‘we see you become aware of how many effortless enhancing of the melody
from the fingering that the inner independent inner voices there are. line, and not like something that
accompaniment is to be played by For example, the opening bars are interrupts the rhythmic flow. So
the right hand, without exception. written in three parts, whereas bar here are some practice suggestions:
The whole legato, and the 9 has four parts. This is echoed in
melody clearly brought out. The the triplet textures of bar 51 (three 0)%62-2+8-4
succeeding four-part repetition parts) and bar 59 (four parts). Be alert to the wonderful part-
of the theme, very harmonious, writing in what can easily sound
legatissimo, and a little louder. If one follows Liszt’s advice, it like an early Song without Words.
At the return of the theme, in means learning this piece in
the second part, the triplets very sections. It is a quick way to get • Establish a steady, consistent flow
intelligible, as follows (the whole results. Here is another example of semiquavers by practising the
not dragging or spun out).’ of what I mean: once you have chords of the LH in bars 20-23.
got used to the hand positions of • Play the initial five
Czerny also recommended a bars 9-16, retaining (most of ) the demisemiquavers in the RH of bar
tempo of quaver equals 54 bpm, hand positions of bars 59-65, but 23 as a group of notes that doesn’t
whereas Ignaz Moscheles, who changing the textures of the inner end on the Bb, but leads directly
prepared the piano reduction of voices, is quite straightforward. into the subsequent G. It’ll help
Beethoven’s opera Fidelio under you fit the five demisemiquavers
the composer’s supervision, tended The central section (bars 37-50) more fluently into the available
to favour a quaver at 60. anticipates the chordal textures semiquaver rest.
of some of Mendelssohn’s Songs • The turns in bars 20 and 21 are
Enter Franz Liszt. There is an without Words. Again, ‘do a Liszt’: four notes each: upper note, note,
account of a piano lesson given practise treble and bass lines lower note, note. To achieve an
by Liszt (himself a student of only to get a feel for the melodic even rhythmic distribution, play all
Carl Czerny’s) in Paris in the progressions. If subsequently notes of the turn in bar 20 on the
early 1830s, which is relevant to adding the double notes in bars second semiquaver of the group
this sonata. Although guiding Ludwig van BEETHOVEN (1770-1827)

37-41 obscures the clarity of in question, and align the four

INTERMEDIATE
‘Pathétique’ 13
TRACK 8 0)7732
Slow movement from Sonata No 8 Op

and longing, and the third is a

Sonata No 8, written in 1798, dramatic, the second is full of romance
Heralding the Romantic era, Beethoven’s require an advanced
of the nicknames given to tempestuous rondo. The outer movements
is one of his most popular. Unlike most – which takes the form of a
to have been picked by the technique, but this intensely lyrical interlude
Beethoven’s works, ‘Pathétique’ is believed perfect piece for the intermediate-
and sometimes tragic mood. song in several distinct sections – is the
lesson on this piece.

a student through an entirely the melody line, leave out the notes of the turn in bar 22 with the
composer himself to convey its romantic level pianist to learn. Read Nils Franke’s
the first starts out dark and
Each movement conveys a different feeling:

different piece, Liszt recommended first double note (the one that second and third semiquavers of the
getting to know the music by coincides with the melody line) LH. Once it begins to sound fluent,
initially playing the outer parts, to get a better sense of melodic rhythmic and effortless, you can be
and gradually filling in the other clarity. Once that feels and sounds more flexible in the way you align
voices. He also suggested practising good, add the missing double the RH and LH in the turns. n
accompaniment textures by chord (the first of every group of
themselves (meaning without any 7))7'36)7 triplets) while still retaining a clear More information about Nils Franke
melody lines). 7)'8-32 melodic treble line. can be found at www.nils-franke.com.

21• Pianist 123

 HOW TO PLAY
%&-0-8=6%8-2+ADVANCED

SAINT-SAËNS
VALSE NONCHALANTE
IN D FLAT OP 110
To celebrate the 100-year anniversary of Saint-Saëns’ death,
0YG]4EVLEQ takes you by the hand and shows you how
to dance your way through his intimate and wistful waltz
Key D flat major Tempo Valse Style Late Romantic
Will improve your Sense of rhythm LH independence Finger agility

Saint-Saëns composed this of notes in each bar. Try to think At bar 33 make sure that you
charming Valse nonchalante in in terms of ‘dabs’ of pedal rather give special prominence to the
1898. At that time, Paris was the than long, legato pedalling that you RH F. This is an F with an accent
home of a thriving arts scene, and might use in a Chopin nocturne. underneath it and it requires
the city had celebrated the opening a special tone. At the Agitato
of the famous Moulin Rouge just a Set your tempo immediately in section (bar 35) focus your
few years earlier. bar 1. The first LH note needs to attention on your LH. This is
be stronger than the second, so important because it is a theme
Saint-Saëns was himself an think of a lightness for the second that will return later with more
excellent pianist. Amongst his crotchet (chord) – but lift it off significance. Hence, we need to
numerous compositions he wrote with grace. When the RH enters, be made aware of this melody.
several waltzes. This one appeared try to shape this phrase over the Don’t neglect the RH, though,
to be a particular favourite, four bars, imagining one long line as it has its own melodic intent.
however, as he orchestrated it for rather than four separate bars. Notice that the LH in bar 39
a ballet score in 1913. The piece now becomes staccato. Also pay
is reminiscent of Chopin and has A useful tip is to play the LH and particular attention to the RH
a lovely Parisian salon feel to it. sing the RH. You should notice accents in bars 43 to 46.
Seductive and supple, it smiles that you naturally head for the Eb
from start to finish, albeit with a in the beginning of bar 4. Then
sense of charm dusted with pathos. play what you have sung and try to 0)%62-2+8-4
As this waltz is generally light replicate it. Sing the RH melody whilst playing
and dexterous, it shouldn’t sound the LH alone. This will help you to
heavy: it is always important to In bar 8 the Eb is replaced with shape the phrases.
keep the style within the context in an E§ which takes us into F minor.
which it was composed. Try to create a new sound and
colour in this bar. Over the next Between bar 47 and 48 there is
At the start, Saint-Saëns marks few bars short phrases are turned a little hairpin crescendo. This
the score assez modéré. Keep into one longer phrase. Again, enables you to ease yourself into
that in mind and it will prevent singing the melody whilst playing the following, calmer section,
you from hurrying. This tempo the LH before you use the RH to which begins in F major. Make
marking also gives us insight play it will be very helpful in order sure to give particular focus to
into the fact that it is a waltz and to create good melodic shape. the first note of bar 49, as it is
should never be too virtuosic or the bass note and it provides the
too fast. Another clue is found in Camille SAINT-SAËNS (1835-1921)

From bar 18, the RH requires a harmonic structure over which

ADVANCED
TRACK 12 0)7732 Valse nonchalante in D flat Op 110

the piece a few years later for

Janeiro on 18 June 1899. He orchestrated
writing waltzes for the piano from Polish descent but born in Paris,
French composer Saint-Saëns enjoyed the ballerina Stacia Napierkowska, of
were actually published. The
a young age, though only seven of them whom he was said to have found utterly
charming.

lighter, non legato touch. Even

in September 1898, was
Valse nonchalante, published by Durand Read Lucy Parham’s in-depth lesson
on this piece.
São Pedro de Alcântara in Rio de

the espressivo marking in bar 2. the RH can then weave. Bars 56

premiered by its composer at the Teatro

within this change of touch, aim to to 61 all feature minims in the

Throughout the piece you need arrive right to the top of the phrase RH fifth finger. Try to make these
to pay special attention to the and then come down again. In notes all sound like a bell and
pedalling. You will need short reality this means a short crescendo give them their own voicing. In
and light pedals. As the RH at the end of bar 18 followed by particular, head towards the final
becomes more florid further on, a small diminuendo at the end of C in the RH in bar 61, as this
© Sven Arnstein

it’s important to lift the pedal so 7))7'36)7 bar 19. Try to imagine little waves needs to last right through to the
you can always hear the last couple 7)'8-32 of notes. next bar.

22• Pianist 123

The lusingando term at bar 66 effect of an echo as the RH line The arpeggiated chord at bar 198
means to caress or coax the descends bar by bar. The LH needs to be played like a harp.
sound out of the piano. This is line also descends, so try to trace It is then followed with a beautiful
less projected than the previous the descending bottom notes ‘cello’ LH melody. The piece
section and therefore more with your fifth finger. Then use begins to ebb away as the LH takes
intimate in its general mood. the ritardando to full effect to us back to the opening statement,
bring you back to the return of poco marcato.
Bar 82 features another variation the opening phrase at bar 169.
on the main theme. The triplets This return of the melody is a The pedal effect at bar 220 means
create a beautiful, florid decoration reflection of what we’ve heard you need to silently re-take the
and need to fly and not become earlier and it has a real sense chord. Depress the keys but do
stuck in the key bed. So keep your of pathos. The mood is one of not let the notes sound. The score
touch light here. reminiscence so keep it quite requires you to change the pedal
intimate until the Appassionato once you have done this, which in
The Agitato variation in bar at bar 179. turn means you will lose your bass
99 needs to constantly move note. Use the last note (Db) for a
in order to capture the new, In order to reiterate the intense little cheeky farewell. Make it quite
agitated mood. Feel yourself mood, the main theme now short and very soft, whilst stroking
constantly pushing over the bar contains weighted accents. the key for the final time. n
line. You will recognise the LH The LH has beautifully spun
theme from earlier but this time quavers under this theme. Try to Lucy Parham’s Celebrity Christmas
the RH is chordal rather than ensure that they are all even and Gala concert takes place in London
singular. Try to get the rhythm form them into groups of five, on 5 December (see article, page 70).
exact here. It’s a tricky passage rather than thinking of them as Further information at
but it can be helped by especially individual quavers. www.lucyparham.com.
focusing on the last quaver of
each bar.

Bar 107 sees the LH theme

return. It is strong and powerful
– and it is now written in octaves.
The RH also needs power and Piano Specialists for four generations
flexibility. I find it helpful to
concentrate on the middle notes in
the RH as the octaves tend to look
after themselves. This passage is the
Pianos for Everyone
from the beginner to the professional
climax of the piece so far and it is
where you should be aiming for
from the start.

When you reach bar 120 ensure

that every note is sounding in the
RH. Some RH rotation here will
help. Follow the LH descending
line and gradually disappear until
bar 129, dolce espressivo.

7KLVVHFWLRQQHHGV\RXUÀQHVW
beautiful cantabile sound. It is
clear that the LH accompanying
notes are less significant than the
melody, which has prominent
accents throughout.

Notice how Saint-Saëns uses

the same effect over the ensuing
bars, reaching a climax at bar
153 with the Bb and F RH ‘bells’.
Tel: 01344 873645
Verve House, London Road (A30), Sunningdale,
There is some beautifully lyrical Berkshire, SL5 0DJ sales@handelpianos.co.uk
writing between bars 161-167:
See if you can make a very special www.handelpianos.co.uk
23• Pianist 123
 HAN S- G ÜNTER H EUM ANN
BEGINNERS
KEYBOARD CLASS
LESSON 50:
PRELIMINARY EXERCISES FOR TRILLS

On these pages, Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Günter Heumann.
This lesson features two Czerny exercises for trills.

Czerny Study Op 139 No 2

This sweet, melodic study is a good entry-level piece for learning how to play trills. It’s a great workout for the fingers, too, as a
warm-up. Start off slowly and try to play as evenly as you can, with equal weight given to all the trill notes.

Allegro comodo q = 108

  1 2       3 4       2 3       4       
5

 
p
 
  13    1
2
4
1

   
    2 3   
 4 3       2    
1
5 1
  

f

cresc. 
 
 
 
    
  


  4 3       2 1   1     4           1  
9 5

  
p
  
     
1 2 2

13          3   4
5
      
    2 4   1 4 
5

   
cresc. dim.
 
           

1 3 1 2 3
5

17       
5

         
1
 

 cresc.
 
  
1
2  
4

 4
  3 
      3  1    
21 1 1

        
f

        
  
24• Pianist 123
 HANS-GÜNTER HEUMANN KEYBOARD CLASS

Czerny Study Op 599 No 65

Another attractive study for trills. Tip: When you play the trills with the ‘weaker’ fingers (such as in bar 4 and 5 where you use the
fingers 3, 4 and 5), remember to keep the thumb lowered and relaxed, and as close to the key(s) over which it hovers. The thumb can
have the tendency to tense up when playing trills, so pay special attention to it.

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

25• Pianist 123

 TRACK 1
TRAD arr. Mark TANNER BEGINNER
The Holly and the Ivy

Rather than include playing tips within the score, Mark Tanner offers his This arrangement has one or two unexpected chords, but the tune itself is
own tips here: This arrangement is dedicated to Margaret Murray just as you’d expect to find it. The upbeats to each phrase are important
McLeod, who sadly passed away in September. She was such a dear moments – do savour these – and let the tune ring out with all the shape,
friend and colleague as well as a very fine pianist, teacher and composer. colour and radiance of your Christmas tree.

26• Pianist 123

 TRACK 2
Melanie SPANSWICK BEGINNER
Rose Tinted

Composer’s playing tips: Rose Tinted is a wistful, slightly melancholic piece – this way you will be able to locate notes and fingerings that much
which provides an opportunity to play expressively using plenty of quicker. When playing the quaver patterns as written, be sure to use a
dynamic colour. I’ve written some dynamic markings into the score,but very smooth legato touch, and take note of the tenuto markings. The
you are also free to add your own. Aim to practise each bar as a chord sustain pedal will add a lovely resonance throughout each bar.

27• Pianist 123

 TRACK 3
Samuil MAYKAPAR (1867-1938) BEGINNER
Little story

A student of Leschetizky, the Russian composer Maykapar enjoyed a works, including many technical and character works for solo piano such
major career as a concert pianist, teacher and composer of over 300 as this charming piece. Look at the technical tips on the score.
Start out quietly The phrase in bar 5-6 should have a more
and feel the yearning quality, so remember to crescendo.
Andante pulse. In
fact, this piece is a
great exercise for
quiet playing.

The key is
A minor
(notice the
G sharp).

The RH enters with a charming melody. Phrase it The two bars above, where the LH enters,
well and play as legato (smoothly) as you can. should act as an ‘answer’ to the first two bars.

Observe the slurred pairs of notes below.The first should always have a bit more weight
than the second. Don’t make them forced – the music should always remain tender.

Try not to start out too softly because

you need room for the diminuendo...

At bar 19, the rhythm and feel of the opening melody

returns, but the LH chords emulate a ‘darker’ atmosphere.
With the octave playing below, give equal
weight and tone to the notes of both hands.

Lift the fingers ‘Feel’ the silence

simultaneously before you truly
for the rests. end the piece.

28• Pianist 123

 (32´81-77

TRACK 4
MELANIE
SPANSWICK’S Hedwige CHRÉTIEN (1859-1944) BEGINNER
0)7732
ON THIS PIECE Bébé s’endort

Hedwige Chrétien was born in Compiègne, in France. She was pieces for piano, orchestral and chamber works, songs, two ballets and
appointed professor at the Paris Conservatoire in 1889, where she had two one-act operas. This sweet lullaby (‘baby goes to sleep’) is No 2 from
previously been a student under the tutelage of Ernest Guiraud. Chrétien her Six Petits préludes récréatifs.
was a prolific composer; her compositions, about 150 in all, consist of Read Melanie Spanswick’s lesson on this piece.

29• Pianist 123

 TRACK 5
George Frideric HANDEL (1685-1759) BEGINNER/
INTERMEDIATE
Sarabande from Suite in G minor HWV 452

This stately Sarabande is the third movement from Handel’s four- markings for a reason: it is up to the performer to decide. Maintain a
movement Suite in G minor. The composer was known to have written steady tempo and phrase as if you were singing the melody. Even if the
about 22 keyboard suites in total and they would have been played on pedalling helps in terms of keeping a smooth melodic line, where
the harpsichord. possible try to join the notes with the fingers.
Playing tips: The trills can either be taken from the note (as in bar 1) or Pedal tips: We suggest one pedal change with each crotchet beat. Even if
from the note above (as in bar 6). Experiment and then go with what the harmony often remains the same for more than one beat, the
you think makes the most musical sense. The score lacks dynamic Baroque style requires frequent change of pedal for clarity of sound.

30• Pianist 123

 TRACK 6
TRAD arr. James WELBURN INTERMEDIATE
Ding Dong Merrily on High

James Welburn’s playing tips: Get creative with your C major scales seamlessly from light and bouncy to heavy and accented, reaching a
(practise ascending/descending, dotted rhythms, triplets) – this piece is powerful climax at the forte marking and finishing with a bang!
practically one big improvisation of the C major scale with a few (Fingerings have been added by Pianist.)
embellishments, so knowing your way around the keys is a great starting This arrangement of Ding Dong Merrily on High, from composer James
point. Keep your touch light throughout, particularly on the staccato Welburn (www.jameswelburn.com), features in his latest book, Star of
notes, which will help to give shape and definition to some of the quicker Wonder: Christmas Carols for the Piano Lounge (published by Editions
passages (e.g. bar 22). To bring out the LH octaves in bars 51-55, move Musica Ferrum).

31• Pianist 123

32• Pianist 123
33• Pianist 123
 TRACK 7
Moritz MOSZKOWSKI (1854-1925) INTERMEDIATE
Moment Musical Op 84 No 2

A neurological illness ended the virtuoso piano career of Moritz improvisatory-style melody; it seems to float upwards (with a crescendo)
Moszkowski, but it didn’t stop him from composing many works for the and then downwards (with a decrescendo), so try to feel the ebb and
piano, including his set of four Moments Musicaux Op 84. This flow. The LH comes to the fore at bar 27 where it joins in as part of the
whimsical piece, in the key of F major, is the second from the set. melody. Bar 41 sees the return of the opening melody which then dies
Playing tips: As the pulse of the piece, the LH should convey rhythmic away gradually with the aid of the mysterious-sounding LH harmonies
stability from the outset (silently counting the quavers within the (appearing at bar 50). The final staccato notes should be played lightly,
dotted-minim chords will help). The RH enters with a carefree, with a hint of humour. Pedal tips: See suggestions on the score.

34• Pianist 123

35• Pianist 123
36• Pianist 123
37• Pianist 123
 (32´81-77

TRACK 8
NILS
FRANKE’S Ludwig van BEETHOVEN (1770-1827) INTERMEDIATE
0)7732
ON THIS PIECE Slow movement from Sonata No 8 Op 13 ‘Pathétique’

Heralding the Romantic era, Beethoven’s Sonata No 8, written in 1798, dramatic, the second is full of romance and longing, and the third is a
is one of his most popular. Unlike most of the nicknames given to tempestuous rondo. The outer movements require an advanced
Beethoven’s works, ‘Pathétique’ is believed to have been picked by the technique, but this intensely lyrical interlude – which takes the form of a
composer himself to convey its romantic and sometimes tragic mood. song in several distinct sections – is the perfect piece for the intermediate-
Each movement conveys a different feeling: the first starts out dark and level pianist to learn. Read Nils Franke’s lesson on this piece.

38• Pianist 123

39• Pianist 123
40• Pianist 123
41• Pianist 123
42• Pianist 123
 TRACK 9
Robert SCHUMANN (1810-1856) INTERMEDIATE
Wintertime II from Album for the Young Op 68 No 39

Dedicated to Schumann’s young daughters, and evidently meant for their passionate and spirited section in the key of G minor appears at bar 25
small hands to play at the keyboard, Album for the Young Op 68 dates – make sure to bring out the sharp contrast of dynamics from bar 33.
from 1848. Though meant for beginners, it presents challenges for The opening returns briefly at bar 41, but not for long – bar 49 heralds a
pianists of all levels and ages, not least in keeping a simple and clear style. long coda which sees the darkness lifting; at bar 72, Schumann has taken
Winterime I (No 38) featured inside 2019’s December issue (No 111). us into the glorious key of C major. The sun has emerged!
Playing tips: Listen to the creeping bass-octave writing at the start and Pedal tips: At the start, try to use finger pedalling only. In the middle
you can feel the dark chill of winter. Keep the dynamics quiet and use section, though, dabs of pedal can be used for the quaver slurs. Keep the
your best legato – the fingers should ‘crawl’ over the keys. A more dabs shallow.

43• Pianist 123

44• Pianist 123
45• Pianist 123
46• Pianist 123
 TRACK 10
TRAD arr. Derry BERTENSHAW INTERMEDIATE
Silent Night (in the style of Rachmaninov)
;%8',',)2=-20-40%=8,-7%8;;;4-%2-781%+%>-2)'31
Playing tips from Derry Bertenshaw: I have composed this arrangement of which are not already arpeggiated, may be split. Bars 33-38 are the
Silent Night in the style of Rachmaninov. I hope I have done the great trickiest; make sure the carol melody is heard over the RH octaves.
composer justice. I have tried to imitate his rich textures, but without his The opening depicts a clear frosty night with the clock striking midnight
large stretches. For smaller hands, any chords greater than an octave, heralding Christmas.

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 TRACK 11
Franz LISZT (1811-1886) INTERMEDIATE
Evening Bells, No 9 from Christmas Tree suite S186

In the festive season, it seems fitting to include one of the movements let alone the pedal, which you should continually experiment with. One
from Liszt’s Christmas Tree (Weihnachtsbaum) suite. This one, the thing that we do suggest is to start at the end. That is, to start learning
evocative No 9, is editor Erica Worth’s favourite. It is pure magic and from the last section at bar 99/100, the glorious climax. Don’t be put off
confirms the genius of Liszt. The suite exists in versions for solo piano by the three lines of music – the writing is logical (and not too
and piano four-hands. technically challenging) once you’ve worked out where the hands go!
Playing tips: It is hard to put into words how to go about learning this Pedal tips: Pedal is needed throughout. Notice that the only pedal
piece because it’s really all about colour and sonority (think of the sounds markings appear at bars 6-9, and they are there purely as a guide. For
of different bells). Phrasing and voicing are all key factors too, of course, further pedalling help, listen to Chenyin Li’s spellbinding performance.

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 (32´81-77

TRACK 12
LUCY
PARHAM’S Camille SAINT-SAËNS (1835-1921) ADVANCED
0)7732
ON THIS PIECE Valse nonchalante in D flat Op 110

French composer Saint-Saëns enjoyed writing waltzes for the piano from Janeiro on 18 June 1899. He orchestrated the piece a few years later for
a young age, though only seven of them were actually published. The the ballerina Stacia Napierkowska, of Polish descent but born in Paris,
Valse nonchalante, published by Durand in September 1898, was whom he was said to have found utterly charming.
premiered by its composer at the Teatro São Pedro de Alcântara in Rio de Read Lucy Parham’s in-depth lesson on this piece.

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65• Pianist 123
 F O R T H E T E AC H E R

PIANO TEACHER HELP DESK

Teaching t he adu lt be g in ne r
/EXLV]R4EKIcelebrates the joys and wonders of working from scratch
with more mature pupils

T
he first thing to Kathryn Page has appeared in concert
do when you start and on television as a soloist and in
teaching an adult chamber music. She is a teacher,
pianist from the adjudicator and administrator for
beginning is to Chetham’s International Summer School
celebrate! Making the decision and Festival for Pianists, as well as the
at age 18 or over to start playing Manchester International Concerto
Competition for young pianists. She lives
with no prior knowledge in Cheshire and has five children.
requires tremendous courage and
investment – not only in terms
of time and money but also in so that they discuss and come to some adults are perfectly happy
terms of emotion. Bravo to any compromises over repertoire in to work from children’s tutors.
adult ready to take on such a advance of lessons. This is all very Others may prefer working from
commitment. It is our duty as healthy. As with beginners of a particularly focused adult books,
teachers to be warm, encouraging much younger age, it is always such as the course material in the
and positive at all times during the encouraging to enable a new Alfred series or the books written
lessons, ensuring they are managed ‘trick’ to be learnt at each lesson. by Melanie Spanswick. My own
in as inspiring a way as possible. This could be a simple five-note preferred option for many students
The early stages of learning one-hand phrase learnt by rote, a is Sharon Goodey’s Playing with
can be stressful and frustrating juicy voicing or chord progression, Colour which certainly fulfils the
for adults, who may find that or a new fingering technique. exciting prerequisite of allowing a
their brains work much faster Indeed, in the earliest stages it can new piece to be learnt from scratch
than their fingers. Do everything be thrilling for an adult beginner in each lesson – even if the books
you can to minimise annoyances during each lesson to learn with do need to be backed up by lots of
felt by adults through lack of you a new piece, even if it is only a independent rhythmic exercises,
coordination by breaking even the four-bar tune played by ear. Never drills, and games.
simplest of technical procedures underestimate the empowerment Ultimately, beginners of all levels
down in lessons into step-by-step new achievements will give, as will thrive after the initial set-up
procedures and rituals. Don’t they will have something fresh stages by working steadily from
spoon-feed. Adults usually love to to show their friends and family the works of the masters. Look to
know about theory, intellectual immediately after each lesson. Diabelli duets and the simplest
processes, logic and how the Czerny four-bar exercises before
instrument works. Celebrate )\GMXMRKXMQIW moving onto the ‘JS Bach ladder’
their curiosity, but at the same As with all students, skills for (Anna Magdalena Bach Notebook,
time refrain from talking too adults will be built up calmly Little Preludes, Two- and Three-
much; piano lessons are limited and patiently with the help Part Inventions), Mozart smaller
timeframes, and it seems all too of scales, arpeggios, Czerny pieces, Schumann Album for
easy to get sideswept along with studies and Hanon exercises. the Young and the miniatures of
adults into extended friendly Patterns are confidence boosting Kabalevsky and Bartók. When
conversations that would simply and will enable greater facility. focus and routine is established,
never happen with the children we The celebrated teacher and the years will literally roll away
teach! We don’t want a 30-minute educationalist Karen Marshall and your adult novice will
lesson to morph into a quasi- believes that adults can thrive transform into a pianist who
counselling session. through working steadily from not only exhibits focus and
Obviously, it is important the first book of Bartók’s motivation when playing, but
not to patronise any of our Mikrokosmos which takes things does so with an energy and
© Erica Worth

students. Adults frequently want slowly but surely. determination that will show
a ‘partnership’ with their tutors With regard to material for use, youthful fervour too! n

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E D U C AT I O N

The Agony and Ecstasy of

ANDRAGOGY
Whether you’re a celebrity like one of the participants of Lucy Parham’s gala event
(see page 70), or a humble unsung civilian, starting or returning to the piano later in
life can bring huge joy, but also problems as well. Managing expectations is key,
½RHW;EV[MGO8LSQTWSR

‘T
he life so short, the again from friends and acquaintances some common-sense precautions
craft so long to who have grown long in the tooth. brought to bear, the potential pitfalls
learn,’ said And it’s true that there are particular will appear mere molehills.
Hippocrates. It’s problems associated with adult, as
unlikely he was opposed to childhood, learning which *Y^^]½RHMRKWERH¾I\MFMPMX]
talking specifically about students who can overload stress onto what should be But first, a quick look at andragogy
start the piano later in life, or those an enjoyable challenge: I’ll be outlining (adult learning) in general. In Psychology
who return to the instrument after some of them later, with suggestions for and Adult Learning, the education
many years’ absence, mainly because overcoming them, or at least specialist Mark Tennant outlines several
the piano – unluckily for him – wasn’t ameliorating them. But first, it needs theories of the process of so-called
invented until roughly 2,000 years after saying… Nil desperandum! Don’t be third-age studying. He looks at
his death. But it’s as if he had a crystal disheartened. There are as many humanistic, politicized, psychoanalytic,
ball, for nowhere does his famous advantages as disadvantages to starting behavioural, and other theories –
© VadimGuzhva/AdobeStock

apothegm have such bite as when the piano later in life. So if you’ve got mostly to debunk them, it must be said,
applied to these two groups of learners. an itch to start, or a hankering to return or at least to suggest their limitations.
‘How I wish I’d had lessons as a child’, to the keyboard, then take the plunge. He only mentions music education
and ‘How I wish I’d kept it up’ are The potential happiness and joy it can once, in a chapter looking at
common refrains we all hear again and bring is simply enormous, and with behavioural theories of teaching adults

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(that is, by means of reward,
punishment and conditioned
responses), but he uses it to show the
limitations of the method. He wonders
how progress can be measured:

[such] tests do an injustice to the

complexity of learning. For example,
in mastering a complex skill such as
playing the piano, learning can
proceed along a multitude of
dimensions – posture, finger position,
notation, use of pedal, scale drill,
chord progressions and so on.
However, not all these dimensions
can be separated for instructional
purposes, because what is most
important in learning complex skills
is how these dimensions come mechanical pianistic skills learned in binges… somehow, snatched from all
together. It is precisely this type of childhood can be maintained (I’ve seen of this, time has to be found for
outcome which resists behavioural it reported that there are natural cut-off practice. And, if you haven’t been in a
analysis. points at the age of 8, and again at 15), learning environment for a while, the
they are somewhat harder to acquire discipline needed for study has to be
His overall point seems to be that no from scratch later on. This can be rediscovered too. Regularity might be
single method or theory of adult discouraging, and even more so for your friend here: that is, always doing
learning can ever be all-encompassing. someone, say, who formerly reached a your practice during the same hour, or
But this leads us to the first of the high level, but who hasn’t played for half hour, each day. Or if that’s not
advantages of third-age studying. In a many years. The knowledge of what has possible, then try scheduling the times
word: freedom. An adult is generally been lost – works which are now firmly in advance, and making regular
supposed to have a broader ability to unplayable, exercises now impossible – dates with yourself.
contextualize and sift information, and can be disheartening. A psychological difficulty might
also possess more self-knowledge about appear too. As adults, we often get
what is beneficial in a lesson, and what 6IEPMX]GLIGO rather comfortable with our status, and
isn’t. Put simply, if you don’t get on The solution to this – and it’s really the it can feel like a loss of status to play at
with your teacher, you can change. If solution to the whole conundrum – is the level of a child, or possibly even
children have that option, it’s much less to manage expectations. If you are perform worse than the children
commonly found. And it’s more likely starting from scratch, then it’s wise to around us. But if you can consider this
that you will be paying for your lessons have realistic goals: to have four or five an enormous opportunity, and not a
directly, with an adult’s awareness of the simple works which you would like to drawback, the rewards might be greater
than those found merely in your

One advantage is motivation: if you musical progress. At the risk of going all
Eat-Pray-Love on you, this is where the
are learning/returning to the piano, great philosophers come to your aid.
‘Do you wish to rise? Begin by
it’s because you really want to descending,’ said Saint Augustine. ‘It is
healthy to be reminded that the
strongest might weaken, and the wisest
value of money. Such an awareness be able to play after a year, for example. might err,’ said Mahatma Gandhi. If
certainly sharpens the focus on time If you are a returner, then your goal humility was good enough for them, it’s
management in lessons, and its might be to attain a level less high than probably good enough for us. Just think
perceived benefits. your previous one, but in repertoire what vital life lessons you might be
Another advantage is motivation: if which you love. If your aim is to be learning, as you stumble over your
you are learning/returning to the piano, able to play Bartók’s notoriously Grade 1 arpeggios, and what a better
it’s because you really want to. You demanding Second Concerto after a person you might become.
haven’t been pushed by a tiger-mom, or few lessons, you might want to So, all in all, if the desire to learn or
a helicopter dad. And, as all teachers reconsider your levels of realism. return has come upon you, then do
know, motivation removes enormous Another common problem faced by find some way to act upon it. With a
hurdles in the path of progress. adult learners is that of lack of time. little forethought, and a healthy dose of
But now we come to some of the The demands of family life, of earning a realism, you’ll be able to avoid all the
setbacks. An adult’s body is simply not crust, of keeping a home in repair, of major problems by foreseeing them.
as flexible as a youngster’s, and although sociability, of marathon Netflix And you won’t regret it, I promise. n

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PERFORMANCE

Lucy Parham’s Celebrity Christmas Gala brings famous amateur pianists into the
limelight. Now in its eleventh year, .SLR)ZERW traces the genesis of this popular
annual event, and talks to Parham and three charismatic participants

‘A
ll of them say it’s one of the most terrifying
things they’ve done.’ What is? Skydiving,
bungee jumping, changing broadband
‘I have huge respect for Lucy
supplier? In fact, Lucy Parham, renowned and think it was a genius idea
to get us along to play’
pianist and teacher, and contributor to this
magazine, is recalling the reactions of celebrities invited to
perform at her annual Celebrity Christmas Gala, which takes
place this year on Sunday 5 December in its regular home, Katie Derham
Kings Place in London.
When I tell you the names of just a few of the stars due to journalist and food critic Jay Rayner… the list goes on.
© Amy T. Zielinski (main image)

appear you may be surprised by that reaction: TV journalist These are people used to appearing in public, to holding
Cathy Newman, former Shadow Chancellor of the their audience’s attention, to speaking spontaneously without
Exchequer Ed Balls, veteran film and stage actors Edward notes or whole passages entirely from memory. Are they
Fox and Dame Harriet Walter, actor and impressionist really terrified of pressing a few black and white keys in the
Alistair McGowan, BBC Radio 3 presenter Katie Derham, right order?

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 ‘Anyone reading this magazine knows how challenging it is
to play the piano in public,’ says Parham. ‘Whoever you are,
whatever you do, it’s the same for everyone – but also, just
like this magazine’s readers, the celebrities I invite to perform
at my gala simply love to play, despite those challenges.
What’s wonderful is to witness the support they receive from
their fellow performers as well as from the audiences who,
I know, are inspired by what they see and hear.’
Parham is an engaging speaker – as engaging as her
playing. I can well see why, after a reassuring conversation
with her, a celebrity would be sufficiently emboldened to
consider setting aside their day job to perform a favourite
three-minute piece of music on a magnificent concert grand.
For those with a humble upright heirloom that they play in
their back room it must be a little like getting behind the
wheel of a Formula One car for the first time. ‘I think it
probably is, but how inspiring!’ says Parham. ‘Ultimately,
though, the quality of the piano is not important. What is, is
the way all of us find comfort and solace in playing a piano
– even celebrities.’
Visit Parham’s website (lucyparham.com) for news of her
Christmas Gala concert and you’re greeted by a photograph Alistair McGowan
of the celebrity performers taken at a previous event. What’s Actor, writer and impressionist
amusing is how happy they look. It’s that expression any of
us amateurs who have performed in public know only too After making his name impersonating celebrities ranging
well; happiness tinged with relief that it’s all behind us. And from footballer David Beckham to the character Dot
see how they’re tightly clutching their musical scores; Cotton from BBC TV’s EastEnders, Alistair McGowan
documents and, let’s be honest, lifelines that they have can now count himself a celebrity in his own right.
become attached to over the past months as they prepare for However, we doubt anyone without an accomplished
their performances. technique will be able to impersonate his piano playing
which, he says, he takes very seriously – so seriously, in

I still get nervous, especially fact, that he has suffered hand injuries as a result of
‘playing so much’.
playing in front of fellow McGowan wasn’t always so committed, though, as he
explains: ‘I first played the piano as a little boy, encouraged
performers such as Cathy by my mother who was an excellent pianist. However,
after gaining Grade 2 at the age of nine, I just gave up.’
Newman, who plays He was inspired to return to the instrument by a piece he

beautifully’ heard on Radio 3. ‘It was by the composer Madeleine

Dring and called Blue Air. I haven’t looked back. If I don’t
play at least once a day, I feel something is missing.’
Alistair McGowan No mere fumbler on the piano, McGowan has lessons
from the renowned accompanist and teacher Lucy
%R]XLMRKKSIW Colquhoun who encouraged him also to attend a weekend
‘In previous years I’ve asked the celebrities to play pieces course with the writer and pianist Paul Roberts. He also
from famous sets, such as Schumann’s Kinderszenen, but this has lessons with the pianist Anthony Hewitt. ‘To me,
year they have free choice,’ says Parham. Surprisingly, or is playing a piece of music is about problem solving as much
that courageously, she hasn’t coached the pianists, let alone as it is expression and creativity,’ he says. ‘The important
auditioned them. ‘I know they can play and I know they love thing, I think, is to learn how to learn and not just how to
to play, so that’s fine. Abilities range from Grade 2 to Grade play. If you know how to learn, the playing will follow.’
8, so we’re going to hear a lot of variety.’ McGowan’s love of the piano led him to devise a
In fact, at least one of the performers, Cathy Newman, one-man show during which he talks as well as performs
considered a career as a professional violinist before turning pieces by composers including Chopin, Glass, Grieg and
to journalism. Katie Derham, too, is an accomplished Bill Evans. He’s relishing the prospect of performing at
violinist. In 2010 she was featured in the Sky TV series First Parham’s concert. ‘It has been a huge motivator for me.
Love talking about her relationship with the instrument. I’ve performed at most of them but I have to admit, I still
Today she is a regular presenter on Radio 3’s In Tune. get nervous, especially playing in front of fellow
While others can’t claim such strong musical associations, performers such as Cathy Newman, who plays beautifully.
most have played the piano all their lives. Indeed, gala And then there’s Lucy herself who is always impressive.
performer Alan Rusbridger, formerly editor-in-chief of The She really deserves credit for arranging this gala every year
Guardian, has made his love of the piano public knowledge – and for such a good cause, too.’
V

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PERFORMANCE
with interviews and articles recounting his efforts to master the
instrument. For example, in a programme for the TV channel
More4 he performed and talked about the difficulties of playing
Chopin’s Ballade No 1.
Meanwhile, in 2014, Ed Balls – another of the performers in
Parham’s Celebrity Gala and a former Shadow Chancellor of the
Exchequer – announced he had passed his Associated Board
Grade 4 piano exam at the age of 47. He was inspired to learn
by his daughters who were also learning the instrument. They all
shared the same teacher, a lady called Lola Perrin, who lived
nearby. To begin with they played a digital piano but very soon
Balls hit on the idea of renting a piano from Markson Pianos
in London.
In an interview recently with Jay Rayner, a fellow performer in
the concert, he recalled telling Perrin he’d like to take his Grade 1
exam. ‘Lola said: “There will be six of you and the other five are
all aged under ten.” Then five days before the exam, Ed
Miliband’s office announced he was making a speech on banking
on the morning of my piano exam [Miliband was Leader of the
Opposition]. I said: “I’m really sorry but I’ve been practising for
this for nine months. I’m doing my exam.” Miliband’s office said
that as Shadow Chancellor, I had to go. Phone calls were made
and the day before my exam the Associated Board said they
would let me do the exam at their place at a time that suited me.’

‘During the last gala I stopped in

Katie Derham the middle and had to apologise.
Presenter
Each week on Radio 3’s In Tune, Katie Derham interviews In fact, I decided to turn it into a
top performers live on air. She has huge respect for their
ability to chat lightly one moment and play seriously the
bit of a comedy routine’
next. ‘I take my hat off to them,’ she says. ‘I’m so lucky to Stephen Boxer
meet lots of great musicians and not just pure classical ones
but more versatile ones, too, such as the cellist Matthew
Barley. I did all the grades but I’d like to be able to make %GSW]EJJEMV
music spontaneously, like Matthew.’ Presenting Parham’s Christmas Gala will be friend and Radio 3
Derham describes the violin as her first love but in fact presenter, Sean Rafferty. ‘His gently humorous manner helps
her first instrument was the piano. ‘It was my first but, and put performers, and indeed the audience, at their ease,’ she says.
I better whisper this for a piano magazine, the violin is Later in the concert she’ll play a duet with another friend, the
more sociable. I started it aged five because I wanted to conductor Barry Wordsworth. ‘It will be a festive piece – a little
catch up with my big brother. I thought it most unfair that bit cheesy but a lot of fun,’ she teases. ‘At the end, a group of us
I had to sit in the car while he had lessons. I really enjoyed will play eight hands at two pianos.’
it and when you have some ability, playing an instrument is Celebrities performing out of their comfort zones, wonderful
more fun. I cracked on through my grades and I must say, piano music and performances by Lucy Parham and Barry
playing an instrument help me through those troubled Wordsworth, Sean Rafferty at his witty and engaging best and
emotional years.’ the promise of Christmas just around the corner. There’s much
Derham says she’s indebted to Lucy for, with the gala to look forward to at Lucy Parham’s Celebrity Christmas Gala.
concert, giving her a target to aim for. ‘I’m a sucker for a As an extra bonus, all proceeds go to the National Brain Appeal
target because if I don’t have one, I find another box set to that raises funds to advance treatment and research at the
watch! I have huge respect for Lucy and think it was a National Hospital for Neurology and Neurosurgery and the
genius idea to get us along to play and, at the same time, UCL Queen Square Institute of Neurology, together known as
raise money for a good cause. One year she asked us each to Queen Square. ‘They do extraordinarily pioneering work,’ says
© Andrew H Walker/Scarlet Boxer (Boxer)

play something from Schumann’s Kinderszenen but this Parham, who is an ambassador.
time the brief is more open. I’m going to dust off Debussy’s We can think of few worthier causes for what promises to be
Girl with the Flaxen Hair. I learned it as a child – and I’m an entertaining musical morning. n
sure the music you learn then stays in your fingers. I’m
trying to be calm but I’m under no illusion that performing Lucy Parham’s Celebrity Christmas Gala takes place at 11:30am
it is going to be much more nerve-racking than chatting to on 5 December at Kings Place, London. Full details can be found at
my In Tune guests.’ www.kingsplace.co.uk.

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 Stephen
Actor
Boxer
The actor, who has appeared in everything from Shakespeare at
Stratford to Netflix’s The Crown – in which he played Margaret
Thatcher’s husband, Denis – is curious about why he gets more nervous
playing the piano than playing characters. ‘I’ve reached the conclusion
that with acting you can move around and mitigate the tension. We
actors can get away with murder and gloss over our shortcomings and
mis-remembered lines – but precision in music is vital. Music is also
very subjective. There’s more of a gold standard for people to compare
musicians by. In this respect, interpretation in music is paramount. The
scope for interpretation on the stage is much greater but people have
expectations regarding music.’
This will be Boxer’s third Celebrity Gala. ‘They’re interesting,’ he says
enigmatically. During the last one I stopped in the middle and had to
apologise. In fact, I decided to turn it into a bit of a comedy routine. To
be honest, I can’t remember what I was playing because Lucy was more
prescriptive in most years. This year we can choose what we play.’
In fact, Boxer has chosen to play a duet, Alec Rowley’s Six Short
Dance Impressions Op 41 No 4, but there’s been a snag. ‘My other half
has dropped out with nerves. Fortunately, Lucy says she’ll deputise
for him!’
Boxer’s father was a pianist and Boxer himself won a choral
scholarship to New College Oxford at the age of ten. He continues to
have piano lessons but is dreading the grand piano he’ll be playing in
the gala. ‘It’s an amazing instrument, but it has keys that are so heavy
and deep you need a mallet to press them, while your fingers almost
disappear from sight. It’s intimidating but not as intimidating as
playing to all those people!’

LAST CHANCE TO ENTER - LAST CHANCE TO ENTER - LAST CHANCE TO ENTER

Composing
2022

Competition
Compose your own piece and WIN a Kawai piano
THE PRIZE
• WIN a Kawai ES520 piano – worth £1,111 – • Concert pianist Chenyin Li will record
complete with a matching designer stand your composition for the Pianist
(RRP £145) and pedal unit (RRP £130). Choose magazine album
between either black or white
• Be interviewed for an exclusive feature
• Have your winning score featured in a future inside the magazine
issue of Pianist magazine

ENTER ONLINE AT:

www.pianistmagazine.com
Entry closes Monday 6 December 2021
All terms and conditions available to view on the Pianist website

73• Pianist 123

MAKERS

VIRTUALLY Known for its myriad sounds and plentiful

editing possibilities, Pianoteq is enjoyed by

GRAND
composers and performers alike.
What does %RHVI[)EPIWthink of the
French company’s latest version?

P
ianoteq, recently updated to version 7.4, has been present) add-on instrument packs.
with us for some 15 years and is widely fêted as one Both the download and installation of Pianoteq are simple,
of the leading software piano instruments: an taking minutes at most. This is because Pianoteq does not use or
easy-to-use app that will run on any laptop or need a memory-sapping piano sample library (more about that
desktop computer, and which can reproduce an in a moment). The file size is just a tiny fraction of that required
astonishing range of piano and other keyboard sounds. Like by most virtual instruments, making it perfect for use on any
many such instruments, Pianoteq can either be launched and modern laptop.
used for playback within an audio and notation programme or
played as a live instrument using any connected MIDI keyboard 7XERHEPSRISVTPYKMR#
or digital piano. In standalone mode, Pianoteq launches as a full computer
Many computer-based composers love Pianoteq for its programme, with an interface which includes MIDI file loading
authentic piano sounds and flexibility, while stage performers and playback features as well as the main piano interface. This
welcome it as an ideal and reliable solution for live piano will be quickly understood by anyone with a knowledge of the
performance. Home pianists may well agree with me that it also piano and some music software experience. The whole
offers a cost-effective and inspiring expansion to the pallet of programme can be quickly accessed and explored with just a few
sounds included within their digital piano, even surpassing mouse clicks.
many of the best sampled pianos included in typical home Used standalone, Pianoteq can be used in conjunction with
instruments. any MIDI keyboard input, from mini desk keyboards used for
So let’s consider what makes Pianoteq so special, how it differs music sequencing, right up to any electric stage or home digital
from other software pianos, and which of the various packages piano. An easy set-up panel helps you choose and swap between
offers the best value. any devices recognised on your computer. For best results, you
will want to use a decent audio interface and studio speakers, or
;LEXMW4MERSXIU# a good pair of headphones.
Pianoteq is available for any computer running Windows, The pianist can play any installed piano instrument, edit, and
macOS, and Linux. It can be used either in standalone mode or save sounds, and record their performance as a MIDI file. The
as an instrument plug-in within software that hosts the VST, software can also render this as a compressed MP3 or
AAX, and AU formats: digital audio workstations such as Pro professional-quality audio file, which can then be uploaded to
Tools, Ableton Live, Logic, Cubase and notation programmes the internet or burnt onto CD for example.
such as Sibelius and Dorico are all ideal. One thing that can’t be done in standalone mode is edit the
The software must be purchased from the website of its MIDI file. For this, you need to use digital audio or notation
developer, the French company Modartt, as a digital download. software, running Pianoteq as a plug-in within it. This is a
There are three versions to choose between depending on your seamless process and opens Pianoteq to a range of more
needs, and it is possible to upgrade from one to another: advanced uses, including at the most basic level editing your
• Pianoteq STAGE (€129) is a good choice for budget- performance to clean up the notes and timing.
minded piano players who do not need to modify the sound in
detail, and who are basically looking for an excellent software %³JSYVXLKIRIVEXMSR´TMERS
piano to play and record with. The main distinctive of Pianoteq has always been its dependence
• Pianoteq STANDARD (€249) is ideal for those who want on physical modelling synthesis to create sounds from scratch
to customise their piano sound a little more; it offers users the rather than using a library of pre-recorded samples.
chance to tweak or retune the piano sound, reposition the The software grew out of academic research at the Institute of
virtual microphones recording it, or even layer and morph Mathematics of Toulouse, INSA, and has subsequently been
between two instruments. developed by French company Modartt, who describe Pianoteq
• Pianoteq PRO (€369) is the high-end version suitable for as a ‘fourth generation’ piano.
professional sound designers and aspiring piano technicians, Modartt identify acoustic pianos as the first generation,
offering still more detailed control over individual note editing electric pianos as the second, sample-based instruments as the
parameters and overtones. third, and modelled pianos as the fourth. For context, most
digital home pianos are sample-based instruments, although
Additional instrument recreations, which can be used in any Roland have been pioneering the use of modelling in their
of the three versions, can be purchased as downloads costing recent home digitals.
€49 each. And there’s also Pianoteq STUDIO (€799), a Modelling technology uses advanced computational
discounted bundle including Pianoteq PRO with all (18 at algorithms to simulate the playability and complex behaviour of
V

74• Pianist 123

MAKERS
real acoustic instruments. The piano sound is mathematically than samples. From selecting from a range of more than 20
constructed in real time, based on a deep analysis of the tuning temperaments to altering the physical dimensions of the
behaviour of the original piano instruments it emulates, and piano itself, Pianoteq offers undreamed of options for
responding to how the player strikes the keys and interacts with experimental customisation!
the pedals. Simply put, Pianoteq takes account of the full Furthermore, the lower section of the screen can be opened to
complexity of a real piano in ways that sampling technology reveal the virtual microphone settings, the positioning of which
doesn’t allow for, and the ability to edit a sound before it has can have a surprising impact on tone:
even been created.
This all makes Pianoteq a far more vivid, responsive, and
playable piano, even when using the most basic Pianoteq
STAGE version. Both the flexibility and authenticity of the
software are astonishing.

'LSSWIERHIHMX]SYVTMERS
Pianoteq STAGE includes two modern grand piano models as
well as several outstanding historical instrument recreations.
You can expand this by adding any of Modartt’s add-on
instruments, and these are preinstalled in demo mode for you to
try out.
The interface allows the player to automatically calibrate the
response of the velocity curve to match the quirks of whatever
MIDI keyboard or digital piano they are using to play Pianoteq.
It is also possible even at this entry-level to edit basic parameters
of the physical piano model, virtual microphones, and to add
audio effects such as EQ and reverb.

There is plenty here to keep most of us more than happy for

some considerable time, but those who are interested in
exploring the still-more advanced options of Pianoteq PRO
would do well to find out more from the Modartt website.

1SVITMERSW
So just how good does Pianoteq sound? This is of course the
most important test.
In the early days, being honest, it didn’t compete well with
the richer tones of sampled instrument. However, that has
certainly changed in the past decade, and today Pianoteq
unquestionably delivers a range of outstanding, uncompromised
piano sounds.
Different elements of the interface click open to reveal more The basic purchase includes a stunning Model D authorized
editing settings, and the excellent included effects offer pre-set by Steinway & Sons, with two variants: Hamburg and New
settings to help those who aren’t versed in recording techniques. York. The latter, based on recordings made at the famous New
Moving up to Pianoteq STANDARD (which I recommend York Steinway Hall, features the new flagship Model D Spirio|r.
you do, subject to your budget), far more instrument editing Among the catalogue of additional instruments available for
possibilities present themselves, as you’ll see from this screenshot purchase, there’s a dizzying array of legendary pianos, all
of the added parameters: including multiple pre-set configurations, and all authorised by
their manufacturers. This is telling, because in many cases these
most expert listeners haven’t approved sample libraries or
alternative software renditions of their iconic flagship pianos.
Top choices include instruments from Blüthner, Bechstein,
Petrof, Grotrian, Steingraeber, a fabulous Ruckers harpsichord,
and historic pianos from the Karsten Collection and Austria’s
Kremsegg Schloss Museum. There are also instrument packs for
Fender Rhodes, Wurlitzer and Hohner electric pianos, celeste,
and percussion from vibes to marimba and steel pans.
By now it is no doubt clear that Pianoteq is a truly stunning
piece of software. You don’t need to take my word for how great
Pianoteq sounds and plays of course, because you can try the
free demo for yourself. Enjoy! n
Here we see the crux of Pianoteq’s instrument editing
complexity, all made possible by using physical modelling rather www.modartt.com

76• Pianist 123

 MAKERS

PIANO ǧ
A handy digital, an entry-level upright and a collaboration between giants Steinway
and Henle are the three products put to the test by1EXX%WL

L
earning to play should be content using their Chordana Play for combination of feel and sound and are
accessible to all, and for some Piano and Music Academy apps, and well worth the additional outlay if you
the cost and practicalities of a through a partnership with Rockschool have the money and space.
full-sized digital or acoustic Music. This adds to the accessibility of
piano are challenging. This is where a the instrument, offering engaging ,IEZ][IMKLXWYRMXI
product such as the Casiotone CT-S1 learning experiences where piano At the opposite end of the spectrum,
fits in, offering a compact and portable lessons are out of reach. Steinway x Henle is a new partnership
instrument on which new players can The CT-S1 is a ‘good fun’ choice between piano maker and music
learn some of the basics, and players within the range on offer from Casio, publisher, offering new Steinway
with an interest in composition can and it’s a keyboard you may wish to owners credits towards the purchase of
develop their musical creativity. It is keep long-term as a composing tool or sheet music in the Henle Library app.
also a good potential tool for players of for practice when travelling. Any I haven’t yet ventured into the world of
other instruments who are studying learner developing their playing beyond digital scores (I enjoy turning to my
harmony at A Level or as part of a the basics, though, will need to step up dove-blue Henle books), but they are
degree. The CT-S1 (pictured, above) to at least an 88-key digital piano with gaining traction with a wide range of
offers more piano-focused qualities graded hammer action as circumstances players and teachers, and I can see the
than you might expect, and it steers allow. Casio’s new PX-S1100 (RRP potential advantages. The official
clear of the distracting features of £615) and S3100 (RRP £839) are Steinway x Henle press release cites
electronic keyboards such as Casio’s amongst the possible options here, advocates including Igor Levit and
own CTK-series. preferably with Casio’s dedicated stand Emmanuel Ax, both pianistic
The CT-S1 is relatively affordable at to ensure correct keyboard height. heavyweights. It will be interesting to
£255 (RRP), looks attractive, and feels These models offer a more sophisticated see whether similar collaborations
well-constructed at this price. It is a
direct competitor to Roland’s
GO:PIANO GO-61P, with 61 full-size
touch responsive keys offering a
textured finish that feels good at this
level. The surprisingly natural piano
sounds benefit from a bass-reflex stereo
speaker system which adds some depth,
and there’s a nice array of additional
sounds with a basic recording function
that is easy to use. The packaged music
desk is sturdy, and an optional sustain
pedal is available.
The CT-S1 has built-in USB
connectivity for use with a tablet or
computer, and an optional Bluetooth
adapter adds audio streaming and
© Henle Verlag

wireless MIDI which I found works

well. Casio offers online learning

78• Pianist 123

develop between other piano makers
and publishers – although I couldn’t
ever completely leave behind the
tactility and easy pencil marking of a
physical score.

=SYV½VWXYTVMKLX#
Time now to turn to the fiercely
competitive entry-level acoustic piano
market. Established German makers
have for some time offered affordable
ranges under different names, and
C.Bechstein’s brand at this price point
is Zimmermann. The recently
launched Zimmermann Studio S2 is a
114cm upright offered in the familiar
black polyester finish at £4,590,
placing it just above the price point
where new acoustic pianos become a
viable option. The Studio S2 is, in
common with the rest of the
Zimmermann range, made in China to
Bechstein’s design and specification
with quality control certified by a
five-year C.Bechstein warranty.
Promotional literature for the Studio
S2 emphasises that ‘Playing on an
acoustic high-quality instrument from
the very beginning trains your fingers
and your hearing in a very special way’,
and that ‘The quality of the instrument A commonly cited argument is that an with silent capability is a more flexible
is crucial…’. It is hard to argue with acoustic requires regular maintenance choice. On these pianos the celeste rail
this, and there is something reassuring whereas a digital hybrid is maintenance operated by the middle pedal is usually
about a premium maker having the free, but in truth we are yet to see how replaced with a stop rail which blocks
confidence to display their name below this works out. Hybrids produce their the hammers from hitting the strings
the distinct branding of an entry-level sound digitally and so don’t need (some makers use a separate lever to
range. This is a practice also followed by tuning, but any instrument based engage the silent mode). Sensors then
feed a discretely placed box into which
you can plug headphones and hear a
digitally produced sound. The
If circumstances allow, an acoustic with Zimmermann Studio S2 VARIO is

silent capability is a more flexible choice priced at £6,390 (RRP) in black

polyester. Other makers offer similar
versions of their pianos including
Kawai (ATX3), Schimmel (TwinTone),
Schimmel (Fridolin), Blüthner (Irmler) around a complete piano action (e.g. and Yamaha (Silent). At a more
and Steinway (Essex), though in every NOVUS and AvantGrand) is likely to premium price the Blüthner
case it doesn’t mean you are getting the require some mechanical regulation e-Volution and Kawai AURES systems
same standard of piano offered by their over time. add speakers.
premium ranges. Then there’s the ability to practise Try these new Zimmermann models
You may be reading this and debating without disturbing others. Digital and for yourself as well as competing Essex,
the pros and cons of affordable acoustic hybrid pianos have an obvious Fridolin, Irmler, Kawai, and Yamaha
uprights in comparison to similarly advantage here because of the presence pianos so you can make an informed
priced high-end digital hybrid models of a volume control – and there are purchase based on your own
such as the Kawai NOVUS and situations where this is the best preferences. If you need silent capability
Yamaha AvantGrand models. The solution; however, playing too make sure to try that also, as each
floorspace required for either is the frequently with the volume set low can manufacturer’s system is different. n
same, and both the acoustic and hybrid distort your perception of the
options arrive in one piece rather than relationship between touch, dynamics www.casio.co.uk
the separate keyboard-and-stand and tone production. bit.ly/steinwayxhenle
arrangement of most digitals. If circumstances allow, an acoustic www.bechstein.com

79• Pianist 123

REVIEW

ALBUM reviews
Reviews by.SLR)ZERW,
4IXIV5YERXVMPP and
;EV[MGO8LSQTWSR

/-8%6178632+ =)30)91732 .)%2=:)78,-&%9()8

The Visionaries of Piano Music: Kapustin: Eight Concert Etudes Op 40, Carte Blanche: Works by Brahms, Chopin,
Works by William Byrd and John Bull Sonata No 2, Variations Op 41 etc Elgar, Gould, Marianelli, Sancan, Scarlatti,
(IYXWGLI+VEQQSTLSR486 0583 3R]\4222 Schubert, Gershwin arr. Wild etc
(2CD) +++++ (IGGE485 2081
+++++ While Gunther +++++
Intricate but essential Schuller was To celebrate his 60th
listening. Most of pioneering a ‘third birthday this year,
us are happy to play stream’ of classical- Jean-Yves Thibaudet
and listen to Bach jazz fusion in 1960s has – in defiance of
and Couperin on the New York, Nikolai the usual tradition
piano. Why not the Kapustin (1937-2020) – given himself
16th-century English was doing the same in a birthday treat,
virginalists? In his Communist Moscow. A formidable pianist in although happily it’s
booklet note and his playing, Kit Armstrong his own right, Kapustin left some recordings one he’s sharing with the rest of the world.
makes the most persuasive case for these but they have recently been superseded And what a treat it is. A disc of his personal
melancholy pavans, extravagant fantasias by the phenomenal technical finesse and favourites, held together by nothing more
and playful variation sets as masterpieces feeling for swing demonstrated by Marc- than his obvious delight and passion for
of keyboard writing to be enjoyed on any Andre Hamelin, Steven Osborne (both on every note of the chosen repertoire: ‘a disc of
instrument. Mind and ears are set racing to Hyperion) – and now Yeol Eum Son. The desserts’ as he puts it. He’s super playful in
catch up with Armstrong’s fingers and florid Prokofievian torrents of the Second Sonata Sancan’s jokey Boîte à Musique, charmingly
ornamentation in Byrd’s complex reworkings hold no terrors for her, and she luxuriates wistful in Earl Wild's arrangement of
of folksongs such as The Woods so Wild and in the blues harmony of Moon Rainbow. Gershwin’s Embraceable You, and Gould’s
John Come Kiss Me Now. He brings a Lisztian The Eight Concert Etudes bring some Boogie Woogie Etude brings out the campy
freedom and virtuosity to bear on the more breathtaking dexterity and finger control: it dancefloor beast in him. Dario Marianelli’s
outlandish invention and raw passion of takes something special to make any music Schubertian film music for Pride and
John Bull’s style. Amid all the flourishes and sound so effortless and yet vertiginously Prejudice proves to be an absolute charmer,
folderol, Armstrong also understands the difficult at the same time. Her cool, lazy way too. You want plumptious or poetic, silly or
power of simplicity: in Bull’s My Grief, for with the Variations (on the opening melody stonking, bold or bittersweet? It’s all here.
example, and Byrd’s mesmerising evocation of of Rite of Spring) demands an instant replay. What a range he has. And what a talented
a peal of bells. PQ Hats off. PQ birthday boy he is. WT

-13+)2'334)6 78)4,)2,39+, 4%900);-7

Le Temps Perdu: Works by Fauré, Liszt, Ravel Chopin: Nocturnes Haydn: Piano Sonatas Nos 20, 34, 51 & 52
and Respighi ,]TIVMSRCDA68351/2 (2CD) ,EVQSRME1YRHMHMM902372
'LERHSWCHAN 20235 +++++ ++++
+++++ Stephen Hough For the second
The title of this disc is looks out impishly volume of his survey
taken from Proust’s À at us from the of Haydn’s piano
la recherche du temps booklet notes of sonatas, Paul Lewis
perdu (in search of lost this recording. He turns his attention
time). For Cooper, the seems to be saying: to two of the big
lost time is a reference ‘So you think you beasts in the canon:
to the pieces she know these pieces? the heavyweight C
learned as a teenage Well, have I got a surprise for you.’ The minor (XVI:20), and the mighty E flat major,
student in Paris and, later, as a 20-year-old surprise is their freshness. We shouldn’t with its chromatically forward-looking slow
studying with Alfred Brendel in Vienna. The be surprised, of course; Hough’s playing movement (XVI:52). Balancing these are the
period spanned the early 1960s to the early is always insightful, but here he surpasses flighty D major (XVI:51) and genial E minor
1970s, a time Cooper writes most eloquently himself with performances that transport (XVI:34). Lewis studied with the famously
about. Her accompanying essay offers a you to the Paris salons where Chopin Haydnophilic Alfred Brendel, and you can
fascinating glimpse into the development presented his Nocturnes for the first time, hear how much he has absorbed from the
of a young pianist, her relationships with delighting in their characters and indulging earlier maestro. There are tender whispering
her teachers and the changing times she his improvisatory instincts. Under Hough's phrases, exciting juxtapositions of tone,
lived through. It also offers insights into fingers, each Nocturne becomes a small story. and an overall sense of joie de vivre. Lewis
how the passing years have informed her He writes how opera was Chopin’s favourite steps up to the Lisztian drama of the slow
performances of the pieces on the disc, pieces art form and singers, not pianists, his musical movement of No 20 in a uniquely bold and
she has never performed in public. ‘What heroes. Hough explores the vocal dimension arresting way, too. His disappointing decision
has happened to them, cocooned inside me in the Nocturnes with playing that reveals not to vary his phrasing in repeated material
and unaddressed for half a century?’ she their long, singing lines – but he’s not afraid leads to occasional periods of flatness,
writes. They’ve blossomed into sensitive and to explore their darker side either, his playing however, and some of the quicker tempi
characterful readings, that’s what. These are conveying their shifting moods like cloud (the Presto of No 52, for example) feel a bit
fine performances by a finely tuned artist. JE shadows passing over a field. JE pell-mell. WT

80• Pianist 123

REVIEW

SHEET MUSIC REVIEWS Reviews by1MGLEIP1EG1MPPER

'394)6-2 (3&6>=Ƙ7/- 8,)6978=

Les Baricades Two Nocturnes 4-%2-78
Mistérieuses ƞ)0)Ƙ7/- Pam Wedgwood
'4)&%', Six Character Pieces *EFIV1YWMG
Solfeggio Op 17 ISBN10: 0-571-54196-8
)HMXMSR4IXIVW 4;1)HMXMSR This book is written
ISMN: 979-0-014-13683-3 ISMN: 979-0-2740- for adults returning to
(Couperin); -13682-6 3371-2 (Nocturnes); the piano with some
(Bach) -3422-1 (Op 17 Bk 1); rustiness in their playing after years spent
The enigmatically -3423-8 (Op 17 Bk 2) in the wilderness. It contains 21 pieces,
titled ‘Les Baricades Ignacy Dobrzyński 12 of which are original compositions by
Mistérieuses’ was published around 1717 studied composition with Józef Elsner at Pam Wedgwood; the remainder are good
as part of Couperin’s Second livre de pièces the Warsaw Conservatory, where he was arrangements of famous pieces such as
de clavecin. It is a four-page piece in rondo a classmate of Frédéric Chopin. He wrote Chopin’s ‘Raindrop’ Prélude, or Down by
form, around Grade 7, with three couplets eight Nocturnes for piano within a span of the Salley Gardens (arr. Wedgwood). So it
inserted between four appearances of the two decades, and these share similar textures is essentially a repertoire book of pieces
eight-bar refrain. Featuring syncopated and melodic characteristics that we associate around Grades 4-5, but there are some
harmonies that create a mesmerising effect, with Field’s or Chopin’s nocturnes. These additional features that cater to its target
this single edition from Edition Peters Nocturnes in A major and F minor are no audience. Firstly, a three-page pull out of
benefits from clear and spacious presentation exceptions, and these attractive works can ‘Rusty Reminders’ provides some useful
and is printed without fingering suggestions. be tackled by Grade 8 pianists. Władysław practical (e.g. pedalling) and theoretical
Bach’s Solfeggio is a popular two-page Żeleński joined the teaching faculty at the information (e.g. Italian terms) that can
piece that has been set on exam syllabuses Warsaw Conservatory around half a century be cross-referenced with the pieces. And
at Grade 6. It is an excellent piece to after Dobrzyński left. His Six Character secondly, there are brief performance notes
develop a student’s precise coordination and Pieces range in length from three to ten and an inspirational quote below the title for
evenness between the hands, and its inviting pages, with the trickiest numbers best each piece. I expect the typical adult student
semiquaver passagework and prestissimo approached by Grade 8+ pianists. Plentiful would likely prefer the balance of repertoire
indication often leads youngsters to test the fingering suggestions are included, and the to favour pieces they know, but Wedgwood’s
limits of their finger speed. This piece is writing is pianistic, representative of the own compositions are pianistically written
available from many sources, but this edition period, and interesting enough to warrant and will unquestionably help to progress
is worth considering if you’re happy to work exploration by pianists looking for less well- one’s playing.
out your own fingering and insert a forte known works written in a Romantic style.
indication that is missing on the third beat
of bar 29. &)+-22-2+
7',9&)68 .%>>4-%23
Sonata in G Op 78 D894 Tim Richards
'3928(3;283 ,IRPI 7GLSXX
',6-781%7 ISMN: 979-0-2018-1362-2 ISBN: 978-3-7957-
Darren Day This is one of only three 2282-1 (Part 1); -9931-1
(EVVIR(E]4MERS piano sonatas by Schubert (Part 2)
ISBN: 979-8-464-42230-8 that were published Tim Richards wrote
This is a self-published during his lifetime. Beginning Jazz Piano in
book by Darren Day, a The original publisher, Tobias Haslinger, response to requests for
British composer and announced the work as a ‘Fantasie’, perhaps a book with an easier learning curve than his
teacher. 25 pieces represent a generous to boost its sales. At any rate, it is a piece acclaimed method, Exploring Jazz Piano. The
amount of material, with 21 arrangements of of considerable length, taking around first book is aimed at newcomers to jazz, and
Christmas carols and songs, and four original 40 minutes for a complete performance. a working knowledge of how to read musical
solos by Day. The writing lies well under Henle’s previous edition of the piece from notation will be needed, especially if working
the hands, and is appropriately arranged around half a century ago is out of print as on your own. Both books contain 100-odd
for its intended market of Grade 1-3 a single copy, though still available as part pages and include plentiful and thorough
pianists. Lyrics are printed, and QR codes of the publisher's second volume of sonatas, explanations of concepts and exercises to
are provided for each piece, allowing you to edited by Paul Mies. Henle's new edition develop your understanding and ear for the
play along to a backing track. These are all benefits from an improved typeface, and genre. Some will appreciate the breadth and
positive attributes; the best arrangements at the fingering suggestions by Hans-Martin depth of detail but I imagine others will
this level are as simple as they can be whilst Theopold have been replaced by those of find the dense presentation rather daunting
retaining much of the original harmony Martin Helmchen, a German pianist. There and intimidating. To complete the package,
and character, but there aren’t many are few modern alternatives to choose from downloadable audio files are included with
arrangements here that sound inspiring to if you’re after a copy of just this sonata so the books, providing both backing and
play, and some harmonic choices (in Hark! buyers have a simple choice – if you want complete tracks for all the pieces. There are
the Herald Angels Sing, for example) don’t editorial fingering, get this book. If not, buy other ways to learn to play jazz, but this will
improve upon the original. Bärenreiter’s edition. suit logical, step-by-step learners.

82• Pianist 123

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83• Pianist 101

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