DECEMBER 2017 - JANUARY 2018

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WORTH OVER 20
No 99
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ADVICE
FROM THE
EXPERTS
Beginner duets
to explore and enjoy
Essential tips to
increase your speed
DYNAMIC Build your

DUETSThree top piano duos talk

repertoire
to last a lifetime

about the joys of duetting

12 LEARN PIECES TO
ALL LEVELS AND ALL STYLES
Jazz Lesson
Start improvising!
PLAY THE JAZZ STANDARD
TAKE THE Career opportunity
BECOMING A
A TRAIN PIANO TEACHER

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 Pianist 99
December 2017-January 2018 CONTENTS
The next issue of Pianist goes on sale 26 January 2018

76

80

82 12 8
4 Editors Note Plus three copies of 22 How to Play 2 Janet Newman coaches 75 Subscribe today for just 4.50 an issue
the Editors Choice CD to be won your listening skills in the Berceuse from by direct debit and receive Play the Piano
Faurs Dolly (Scores page 54) and Keyboard Made Easy, worth 9.99
6 Readers Letters
24 How to Play 3 Lucy Parham takes you 76 Intimate alliances Nils Franke
8 News Duo competition in Bucharest; through one of Rachmaninovs loveliest explores the origins of piano duets and
Argerich and Babayan in Cleveland; Preludes, Op 23 No 4 (Scores page 62) advises on the duets inside this issue
a new instrument museum online,
plus win a Bartk T-shirt 27 The Scores A 40-page pull-out section 80 How to be a piano teacher
of sheet music for all levels: includes Sally Cathcart outlines some essentials,
12 Duets in Focus Warwick Thompson a Nielsen folk tune, a Christmas number from a secure technique to passion, vision
talks to three partnerships: Anderson and from Respighi and Take the A-Train and good admin skills
Roe, the Jussen brothers and Apekisheva
and Owen. How do they rehearse? 45 Beginner Keyboard Class 82 Inside the Bechstein factory
What do they like to play? Do they fight? Hans-Gnter Heumanns Lesson No 26: John Evans gets an exclusive tour
Exercises for chords and arpeggios of the German firms home
16 How to Play Masterclass 1
Mark Tanner encourages you to play to 67 Worbey & Farrell Question time 86 Yamahas new CLP series A new
your strengths when it comes to the art of with the duo who like to put on a show Clavinova that accompanies you
choosing (and maintaining) your repertoire
70 Learning Jazz Piano with Dave Jones. 88 Sheet Music Review Handy duet
18 How to Play Masterclass 2 Lesson No 1: Major-key chord progressions books, film themes and Debussys Prlude
Graham Fitch unveils a technique laprs-midi dun faune arranged for duet
to help you practise and play faster, 72 Theory Nigel Scaife explores ternary form
with controlled stops with the help of a famous Prlude by Chopin 89 CD Reviews Duet versions of Debussy,
Richard Strauss and Brahmss Piano Quartet;
20 How to Play 1 Melanie Spanswick 73 Inside Issue 100 Looking forward Poulenc and John Adams for two pianos
gets you up to speed with a nippy little to the highlights of our special anniversary
Scherzo by Moscheles (Scores pages 38) issue, including extra scores 90 Classifieds
Cover photo: Carli Herms. Images this page, clockwise from top left: Richard Watson; Roger Mastroianni; John Evans
Notice: Every effort has been made to secure permission for copyrighted material in this magazine, however, should copyrighted material inadvertently have been used,
copyright acknowledgement will be made in a later issue of the magazine.

p03_Contents-FINAL2.indd 3 10/11/2017 13:48

 DONT MISS OUR FREE
TAP HERE TO WATCH ONLINE VIDEO LESSONS
A WELCOME FROM THE EDITIOR www.youtube.com/user/PianistMagazine

Editors note Pianist

I
f youre a recluse, the life of a solo pianist will suit you down
to the ground. But if youre a bit of a social animal, its harder. www.pianistmagazine.com
Think of the hours we spend at the piano, day in, day out,
PUBLISHER
exchanging barely a word with anyone else of a musical nature Warners Group Publications plc
(perhaps apart from a weekly session with our teacher). Thats Director: Stephen Warner
where duets bring both light relief but also meaningful interaction. Publisher: Collette Smith
Inside this issue we devote articles and scores to the world of the piano EDITORIAL
Warners Group Publications
duet in the hope that they will prompt you to find your primo or 31-32 Park Row, 5th Floor, Leeds LS1 5JD
secondo partner. Editor: Erica Worth
Warwick Thompson speaks to three top duettists on the circuit today. editor@pianistmagazine.com
Tel: +44 (0)20 7266 0760
They might be quite different personalities from their partners, but Deputy Editor: Peter Quantrill
they are 100% keyboard buddies. You can find out on page 67 about deputyeditor@pianistmagazine.com
Marketing: Lauren Beharrell
a more off-beat duo, Worbey & Farrell, their imaginative approach to lauren.beharrell@warnersgroup.co.uk
repertoire and the fun they have, on and off the stage. Nils Franke takes Senior Designer: Nathan Ward
us through the history of the piano duet, and he offers invaluable tips ADVERTISING
for playing the duets inside this issues Scores section. As a distinguished Gareth Macfarlane, Advertising Manager
garethm@media-shed.co.uk
pianist himself, hes keen to remark on the importance of ensemble Tel: +44 (0)845 226 0477
playing. As he says, by listening and responding to others, we learn so much about our own playing which Fax: +44 (0)845 226 0377
benefits our own solo playing.
Five four-hand duets inside the Scores section include both unknown gems (Balakirev and Respighi) READER SERVICES
and classics such as the Berceuse from Faurs Dolly suite. We thought you might welcome some in-depth
help with this one, so theres a lesson by Janet Newman on page 22. However, you dont need company for UK & WORLD SUBSCRIPTIONS Ed
(EXCEPT USA & CANADA)
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Prelude, which was a piece I learned so securely years ago. Mark has come up with some valuable advice You can subscribe online, via email,
on page 16. Graham Fitch touches on the same subject, two pages later, when he looks at Chopins fax or by telephone: Ba
Website: www.expressmag.com
Scherzo No 3. Having happy memories of playing the Rachmaninov Prelude in recitals, I have presented Email: expressmag@expressmag.com
the score complete, with a detailed lesson from Lucy Parham. Do try learning it and take Marks advice, so Toll-free number: +1 (877) 363 1310 C
Tel: +1 (514) 333 3334
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ERICA WORTH, EDITOR Email: lauren.beharrell@warnersgroup.co.uk
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Answer the question below correctly, and you could be one of three lucky winners Registered Address :Warners Group Publications,West Street, Bourne,
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to receive this stunning release of Debussy and Richard Strauss transcriptions for Reproduction in whole or in part without written permission strictly
prohibited. Every care is taken in compiling the magazine and no
two pianos. Its the Editors Pick of our CD Reviews this month (see page 89). responsibility can be taken for any action arising from information given
.
on the papers. All information, prices and telephone numbers are correct
The deadline for entries is 25 January 2018. at the time of going to press. No responsibility can be taken for
unsolicited manuscripts, photographs or transparencies.
Printed by Warners Group Publications plc.
Who wrote two sets of Slavonic Dances for piano duet
A: Dvok B: Janek C: Fibich Pianist ISSN 4200395 is published bi-monthly (six times a year in
February, April, June, August, October, December) by Warners Group
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Publications c/o Distribution Grid at 900 Castle Rd Secaucus, NJ 07094,

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4 Pianist 99 ISSN 1475 - 1348

p04-editorial99.indd 4 14/11/2017 10:57

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

STAR LETTER article (Pianist 97) reminds me of the advice

from the Open University, to make a place to
TRACK 9 Jules MASSENET (1842-1912)
work and set aside a regular time each day. If only!
Mditation is my meditation
Mditation from Thas INTERMEDIATE

On occasion I worked for my degree in hospital,

The subject of Massenets hit opera was
a courtesan turned saint, first recorded
legend in the 10th century. The story was as a
filled out and spiced up as an anti-clerical
satire by Anatole France in a scandalous
novel published in 1890. The operas premiere
in 1894 also caused a stir when the soprano
Sibyl Sanderson, for whom Massenet wrote
the title role, accidentally exposed her bust
mid-aria. The Mditation is placed at the
fingers more comfortably than you might
think from the page. Dont rely on the
given fingerings, but use them as a guide.
Ample pedalling also means you dont
need to rely on the fingers to create legato.
The LH is challenging and should be
practised on its own, very slowly. Even
if the tempo is a calm Andante, theres lots
jumping around and, of course, it all of

or halfway up a mountain, and once for six hours

heart of the opera, but returns in Act 3 to
underscore the priest Athanals anguish
the deathbed of the sensual Thas, who over
is at the last granted a vision of heaven.
Playing tips: Lots of slow, precise practice
will reveal that the notes fit under the
needs to sound effortless! Savour those
gorgeous, floating moments such as the
descending RH triplets in bars 14-15.
Pedal tips: One pedal change per bar at
the outset, but more later on (two changes
per bar in bars 7-8, 14-15 and so on). Your
ear will be your best guide.

I have fallen in love with the Massenet Mditation (Scores, Pianist in a National Trust car park.Sometimes I
Andante religioso

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98). I had no idea this exquisite piece existed in a solo piano managed a regular time for a week or so but
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its a little ambitious for my level of playing (Im around Grade time. I still got a First and had tremendous fun
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it perfected by the New Year. Its also good for helping improve I find the same is true now I am learning the
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a tempo

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dexterity in the left hand, which is always a bugbear for me. piano again.I grab what time I can, the piano is
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Even the marking above the score, Andante religioso, is inviting! 5
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digital, I rely on advice from a couple of friends
Thank you for featuring it. With every issue of the magazine 13
# f
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who play professionally, and if I waited for the
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comes a discovery. Youve introduced me to the likes of Fibich, conditions to be right, I wouldnt even have
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f #f f f f f f
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Lyadov, Cervantes and dozens more. fF
52 Pianist 98
started.In fact the only thing that is non-
Yvonne Kemp, Norwich P52 SCORES Massenet-FINAL.indd
52

12/09/2017 11:09
negotiable is practise intelligently. Im still having
tremendous fun.
We suggest that you read Mark Tanners article on page 16 in which he talks about building and Cherri Graebe, Yorkshire, UK
maintaining repertoire. The Mditation is the type of piece that you want to keep in your fingers for years
to come! Were sure you will also enjoy many pieces inside this issue, such as the Nielsen and Moscheles. JAZZ
A couple of the duets the Balakirev and Respighi, for example may come as a welcome surprise.
Meanwhile, a surprise CD is on its way to you.

Composition critiques but I cant make progress as I try to work out how
I have recently started writing pieces for the piano. to overcome this problem. LEARNING
Entering the first Pianist Composing Competition
gave me additional focus, made me consider more
what I was trying to convey, and made me
David Walker, Sheffield

Any diagnosis offered remotely would be unwise.

JAZZ PIANO

evaluate my music in more detail and depth.
I am sure I speak for many of the entrants when I
say, Feedback would be much appreciated. I
Do look for a teacher who is used to dealing with
injuries. The British Association for Performing Arts Jazz pianist and educator Dave Jones introduces his new column for Pianist.
Learning how to improvise isnt rocket science: its a matter of being open to the jazz way
Medicine should have a list of accredited or at least
I
m very pleased to say that Im the new jazz writer for Pianist Dave Jones is a pianist, composer, producer,
magazine, and over the next few issues Ill be providing a series of teacher and writer. His work as a jazz pianist

realise it may not be possible to publish a review of
recommended teachers:http://www.bapam.org.uk/. lessons to teach you how to begin playing jazz piano. Where does a
pianist with little or no experience of jazz piano begin? By buying this
magazine I hope but in this introductory piece Id like to share
some of my own musical experiences, to explain how I got into jazz
takes him to the US, India, France and
Ireland, performing at festivals and giving
masterclasses and workshops. He has

all entries, perhaps only the top 10. And,if you felt
Good luck!
taught students of all ages and up to
and what I hope youll learn from this column. Masters level, and co-devised and authored
At a young age I wanted to play mad piano, as I called it, and I began BA programmes in music, including a new
lessons at the age of five. Thanks initially to my sisters interest in the piano, module on improvisation. Critically acclaimed

that it might not be wise to publish this, perhaps a

and also to the music ringing around the family home (an eclectic mix of recordings have led to commissions for TV
popular classical, vocal and big-band jazz, motown and glam rock), I became and film, and some of his tracks have
enthused enough to work my way through a few beginner books and early recently been used in The Big Bang Theory,

Mechanical marvels
ABRSM grades. Having changed teacher I discovered a wider variety of piano Late Night with Seth Meyers and Location,

short private review could be made available. music, and the beginnings of composition. Doing the ABRSM Grade 8 got
me to music college, and into the wider musical world.
During my later piano studies with Philip Mead, I started to develop
a curiosity for jazz that took root when I attended the first-ever Jazz and
Location, Location. Dave also writes for Jazz
Journal magazine. www.davejonesjazz.com

Since then I have taught music for decades to every stage of learner from

David Green, Leicestershire
I was tickled to read in Pianist 98 that Selfridges Rock Summer School at the Guildhall School of Music and Drama in 1983.
This inspiring week changed the course of my music making, as I met some
of the UKs best jazz musicians and teachers, including the late pianist John
beginners up to degree and masters students. I write for Jazz Journal
magazine: The Classical Tinge was a series of articles in which I explored the
influence of classical music (in the western European tradition) in jazz, with

is installing a self-playing Steinway Spirio piano

Taylor and the jazz education author Lionel Grigson. A staff-member at the reference to improvisation in classical music. I also compose music for TV
Guildhall, Lionel gave me a handful of private lessons during the following and film, and run a private practice for piano tuition, sometimes via the
months, but he was one of those teachers who could offer you more in a few technological wonder of Skype.
hours than most could in years.

This year we will feature the top shortlisted
in its Oxford Street store, as part of the companys With the exception of a few jazz weekend courses and workshops, I did
the rest of my jazz learning myself and from fellow musicians. Opportunities
with bands came my way, and professional gigs followed. My debut CD was
What to expect?
Pianist readers often write in on the subject of improvisation. I saw some of
those letters, and I wanted to help. Improvisation is not unique to jazz it

Photos Erica Worth

compositions at www.pianistmagazine.com, so that
drive to promote live music. Im sure the Steinway
released in 1997 and entitled Have you Met Mr. Jones (PARCD507). This was
followed by a string of albums of original material under my own name,
including Journeys (DJT004) in 2010, which was chosen by jazz critic
Jack Massarik as Jazz CD of the Week in the London Evening Standard.
can be found to some extent in most types of music but in these lessons Ill
concentrate on helping you to develop a method for improvising in a jazz context.
Initially, its all about the chords, and how to voice them, so that they
sound like jazz chords. Then its a case of understanding and applying various

everyone can see them. The winning score will be instrument is magnificent, but a self-playing piano 68. Pianist 98

published inside the magazine. Unfortunately, isnt exactly what I understand as live music! p68 Jazz-FINAL.indd 68 15/09/2017 10:12

we cannot offer feedback to everyone, but you are
welcome to contact the editor after the event; she may
be able to respond personally.
Left-hand problems
I recently retired and now have more time to
spend playing the piano. I have looked forward to
this but I have developed a problem with my left
hand. I find myself pressing down with my left
arm, which results in tension and unusual arm
movements as I try counter this and play with
a relaxed arm. I have tried a few piano teachers
locally but they have not been able to help me.
Could you suggest any lines of action to pursue?
It is extremely frustrating when my right arm/
hand does not have a problem. I should know
whats required to improve my left arm/hand,
That being said, I confess to having long had
a fascination with mechanical instruments. More jazz, please!
Last month I visited the Musical Museum at I really enjoyed Dave Joness introductory article,
Brentford in West London something I have Learning Jazz Piano, in Pianist 98. Not many
wanted to do for years and was bowled over music magazines are sent over to Cyprus, so you
by the variety of reproducing pianos, orchestrions can imagine the difficulty of even finding one
and other self-playing instruments invented by that suits your music tastes. So I have been glad
our clever ancestors. One highlight was hearing to find a magazine which not only deals with
Rachmaninov play The Flight of the Bumblebee, classical music but also helps pianists improve
recorded over 100 years ago on a piano roll. their playing.Even though my musical
Age has not dimmed his passagework. background centres on classical music, I am
Orlando Murrin, Exeter trying to broaden my knowledge in other
music genres, including jazz. I am looking
No time for waiting forward to more of Mr Joness articles, examples
I started reviving my piano playing last year, and ideas as far as jazz piano improvisation
having learnt a few other instruments in the is concerned.
intervening 50-odd years. Melanie Spanswicks Ioanna Kyprianidou, Nicosia, Cyprus
6 Pianist 99

p06_letters99-FINAL.indd 6 09/11/2017 12:52

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p07_pianist99.indd 2 09/11/2017 10:39

 News All the latest news from the world of the piano

ARGERICH AND BABAYAN

DUOS TRIUMPH IN BUCHAREST
Its a happy coincidence that
just as this special duet issue
of Pianist went to press, the
winners were announced of
one of Europes premier duo
competitions, held in the
Romanian capital over 10 days
at the end of October.
The Suzana Szrenyi
International Duo Competition
began in 2016 and is named
after the pianist who, born in
the city in 1929, returned there
to join the newly founded
conservatoire as a student after
a childhood spent in Hungary.
Szrenyi was a member of the piano faculty until her retirement in 2010;
she died three years later at the age of 84. She specialised in teaching the
art of accompaniment and duo playing: Between the two partners of a duo,
she remarked, it is impossible for life not to exist, because in a duo, the
partners are equal in importance. A competition is the desire of the two
artists to always make real art.
The second year of the competition attracted 56 applications; it is one
of the worldwide piano competitions recognised by the Alink-Argerich
foundation (www.alink-argerich.org). An elimination round leads directly
into the final, where competitors present a 15-minute recital including one
Classical-era piece. The main jury included Chenyin Li, who (we are proud
to say) records the covermount CD for Pianist.
In the four-hands section of the competition, third prize went to the
Chinese duo of Zhang Tianran and Chen Chaoi. No second prize was
awarded, but first prize was shared between another Chinese duo, Yujie
Kang/Yuxin Jiao, and the Japanese duo of Mika Yamamoto/Mimoe Todo.
In the two pianos section, Ekaterina Berezan/Alina Sherniakova took third
prize, and second prize went to the German siblings Ada Aria and Ead Anner
Rckschloss; first prize of 4000 Euros was won by the Romanian pair of
Florian Mitrea and Alexandra Vduva (pictured above), who have both
IN CLEVELAND
The debut of Martha Argerich on the
stage of Severance Hall, Cleveland,
was announced in the last issue of
Pianist. She gave a recital on 30
October with one of her most
frequent duo partners, the Russian
pianist Sergei Babayan, and happily
the distinguished US journalist and
long-time reporter on the Cleveland
musical scene Donald Rosenberg was
on hand to report on the occasion
exclusively for Pianist.
He writes: This was not an occasion
to bask only in Argerichs supreme
artistry. With Steinway pianos placed
side by side, she sat at the instrument
upstage for the programmes first two works. Any notions that Argerich
would play second fiddle, so to speak, to Babayan were dispelled when
they immersed themselves with fierce resolve into his two-piano
transcription of 12 movements from Prokofievs Romeo and Juliet ballet.
Some of their tempos were so quick that dancers would have been
forced to cross eyes, not to mention limbs. But the visceral impact of
hearing two keyboard wizards in urgent action, notably in the whirlwind
episode in The Death of Tybalt that usually challenges a string section,
prompted the audience to respond with gasps of delight.
Babayan and Argerich maintained the same positions for Mozarts
Sonata for Two Pianos in D K448, which they shaped with heightened
elegance and buoyancy. If you didnt peek, you would never had known
which pianist was playing what so seamless was their sharing and
shaping of material. The Andante wove its miraculous spell as the
collaborators answered one another like friends engaged in intimate
conversation.
Prokofiev was back at the printed programmes end, with Argerich
taking the first part in Babayans transcription of Seven Piano Pieces,
in their US premiere. The collection comprises selections from incidental
music to stage versions of Hamlet and Eugene Onegin, the unfinished film

been resident in the UK for several years; they formed their duet while
studying at the Royal Academy of Music in London.
A third category in the competition was dedicated to lyric-dramatic duos:
the prize-winners were Florina Ilie/Daniel Dasclu (third), Michael
Rakotoarivony/Teodora Oproor (second) and the winners were George Ion
Vrban/Mirian Elena Draovean, another Romanian duo. A section of the
competition is also dedicated to amateurs, and the Audience Prize went to
Rakotoarivony/Oproor.
Gresham College (Mitrea & Vaduva); Roger Mastrioanni (Argerich & Babayan); Erica Worth (Cremona); Andrew Mason (Dariescu, page 10)
The Queen of Spades, and the opera War and Peace, all written in the late
1930s and early 1940s.
The pianists were showered with flowers at the end, some of which they
handed to their fearless page-turners, and then returned for the nights
most enchanting music-making, two Rachmaninov selections. In the
Barcarolle from the Suite No 1 Op 15, and Waltz from the Suite No 2,
Op 17, Argerich and Babayan savoured every rhapsodic turn of phrase
and virtuosic swirl.

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8. Pianist 99

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 Many words
are used to describe
pianos

EXHILARATING PIANO
EXPERIENCE IN CREMONA
Erica Worth reports from the Italian trade-fair
where the worlds piano-makers gather every September
The city of Cremona, an
hours drive from Milan, has
been known for centuries as
the centre of great violin-
making, home to Stradivari,
Guarneri and thousands
more over the centuries.
Since 2002 the city has
hosted the Mondomusica
trade-fair, an important
annual fixture in the
Gresham College (Mitrea & Vaduva); Roger Mastroianni (Argerich & Babayan); Erica Worth (Cremona); Andrew Mason (Dariescu, page 10)

calendar for string-

instrument makers and
dealers. Six years ago the
citys Musica International Exhibitions expanded into other instruments
including pianos, but the 2017 Piano Experience stepped up a level to host
a piano-lovers haven, as I found during a whirlwind 48 hours.
Piano Experience is based around one main hall. Well-known brands such
as Steinway, Steingraeber, Schimmel, Bsendorfer were on show, as well as
the ever-present Yamaha (with a hall to themselves), Pearl River, and some
lesser-known makes, all with models available to try out. The central largest
stand was naturally reserved for king of Italian piano makers, Fazioli.
Cremona has brought in the charismatic Italian pianist Roberto Prosseda
as artistic advisor, and hes done an amazing job. Corridors lead off to
quieter venues hosting full-length recitals, masterclasses and lectures and
conversations where expert piano technicians talk about the newest models.
The choice of events was impressive: Itamar Golan and his wife Natsuko
Inoue played duets as part of the Steinway Piano Festival; Inna Faliks played
Beethoven, Liszt and Assad as part of the Fazioli Piano Festival (followed
by a Q&A with Paolo Fazioli); Clara Murnig played on Steingraebers
Transducer piano as part of the Steingraeber Piano Festival. In another
room Steinway presented its Spirio model, and Valentina Lisitsa was
showing off the Bsendorfer sound with Chopin, and Chopin only,
to a crowd in raptures (pictured). Thats just scratching the surface.
There was still time, however, to walk around the charming old town,
visit the violin museum and purchase a box of violin-shaped chocolates
to bring home. Piano Experience is well worth a visit for all piano-lovers:
the next edition takes place in Cremona 28-30 September 2018.
www.cremonamusica.com

p8 news99-FINAL.indd 9 10/11/2017 13:53

 News All the latest news from the world of the piano

WIN A BARTK T-SHIRT!

If you love your Bartk, then
this could be the ideal piece of
clothing to complete your
wardrobe!Pianistand the
publisher Boosey & Hawkes
have teamed up to present a
unique competition (which
does, of course, involve some
piano-playing skills). All you
need to do is send in a short
video of you playing an extract
fromMikrokosmosin order to be
in with a chance to win a
T-shirt. Just follow these steps:
1. Choose a piece from
BartksMikrokosmos. Dont
worry if youve only just started
OLD KEYBOARDS, playing; in the spirit
NEW TECHNOLOGY ofMikrokosmos, we encourage pianists of all ages and abilities to enter, so choose
any piece you like. If you dont own any of theMikrokosmosbooks, you can
Unrivalled online museum of musical curiosities download a selection of the pieces fromwww.boosey.com/mikrokosmos for free.
2. Film yourself playing your chosen piece. Your performance doesnt have
opens its digital doors to be note-perfect, either. Just show us you love Bartk!
3. Tweet your video to @Boosey_London, including the hashtag
A virtual museum featuring sound, pictures #bartoksmikrokosmos
and information about the UKs most There are six T-Shirts to win. The competitions closing date for entries is
important musical instruments has been 31 January 2018, and winners will be announced on 1February. All details
launched at www.minim.ac.uk. at www.boosey.com/mikrokosmos.
From ancient Egyptian bone clappers in the
form of human hands to instruments owned
by Charles II, Queen Elizabeth I and Queen THE NUTCRACKER AND I
Victoria and composers such as Elgar and
Chopin, and the earliest-known stringed
One pianists personal take on Tchaikovskys
keyboard instrument in the world, the Christmas story
public will be able to visit a single virtual
location for the first time and freely explore Here is a pianist with something special
the UKs most important musical to say, observed Pianists reviewer Marius
instruments. Dawn in issue 94, listening to an
The instruments, currently held in 200 arrangement of The Nutcracker played by
separate collections across the UK, have been Alexandra Dariescu. The Romanian
gathered together in a virtual museum at www.minim.ac.uk thanks to a pianist, now resident in the UK, has taken
major project led by the Royal College of Music, in partnership with the her passion for Tchaikovskys magical
Horniman Museum and Gardens, Royal Academy of Music, University ballet to another level with a Christmas
of Edinburgh, and Google Arts and Culture, with funding from the show, The Nutcracker and I.
Higher Education Funding Council for England (HEFCE). A graduate of the Guildhall School of
Many of these collections have not been easily accessible to the public Music and Drama, Dariescu presents the
before, many of them hidden in local collections and remote locations, 50-minute show on 19 December at the
unseen in storage, or not previously documented online. MINIM-UK schools associate venue, Milton Court
has brought together the resources that were already online (such as Concert Hall. The matinee is already sold out; tickets were still available at
collections held by Victoria & Albert and British Museums) and, for the time of going to press for the evening show at 8pm. Dariescu will then tour
the first time, fully documented and digitised others. Its cataloguers The Nutcracker and I to Russia, Norway and China.
travelled over 10,000 miles for 200 days to collect photographs, video On stage will be a grand piano, played by Dariescu herself, and a ballerina
and sound recordings and stories spanning from the Scottish Highlands behind a see-through gauze screen. Projected onto the gauze and bringing the
to the South coast. story to life are hand-drawn digital animations, created in advance by Yeast
Among the precious instruments whose sound is available online for Culture. They follow the music and engage live with the pianist and ballerina as
the first time is the earliest known stringed keyboard instrument in the they dance across the screen.
world, which dates from ca. 1480. So far the sound of over 400 musical Alexandra Dariescu said: I believe my responsibility as a young artist is to
instruments has been captured, and this is set to grow in future years. reach out to as many people as possible and to build bridges for those new to
Gabriele Rossi Rognoni, Curator of the Royal College of Music classical music. During one of my education workshops, a 12-year-old asked me
Museum, explained: The instruments collected at www.minim.ac.uk are what I think of when I play. I told him I like to step into a different world by
an important part of our national heritage. It is tremendously exciting creating little stories in my mind. It wasnt until a little later when I realised that
to work with Google to enable so many people to connect with these perhaps there is a way to share some of this magic during the moment when it
beautiful and fascinating objects in a myriad of new ways. We are also actually happens on stage. The Nutcracker and I takes one of these stories and
delighted that thanks to the wonders of modern technology we have re-imagines it in a very personal context making use of some amazing
so many ways to allow people to explore these treasures. technology that has never been seen quite like this before in a piano recital.

10. Pianist 99

p8 news99-FINAL.indd 10 09/11/2017 12:54

 www.liudmilajeremies.de

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p11_pianist99.indd 2 09/11/2017 11:19

 DUET SPECIAL INTERVIEW

KeyboarddraobyeK
comradessedarmoc
What makes a successful piano duo? Where does the
repertoire come from? Friendship and determination
lie behind the lives of three couples at the keyboard,
nds Warwick Thompson

I
magine two violinists playing a duet, but with each bowing the others
instrument. Or two clarinettists together, but with one occasionally
stopping to blow on the others reed. Quite aside from the
practical difficulties, the idea is absurd, isnt it? Why would
anyone even consider such nonsense?
But they do and that is what makes the phenomenon of
the four-hand piano duet absolutely unique. Its the ultimate in
closeness in music. Two people on one instrument it cant get
any closer, says piano duettist Charles Owen.
There are plenty of reasons why playing and watching piano
duets (and, by further extension, two-piano works) is such fun,
but the closeness of the participants is surely a big part of it.
There is the extended range of colours possible with two
players; the sheer size and grandeur of the sound they can
make; and the rich pedagogical possibilities for a nice easy
primo for the student, and a more complex secondo for
the teacher to fill out the texture. Finally, and not to be
overlooked, theres the sheer unadulterated fun of getting
tipsy and sight-bashing through piles of Mendelssohn
and Mozskowski with a keyboard chum. (I may be over-
sharing on that last one.)
But the world of piano duettists isnt all roses-round-the-door.
There are often practical problems in finding venues which can
host two-piano recitals. The repertoire for orchestral concertos
is pitifully small. Four-hand textures present problems of their
own: Theres a danger it can be too percussive, remarks pianist
Katya Apekisheva, Owens duet partner among many other roles.
Like a parody of pianists bashing at the instrument. Prejudice
persists among promoters and concert-goers about the genre itself.
The stigma of all those just for teaching works, and those over-sloshed
amateur fumblings, seems to hover over the form, and put people off.
Once I suggested playing a duet with Charles in quite a major festival,
says Apekisheva. Charles and I had both performed individually at this
festival. But the promoter wrote quite an offensive email back. He couldnt
think of anything more boring or depressing than a four-handed recital, ICA Media (page 13, top); Sim Canetty-Clarke (page 13, bottom)
and how pointless it was. He was saying that about 30 per cent of my
musical life is just rubbish.

Why do they do it?

Why do perfectly sensible and talented musicians devote huge amounts of their
professional energy to this boring, depressing, pointless genre? I spoke to three
pairs of musicians, who each take a different approach to their duet work, to find
out what keeps them going, and to discover what the upsides and downsides of
this world might be. Along with Owen and Apekisheva, I chatted to the young
Dutch brothers Lucas and Arthur Jussen, a photogenic pair of musical wizards
who are tipped for big things (The late Sir Neville Marriner, who conducted
their disc of Mozart double concertos for Deutsche Grammophon, said,

p12_interview-FINAL.indd 12 10/11/2017 12:47

 You realise that this is not usual, this is not just two good pianists playing
together: they sense each others most small, individual little bit of
interpretation.). And I also spoke to fabulously razzle-dazzle and tech-savvy
duettists Greg Anderson and Elizabeth Joy Roe from America, who have been
joyfully kicking at the restraints of the duet genre for the last 15 years with
their technically astounding and brilliant music videos.
The driving force behind each of these duo couples is quite different.
For Anderson and Roe, the eureka moment when they knew they were onto
something special came during the third year of their studies at the Juilliard
School in 2002. We knew each other well, and had respect for each other
as musicians, says Liz Roe. And then just for a lark and for a chamber
music credit we decided to play a duet. We sight-read the Haydn Variations
of Brahms to start. And immediately Greg had this joyous expression, because
it was so seamless, so unified, so synchronized. There was no thought it was
automatic. But the other thing which led us to work together was our shared
belief that classical music can be energising, and colourful, and reflective
of the world we live in.
Log on to www.andersonroe.com and youll see that energising and
colourful barely do justice to their funky music videos, or to their joyous
arrangements of everything from Mozart to Coldplay. Try their arrangement
of Schuberts Erlknig, as much for their perfect prestissimo repeated triplets
as for the witty mise-en-scne.

It can teach you a lot about representing about four-fifths of their work. For Owen and Apekisheva its
less, between a quarter and a third of their activity as musicians.) We write
partnerships in life: you have to about half of our music ourselves, says Anderson. There are the videos,
which we produce ourselves. Then theres learning the repertoire, practising,
make sure youre listening to the performing, touring Liz recently recorded the Britten and Barber concertos
with the London Symphony Orchestra for Decca, but generally we dont have
other person. time to do more solo projects.
Their arrangements (available for purchase on their website) are written
Charles Owen to exploit both their own physical strengths, and their joint sense of fun.
Theyre composed for our own bodies, says Anderson. Liz has a tall torso,
ICA Media (page 13, top); Sim Canetty-Clarke (page 13, bottom)

Roe wanted to blow away some preconceptions of duetting. My first
experience of duetting was with my sister, when we were children, sitting
at the piano in identical ruffled dresses. And thats how people often still see
duets: as something enjoyable and fun, but fluffy and not serious. I think the
glue that has held Greg and me together is our desire to blow the cobwebs
off the genre. Thats been at the crux of our activities.
Anderson says, From the very first concert, we refused to treat duets
as something tame or precious. When we play, and especially in our own
arrangements, we want to showcase the physicality, the sensuality, the
aggressiveness, and the raucousness which occurs when youre seated at
the same instrument, and youre in each others way.
For Anderson and Roe, duet work occupies much the greater part of their
professional lives. (Duetting is also the main focus for the Jussen brothers,
so I can reach underneath her if I want to. And I have longer hands and
bigger stretch. I like to play with gender dynamics too. In our arrangement
of the Papageno/Papagena duet from The Magic Flute, I wrote it so that the
male sits on top, but is constantly reaching down to play the notes sung by
Papageno, and the woman is underneath, stretching over him to get the
notes of Papagena. Its fun and flirtatious. Its a musical game of Twister.
Click and chemistry
The physicality is vitally important too for the Jussen brothers. Aged three
years apart, and still in their early 20s, they have played together since early
childhood. Theyve already recorded four albums for Deutsche Grammophon,
and with their easy-to-promote looks and fine musicianship skills, they look
likely to become better and better known. Between me and Arthur,

13 Pianist 99

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 DUET SPECIAL INTERVIEW
its a very special thing, says Lucas. We dont have to pay attention to
being together as musicians, because its so natural. Arthur continues
the theme: Ive heard Lucas play the piano every day for over 20 years.
Its almost like breathing.
We dont have to pay attention
to being together as musicians,
because its so natural.
Arthur Jussen
Each brother was recently required to play duets with other performers
as part of their studies, and both of them found it uncomfortable. Arthur:
Normally I dont have to think about lots of things: everything we do has
the same vision, the same atmosphere, the same articulation but then
with someone else I had to think about all those things. It was strange.
Lucas: The first thing I noticed when I played with someone else was the
physical aspect. Id never noticed it with Arthur. The touching each other,
the bumping into each other, knocking your heads I dont mind it, and
Arthur doesnt mind it. But with someone else, its difficult to find that
click and chemistry.
The shared physicality can also be an important part of the pleasure of
performing in a pair, and ameliorate some of the regular trials and tribulations
of a musicians life. When youre in a dressing room, waiting to go on stage,
its nice to know theres someone else who feels exactly the same as you do,
says Lucas Jussen. And if you have to tour to places which arent so exciting,
or arent that nice, it really makes the time more bearable.
For Owen and Apekisheva theres another benefit. When either of us
accompanies a violinist or cellist, say, the concert is usually arranged by that
14 Pianist 99
p12_interview-FINAL.indd 14
persons management. It can feel like an imbalance, says Charles Owen.
But for us as a duet, the work is completely equal. Neither of us could be
in the background its a very equal business role model. I think it can teach
you a lot about partnerships in life: you always have to make sure youre
listening very closely to the other person.
Unlike Anderson and Roe, who pretty quickly turned their energies into
duetting after meeting, Owen and Apekisheva took the process more slowly.
They started performing together at around the same time as their American
colleagues, but took things at a steadier pace. We never set out to be a duo:
we just gradually did more, says Owen. But recently things have taken off:
theyve recorded Stravinskys Rite of Spring and Petrushka on the Quartz label,
and in 2016 they founded the annual London Piano Festival at Kings Place
to celebrate all things keyboard, including duetting.
What are the downsides of duetting?
For me, its the pedalling, says Katya Apekisheva. Its a big responsibility,
and it requires extra sensitivity and skill. Youre not pedalling for your own
convenience, but for your partner. For Charles Owen, the problems can be
even more basic. After playing four hands on one piano, it can be quite
uncomfortable. After a full concert, I usually go and see the osteopath.
Its an unnatural position.
I put the same question to Anderson and Roe: what, for them, are the
drawbacks? I wish the duo concerto repertoire were greater, says Liz Roe.
Obviously we perform the standard works, and weve created a version of
the Brahms Double Concerto for two pianos and orchestra, but I wish it
were more expansive. Anything else? To be perfectly candid, for me, its
difficult to have a personal life, because of the touring and travelling. I think
people respond to the chemistry that Greg and I have on stage, and think
Im married to him.
Dirk Kikstra
My husband and Liz get on wonderfully well, says Greg. She even officiated
at our wedding. Were a weird sort of thrupple. Not literally! she giggles.
10/11/2017 12:47
 For Greg, who seems to be a glass-half-full kind of guy, even the downsides
of duetting are mostly positive. I like the odd restraints of the form, he says.
It forces creativity. I get inspired by it. But the one thing I hate is the
inconvenience of moving pianos for our music videos. Sometimes it just
costs too much. Sometimes we have to shape a whole video around the fact
that someone already has a piano in a weird location, and we can use it.
I would love to take more creative control with that.
For the Jussen brothers, the downsides have an almost Nabokovian flavour.
According to Arthur: Sometimes after concerts people come to me and say:
Arthur, you are the one who plays with your mind, and Lucas is the one
who plays with his heart. But then the next person says the exact opposite.
Lucas continues: Its true. People talk about us, but they dont always really
know which brother they mean. Its one big confusion. But we like that.
In the end I dont think its important. The most important thing is if
people enjoy the music. That sounds like a clich but its true. The music
is more important.
The alchemy of a happy duo partnership
There are many things that all three duet couples have in common. All of
them mix up two-piano pieces and four-hand works as much as they can
in their concerts. None of them has a fixed primo/secondo dynamic, and
regularly take different roles. Sometimes we toss a coin to see wholl play
which part, says Katya Apekisheva. When we played Stravinsky, the coin
gave Charles the top part in the Rite. So then I took the top in Petrushka.
But it can also be about other things. Usually the primo is more difficult,
so if one of us has more on their plate, the other person will take the less
demanding part to make things easier.
Interestingly, however, none of the musicians swaps after theyve learned
a piece; they stick to their first positions. For Greg Anderson, this is because
of the physicality which is directly written into their arrangements: Theyre
literally written for our own bodies, he explains. Plus, theyre incredibly
difficult! For the Jussens, who are near the beginning of their careers, the
explanation is simpler: We havent played the pieces so much that weve got
bored with them, says Arthur. Maybe in the future we will. But for now,
were just too lazy.
We want to showcase the physicality
which occurs when youre seated at
the same instrument, and youre in
each others way.
Greg Anderson
Laziness would not seem the most obvious word to associate with these
hard-working, driven brothers. Especially when I learn of the amount of
sport they do to keep fit. Playing the piano is great for your fingers, but not
your body, says Arthur. So we both do a lot of sport: we run a lot, play
tennis, go to the gym. Its all the exact opposite of playing the piano.
The brothers who both have girlfriends (who, fortunately, get on well)
admit that it sounds crazy but they still spend a lot of time together
outside making music. For the other two pairs, a certain amount of time
apart is necessary to their creativity. Roe says that she needs space to process
her own ideas, and her own experiences. I want to remain an individual
in the duo, and bring back more things to the table.
Even though Owen and Apekisheva perform less frequently as a duo
than Anderson and Roe, the balance for them feels about right. We like
the variety of other work; it keeps us fresh, says Charles Owen. Were both
professors at the Guildhall, and we play lots of chamber music. I think if
we performed together every week of the year, it wouldnt be good for our
playing, or our relationship.
Each couple works out the dynamics for themselves. Ultimately, I sense
that the bond which holds any duet couple together is a wonderful mystery
and as with any relationship between two people, nobody really knows
what goes on inside. And perhaps thats why duets continue to fascinate
us its like watching the closest of relationships in action.
Dirk Kikstra
andersonroe.com arthurandlucasjussen.com owenapekishevaduo.com
p12_interview-FINAL.indd 15
eight DUETS TO TREASURE
Mozart: Concerto for Two Pianos
Emil and Elena Gilels
Deutsche Grammophon 463652-2
A father-daughter partnership, immortalised here in
the spacious, carefree concerto which Mozart wrote
for himself and his sister Nannerl to play, though father Leopold
also wrote out some of the parts: an affair of truly happy families.
Faur: Dolly
Gaby and Robert Casadesus
Sony/RCA G010003519214I (download only)
Now a musical marriage, though husband and wife
practised separately in sound-proofed rooms so as
not to disturb the other. Robert and Gaby both knew Faur; Gaby
later wrote a tender memoir of their time, My Musical Marriage.
Debussy: En blanc et noir
Benjamin Britten, Sviatoslav Richter
Decca 466821-2
Richter was one of several Russian musicians to hit it
off with Britten in the 1960s; Richter was unused to
playing in duet and spread his elbows wide, meaning that Britten
had to squeeze in the secondo part, but theirs is a uniquely
searching and dynamic partnership, a meeting of brilliant minds.
Mozart: Sonata for two pianos
Radu Lupu, Murray Perahia
Sony/RCA 8869-785811-2
Two famously refined musicians, live at Aldeburgh,
like Britten and Richter, in the sonata written by
Mozart for himself and a talented pupil, Josepha Auernhammer.
Schubert: Fantasia in F minor
Imogen Cooper, Anne Quefflec
Warner/Erato 0927-49812-2
A set which put two young pianists on the map, in
surely the single most sublime work written for duet;
Cooper remembers how the producer had to leave her desk and creep
into the studio in her stockinged feet in order to turn the pages.
Brahms: Hungarian Dances
Katia and Marielle Labque
Philips 416459-2
Brahms lets his hair down: theres an irrepressible
sense of fun in the partnership of the Labque sisters,
who have played together for over 30 years and have commissioned
new duet works from Philip Glass and Nico Muhly, among others.
Saint-Sans: Carnival of the Animals
Martha Argerich, Antonio Pappano
Warner Classics 9029-57555-5
Martha Argerich has been an enthusiastic duo player
with several partners over the years, including
Stephen Kovacevich, more recently Daniel Barenboim and now
Sir Antonio Pappano, on this superbly mischievous new Carnival.
Messiaen: Visions de lAmen
Christina and Michelle Naughton
Warner Classics 2564-60113-6
A pair of American sisters, the Naughtons have set
new standards in the cycle written in 1943 by Olivier
Messiaen for himself and his pupil (and later wife) Yvonne Loriod
to play together. A 20th-century classic of the duet repertoire.
See CD Reviews for the latest duo recordings under scrutiny.
10/11/2017 13:21
 play HOW TO
Building and maintaining repertoire
REFRESH & REVIVE
We all like to play to our strengths. But, says Mark Tanner, well be stronger, happier musicians
if we stretch ourselves without venturing beyond our abilities
P
ianists lack drive and focus
without encouragement to
learn new repertoire; it is
music itself that fires our
imagination and helps us to
forge ahead. Yet equal value
and pleasure may be found in revisiting
and maintaining repertoire. Many of us
struggle to do this, but deciding which
repertoire to play, and over what
timescale, is a pressing concern. The irony
is that despite the pianos enormous
repertoire, many of us end up making
what turn out to be unwise choices.
A bridge too far
Inappropriate repertoire too technically
challenging, or beyond realistic grasp of
style, rhythm or harmony is bound to
produce disappointing results. The phrase
fake it till you make it will only take an
ambitious player so far. The desire to play
a piece is not enough: we need the tools
to do it justice. On the other hand,
stagnating with overworked repertoire is
as real a threat to our pianistic wellbeing
as overstretching ourselves. I have known
adult players persist year after year with
inappropriate pieces, which even then
fail to reach fruition. Allowing ourselves
to feel the thrill of tackling new
challenges should not make a white-
knuckle ride out of our playing. For each
of us, the tipping point will be subtly
different, so if were not sure, we should
seek advice from someone we trust.
Consolidation and revision
Many readers will be familiar with the
frustration of losing repertoire that was
once confidently under the fingers. This
can often be remedied with surprising
ease. Muscle memory fades more slowly
than cognitive memory. If you learned
a piece thoroughly, its likely to be in
your fingers, somewhere. Most advanced
pianists have learned Rachmaninovs
Prelude Op 23 No 4 at some point.
The score inside this issue should offer
them a refresher. A five-minute armchair
survey once a fortnight, followed by
a play-through, should keep it afloat.
But if a month or more goes by without
at least revisiting the climax at bars
50-53, you may need to wind back
the learning clock a stage further with
some methodical, hands-separate work.
P16 HTP Tanner-FINALish.indd 16
Mark Tanner is a pianist, composer, writer and educator. His PhD
addressed the music of Franz Liszt. For the Associated Board
of the Royal Schools of Music (ABRSM) he has undertaken
35 international tours; he is also a Moderator, Trainer and co-author
of Teaching Notes, which accompanies the latest ABRSM
Piano Syllabus.
Mark has over 20 pieces on current examination syllabuses.
His music is published in 65 volumes, and his book, The Mindful
Pianist, is published by Faber Music. His forthcoming book,
Mindfulness in Music: Notes on finding lifes rhythm, will be
published by Leaping Hare Press early in 2018.
If you have a dozen five-minute pieces time tends to be about fulfilling course
and a couple of sonatas up your sleeve, requirements, working up solo or
dont let the dust settle on them. Keep an competition pieces alongside the
up-to-date repertoire list handy: you slow-burn study of chunkier works that
could sort each item with a star rating may eventually thread into an end-of-
according to difficulty/stage of learning: year performance; not forgetting fun
* v.v. hard, learned last year, never learning or chamber music projects.
memorised Weighing up these conflicting demands
** learned six months ago and is a constant struggle. It is all too easy to
successfully unveiled in an exam/festival become sidetracked by a compulsion to
*** moderately hard, learned two months learn a wonderful piece one has just
ago and awaiting a second re-learn heard on the radio. For the serious
The mere process of leaving a piece to learner, the difference between a
gestate often helps it to sink in. It follows successful year with new pieces under
that on each subsequent relearn, a piece ones belt, and what feels like a
will likely continue to improve itself! disappointing year, comes down to a
For advanced players Id suggest devoting discipline of self-knowledge and effective
at least an hour per week to refreshing time-management coupled with sensible
repertoire, and for those with less time choices over repertoire.
to spare, perhaps 15 minutes. The self-imposed goals of the amateur
pianist may be different preparing for
Finding a balance an exam or a friends wedding but
For the college pianist, balancing practice many of the factors are similar. To be an
5
amateur is, etymologically speaking, to
love what one is doing: why should we
TOP not dip into an endlessly rich repertoire
TIPS
NO TIME LIKE THE PRESENT and fall under the spell of whatever
pieces happen to be under the radar?
1 Aim to balance work (practice) and play, which you might
regard as the sheer enjoyment of running through repertoire.
We should avoid practising out of duty,
for this reduces learning the piano to
a kind of character-building exercise.
2 Keep longer-term repertoire firmly in view, but fix your
immediate attention on now.
Practice should rejuvenate us and leave
us even better equipped to contemplate
new repertoire.
3 Refresh previously learned pieces regularly in order to evolve a
slowly growing bank of repertoire pieces. Know how you learn best
An able teacher can certainly help you
4 Not all your playing needs to aspire to a pinnacle of quality.
Reserve perfectionism for specific pieces or occasions and
to make the right repertoire choices, but
you should not be frightened to come up
settle for a slightly rougher cast elsewhere. with your own ideas. This all boils down
to knowing how you learn best, and to
5 Play to your strengths, but be adventurous in your choices and
catholic in your tastes.
the importance of sourcing music that
will keep your candle burning brightly.
Exam-chasing easily takes over a diligent
pianists life: dont be the Grade 8 player
16 Pianist 99
09/11/2017 12:56
 MASTERCLASS

who has learned only 24 pieces over the through the music of the moment,
period of a decade! content just to be having a go at it and Lateral thinking
My feeling is that a genuine Grade 5 not unduly concerned about the outcome. Enrich your study of three scores inside this issue
player could learn a comparable piece Brilliant sight-readers may take this to
to the same standard within a couple of an extreme: their first read-through is with further repertoire ideas from Mark Tanner
months, maybe even less. By all means almost as good as the final performance.
follow your instinct for a particular style, So, how good is good enough? We
1 Moscheles Scherzo [page 38]: This Scherzo needs to
Ignaz MOSCHELES (1794-1870)
T MISS BEGINNER/
DON NIEKS INTERMEDIATE
MELA
SON
SWIC
TRACK 6 SPAN
LES PIECE Scherzo Op 55 No 3
THIS E
ON PAG
20
The three repeated staccato crotchets in
in easier when you revert to the marked piano.
of the poet Heinrich Heine and settled should not be lumpy but pull the musical
In 1825 Moscheles married the sister the RH a pattern that appears regularly

move briskly: almost a bar per second, if you can

Academy of Music for the next two decades at bar
London, where he taught at the Royal The sunny A major episode beginning
momentum towards the following bar.

but try to be flexible, too; the highways
all need goals which take us from
note
and produced the Bonbonnire musicale
from which this Scherzo is taken. dolce (sweet) marking here. Make each
33 brightens the tone: take care of the
this tender Scherzo in A minor, which means together: not so easy when playing softly.
Playing tips: A deft touch is required for clear of the LH chords sound, and be strictly
right finger weight in order to produce a lesson on this piece on page 20.
good finger articulation and finding the job Read Melanie Spanswicks step-by-step
it at pianissimo, which should make your
but light sound. You could try practising

Allegro q = 176
f f. f f.

manage it! Adding a small crescendo each time those

f f. f f f
f. f. f f f
1 4

3 f.
2

f f f

today to a year or more hence. Such

1

and byways of the piano repertoire are

1
2 1

&4

{
p
FFF FFF FFF
? 34
1

three staccato crotchets reappear is one way in which you

2
4

rich feeding grounds if we remain alert goals are inevitably subjective. Ivo {
5

&
f4
f
5
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#F
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f. f.
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f f f f f F

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can ensure forward impetus, but guard against hurrying

? F F

and willing to explore. Specialising too Pogorelich apparently learned and

2
4

f f. f f.
f f. f f f
f. f. f. f f f f f f
9 2

as you do so. Try learning other pieces or studies by this

&

early can effectively close off swathes memorised Ravels Gaspard de la nuit {
FFF
cresc.
FFF
FFF
?

of potentially rewarding music. Aim not in a week; it took me a full year to

f. f.

neglected Bohemian composer.

f f
5
f f f f f F
f
13
f
3
f
1
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{ FFF FF
mf FF
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bring it to concert standard.

1

to be dismissive of music you dont

2
5

38 Pianist 99

2
09/11/2017 11:38

Strayhorn Take the A Train [page 60]: Look at other

38
P38 SCORES Moscheles-FINAL.indd

immediately resonate with. Many find TRACK 11

Billy STRAYHORN (1915-1967)
Take the A Train
INTERMEDIATE

Keep what you already have Ellington creations such as Satin Doll, Swampy River or
metronome marking is spot on: you could
the Playing tips: Lively is specified, and the
Duke Ellington Orchestra, but in fact Play

this especially to be an issue with

This song was the signature tune of the out. Rhythm is everything in this piece.
try using the metronome when starting
Billy Strayhorn, then just 24 years of the underlying pulse should be rock-solid.
melody was written in 1939 by the composer a little with the melody as you see fit, but
by Joya Sherrill, but the songs most famous there, so keep the hand close to the keyboard.
age. The lyrics were added five years later The RH has some tricky leaps here and
original, made in February 1941. Ellington really fall into that syncopated last chord.
recording is of Strayhorns instrumental Make the most of all the syncopations and
him in New York City, and his first line change. The chord symbols will help.
had given Strayhorn directions to find Pedal tips: Change the pedal for each chord
became the songs title.

Administered by Music Sales Corporation

Baroque and new music at either end The pursuit of new repertoire can Mooch. Swing those straight-looking quavers and dont
Lively q = 76
D95 1 1

f bf f f bf f #f
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fff f f.
5

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take the A
f.
Train
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& Co for the British Reversionary Territories.

. f. bf f w
must
#FF f
You
mf f f
#ff f ff

scramble the triplets. Articulate precisely Strayhorn

? 44 J J J

of the keyboard-history spectrum. easily upstage the benefit of keeping 5

Dm
3

G7

f #f f
1 f
f #f nf
bf 5 1 2 1 5
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f
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really knew how to score his lines.
Har - lem.
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go to

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by Chester Music
The self-sufcient pianist
D95

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Sales Corporation/Tempo Music Inc.Administered

Dm7 3 1

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in the background. Advanced pianists

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& f f nf f f bf bf
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Rights Reserved. International Copyright

{
you miss the
f.
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F b FF j f w
nf nf f f

3
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A careful choice of repertoire is especially are often poor at recognising the Rachmaninov Prelude in D [page 62]: This

Billy Strayhorn Copyright 1941 Music

the British Reversionary Territories.All
G7
bf
Dm 5

f
2 1
1

f #f f #f nf
5
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1 2 1 3

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to
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you'll

archetypally Romantic piece is a must for higher-grade

f

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for World excluding USA, Canada and

ff

Take The A Train.Words & Music by

mf
F
? #FF

important for the pianist going it alone. benefits of revising old repertoire
f J

60 Pianist 99

pianists to have in their repertoire. It would work

09/11/2017 11:44

Think about the technical aspects of with renewed insight. When we

60
P60 SCORES Modern-FINAL.indd

Sergei RACHMANINOV (1873-1943)

admirably alongside works in the same or related key such

T MISS ADVANCED

consider how long it takes to master

AMS

a work such as impossible stretches,

SON
DON PARH
TRACK 12 LUCY
LES PIECE
THIS E
Prelude in D Op 23 No 4
ON PAG
24
day
this prelude at music school, but to this
Playing tips: Editor Erica Worth studied
so impressed an examination board that playing it (If youre wondering how to
As a composition student, Rachmaninov she has kept it in her fingers and still enjoys
they determined to award him the highest
grade a 5+ until Tchaikovsky ago, turn to Mark Tanners article on page
keep a piece fresh that you learned years
signs. Thus there was always a firm technical
intervened and added three more plus cantabile q =are50full of formal 16: in fact he addresses this prelude.)
Andante The Op 23 Preludes
foundation for Rachmaninovs expression. such as half-pedalling and flutter-pedalling.
Pedal tips: Subtle techniques are needed,
# 3 judge is your ear. ReadFLucy
q = 50 in the slower 24.
tightly woven cantabile Parhams step-by-step lesson on page

as sonatas by Mozart (K283 or K311) and Scarlattis K208/9

into complex textures,q even

& #### 4343Andante

Andante
intricacies and melodies
Andante cantabile = 50

The best
f

a difficult new piece, it seems

examples such as this cradlesong Fourth.cantabile q = 50
ff

and be realistic about your stamina.

FF

{{
& ### 434Andante cantabile
&
q = 50 mfF sempre cantabile f f f
& # 3 pp f f mf sempre cantabile
ff f f f
& # 43 pp f f f f f ff ff fff ff f ff mfF sempre
f mf sempre f cantabile
cantabile

? ## 43 pp ff ff ff ff fff ff f ff ff cantabile f ff ff & ff

{
pp
ff f f f f ff f f mf sempre
f & fff
? #### 4343 ppf ff f f 3f f ff ff f ff f f f f f f ff f fff f f f f &
? fff ff
f ff
? ## 4 ff f 33f f 3f f f f f & f f
f f f f & fff f
? ## 34 f 33f

in A major. Target the climax at bars 50-53 first youll

f 33 f f f f
f

time-inefficient to push it into the

f

Keep anthologies and other approachable

3
f
3 3 f
## F f
4 3 3
4
# f f- ff- F-F f FfF ff
4 & ## F
3
4 3
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& ## F
f f f F
f ? F fff & ff f ff- - - ff f n ff ? f J f & f f

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

then know where you are heading towards. Scribble in

ff ff ff ff ff f ff ff
? f f & ff f ff f n ff ? f & f
f f f #f f

& ### f ff ff ff ff ff ff ? ff f &
& ff ff f n f f f f & ff f f # f f
f

long grass after an outing or two.

music near to hand this will help to
& # f f f f f f ? f & ff f ff fff ff ff ff ff f ff n ff ? f f & f f f f # f f

& # ff f f f f ff f & ff f
f f-f - --f f f f
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## f f f f -f - - #f Ff ## ff
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# Ff- FffF ####fffff

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chord/harmony labels to assist with learning and
f J
& ## fFJ f f ? f f fFJf f ff f n ffJ f nff ff ff # ?
F
ff ##ff ffj ff f & f f ff ?
fcresc.
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revive you in the throes of a strenuous If you are at an early stage, make a {
& #### J ff f f f ? nf f ? ? f #f j f f f f f f ?
f ff ff f &
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ff & & ff f f ?
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&
& f f f ff f f f f ? f #f fffj ff f & f f ff ff f ?
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memorising.
b fff nnf-f3 f-f fFfF b ff

{{
& ## FffF f ff-f 3 f-j pf f f j ff f

practice session. Productive practising point of regularly revising the

12& # f bb ff nf-3 f- ffF fFf dim. ff

& # fFff bb fffff f f

f
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f
& # fFff f ff ?bdim.
dim.
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ff f mff ff f b fff bf ? f f ff ff ff fff #f ppff fff ff ff ff fff ff f
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dim. dim.

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& ff & ff ff f ? ff f f f ff f f f
? ## ff f & f f ff ? f f f & f f f bf f f #f 3 f3 f
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exercises and repertoire you enjoyed

16
f

effectively becomes a self-taught piano

3 3
16 # - -- FF ff3 ff f f3 f ff ff3 f
16 ## F
16

& ## F-FF-FF ff
ff F-FF Fff F
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& # ffFFFF ff ff ff f fff f ff pppFF
f ppF -
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? #### ff ff f f f ff ff ff f p f ff f f f f f f f f f f f ff ff ff ppff ff f f f ff
? f
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lesson, so in pleasing yourself you should learning at a previous stage. That way,
? ## f f f f f f f f Pianist
f f f
62 99
f
f f
f f
f
09/11/2017 11:44

62
P62 SCORES Rach-FINAL.indd

be well on the way to meeting your
teachers expectations, even if you suspect
you ought to have practised more.
The repertoire found within the pages
of Pianist steers us confidently down
pathways familiar and less familiar.
Dont be afraid; use it to motivate
yourself for some focused practice.
Technique versus musicianship
There are those who primarily target
repertoire that will help them to build a
dependable facility, and others who prefer
to coax out expressive detail in slower-
moving music. Realistically, without a
measure of fluency and accuracy, true
interpretation is unachievable.
Conversely, some technically sound
players hardly spare a thought for how
phrases might end musically, or how
chords could best be voiced. If we think
of technique as all-round control, as
opposed to dexterity, virtually any
repertoire will offer a range of challenges.
Pianists have a tendency to play to their
perceived strengths we might for
example be blessed with whizzy fingers,
or a great feel for jazz, and sidestep
Classical repertoire requiring poise and
elegance. The risk is that we become
one-trick ponies, and increasingly
cautious about venturing off-piste.
How good is good enough?
The pursuit of perfection is a double-
edged sword. Of course wed all love to
hear ourselves pull off a spotless
performance of every piece we take on,
but this is hardly realistic. On the other
hand, the butterfly pianist flutters
bad habits are less likely to become Enjoy the moment
ingrained and you will build up a bank Savouring the here and now is important:
of presentable music into the bargain. effective learning amounts to more than
micromanagement of practice time.
Memorising We should be playing repertoire that
Memorising connects directly to sustaining moves us, rather than squandering time
the music youve invested time in. on music with which we feel little
For accomplished pianists this could emotional connection. Put time aside
mean delving into the back-catalogue for indulging the various passions that
in readiness for recitals. Less experienced got you learning in the first place. For me,
pianists may want a few party-pieces this comes down to the distinction between
ready for those occasions that crop up at enjoyment (immediately rewarding playing
a moments notice. By all means grapple such as sight-reading, duet playing) and
determinedly with sonatas and studies, satisfaction (usually a harder-won goal).
but spare a moment for perfecting a few
carols in the lead-up to Christmas! If you liked that, try this
Otherwise, you will only ever be as good There is no harm in soaking up more of
as your current half-learned pieces. what we like to play; this often dovetails
with what we do best. Learn from
Keep an eye on the long term experience, and take note of what others
A central objective of Alexander Technique say about your playing. You might have
is to keep in check the danger of end- the fingers for Bach, but not the optimum
gaining becoming overly preoccupied mental approach or the farsightedness
with an imminent event. End-gaining for Rachmaninov but lack the stamina or
tugs our attention away from targeting power to pull it off. In each case, there
bite-sized improvements at each visit to will undoubtedly be excellent alternatives
the piano. But this does not mean always youve not yet considered.
taking a short-term view. By pinpointing By building our repertoire carefully, we
an overall goal that lies some way off, we move progressively from the known to the
learn to gauge roughly how long it will unknown, growing in confidence with
take to get a new piece under the fingers. every bar learned. The piano repertoire is
Daring to begin work on the finale of vast, but our time on this earth is brief;
a sonata while you are still at the busk spend it wisely so that you may look back
plus stage with the first movement on your piano practising confident in the
makes admirable sense. That said, it is knowledge you have played to your
important in each practice session to strengths and accommodated your
focus primarily on the job at hand, weaknesses. Schumann hit the nail on the
be it to conquer a few bars of something head: Endeavour to play easy pieces well
tricky, or to add the final touches to and with elegance; that is better than to
a well-learned piece. play difficult pieces badly.
17 Pianist 99

P16 HTP Tanner-FINALish.indd 17 09/11/2017 12:56

 play HOW TO

Controlled stops
HOW TO SPEED UP YOUR PIECES: 2
Moving on from the little bits fast technique discussed in the last issue, Graham Fitch
outlines another strategy to help keep your practice-time engaged and fun

F
ast pieces can be scary to some pianists, but success or failure Pianist, teacher, writer and
depends to a large extent on our practice habits. The secret is to adjudicator Graham Fitch gives
work on forming the reflexes for fast playing as early as possible masterclasses and workshops
in the learning stages, using slow practice wisely and consciously. on piano playing internationally.
Slow practice will take us to our destination only partially. He is also in high demand as
It may feel like an old friend but practising slowly may be an impediment a private teacher in London.
if we overdo it or use it at the wrong time. Graham is a regular tutor at the
Different techniques will develop and strengthen the fine motor control Summer School for Pianists in
required to manage a fast piece, but we need to be patient. Think in terms Walsall and a tutor for the Piano
of process rather than expecting instant results. A teacher once told me: Teachers Course EPTA (UK).
Excess motion is inefficient technique, and theres no arguing with that! He writes a popular piano blog
The most common obstacle to playing fast is moving excessively. This problem and has recently launched an
might manifest itself in fingers that lift too far from the key surfaces, the arm online piano academy.
making too high an arc in position shifts, or key bedding (wasting time and www.practisingthepiano.com
effort at the bottom of the key) to list but a few possibilities. If we want to
make progress with gaining speed we will look for every opportunity to
minimise our movements until we can play with the utmost economy. bar (this will temporarily change Bachs 3/4 time signature to four in a bar):
In my first article on how to speed up your pieces (Pianist 98), I explored
b 4 ff f f f ff f f nf f f f f
what I believe is the most efficient way to take a piece or a passage from an & b b 4 f f nf f f f #f
f f nf f f f f f f f

{
f f f f #f
initial slow tempo (having already worked out notes, rhythms, fingerings, etc.) f f f f f f f f nf
to a fast one. My name for the technique is little bits fast, but its also known ? bb 4 ff f f f f f f f nf f #f f

f f f
nf f f f #f nf
f
f
f f f f nf # f
b4
as chaining. If the focus in slow practice is on each and every note, little bits
fast is all to do with creating impulses that take in ever-longer groups of After youre happy with this, change where you put the rest now after the
notes. We start with a short burst of music at full speed (it might be just two second beat:
or three notes to start with), insisting on the full energy of a performance.
Gradually we add a few more notes with each repetition until we have whole b 4 f f f f ff f
& b b 4 f f f nf f f f f nf f f f f
#f
f f nf f f f f f f f

{
f f f f #f
bars, and then phrases.
f f f f f f f f nf
f f nf # f
Lets now develop this idea of using controlled stops in our practice with f f f f f f f nf f f
f nf f f f f #f f f
?b 4 ff f #f f nf f
b b4
a highly effective process that mixes slow practice with up-to-speed playing.
It will be challenging at first, yet you may find it quite addictive once its
incorporated within your practice routine. Move the rest to the second beat, and practise the section in segments again.
Unprocessed playing brings slips, stops and pauses while we figure out Thereafter you can extend the unit youre working in to two bars, and then
what is supposed to be happening next. In the last article I used the analogy four bars. Before you know it youll have whole sections up to speed.
of buffering: like a video clip that hasnt fully loaded. All goes well for a few
bars, but then there is a hiatus while the fingers stall and the brainbox grinds Rhythm practice
into gear to rescue the fingers. In order to get to the autopilot stage where Another way to make controlled stops is to take a passage written in fast notes
everything happens automatically (without the need for conscious thought and subject it to a variety of different rhythmic groupings. By insisting on
about which finger goes where), we can actually plan our stops. full rhythmic control with each different rhythm, the idea is that motor
control of the passage when it is played as written is thereby enhanced.
Play, recover and plan ahead, play Many famous concert pianists and teachers swear by this (and some dont
Lets begin by deliberately interspersing rests and silent bars into our playing. recommend it at all like any practice tool or exercise, it is how we do it
Heres the first movement of Bachs C minor Partita BWV826 (from bar 13 that is important). Rhythm practice done sloppily is a waste of time; done
of the fugue): with attention and careful listening, it can greatly assist us. Heres the
opening of Schuberts Impromptu in Eb.
b 3 f f f f ff f
& b b 4 f f fnf f f
f nf f ff f
f #f f f fnf f ff f f f# f f ff

{
f Allegro

ff ff f f f #f bbb 3 f f f f f f f f f f f
f f
? bb 43 f f f fnf f f f f f f fnf f#f f f fnf f f f ff#fnff f & 4 ffff f f f f f f nf #f f f f f #f #f f f f f f f f

{
nf f
b 3 3
F
3

? bb 3 F F F
p legato

This technique assumes that you have already done the necessary groundwork
to prepare yourself for up-to-speed playing. Play up to tempo, making a stop
either at the very end of each bar, or on the downbeat of the next bar if that
feels more natural and more comfortable. Then stop. Insert a whole bars rest
(or two if you feel you need more space) before going on to the next bar.
Dont go on if you were not happy with the result: the playing should be not
only accurate but also sound and feel good in the body. Once you can play
bar units fluently, shrink the gap by introducing a beats rest at the end of the
18 Pianist 99
F F F F
b4
Rhythm practice can help us to organise the uninterrupted chain of RH
triplets into groups of notes. By elongating the first note of each triplet group,
we more easily feel those notes that fall on the main beats. Sense how the fast
notes lead to the long ones, and aim for the fast notes to be at performance
tempo (or even faster).

P18 HTP Graham-FINALish.indd 18 09/11/2017 12:58

 WATCH GRAHAMS ONLINE LESSON AT WWW.PIANISTMAGAZINE.COM

f >f f f >f f f >f

b 3
&b b 4 f f @ GET IN TOUCH

{
Graham Fitch would like to hear from readers who
etc.
? bb 43 F have piano-playing questions, whether about a certain
b F technique or a passage in a piece of music. Please write
When we play this rhythm the other way around, we build in a controlled to the editor at editor@pianistmagazine.com.
stop just before the main beat; this is an excellent way to prevent any Due to the large number of requests, Graham may not be able to answer each one submitted.
tendency to rush when playing at speed.
f >f f f >f f f >f
b 3 One Bar Fast; One Bar Slowly
&b b 4 f f

{
Recently I have been practising Chopins Scherzo No 3, a work I have played
regularly over the years. I discovered that the piece needed dusting off to
etc. recover the required sparkle and security for performance. I decided to mix
? bb 43 F F up practising at full speed with slow practice. We play one bar at the tempo
b and the next bar at exactly half the speed. If you havent tried this technique
before, youre going to enjoy it and derive great benefit from it. From the
coda, bar 573:
When we can play these rhythms with impeccable control, we progress to Presto con fuoco
a longer rhythm. Try using the first note of each bar as an anchor. When you
# # 3 q=q
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etc.
F F w to happen without any fumbling or loss of rhythmic control (use a metronome
b if it helps you). When you can comfortably alternate between one bar at the
Then try changing where you put the stopping note. Instead of the first beat
of each bar, stop on the second beat. Then repeat the process, this time
stopping on the third beat. Using accents in your practice is another way
to group notes into ever-longer impulses. Start by accenting each RH note
equally, then go back and place the accent on every third quaver (those notes
that fall on the main beats). Finally, accent just the first note of each bar.
You might try rhythm practice one day, and accent practice the next.
In these examples of rhythm practice, you will notice that the long notes
have a precise length. Being able to maintain a rock-steady beat is
indispensable for control, but sometimes in practice we may choose to play
with greater rhythmic freedom. If we put an imaginary fermata (pause) over
the notes we planned to stop on, we could suspend the pulse and take as
much time as necessary. I call this practice tool The Floating Fermata.
The Floating Fermata
The pausing notes might be equidistant from each other or placed at strategic
points within phrases. They are like watering holes on our journey; we halt
for a moment or two to recover and regroup before moving on. The beauty
of this approach is that the pause is not precisely timed. We can take as long
we need, and well sense when we are focused and ready to move on to the
next section. To organise the opening of GinasterasDanza del gaucho
matrero (No 3 of the Danzas Argentinas), play it at full tempo and pause
on the last note of each sub-phrase:
Furiosamente ritmico e energico q. = 152
? 6 f f bf f f bU
f nf f bf nf f bf nf f bf nf f bf bf f f bf nf f f f
U U
f
Be ultra-precise when switching between full tempo and half-speed. This needs
tempo with one bar at slow tempo, reverse the practice: start with the slow
bar (one bar half speed, the next bar fast). Then practise two bars fast, two
bars half-speed (and then reverse this in the same way as before). Extend the
length of the sections and work in four-bar units, and so on. Try also one bar
fast followed by three slow bars, and similar variations.
One Soft, One Loud
Heres another variation for practice: contrasting dynamic levels. Play the fast
bar(s) lightly, the slow bar(s) more firmly and deliberately; then try it the
other way round (this is much harder!).
You may ask, what are the benefits of this kind of practice? As you change
from one tempo to the other, all the while keeping hold of a rock-steady
pulse, you arechallenging, interrupting and thereby strengthening your
motor skills. Deep learning and tangible progress tend to happen when the
mind is focused and engaged in what we are doing; this type of practice
demands our full concentration. Wesimply wont be able to do this if were
daydreaming or thinking about something other than the job at hand.
Making our practice effective relies on variety. If we do the same things over
and over we stop listening and concentrating because we have habituated.
This pair of articles has outlined several ways to build up speed in our
practice. Please try them out and find which of them work best for you.
Then let us know how you get on!
WATCH GRAHAM ONLINE

{
8
pp
U U U
f b f bf n f nf f b f bf n f nf f b f bf n f nf bf bf bf f b f b f nf
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Hold the fermata long enough to mentally rehearse the next segment before
playing it. Make sure that you are hearing the music inwardly and visualising
the hands in action. You may decide to use the fermata as an opportunity to
check in with your body, consciously letting go of any tension that may have
crept in. The pauses may feel lengthy to begin with. While assimilating the Dont miss Grahams video lessons, which youll find on the Pianist website,
material we shorten and then remove the fermatas one by one, until they www.pianistmagazine.com. Graham demonstrates everything he discusses
arent needed at all. A chain is only as strong as its weakest link: unless we on these pages and more. His lessons are presently filmed at Steinway Hall,
have managed the section between one pause and the next flawlessly, well London, on a Model D concert grand. Theres nothing like watching an expert.
need to go back and do it again until we can.
19 Pianist 99

P18 HTP Graham-FINALish.indd 19 09/11/2017 12:58

 play HOW TO
FULL SCORE ON PAGE 38
TRACK 6

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Ignaz MOSCHELES (1794-1870)

In 1825 Moscheles married the sister of the poet Heinrich Heine and settled in
London, where he taught at the Royal Academy of Music for the next two decades
and produced the Bonbonnire musicale from which this Scherzo is taken.

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Scherzo Op 55 No 3

Playing tips: A deft touch is required for this tender Scherzo in A minor, which means
good finger articulation and finding the right finger weight in order to produce a clear
but light sound. You could try practising it at pianissimo, which should make your job

Allegro q = 176

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easier when you revert to the marked piano. The three repeated staccato crotchets in
the RH a pattern that appears regularly should not be lumpy but pull the musical
momentum towards the following bar. The sunny A major episode beginning at bar
33 brightens the tone: take care of the dolce (sweet) marking here. Make each note
of the LH chords sound, and be strictly together: not so easy when playing softly.
Read Melanie Spanswicks step-by-step lesson on this piece on page 20.

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38 Pianist 99

P38 SCORES Moscheles-FINAL.indd 38 09/11/2017 11:38

A lively little piece by a friend of Beethoven requires nimble fingerwork:

follow the advice of Melanie Spanswick and youll get up to speed
Ability rating Beginner/Intermediate
Info Will improve your
Key: A minor 3 Chordal balance
Tempo: Allegro 3 Articulation
Style: Early Romantic 3 Quick finger movement
Born in Prague in 1794, Moscheles is
best known as a young admirer of
Beethoven in Vienna. He became a
formidable performer, a friend of
Clementi and a teacher of the teenage
Mendelssohn in Berlin. He wrote a great
deal of teaching material such as nine
pieces in a Bonbonnire musicale (Musical
Sweetmeats) box, of which this elegant
little Scherzo is the third movement.
At around crotchet = 176, this Scherzo
fairly zips along. It requires nimble
fingerwork around the keyboard, but dont
be put off by the pace of the notes on the
page: they are written in straightforward
patterns. In fact these patterns can become
repetitive if not coloured imaginatively
and played with rhythmic poise.
Lets focus first on the LH. This largely
consists of dotted minim chords. The
tonic chord of A minor features heavily,
often moving to the dominant. When
playing these triads, follow the fingering
carefully (or add your own in the score),
and keep your fingers close to the keys.
A relaxed wrist will help you to balance
chords so that all three notes sound at
the same time.
Look at the first chord in bar 2. Using
the fingering 1, 2 and 4 (or 1, 3 and 5,
but I find it easier to control the sound
and speed with a 4th finger) play each
note separately, using the tips of your
fingers, and taking the key down into the
key bed to produce a full sound. Now play
the C and A together, locating the point
in the key bed where the notes actually
sound. This may take practice and
patience but you will learn how to make
them sound at exactly the same time.
Next, play all three notes together.
Take the E, C and A up and down
repeatedly, without your fingers leaving
the keys. To improve the sensitivity of
your touch, and become accustomed to
the weight required for different dynamics,
Fabrice Rizzato
Melanie Spanswick is a pianist, author and music educator. She
selected the repertoire for The Faber Music Piano Anthology,
and is the author of a new two-book piano course, Play It Again:
PIANO (Schott Music) intended for those returning to piano
playing after a break. Her popular guidebook, So You Want To
Play The Piano?, is reprinted in a second edition by Alfred Music.
Melanie has recently adjudicated and given workshops in the
USA and the Far East, and runs a bilingual piano project in
Germany. She is a tutor at Jackdaws Music Education Trust and
curator of the Classical Conversations series on YouTube, where
she interviews pianists on camera. www.melaniespanswick.com
weighted to the left (with the wrist moving strength and energy behind your weaker
to the left) to support the 4th finger, fingers as your stronger ones.
balancing it with thumb and 2nd finger.
Listen to the balance of tone as you play. Take note of all the phrase marks.
Once youve mastered playing the chord Shaping the music in short phrases, such
together, you could use the flatter part of as bars 2-4, will bring fluency to your
the fingers for a softer, more muted sound. playing. Articulation marks at the ends of
The chords should still sound together, but bars 10 and 11 (and elsewhere) encourage
they will be lighter and therefore make a you to find a tiny breathing space before
more sensitive accompaniment to the RH. the following bar, without losing the pulse.
Aim to join chords wherever possible.
The first three chords (bars 2-4) are Learning Tip
identical: keep the keys held down until A firm pulse is crucial: count
the last moment, repeating them swiftly purposefully when practising,
and softly, barely lifting the chord at the perhaps in semiquavers at a slow
end of the bar, without moving the speed, accounting for every note.
fingers. However, the wrist and arm
should remain loose, light and relaxed.
At bars 21 and 46 there are longer slurs
The RH plays the melody line in the RH. These phrases may need
throughout. Agan, keep the fingers as further reinforcement from the arm, hand
close to the keys as possible That way you and wrist. Even the 5th finger should be
give your fingers a better chance of forte here with a full, warm tone. There is
learning the pattern of the notes, and a major-key interlude at bars 33-40.
your playing will be more accurate. Spend time over the accidentals in bars
34 and 36, positioning your hands and
The first phrase uses a repeated motif. fingers over the keys so that you can play
You could use a fingering of 2-3-2-5-2 them as evenly as possible. Establish a
(E-F-E-A-E in bars 2-4) but I find connection with each key as you strike it,
1-2-1-4-1 more convenient. Changing taking note of your fingertips for the
fingers on the last beat of the first bar ideal position and grip so that you dont
from a 2 to a thumb should facilitate a fall off black notes when playing at speed.
light staccato articulation for this motif.
Then play all the notes in bar 2 together When you play hands together, you
(the term for this is blocking out) in will look to increase your practice
order to find the appropriate hand and speed gradually. Move your hands
finger shape and position. When playing quickly into position before playing: at
the motif as written, move the hand and bar 4, for example, move the fingers in
wrist slightly to the right as you approach preparation for bar 5, so you can focus
and sound the A. Your playing will be on producing a warm timbre. The
more even and more clearly articulated. passagework in both the RH and LH can
One issue that arises when using weaker be practised with a deep, heavy touch for
fingers is a tendency to rush and not clarity, then when you play at full speed,

experiment with these chords by playing sound notes fully. To counter this, lighten that touch in order to find an
them from fortissimo to pianissimo. support your hand and wrist with suitable even, delicate tonal quality which is best
The hand may need to be slightly arm movements, so that there is as much suited to this lively scherzo.
20 Pianist 99

P20 Mel HTP 99-FINALish.indd 20 09/11/2017 13:04

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Berceuse from Dolly

What, you may wonder, ever happened to Dolly? Born as Hlne Bardac to Sigismond
Bardac and his wife Emma, she became known as Hlne de Tinan after she married

Allegretto moderato
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in 1911. Her husband Gaston died in 1958, but she lived on until 1985, full of

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memories both of Faur and her stepfather Debussy: Dolly, however, was childless.

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Berceuse from Dolly

54 Pianist 99

P54 SCORES Faure-FINAL.indd 54 09/11/2017 11:43

Learn how to listen to yourself and your partner, says Janet Newman,
and youll capture the elusive charm of this gentle lullaby
Ability rating Intermediate The Berceuse is often played rather taking out the parts within the chords to
Info Will improve your indulgently; resist this temptation, and attain complete mastery of the fingering
Key: E major 3 Understanding of balance keep the music flowing simply. The and chord shapes. This will help you to
Tempo: Allegretto moderato 3 Listening to the other player secondo player should offer warm support shape and play this phrase with a lovely,
Style: French Romantic 3 Seamless legato playing to the cantabile line in the primo part. warm legato touch. The secondo part
Watch out that the final B in bar 6 (primo) should also look at this little phrase. It is
doesnt bulge above the accompaniment. the emotional climax of the piece and
Dolly was otherwise known as Hlne. demands a reliable sense of direction and
She was the daughter of the soprano Faur chose and marked his dynamics firm underpinning. I have reorganised
Emma Bardac, with whom Faur enjoyed with fastidious care. Keep to a subdued some of the fingering here so that it lies
a brief affair in the 1890s. Emma later dynamic in the opening section in order more comfortably under the hands.
became the second wife of Claude to give due weight to the first climax of
Debussy, who wrote Lisle joyeuse on their the piece at bar 31. If you peak too soon,
honeymoon. Faur began this suite by the top B in the primo part tends to Learning Tip
composing the Berceuse in 1894 when sound desperate rather than ecstatic! Try practising the RH in the primo
Dolly was just two years old, and added Throughout this opening, the primo part with your partners LH to
another five movements over the next player should cultivate their legato perfect your timing and balancing.
two years to mark birthdays and other technique, overlapping the tone quality
events in her life. Inevitably, gossip and listening out for a truly graded
(of no foundation) has sprung up that melodic line the secondo player will The secondo player comes to the fore
Faur had a paternal interest in Dolly. support this by having an unruffled and in the final section. Here, at bar 59, the
even accompaniment moving underneath melody is heard in imitation. Practise the
melody entries separately, on their own:
The Berceuse is often played
as well as pedalling with care.
the top line of bars 59 and 60, and then

rather indulgently; keep the

A new section begins at bar 35. The the echo melody line that starts on the
modulation from E major to C major thumb (bar 61-62). Its helpful to split

music flowing simply

should be handled sensitively, winding
down in the preceding bars and easing
into the new key. The melody is split
between both hands of the primo part,
The Berceuse outgrew its place within but make the change as seamless as
the suite. It became known to millions possible so that the shape of the melody
of UK listeners in the middle of the last is smoothly contoured, almost as if it
century as the signature theme to Listen were improvised. The bass line in the
with Mother, the BBC Light Programme secondo part the minims on the first
for mothers and children at home. Its beat should be joined up: I recommend
popularity has endured through the that you use the fingering and project
orchestration of the whole suite made in these notes slightly so that they have
1906 by Faurs colleague Henri Rabaud. their proper place as the harmonic
foundation. The dynamic level is still
Playing duets challenges you to listen. hushed and intimate, but as the
You and your partner have to make harmonic progressions intensify, so
decisions about who has prominence and should the tone quality from both
when, which line needs to be projected players, towards the lead back into the
or how to balance the accompaniment, dominant key of B major (bar 57). There
which may not necessarily be in the same should be a natural feeling of inevitability
hand as the other player. Pedalling becomes about the return to the home key at bar
the domain of one player, the secondo. 59. In his later works such as the
He or she should take into account the Nocturnes, Faure explored more daring
pedalling demands of both players. When harmonies; occasional foreshadowings of
playing together, issues such as ensemble them can be heard in Dolly, and
and musical shaping usually outweigh especially in the Tendresse movement.
Janet Newman is Head
any intrinsic technical difficulties, unless
of Keyboard at the Royal
youre attempting Petrushka! Perhaps Faur had in mind the chance
Grammar School in
to sit at the piano with Emma when he
Guildford. In addition to
First choose a tempo that you both wrote Dolly. At any rate, the Berceuse
her teaching, she is in
agree upon. It should impart the lilting presents few technical challenges. The most
demand as a freelance
feel of a gentle lullaby: crotchet = 60 feels awkward point arrives in the transition
pianist and is an examiner
about right. Listen hard as you begin the back to the main theme at bar 59. In the
for the ABRSM.
piece, in order to balance your parts. primo part, practise this section by
22 Pianist 99
the notes as shown on the score, but you
may find other ways to achieve an even
voicing. Whichever fingering you choose,
the secondo takes the lead here, while the
primo part should be listening carefully
and adapting their playing to offer a
sensitive accompaniment.
The transition from bar 66 into bar 67
can be a bumpy area. Its up to you
whether to place the primo part on the
bottom A of the LH secondo part, or to
place it on the melody top E (RH
secondo). I prefer the primo player to
place it on the beat as it makes pedalling
easier and the direction feels less
interrupted. You will also need to decide
how to spread the final chord: I would
put the primo chord with the bottom E
of the LH in the secondo. This solution
resolves the pedalling issue for your
partner, and brings a more fluid and
expressive sound.
Think of the Berceuse as a cue to learn
the remainder of Dolly. Later
movements bring more technical
challenges, but the effort you put in will
pay dividends in improving your overall
musicianship which should bring
satisfaction in itself.
Go to page 76 for Nils Frankes article on
duets for further four-hand playing tips.

P22 Janet HTP 99-FINALish.indd 22 09/11/2017 13:17

 WARNER CLASSICS
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 play HOW TO

RACHMANINOV
Prelude in D major Op 23 No 4
An outpouring of love from a composer with a big heart and even bigger hands:
getting your hands around the notes is just the start, says Lucy Parham
Ability rating Advanced You will have your work cut out later
Info Will improve your on to put all the parts together while
Key: D major 3 Cantabile remembering where and if you are going
Tempo: Andante cantabile 3 Balancing of parts/voices to move notes from the LH into the RH
Style: Late Romantic 3S ense of line or vice versa. The constant triplet
figuration reminds me of a lilting
barcarolle; this rhythm should be
The D major Prelude sits at the heart maintained at a constant pulse
of the Op 23 set. Rachmaninov wrote it throughout the Prelude, even in the
during the spring of 1903. He had climax at bar 51.
married his cousin, Natalia Satin, the
previous May, and she was by now Once you have begun to master this
pregnant with their first child. In figuration, turn to the RH melody.
common with other Preludes in the set, Try playing it in chordal blocks, like a
No 4 in D can be heard as an outpouring chorale. Omit all the accompaniment
of love from a composer who did not and focus on the melodic line with a
often enjoy such peace and contentment. basic chord beneath it. If you do this in
Cherished by pianists and public alike, tempo, it will give you a sense of the
it will repay your study for years to structure that you need to maintain in
come. You will need to put in a lot performance.
of legwork, but it will be worth all Lucy Parham performs
the hours you give to it! Rverie The life and Before you begin, make sure that the
loves of Claude Debussy sustaining pedal is already down.
A word of warning. As the TV series has on 23 January at the Play the first two bars evenly, at a
it, curb your enthusiasm. Rachmaninov Perse School, restrained pp dynamic and without any
is well known for his romantic melodies Cambridge, with Alex bulging quavers. Save a full weight and
and lush harmonies: it is these qualities Jennings as narrator. On depth of tone for the F# which opens the
that draw us to his music, as he identifies 28 January she performs RH melody in bar 3: Sink into this note,
so profoundly with the sufferings and the it again at St Johns and draw the sound out of the piano
joys of the human spirit. However, this Smith Square, London, with your forearm so that it can be heard
is not an invitation to wear your heart with Simon Russell above the LH texture. The dynamic
on your sleeve. Rachmaninov himself Beale, as part of her marking is only mf but bear in mind that
was not an outwardly emotional Sheaffer Sunday Matinee the melody is fully projected throughout
character (a six-and-a-half-foot scowl, Series. Her new CD of the Prelude.
Stravinsky called him, rather cattily) and Elegie Rachmaninoff:
he had an aversion to indulgent or A Heart in Exile is The LH triplet on the last beat of bar 3
exaggerated gestures. The emotional released on the could be split between the hands. That
charge of his music will speak for itself Deux-Elles label. The is, you could take the C# at the bottom
if it is played with taste and integrity. narrator is Henry of the chord and the following A with
At all times, the melody of this Prelude Goodman. For more the LH, with the upper G and A handled
should flow unhindered. details, please visit by the RH. Its the same principle in bar
www.lucyparham.com 4: take the D of the two-note chord in
The LH part is occupied by a
continuous triplet figuration. Playing
this within just the five fingers of one
hand is quite a challenge for most of us.
Unlike Rachmaninov, we are not blessed
with the hand-span of a 13th! Some
judicious re-arranging is in order, but
everyone has hands of different shapes
and sizes. To acknowledge this, we have
chosen not to include fingerings on the
score. However, as a starting point, you
may find it practical to take the 2nd, 3rd,
4th, 5th, 6th and 9th quavers in the RH.
the LH and also the lower A. The RH
takes the upper A. Pianists with large
hands will not need to do this and could
play these three notes in the LH with the
thumb taking the top two notes.
There are portamento markings over
the last two notes in the RH of bar 5.
Give extra arm weight to these notes,
then carry the music over the barline
between bars 6 and 7, emphasizing the
RH F# and the subsequent triplet in the
LH which, as it is split, you can take
Learning Tip
Spend time away from the piano
looking at the structure of this
Prelude so that you always have a
firm grasp both of the melody and
its destination.
your time over, or even distribute
between both hands as before.
Throughout this opening statement you
should aim for the F# minor chord at the
beginning of a bar 11: the first small
climax of the Prelude.
The modulation into B minor in bar
15 is a heart-stopping moment. Give
this a special colour but dont hang
around, because the harmony is heading
towards bar 16. The first chord of bar 16
is quite a stretch unless you can take the
lower two notes (C and D) with the
thumb on its own, which is what I would
suggest. Notice how quickly the dynamic
changes from bars 16 to 17, quietening
from forte to piano within one bar. In bar
17 the LH is extremely important as all
these notes have a melodic quality of
their own: think of a beautiful, quiet
cello solo as you play this bar.
In bar 19 the melody shifts from the
top to the middle voice. Thus the
accompanying figuration moves up to
the soprano line. This is a test of balance,
not least because your hand position is
changing constantly in order to
accommodate both lines. Try singing
the melody as you play, so that the
RH triplet figuration never dominates
the melody.

The famous melody can wait. Begin your Notice the crescendo at bar 25. Take it
Sven Arnstein

practice by addressing the triplet figuration through to bar 28, and only begin your
on its own. I would break this into small diminuendo under the three RH
sections, tackling a few bars at a time. portamento triplets at the end of the bar.
24 Pianist 99

P24 Lucy HTP 99-FINALish.indd 24 09/11/2017 14:05

 T MISS
DON PARHAMS
N Sergei RACHMANINOV (1873-1943)
LESSO
TRACK 12 LUCY ADVANCED
PIECE
ON THIS E
Prelude in D Op 23 No 4
PAG
24

As a composition student, Rachmaninov so impressed an examination board that Playing tips: Editor Erica Worth studied this prelude at music school, but to this day
they determined to award him the highest grade a 5+ until Tchaikovsky she has kept it in her fingers and still enjoys playing it (If youre wondering how to
intervened and added three more plus signs. Thus there was always a firm technical keep a piece fresh that you learned years ago, turn to Mark Tanners article on page
Andante cantabile q =are50
# 3
foundation for Rachmaninovs expression. The Op 23 Preludes full of formal 16: in fact he addresses this prelude.)
into complex textures,q even
& #### 433
Andante
tightly woven cantabile
judge is your ear. ReadFLucy Parhams step-by-step lesson on page 24.
intricacies and melodies = 50 in the slower Pedal tips: Subtle techniques are needed, such as half-pedalling and flutter-pedalling.
Andante cantabile q = 50

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62 99 ffff f f f
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P62 SCORES Rach-FINAL.indd 62 09/11/2017 11:44

Try not to break the phrases: always

think over the barline, like a singer.
The accompaniment should also grow
during more projected passages such
as this one but always in relation to
the melody. There is an abrupt change
from piano to forte in bars 31-32. It is
your immediacy of response to this
dynamic change that will lend greater
harmonic significance and colour to
the chord on the first beat of bar 32.
A new section begins in bar 35. This
is cast in B minor, the relative minor
of D major. Maintain the flow through
this passage, as it marks the beginning
of the long line that drives towards
the climax of the entire Prelude at bar
51. Try not to break the phrases: think
over the barline, like a singer. The
modulation into E minor in bar 43
should have a magically hushed
quality. Take your time over this
spread chord. You could play the
A new spell is cast in bar 53.
The theme returns, picked out in
the soprano line as a counter melody,
or as an echo (D crotchet to C# Do you:
quaver in the RH): this line demands
your full attention. The peak of the
Need a piano tuner?
swell in each bar of the LH at this Need advice about purchasing a piano?
point occurs on the seventh quaver: Want to join the Association?
you may find it more manageable
with the RH. Want to become a piano tuner?
After the big chord in bar 61,
semiquavers are introduced to
Visit www.pianotuner.org.uk
the accompanying LH texture. or contact the Secretary on
These notes deserve melodic weight 0845 602 8796
and importance in your playing, as
they further intensify the movement
and expression of the Prelude towards The Association provides the music profession and general
its close and note the small public with a first class professional service in which they trust.
crescendo under each group of
semiquavers.

top B in the LH if you are speedy
enough to get your LH back down
again to the following G but you
may find it easier to take the note
with the RH 3rd finger.
From bar 47, the melody is played
in RH octaves. Surging towards the
climax, Rachmaninov fills out the
octaves to three-note and then
four-note chords (bars 51-2). These
present quite a technical challenge in
themselves. I would suggest that you
practise them alternately without the
thumbs and without the 5th fingers,
and always ensure you can hear the
notes in the middle of each chord.
Play BEETHOVEN
The Preludes final point of arrival
occurs in bar 66. Take your time inPianoforte.indd 1 10/03/2015 11:07
bar 65 as you approach this moment,
lending breadth and space to the final
beat of the bar. From bar 66, the
Prelude ebbs to a close. Try to grade
each succeeding bar so that it is a little
quieter than the previous one. A rapt
pianissimo is needed at bar 73.
Making a small crescendo but not
a ritardando arrive on the mf chord
at bar 75 with the whole weight of
your arm: this is the final utterance.
A simple cadence, notably marked
without much slowing down,
concludes the Prelude with a sense
of benediction.

Rachmaninov had big hands

In this issue of Pianist dedicated to duos and duets, it would be
missing a trick not to mention the partnership of Igudesman & Joo.
Their unique solution to the outsize chord-spreads of the Prelude in C#
minor Op 3 No 2 has to be seen to be believed happily, its on YouTube.
All the same, a 13th hand-span has never been obligatory for playing
his music with both feeling and accuracy. One of the most eminent
Rachmaninov pianists of the last century was Dame Moura Lympany, 7 CLASSIC SCORES
who made the first complete recording of the Preludes when in her
20s, during the middle of the Second World War. Diminutive in stature, FOR YOU TO PLAY
her small handspan proved no obstacle, as indeed it never did for Alicia
de Larrocha or Shura Cherkassky. I never was one for chi-chi phrasing
or powdered rubatos, she remarked: I dont consider myself an DOWNLOAD THE
erudite pianist. Im a completely emotional pianist. There, perhaps, lies
the key to playing his music, no matter how large your hands. PIANIST APP TODAY!

P24 Lucy HTP 99-FINALish.indd 25 09/11/2017 14:05

 Pianist 225mm 140mm

November8-25, 2018
Hamamatsu, Japan
Organized by

Age limit Pianists born on or after January 1, 1988

Application Available February 1 - April 15, 2018
JURY OGAWA Noriko ... Chairperson, Japan
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For further Information
Secretariat of the HIPIC E -mail : info@hipic.jp Tel : (+81)53 - 451-1148 Fax : (+81)53 - 451-1123

w w w.h ipic .jp

2 Pianist 96

p26_pianist99.indd 2 09/11/2017 11:11

 Pianist 99
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3 1

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5
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1

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5 2

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5 1

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2
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3 1

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1
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4

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1 1
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1

J f
1 2

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5 1 5 2 4

#
13
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1

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1

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1 2

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1
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5

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2

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1

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2

2
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1

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1

ff
5

& f f
1 3

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2

#
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5
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2
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f
2

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ff
2 2 5

f f f

28 LEOPOLD MOZART
ff F f ff f fj
5
f
f f ff f f ff f f # F- f #f ##fff ff f f f #F f f ff f f f f
3 4

?# F
5 1
f
1 3

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5

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2 1

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1
3
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1
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5

f f f f #f f F f f f fff f # F f fff ff f f f
1

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1
f
1

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2

f f
1

f f? #
4

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2
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f ? # ##fff#
3

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2

f f f
3

f f f f ? # f ff ff ff f f f f f f
1 3

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p
f f
1

f f
2 2
1

#f f f f #f f #ff f
2

f f
3 2

f f fu u f f f f f f
ff ff f f ff f f f
f
f f f #f f
Minuet in C
2

f f
1

f
2

f ff f #f f #fff f
#f f
f f
2 2

u f f f f f f
f f f #f f
5

f f f f f f
1 4

Buy more sheet music

f f f
2

f
2 2

ff f f ff f
2 2

f Pianist f
1 2 5
P30 SCORES Pianist 30 3
P62
62 4

f
94 1
SCORES 94
f
42

Mozart-FI
NAL.indd P42 SCORES Pianist 94
1 2 Siloti-FINA
L.indd 62
5 4
2

f
30 Fanny-FIN 2
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AL.indd 3 2
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09/01/201 09/01/201
7 10:20 7 10:28
09/01/201
7 10:22

29 JS BACH
Whether you fancy a timeless classic or a jazz Minuet in D minor
standard, the Pianist Shop is home to hundreds of
pieces from beginner to advanced levels to suit 30 DIABELLI
everyones musical taste. All pieces have appeared No 18 from Melodische
in past issues of Pianist, so if youve missed an issue Ubungstcke Op 149 (Duet)
or two, nows your chance to catch up. You might just
feel like browsing to see whats available. 32 DIABELLI
With reasonable prices (as little as 1 per score!), No 26 from Melodische
our sheet-music store is the best place to find your Ubungstcke Op 149 (Duet)
next piano-playing adventure. All you need to do is
go to pianistm.ag/digitalshop to register, and then 34 BALAKIREV
start shopping! On the Volga (Duet)

38 MOSCHELES
Scherzo Op 55 No 3

41 HELLER
No 18 from Etudes Mlodiques
Op 45

44 NIELSEN
Folk Tune Op 3 No 1
Watch more videos
45 KEYBOARD CLASS
Head to the Pianist website, where youll find over a hundred Finger Fitness exercises
video lessons. Tim Stein teaches the basics of playing, and for chords and arpeggios
Graham Fitch coaches you through more demanding technical
challenges. Simply go to pianistmagazine.com/tv to get 50 RESPIGHI
started with the complete piano-learning experience! Natale, Natale! No 4 from
Six Little Pieces (Duet)

54 FAUR
Berceuse from Dolly (Duet)

Receive more 60 STRAYHORN

information Take the A Train

62 RACHMANINOV
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tips, exclusive competitions Quick guide to
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Visit pianistmagazine.com note value terminology
and look for the sign up
button on the right-hand side w = semibreve/whole note
of the top menu bar. h = minim/half note
q = crotchet/quarter note
e = quaver/eighth note
x = semiquaver/16th note
y = demisemiquaver/32nd note

p27_Scores Intro 99-FINALish.indd 23 09/11/2017 13:15

 TRACK 1
Leopold MOZART (1719-1787) BEGINNER
Minuet in C

In the Notebook for Nannerl, Leopold wrote out simple pieces for his daughter and
more prodigious son to learn and play, such as this minuet: the book was filled up after
being presented to Nannerl on her eighth birthday on 26 July 1759, and before the
Mozarts visit to London in the spring of 1764, when they all promptly caught colds.
Playing tips: This is a good exercise for tackling different rhythms in the RH, what with
the dotted quaver/semiquaver motifs and the triplets. We suggest use of a metronome,
starting out very slowly. Notice the RH octave leaps as well (bar 1, bar 3 and so on).
Get the fifth finger ready for the high note, but avoid tensing up the hand. Once you
have played the top note, immediately relax the thumb and retract it so that its closer
to the hand. Look closely at the technical tips within the score.

Start out with a bold The dotted quaver/semiquaver pattern needs to be Think in two-bar phrases. Bar 2 Reduce the dynamic
forte in both hands. rhythmically spot on, as does the triplet that follows. answers bar 1, and so on.
q = 120 a little to mezzo-forte.

fF
5 4
fffF f #f f
3 fF
1 2
fffF f
3

J
4 1 2 1

& 4 f f

{
C major: no
sharps or
flats. 3 3
mf
? 43 f
f
f f f f f
f #f f f f f f f
5 2 1 4 1 3
3 2

The LH crotchets should be non legato, though not

staccato.They should walk evenly over the keyboard.

Bars 5 and 6 are repeated, Back to mezzo-forte for a resolute end Go back to the
but at a softer dynamic.. to the first half of this minuet. beginning and repeat.

f f F f #f f f f F
6 5

f f f f f
3

J
1 5 2 1 2

&
1

f F

{
3
p mf
f f f f f f
? f f f f f
2 4 1 3 2 4 2 1 1
f
5 2 5

Keep your fingers and hands close to the keyboard to avoid smudging notes.
The second part of the minuet follows in similar style. Follow the fingerings on the score they are there to help.

fF #f f f F nf F
11
f f f F f f f
5 4

& f
1 2 5 4 1 2 1 3

f f J

{
3 3

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

Finish with a flourish, and dont slow

down. Notice how the RH needs
Lower the The dynamic is to lift from the keys for the third
sound to piano. suddenly forte. beat (same as in bar 10).
16
f 5
f f f f f F
3

& f
3 1 1 5 2 1 2

F f J f f f f

{
f F
p f
? f f f f f f f f
f
1 4 2 1
f 1
f f
2 4 3 2 5 2
5
The double barline takes you
28 Pianist 99 back to bar 11 for a repeat.

P28 SCORES Mozart-FINAL.indd 28 09/11/2017 11:36

 TRACK 2
Johann Sebastian BACH (1685-1750) BEGINNER
Minuet in D minor Anh 132

Leopold Mozart wrote out pieces for his children; Bach did so for his young (second)
wife, Anna Magdalena, who was just 20 when Bach married her in Cthen; an occasion
for which the receipt of his festive purchase of wine (and a good deal of it) survives.
Playing tips: The pulse should be even throughout; try using a metronome.
Start out quietly, but in strict time.
Moderato q = 108
Pay attention to the RH slurs (bar 5 onwards) and the dynamic markings. There should
be a detached quality to your articulation (listen to the CD for help). Its not imperative
to play the mordent at bar 6, but the notes are F-E-F with the first F played on the beat.
Do consult your teacher! Look closely at the technical tips within the score.
Bar 3 requires good work in the RH.
Every single finger is being used.

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

f f f f f

{
#f f
The key is D
minor: B flat in
the key
signature and p

? b 43 F f F
a sharpened
7th, C sharp f F f
f f
3
2 1 1 2 f
The fingering is there to help you. Even if it allows you to join up the notes, Because the RH and LH parts are very different, practise hands
the style of the piece requires a detached articulation in both hands. separately until you have the notes firmly under the fingers.

The slurs over the RH notes (short curves)

require you to join the two notes, releasing the
See text above regarding the

Mf )
hand with an upward motion on the second note.
5
4 mordent over the top F in bar 6. 1. 2.
f f f f
(

&b f f f f f
2 3

f fff f F
1 1 1 3 1 2 3

{ ?b f f
1 2
f
4
mf

F
5
f
2
f
f f
4
f
5
f f f #f f nf
1 4 1

Tail off with a small decrescendo before repeating bars 1-7.

2
f
5

Second time around, go straight to the bar labelled 2.

Prepare your RH thumb for the

octave stretch in bars 9 and 11.
Try not to tense the hand.
9
f
5
f f f
5
f f f F f f f f #f f f
& b
2 5 2 1
1 1

f F

{
f
mf p
f f f
? b f f f f f
f f f f nf #f f f
1 3 1 2 2 5 1 2
Again, make the most of the LH
Bring out the melody
melodic line here.We want to hear it!
of the LH above.

This RH scale passage requires a quick The RH moves around in bar 14. At the end of bar 16, repeat from bar 9, going straight to the
movement of the thumb under the third finger. Slow hands-separately practice will help. second-time bar (labelled 2): this is the end of the Minuet.
Place the top B flat with care.

f f #f b f f f f f f f #f
13 1. 2.
f
5 2

# f F F
4 1

f
& b f nf
1 3

f
1 1 4 2 3

{
Bring out the LH below.
#f
mf f
f f
?b f f f f f f f f
#f f f f
1 2 3 5 1 2 1 3 2
1
f 1 2f 1
5
29 Pianist 99

P29 SCORES Bach-FINAL.indd 29 09/11/2017 11:36

 TRACK 3
Anton DIABELLI (1781-1858) BEGINNER
DUET
No 18 from Melodische Ubngstucke Op 149

There are 28 exercises in this collection of duets, full of the unpretentious tunefulness every accomplished composer he knew. The responses naturally varied in quality, but
that distinguishes the little waltz composed by the music publisher and sent on to produced one enduring masterpiece, the Diabelli Variations of Beethoven.

Secondo
Andante cantabile q = 92
f #f f 2
f 5
f f #f f
2 4 2 5 2 5 2 4

? c ff fff f ff fff f ff fff f ff fff f

1 2 1 2 1 1 1

{ ?b c f
p

1
f
2
f
'
f
' f
'
3
f
'
5
#f
' 3
f
'
5
f
'3
f
'
2
f
'
1
f #f
' '
2
3
f
'5

f f f bf f
f f f f bf f f nf f f nf f f f f f f f f f # f f
f f
2
5 3 2 4 4

?b f f
3
1.
f

{ ?b
f
f
nf
f
f
f
nf
nf
p

f
f
f
f
f

sf

f
'
f
'

nf #f f f #f f #f f f
2. 5
f f
4 5 3 1
f
4
8 1 2

? b f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
1

{ ?b
f

f f
' '

p

# f f f' f'
' '
3 5 3
2
f
'1
f #f f
' ' f # f' f f' '
' ' 3
F

13
f f f f f # f f #f f f f f f nf f f f nf f # f f 1.w
w
2 3

?b f f f f f w

{ ?b f f F
2
f #f
f

F
1
F
5
p

f
3
f #f f f f
f
f

2
4

f f >f f # f f f f f >f f # f f f f # >f f f f # >f f f f f f f f U

4

w
5 1

w
2. 3 4

f f f nf f
16 1 2 3 2

?b f f f f w

{ ?b
p

FF F
>F
FF F
>F
ff
30 Pianist 99
f
>f
ff f
>f
pp

FF f f
U
w

P30 SCORES Diabelli-FINAL.indd 30 09/11/2017 11:37

 TRACK 3
Anton DIABELLI (1781-1858) BEGINNER
DUET
No 18 from Melodische Ubngstucke Op 149

Playing tips: The secondo part has the calm accompaniment, to be played evenly, melody, which is played in unison. Shape the lines. Try singing the melody before
with a slight emphasis on the first and third beats. The primo part carries the sweet playing it. For further playing tips, turn to Nils Frankes article on page 76.

Primo
Andante cantabile q = 92

f fff f f f f f fff
4

bc F f f f f
1 3

& J J

{ &b c F
p dolce

5
f
3
f
J f fff
f f f f f f
J
f fff

<>
f f f f f f f
4

f f f f ff
5 1.
F f f f
b J J
3 2

&

{
p sf
F f f f f f f f f f f f f f f ff
&b J J
1

<>
>f >f
5

f f f f f F
8 9
f F f f f f
b J
2.
& J J

{ &b
f
p

F
4
>f f f
J
f f
J
>f
f f f f f F
J

<>
13
f f F f f f f
f f f
1.

&b F J J F

{ f f f f
sf f p
f f F
f f f
&b F J J F
1

<>
>f f f f f >f f f f f >f f f >f f f U
16
w
2. 2

f f f f
&b
1

{ &b f
>f f f f
p
f
4
J
> > >
f f f f f f f f f f f f

31 Pianist 99
pp
f f
f f
U
w
w

P30 SCORES Diabelli-FINAL.indd 31 09/11/2017 11:37

 TRACK 4
Anton DIABELLI (1781-1858) BEGINNER
DUET
No 26 from Melodische Ubngstucke Op 149

The brisk march rhythm, stamping Secondo chords and minor-key Primo melody Symphony, the finales of Mozarts Sonata K311 and Violin Concerto No 5 (both also
make this an archetypal example of the Classical-era craze for wild, Turkish-style cast in A minor) not to mention his Abduction from the Seraglio opera and the
music, noted examples of which include the second movement of Haydns Military uproarious march written by Beethoven for his Ruins of Athens incidental music.

Secondo
Allegro alla turca q = 144
ff f f f f
5 5

ff ff ff ff ff ff ff ff ff ff #fff fff
5 3 3 2
3 1
fff fff f
1

? c ff ff ff ff ff ff ff
1

f fff f
J J J J

{ ?c
f
f
ff

f
f
j j
f ff
f f f
f
f
f
f
j j
f ff
f # ff
ff
ff

5 5
3

ff ff ff ff ff ff ff ff ff ff ff
3
1

? fff fff fff fff fff fff fff ff ff ff ff

1
5
f f f f f f f f f f f f fJ fJ f
J J

{ ?
f
f
f
f
j j
f f f
f f f

f
f
f
f

f
j
f
ff
j
ff ff
ff

5
3 5

ff f f f f
2 3 5 5 5

fff fff fff ff ff ff

5

fff fff f
3 4 3

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

1 1 2 3
1 1 2 2

? f f f fff f
9 1 1

J J

{ ?
f
p

f f f f f
f

j
f f f
f
j j
f

5 5

f f
2

? fff fff fff fff fff fff #fff fff fff fff fff fff fff fff #ff ff ff ff ff
3
13 1 1

f f f
J J J J J J

{ ?
ff

f
f
f
f

f
f

f
f
j j j j fj
f f f f
f f f f f ff
j
ff ff
ff

32 Pianist 99

P32 SCORES Diabelli 2-FINAL.indd 32 09/11/2017 11:37

 TRACK 4
Anton DIABELLI (1781-1858) BEGINNER
DUET
No 26 from Melodische Ubngstucke Op 149

Playing tips: This piece should be played with conviction and with a great sense of The primo part needs to sound clipped. Good finger articulation is needed: Dont
rhythm. A brisk tempo is required in order to make it stamp and dance! The swallow up the notes too quickly. The tempo is Allegro, but every single note should
secondo part carries the loud um-pa-pa-pa accompaniment. Make sure to raise the be clearly articulated.
hands off the keyboard for the rests. And remember to always keep in strict time. Turn to the duets article on page 76 for further playing tips.

Primo
Allegro alla turca q = 144

f f f
c ff ff ff
1 2

& f f f f f f f f f f f f f f f
3

f f f f f f

{ c
& f f f
ff

f f
f f
5 4
f
f f
f
3
f f f f f f f f f f ff ff
f f f ff

<>
f f f f f f f f f f f f
5

& f f f f f f f f f f f f

{ & f f f f f f
f
f f f f f f f f f f f f f f f f f

<> 9
f f f f f f f f f f f >f f f f >f f f f f f f f f f f f f f
&

{
& f f f
p

f f f f f
f f >f f f f >f
f f f f f f f f f f f f f f
f ff

<>
f f f f f f f f f f f
13

& f f f f f f f f f f f f f ff f f f f

{ & f f f f f f

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

f f f

f f f f f

33 Pianist 99

P32 SCORES Diabelli 2-FINAL.indd 33 09/11/2017 11:37

 TRACK 5
Mily BALAKIREV (1837-1910) BEGINNER/
INTERMEDIATE
On the Volga DUET

It was in reviewing a concert conducted by Balakirev in May 1967 that the critic Playing tips (secondo): The secondo part should form the calm, swaying accompaniment.
Vladimir Stasov coined the Mighty Handful term to encompass the works of Make the switch between LH and RH seamless. Keep the pulse steady, and try not to let
Balakirev and four colleagues who determined to create a distinctively Russian idiom, any notes stick out. Notice that dynamics rarely go beyond piano.
without recourse to the dominant German strain of musical form. Pedal tips: See the markings on the score: they are relatively straighforward.

Secondo

Andantino q = 112

## 3
5
4

& 4
1 2

fff fff fff fff fff fff fff fff

{
f f f f f #
p

? ## 43 f
f f

5
sim.

#
6

&#
5 4

2 1 2 1

fff fff fff fff fff fff

{
f f # f f # ff ff f
f f f # ff
? ## f
f f f f
f f f

##
5 5 5 5
12 2 5 5 5 4 3 4 3

&
ff f #ff nff n#fff nFFf f
1 1 2 3 2 1 2 1 2 2

f ff ff fff ff f # ff

{
f f f f f n
f f f
mf
? ## F
f f f
F #f f f f

#
5
18

& # ff
5 3

4 2

fff ff ff fff fff fff fff Ff f f f f fff fff

{
f f #f f f # f #
? ## f
mf
f
f f f
f f f f f f

34 Pianist 99

P34 SCORES Balakirev-FINAL.indd 34 09/11/2017 11:38

 TRACK 5
Mily BALAKIREV (1837-1910) BEGINNER/
INTERMEDIATE
On the Volga DUET

Playing tips (primo): The primo part carries the sweet piano melody. At the start, the joining in in unison. The dynamic is now mezzo piano so make the melody sing. Dig
RH plays solo. Take note of the phrase markings so that the melodic line flows with deep into the keys to produce a warm tone. You can read further learning tips by
a calm finesse. The melody reappears an octave higher at bar 20, now with the LH Nils Franke in his article on page 76.

Primo

## 3
Andantino
f f f f f f

5

& 4
1

{
p
# 3
& #4

## F f f f f f f f f f f
6 5

f f f f f f f
3 4
1
f
& F F

{ #
&#

12
## f f
5
f f f f f f f f
f F F
4 4 3 2 3 3

& F f f f f f f f
1 2 3

{
mf
#
&#

f f f f f f f f f f f f
5
18
# f F
f f f f f
&# F
1 5

{ #
&# F
mf
f
1
f f f f f F f f f f f f

35 Pianist 99

P34 SCORES Balakirev-FINAL.indd 35 09/11/2017 11:38

 TRACK 5
Mily BALAKIREV (1837-1910) BEGINNER/
INTERMEDIATE
On the Volga DUET
##
5
24 4 5

&# #f nf
3 1 2 2
5

Ff f ff Ff f f
f # ffff
Ff f
f #f f #f
24

{{
f f
##
4 5

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

5

24& #
3 1 2 2
24 4 5

Ff f Ff f Ff f
&# f ##ff f f ##ff f f # fff f f#fff nf f f
2 2

f f f
3 1

f # ff
5

Fff f f Ff f f Ff f
& ####
4 5

24? f f
3
f
1
# fff
2
f f f # ff f f f#f nff f ff
2

Fff f f f #f
Fff f f f #f
FFf f
f f ff f f f
5

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

? f
& # nf
2 2
ff ff
3 1

? ### fFf f
f f #f f f #f
ff Fff f f f #f f f # fff Ff f f f f ff ff f f
f
? ## f f f f f f F
f f f F f
f f f f f f
f
? ## f f f
f F
30
## f f f f f f f f
& f f f f ff ff ff
30 # Ff f n# f nFFf ff ff ff f # ff
f f n#ffff
30
f

{{
## f f fff ff f f fff n ff f f f f ff fff # fff
30& # Ff f nFFf ff
&# Ff f f f n#ffff nFFf f f ff ff f f f nn fff f #f f f f ff ff ff # ff
& ####
30? f f n#ff nFFf f f fff ff f f f ff ff # ff ff f f ff fff # fff
Ff f f f f f f ff

{{
?
& ## #f
f
nFFff
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P34 SCORES Balakirev-FINAL.indd 36 09/11/2017 11:38
 TRACK 5
Mily BALAKIREV (1837-1910) BEGINNER/
INTERMEDIATE

F f f f f f f F Onfthe Volga
3 4
f f f f f
F f
4
f f f f
4 5 DUET

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1

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41&
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F F f f f
3

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3 3 2

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5 4
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f f F
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f f F F f fJ f
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37 99

F
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F f
P34 SCORES Balakirev-FINAL.indd 37 09/11/2017 11:38
 S
MIS
NTANIE
DOM EL ICKS
SW
N
Ignaz MOSCHELES (1794-1870) BEGINNER/
ESSO
TRACK 6 SPAN INTERMEDIATE
L HIS P
IECE Scherzo Op 55 No 3
ON TPAGE
20

In 1825 Moscheles married the sister of the poet Heinrich Heine and settled in
London, where he taught at the Royal Academy of Music for the next two decades
and produced the Bonbonnire musicale from which this Scherzo is taken.
Playing tips: A deft touch is required for this tender Scherzo in A minor, which means
good finger articulation and finding the right finger weight in order to produce a clear
but light sound. You could try practising it at pianissimo, which should make your job
easier when you revert to the marked piano. The three repeated staccato crotchets in
the RH a pattern that appears regularly should not be lumpy but pull the musical
momentum towards the following bar. The sunny A major episode beginning at bar
33 brightens the tone: take care of the dolce (sweet) marking here. Make each note
of the LH chords sound, and be strictly together: not so easy when playing softly.
Read Melanie Spanswicks step-by-step lesson on this piece on page 20.

Allegro q = 176

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

&4

{ FF FF FF
p

? 43
F F F
1
2
4

f. f. f.
5
f
4
f f f f
1 2
f
3
f f f F
5

& f f

{ ? #F
F
2
4
FF #F
F

f. f. f. f f f f f. f f f f f. f f f f f.
9 2

&

{ FFF FFF FFF

cresc.

f f. f. f
13
f f f f f f
5

f f
3

& f F
1

{ ?
mf

FF
1
2
5
F
FFF FF

38 Pianist 99

P38 SCORES Moscheles-FINAL.indd 38 09/11/2017 11:38

 TRACK 6
Ignaz MOSCHELES (1794-1870) BEGINNER/
INTERMEDIATE
Scherzo Op 55 No 3
.
17
.
f 2
f. f. .f f. f. f f.
1
f.
2
f. f. f f f
1 f .
f

&

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(mf)

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1 1
3 2
5 4

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

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FF FF
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2
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F

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1 2
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1 2

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f f f. f. f f f f f
p

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1
3

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{
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dolce
? #FFF F
#FF
39 Pianist 99

P38 SCORES Moscheles-FINAL.indd 39 09/11/2017 11:39

 TRACK 6
Ignaz MOSCHELES (1794-1870) BEGINNER/
U
U
>>FF
INTERMEDIATE
5
Scherzo Op 55 No 3
U
5

>F
37 5

ff ##ff ##ff
37
ff
4 4
37
& ff ff ff ff
4 4

37&
4
f #f f ff f
4
#f f ff U>F

{{
& ff. ff. ff. f f
5

f.. f.. f.. f f

cresc.#f #f U
f f
4 4

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U
##>FF
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?
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FFFF
cresc.
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1
#
4
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1
2 4

1
F
2 4
2

1 4
2

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

5 4 5
ff
5
41
ff
5 5 5 4 5
ff
41 2

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5

f f f f ff f f f f f ff ff
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5
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& f
5 1

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2

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1

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f. f. f. f. f.

{{
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5

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2

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cresc.
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?
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1
1
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5
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5

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49

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ff
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49

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FF f FFF
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FF
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ff... ff... ff... ff...

ff... ff...
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3

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1 5
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3 1

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& f.
1

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{{
&
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?
? ff ff ff ff ff
?
? ff. ff. ff. ff. ff.




40 Pianist 99

P38 SCORES Moscheles-FINAL.indd 40 09/11/2017 11:39

 TRACK 7
Stephen HELLER (1813-1888) INTERMEDIATE
No 18 from Etudes Mlodiques Op 45

If you enjoy playing this flowing RH study, look out Pianist 94 for a Curious Story
from this well-travelled and well-connected pedagogue and composer, who met
Beethoven and Schubert early in life before coming under the patronage of the
magnificently titled Count Friedrich Fugger-Kircheim-Hoheneck.
Playing tips: This delightful piece is perfect for RH scale practice. The groups of runs
should sound fluent and effortless (follow the phrase markings). To jump from one
phrase to the next, your hand should move quickly to the top note of the next group
in the quaver rest. Try making a slight emphasis on the second beat of the LH: jump
off the base note as if from a springboard, then lean into the top chord and tail off
on the last note. The cantando marking at the end of bar 9 encourages you to bring
out the melody line. Bar 15 forms the climax of the first section and should sound
as one long, sweeping phrase through to bar 21 where the LH has taken you back
to the opening theme. Bar 27 deviates from the opening and the coda begins at bar
36, with triumphant dotted quaver/semiquaver chords.
Pedal tips: See markings on the score. Make sure to lift the pedal on the third beat
(or a fraction after). Dont over-pedal or you will loose the lightness thats needed.

f f nf f f f f f f f
4
Allegro q = 116 1

b3
3

f f
2

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

{
> >
p
fff fff
f
# fff
? bb 43 f f f
f. f. f.

1 1 3
2 2
3 3

b f f #f f f f f
4
f f f f f f f f
2 2

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

&
2 3 2 4 2

{
> > f
ff fff fff
? bb f f f
f. f. f.

2 1
2
sim. 3

f f n f f f f f f f f f f #f
1

b
7
fffff f
3

&b f #f f f f f f f f f ff
2 4 3 2 4
3

{ # fff f
f
ff fff cantando
? bb f f f
f. 3
f. f. 2 1
2
3

^
ffj f f f f f f
10
b f f f f f f f
&b f f f f f f
2 2 4
2 3

f f f f f

{
f. f f f
f p
ff ff fff ff ff
? bb f
f f. f

2 1

5 5

41 Pianist 99

P41 SCORES Heller-FINAL.indd 41 09/11/2017 11:39

 TRACK 7
Stephen HELLER (1813-1888) INTERMEDIATE
j f f f f f f
f f ff ff f #f f f f f
5
No 18 from Etudes Mlodiques Op 45
b f f f f f
13
j f
55

f f
& bb ff f f f f f f ff f f f f f f f ff f f f f #f f f f f
4 4

f
13
13 3 3

13& b f
44 44 33

{{
33

ff.. jj pf ff f f f f >> f mf f ff f f f f >> f f f f ff ff ff #f f f f f

5

b
5

bbb fffff ppf fff f f f ff f mf f fff f f f ff f ff #f f f f f

4 4
13 3

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3
4 4
f 3

& #
3

? . f >f f mf f >>f f f fff

? bbbb fffff.. pp ff
f ff
f> f
mf
f . f f f
f
# f


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f
# fff
b
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f
ff.
f
. . ff.
.

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16
? ff f #f f f f
4 3 4 2 2 4
16
16 4 1 2 4 3

& f #f f f f f f #f f f
3 5 3 4 3

16& b f f f #f ff f f f nnff ff f f f f f f
44 44 22
?
33 22 44

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44 11 22 44 33
ff
33 55 33 44 33
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2 2

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16 3 4 4 1 2 4 3

& f ff ff ff f f #f f f
3 5 3 4 3

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

& f f
3 5 3 4 3

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

?
? bbbb

19
?b f f
f ff ff ff
19
19 2 2

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2 4
22

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22
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22 44

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? ff f f f > f
? bbbb dim. p ff
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2

& p
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ffff >>ff ff
? bbbb
.

f bf #f f f f f
f f ff ff
dim.
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p
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2
ff
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bb ff ##ff f f f ff.
22 22 11 44
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.

2 2 1 4

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2 2 1 4
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f
4

f f ff ff ff ff ff
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5 44

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3 2

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ff nn ff f ff
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4 44 22 33 11 22

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{{
ff f f f >> f
f #f
1

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4

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f
1

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3 2

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& # f ff f
3 2

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fff f f f ff ##ff
f
1 2

# ffff
4 2 3

&
? >>f f f f
? bbb
fff f f
b f
f.. fff f ff
ff.. ## fff f
f.. fff
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? bbb ff f 1

ff
2
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b ff. ff. ff. 22

. . . 1

f f bbff
f
2
4 1
f f
f ff ff ff ff ff
1 2
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3
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f f ff ff ff f f f f f f f f f
f f f f f f f ff b f
2
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ff f f f f >> f >
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3
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3
25
p f
2

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&
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p f ff f f
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f f nf
& fff f f >>ff ff
4
ff
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pf
p.
f f f. f f ff
bb fff
f..
f
f. fff fsim. ff ff nnff
? . fff
? bbbb ff
4

ff ff 44
ff. ff.
sim.
sim. ff.
. . . 4

sim. 42 Pianist
99
4
sim.

P41 SCORES Heller-FINAL.indd 42 09/11/2017 11:39

 TRACK 7
Stephen HELLER (1813-1888) INTERMEDIATE
No 18 from Etudes2 Mlodiques Op 45
ffff n f b f f bf ^^ bb ff
2

ff
f nn ff bb ff
ff ff ff ff
bbbb
2
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& ff
2 2 4
ff
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ff ff
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2 4

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{{{
f f nf bf f f
2
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2 4 2 2 3

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2 4

f f f f f
28 4 2
2
f f f f nf f f pp f f f ff
&b
2 2 3
f ff bf
4

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2 4
dim.
dim.
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dim.
ff ff
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p
f..
pf
dim.

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f f
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2

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ff
ff
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? bb f. f f. F
p
p
ff f.. f f FF
? bb f. f f.
3 4 3

f.
3 4 3

3 4 3

3 4 3

ff 5
ff f f
ff ff ff b f f f > ff n f >>f
4 5 2

f ff ff
4

bbbb f bb ff ff ff >>ff ff f nn ff >ff

34 3 4

ff
4

5 2
ff
4
34 3 4

& f f
4 2

##fff
4

f f f
4 2

& bb
34 3

{{{
4

fff
5 4 2

&b f f f b f f f >f f f n f >f f ff ff ff ff ff

4

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>>f f.. f..

34 3 4

f f f
&b mf FF f FF f > f
4 2

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ff ff. ff
?
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? bbbb ff mf > ff ff. ff ff
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f FF & ff ff ?> ff f. ff
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f. > f. f. f
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1

>
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& b fj f
ff ff ffjj ff ff ff
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ff ##fff ff
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& bb fff.. j pff

f f >>ff ff ff ff ff ff f f f >>ff ff ff ff FF
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f f^ f ff.. ff.. f f f^ f f.. ff..

& b ff. j pp >f f ff >f f FF
2

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f
ff. ff. #ff fff^ f ff
. ff.
? fj ff^^ >f f ff ffj
ff^^ >f f ff FF
? bbbb ff. j p f ff. ff. ff
ff
ff ff. j f ff
f. ff. FF
? bb f. j ff f ff.. ff.. f.. j ff f ff
ff.. ff..
? bb f.. ff
f . .
ff >>ff f.
ff
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>
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42
42
b ff. FF ff 5 2

& ff
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{{{
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& bb #fff. fff FFF f >>f

5
ff
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& b fff.. ff.. f
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fff
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1

? ff ff. FF f f f f ff.jj f f
? bbbb fff.. > f
1
sff
fff
1

? bb f f. F f.j .ff f ff f f
sff
f F fff f .f ..f .f .ff f
1

? bb f f F . .f .f . ..f
ff

2 3

. . . .f .f f
2

3 5
1 2 5
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f
3

. . .
43 Pianist 99 1 2

3 5
2 3 1 2 3
5
1 2 3

P41 SCORES Heller-FINAL.indd 43 09/11/2017 11:39

NE TRACK 8
Carl NIELSEN (1865-1931) INTERMEDIATE
Folk Tune Op 3 No 1

Nielsens Op 3 encompasses all manner of early works, unpublished in his lifetime,
from brass and string quartets to a pair of piano pieces of which this is the first. He
probably wrote it as a teenager, while he was still growing up on the island of Funen:
a (mostly) idyllic childhood which he would later recall affectionately in a cantata.
Playing tips: For those of you who dont know Danish, the word nynnende at the start
of the piece means humming; this is a folk tune tinged with melancholy, to be sung
in a subdued manner. A sad A minor tonality prevails throughout, along with the
frail heartbeat of the dotted quaver/semiquaver motif. The modulation into A major
at 25 brings a brief but belated ray of sunshine. The element of repetition demands
a creative approach to the score: give the melody a fresh turn at each new appearance.
The LH should make itself known in bar 3, bar 7 and wherever it echoes the dotted
quaver/semiquaver figure. At bar 11, and again at bar 19, keep the RH relaxed
through the octave chords. The hand should remain stable, but the wrist can relax
slightly between each chord. Pedal tips: See markings on the score.

Andante q = 54 5

- -
5 2
5 5 4 1 4
2 3

f f fFF
1

& c fF f
1 1 1
1 1 1
f f ff f f f f f ff f f f

{
f f F f f f f f
p (nynnende) mf

?c w w FF f f f ff
w w
1 f f f

5

- -
3
1 2 5
4 3

& fff
2

#ffff ff
1 2 1
F f f f f f f f f f f f f

{
f f f F f f f F f f f
p
? f f f f w w
f f F w w
sim.

f
7 5 4 5

f f fFF
1

f f f
1 1 1 4

& ff ff #ffff Ff f f f f nF

{
f f f F F
b FF
mf mf
? F f f f f f f f f FF
F f f f f f f f

1
2

bf n ff -
f f- f- f >
2

bf nff
10
f f F f f
1

ff ff ff ff ff
& bF nf f f ff f f FFf
f f F #fff

{
f
bF
pp mf 3

? F b FF nf f FF ff F
#ff
f
1 1
f f

4 3

continuted on page 49...

44 Pianist 99

P44 SCORES Nielsen-FINALish (wrong folio!).indd 44 09/11/2017 11:40

 F Major 5-Note Pattern 47

A Z EChord
R T YExercise
H A NS - G NTER HEUMA NN
BEGINNERS
F Major 5-Note Pattern 47
35. Broken XXXX (XXXXX) PLAGE
zerty
KEYBOARD CLA SS
F Major 5-Note Pattern 47

35. Broken Chord Exercise

h. = 76 LESSON 26: BROKEN CHORDS,
Hans-Gnter Heumann
BLOCK CHORDS & ARPEGGIOS

F Major 5-Note Pattern 47

h. =7635. Exercise
3 4

Broken Chord
5 1 2

On these four pages, Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Gnter Heumann.
Lesson 26 features exercises for various chord-playing techniques and arpeggios. Remember always to start out Hans-Gnter
slowly. Heumann

mf 35. Broken Chord Exercise

h. =76 Exercise
3 4

Broken Chord
5 1 2

Hans-Gnter Heumann

A simple exercise to accustom3 you to playing the notes of a chord, one note at a time. Give4 a shape to the three notes within each bar,

digging deep into the5 keys to create a strong
h. =mf
but singing tone. Make a nice ritardando at the end. 2
Heumann
1

Hans-Gnter

mf
76 5 2 1

3 4

5 1 2

5
1
2

mf

5

2

5 1

1

5 2

5





5

9









p

9

p
9

p


9

rit.

p

13

rit.

13
mf


rit.

13

mf


rit.

13

2013 Schott Music Limited, London mf



45 Pianist 99

2013 Schott Music Limited, London mf
p45-48_Keyboard-FINAL.indd 45 09/11/2017 11:41
28 Triads HANS-GNTER HEUMANN KEYBOARD CLASS

Chord Study19. A Arpeggio

No 1:Grand
Grand Z Arpeggio
E REtude
T Y Etude
PLAGE This study by Hans-Gnter Heumann covers the whole span XXXX (XXXXX)
zerty
of the keyboard. Notice the legato marking, which encourages you to join up

A
the notes across each four-bar span, so that it sounds seamlessChord from theStudy:
bottom 1note to the top. Dig deep into the keys in order to
produce a rich forte sound. The liberal metronome marking allows you to play at a tempo of your choosing, from fairly slow to rather quick.
du faux texte Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus

q =sua
tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi
Hans-Gnter Heumann in colonias aut

remisi in municipia stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi
120-168

sescentas praeter eas, si quae minores quam triremes fuerunt.Bella


1 terra et

3 mari civilia

5 externaque toto in orbe terrarum saepe gessi, victorque

omnibus veniam petentibus

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

f legato

1
5 3 5

1 1

5
5
simile

13a 1.

2013 Schott Music Limited, London

46 Pianist 99

p45-48_Keyboard-FINAL.indd 46 09/11/2017 11:41

 Triads 29

Triads 29

13b 2.H A N S - G N T E R H E U M A N N K E Y B O A R D C L A S S


Triads 29

Triads 29

A Z E R T

13b 2.

Y


13b 2.

13b 2.


XXXX (XXXXX)
zerty
PLAGE

17

17

17

17












21

21






21

21

25

25

25

25

R. H.

R.55 H. 33
R.5 H.
29 1

2 R.5 H. 33
29 1

1
29 1

2 H.
L. 11 H. 33

29

L.2 H. H.

L. R. H.

L.
5 H.
R. 3
L.
1
1

H.
1

3
2 H. 3 5 3

5
R. H. 1
L.
1 H.

5 1
L.

3

5 3
5 H.
R.
1 5
L. H.

5
1 H. 33
5
5 1 H.
L.
L.
5 3
47 Pianist 99 L.
1 H. 5
3
L. H.

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S&Co_8899_ED_13552_Heumann_FingerFitness_INH.indd 29 18.02.13 08:46
 30 Chord Inversions
30 Chord Inversions
30 Chord Inversions

20. Block
S - G N T Chords
E R H E U M Aand
N N K EBroken Chords
30 Chord Inversions
HAN YBOARD C LASS
20. Block Chords and
20. Block Chords and Broken Chords Broken Chords
20.Study
Block No 2: Chords Z E and T Broken
Y Chords Chords
Chord Study: 2
Chord q = 108-120 A Chords
Block R
& Broken Chord Study: 2
Chord Study: 2 Hans-Gnter Heumann
XXXX 2 (XXXXX)
5
This exercise combines block and broken chords. The LH plays block chords for the first eight bars,
3 then broken chords in the next eight.
q =applies
q = 108-120
1 together in bars 8 Hans-Gnter Heumann
5

2zerty
PLAGE Chord
The same principle for the
3 RH, but5 in the opposite order. Both Study: 2 to rest
hands come Hans-Gnter
and 16. Heumann
5

q = 11108-12033 55
1108-120 1 3

A
5

et mari civilia externaque toto in orbe terrarumsaepe gessi,

3

1 3
1 3
Hans-Gnter Heumann
3 excidere5malui. Millia1civium Romanorum
2 5

tuto ignosci
1 1 3

du faux texte Bella terra victorque omnibus veniam petentibus
5 civibus peperci. Externas gentes, quibus

f stipendis emeritis millia aliquanto plura quam trecenta, et

orbeRomanorum circiter
3
potuit, conservare quam sub
5 sacramento1meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut
2

sescentas praeter eas, minores quam

et mari civilia externaque toto in
1 3

ff quibusquamtutotriremes
remisi in municipia sua iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi
fuerunt
in municipia sua stipendis emeritis



si quae fuerunt.Bella terra terrarum saepe gessi, victorque omnibus veniam petentibus

autremisi
fuerunt.Bella terra et mari civilia externaque tot.
Ex quibus deduxi in
f praeter eas, si quae minores quam
civibus peperci. Externas gentes, ignosci potuit, conservare excidere malui. Millia civium sub sacramento meo quingenta.





colonias millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis

1 13




351
militiae dedi. Naves cepi sescentas triremes

1

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

5
5

55
5 5

5 5 5

5 55
5

5 5
5

5 5

5 5 5

9 3 2 3

1
5 5 1
5

9 3
5 2
5 3
5
1

9
9 2

3 1
3

1 1

5 5 5

3 2 3

1 1

1 3 5


5 3
11
5
33 11 55 22 1
55 33 55 1 2
1
1

5 1 3 1 5 2 1

3 5

13

13

13

13

1 11

1
2013 Schott
1 Music Limited, London
1
2013 Schott Music Limited, London
1
1
1
2013 Schott Hans-Gnter
1 Music Limited, London Heumann
1 continues his series for beginners
1 in the next issue.
To find out more about Heumann, visit www.schott-music.com
2013 Schott Music Limited, London

48 Pianist 99
S&Co_8899_ED_13552_Heumann_FingerFitness_INH.indd 30 18.02.13 08:46

S&Co_8899_ED_13552_Heumann_FingerFitness_INH.indd 30 18.02.13 08:46

S&Co_8899_ED_13552_Heumann_FingerFitness_INH.indd 30 18.02.13 08:46
p45-48_Keyboard-FINAL.indd 48 09/11/2017 11:42
 TRACK 8
Carl NIELSEN (1865-1931) INTERMEDIATE
Folk tune Op 3 No 1
13 - -
f--- f---
13
f f f f
& f f f f f FfFf
13
ff f ff f ff

{{
13
& Fff ff ff ff Fff ff ff ff ff ff ff FFf
&
13
ffff ff ff f ffff ff ff f ff ff FF f
& pF
Ff f f f-f f ff- ff- FfF f f ff f ff- ff- ff
f f F
F F ff-- ff-- f mf
f-- ff-- ff-
ff--
? p
f f f
mf
f f
ff- ff- ff- ff-
mf
?
p
pw
F f f ff f f f f
ffw ff
mf
?
p
FF ff ff Fff ff ff mf
ff ff ff
? w
w
F f f f fw
w f f f f f FFf f f ff ff
w

3
w
1 2
F ff ff
f f
f
5

sim. 3 1 2
sim.
3
5 1 2
f

5
3 1 2
sim. 3
5
1 2
sim. 5
sim.

f bf
bbbbfFff bb fFf
16
ff f f f f f f f f f
nfFf
16
& #ffff fFFF ff ff b fFF ff ff
16
f Fff ff ff ff ff bbbFFf

{{
16
& fff ##fff nnFfF f f
&
16
ffF ff FfF f f f f f f
& ff #ffff fFF f F nF b pp F F
f f b FFF bpp F
b FFF
mf
? f f f mf
FF bb FF bbpp F
? ff f ff ff
mf
b FFF
pp
pp
bb FF
? ff b FF
mf
ff ff
mf
FFF bF
? ff f F
F
f f f

n ff ff-- f-- f-- ff >

>>F - -
nn f ff-
19
ff-- ff-- f--- f---
ff fff ff ff
ff- ff>
19
& nnfff FFf # fff f
19
ff ff ff fff f ff f

{{
19
& fff ff ff ff ff f F
f F ## ff Fff ff ff ff
&
19
nf ff ff ff fff f FFff f ff FF ffff ff ff f
& f f f f f f ff ff F f 3f
3f
f F # ff pF
Ff
F
f f
f--f f ff- ff-
mf
f f- ff-- ff--
? f f mf
FF ff
3
F
p
pF
ff- ff- ff-
#fff f
mf
? w
3
? ff ff mf
mf
FFF fff ff
3
FF p
p FFw f f f
? ##ff ff ff f F w
Fw
#f f f F f

22 - -
f--- f--- f fF f ff
22
22
& f ff f f f ff fFf ff ff #ffff F

{{
22
& fFf ff ff ff ff ff FfF ##fff ff FF f f
&
22
ffff ff ff f ff ff FF f fff fff ff f
& FfF
F f f ff f ff- ff- ff
f f f F f #ffff ff
f F ff
f ff
ff-- ff--
mf
f f f f f f
?
mf
fw f f ff ff- ff- fF f f mf
f f f f ff f ffF f
?
? ffw ff ff f f ffF ff ff
mf
mf
ff ff ff ff ff fFF ff
? fw f f f fF f f ff ff ff ff ff ff f
w F f f f f f f F

25 - - U
f--- f---
rit.
U
Uw
25
& # ffF
rit.
25
ff f # ff # f f f f ff f F rit.
F
#U w

{{
25
& ff ff # fFf ff ff ff # f # FF FF
## w
rit.
&
25 rit.
## fFfF ffff ff # ff # f ## FfF ffff ff ff # f ## FF w
& pp
#F
f f ff f ## fff- ## ff- #F
f f f-f f ff- # f- #F
FF
#Uw
w
ff-- # ff-- F
nfjjj fjjj
dim.

? pp
pp f f-- f-- f f-- dim.
Uw
F ff- ff- f f ff- ff- ff- fF fF
dim.
ff U
pp
? ppw w ff nnffj ffj w
dim.
? FFw ff ff ffF ffF Uw
dim.

? Fw f f f w
w f f f f f f fFF nf fFF f w
w
w w 2
5
2
w
2
5
49 Pianist 99 5
2
2
5
5

P44 SCORES Nielsen-FINALish (wrong folio!).indd 49 09/11/2017 11:41

 WATCH CHENYIN LI AND IAGO NUNEZ PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 9 Ottorino RESPIGHI (1879-1936) INTERMEDIATE
DUET
Natale, Natale! No 4 from Six Little Pieces
Respighi wrote this set of pieces in 1926 with children
Allegretto vivace q.
in mind (fairly
q. ==accomplished
58
58 ones, though): his last work for the instrument, but hardly overshadowed by lateness.
Allegretto 5
vivace
5 q. = 58
b
5
5 2
2

& bbbbb 12
4
f f f f f f f f
4
Secondo

2
2 5 2

8
2
f
12 ff f f f ff f ff f ff f ff f ff f ff f ff f f f f f fff f fff f fff f fff f fff f
f f f f f f
5 2
f f f f
4

{
2

b
2

& 8 f f ffff ffffffffff f f ffff ffffffffff

pp f f j f f f f f f f f f ff f fj f f f f f
pp
? b b 12 8 ff f f ff f ffj f f f f f ff f f ff f ffj f f f f f
f f f f f f
? bbbb 12
bb 8 f f f f f f

2

2 3
3 1
1
5
5 1
1

1 3 1
5

3
bb f f
4
4 4 5 5

f f
4 5

& bbbbb f f f f f f f f ff f ff f ff f ff f ff f fff f fff f ff nf ff f bff nf ff f bff f ff f ff f

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

{{
1

& b
2 2 2 2

f f f f f f f f ff f ff f ff f ff f ff f f f f f ff nf ff f bff nf ff f bf f f
f f j fj j f j f f jf
? bb b f f f f f f fj ff f f f f nff fj fff fj bfF fj ff fj
? bbbb f f ff f f f f f f nff f f bfF f
b f sim.sim.
f 2
2
5
5
4
4

5 sim. 5
2
5 4 4

bb f f
5 4 5
5 4
f f
& bbbbb ff f ff f f f f f fff f fff f fff f fff f fff f bbbfff f fff f nff f ff nf bff ff f f
2
2 1
1 4
5 2
2 2
5 4 5 2
2 1 4

{
& b f f nf f n f f f ff f ff f
2 2
ffff ffff ffffffffff b ffff
f
nf bf n f f f f f f f
? b b f ff f f f f fjj f ff ff f f
cresc.
fcresc. f f bf
f f j f
b b f b f bf f f f bbff
? bb b f f f ff f f ff f f f bf f f j ff f
b f f f ff
#f n f f nfb f f f ffffffffffffffff f
5

b
5 5 5
5
7 5

b n
1

n f b f
1 1

#f nf nf f #f n f f nf fbfbf nf f nfb f f f f f f f f f f f f f f f f f f f f f f f f f
3 1 4 1 4

f
& bbbbb f f f
2
2 3 4 1 4
5 5
7 3 1 1
5
1 4

{
4

& b #f nf bf
2

f f ff
p nf f
p ff
? b b nf f f j f f f f f f j ?
3
3 1

b
1

b
? bb b nf & nf f f fj Ff f f f f fj bf ?
3

& n f fb f

1

b f f f f bf f
2 1
1

n f fb f f nf f f F
Jf
5
5 2

- - - - - - J
5 2 1
9
b b f - f - f
1
- f f - f f - f f - f f - f f f f f f nf
1 1

b
- f f ff f ff f f- f f f f f f f f f f f f- f f f f f f f f fnf f f f bf f f
1 5 1 1 1 1 5

& bbbb f f f f f
1 5 1 5
9 1 1 1

b
1

{
5 1 5

& b f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f
f f f f f
pp
f f f f f
? b b pp J
f f J
f f
dim.
f Jf f f f f f Jf f f f f

? bbbbb ff J

J J f J J J dim.
J f f f ff J f f f w

b f 1
J J3 1
J J w w
w
1 3 1 2
2
1 3 1 2

b
12
f f f f f f f f
& bbbbb ff f f f bf f f f f nf f f bf ff f ff f f fjj f f f ff ff f f f Jf f f f ff f ff ff ff f
f
3
3 2
1 2
1 4
4 2 1 4
1 2 4
12 3 1 2

& b b ff f f f bf f f ff f nf f f f bf ff f f f f

{
4

ff J f
1 2 4

f f f j fff f f j ff
p f f
p
? bb b f f f f f f f j f f f f f f f f f f ffj f f ff f f
f f ff
? bbbb w f f f
b w w
w
ff f ff f ff ff fff f ff ff
w 50 Pianist 99

P50 SCORES Respighi-FINAL.indd 50 10/11/2017 10:49

 WATCH CHENYIN LI AND IAGO NUNEZ PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 9 Ottorino RESPIGHI (1879-1936) INTERMEDIATE
DUET
Natale, Natale! No 4 from Six Little Pieces
Playing tips: Theres no doubt that the secondo part bears the brunt of the hard work here! Turn to Nils Frankes article on page 76 to read further learning tips.

Primo 2 ff f
ff ff ff ff ff f
Allegretto vivace q. = 58
ff ff ff ff ff
2

bbbbbbb 12
Allegretto vivace q. = 58 2 1

ff 2 1 2

12
& b 88
2

& JJ

{ ff f f
ff ff ff ff f f
pp
ff ff ff ff ff
bbbbbbb 12
pp
ff
12
& b 88
&
3
JJ
3 1 3
3 3 1 3
<<>>
ff ff ff ff ff f ff ff f ff f ff ff f ff f
5
3
bb b J f f f JJ f ff f ff
JJ f
5

b b JJ f
3

& b bb
& J JJ

{ & b
& b bb
bb b
b
<<>>

ff ff ff ff ff f ff
J
J
f ff f ff f
f f

ff bb ff
ff
1
1
ff f
JJ f ff f
4
4
JJ f
5
5
ff f
JJ f ff
JJ

ff ff ff ff ff ff ff ff ff f ff bb ff ff f f f nf f ff ff
5 4 3

ff
2 4

b
5
b J f JJ JJ f f f nf f
5 4 3

bbbbb
2 4
5
&
& b J

{ &
b
bbbbb
& <> b
b
<n>f
f
f
f
f
ff f f cresc.
f f ff
J
cresc.
J
4
4
ff ff ff f ff
f
1
1
2
2
JJ
mf b
ff mf b ff bb ff ff f f f nf
JJ
2
2
f f f nf ff ff ff ff
3
3

ff..
ff ff ff ff ff ff f ff b f
n n ff bb ff ff nf
5 3

f
b f ff n f ff..
7 2

bbbbbb nf nnff ff ff f bf
5 3
7 2 1

&
& b JJ
1

{
p nf

b
p nf
ff
n f f bb ff ff nn ff ff ff ff ff ff f ff b f ff.. ff..
bbbbb b n f f nnff ff ff ff f bf
&
& b JJ
5 5 4 3 5 1 4 2 5

<<>> >>f > >>f >>f

5 4 3 5 1 4 2 5

>>f >>f >>f

5

f f
f >
f >>f ff
f >>f >>f ff
f >>f
bb b f ff
f ff ff
f ff ff
f
9
f
5 3 5 3

b f ff
f ff
f
b
9 3 1 2 1

& b f
5 3 5 3

&b b
3 1 2 1

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

pp >
ff >>f >>f
f >ff >f ff
f ff
f
dim.
bbbb f f f ff ff ff
f ff ff
f
ff
f ff
f
dim.
b
& b bb
&
1
3
2
5
1
4
2
5

>>f >>f >>f

1 2 1 2

<<>> >>f
>>f
3 5 4 5

>>f ff
f ff ff
f >>f f >>f f >>f
b
12
bbbbbb f ff ff
f f f
12
&
& b

{ >>f >>f >>f >>f >>f >>f >>f >>f >>f

>>f >>f >>f
p

b ff
f ff ff
f p
f f f f
& b
bbbbb f ff ff
f f f f
& b 5 1 5 1 1
5 1 5 1 1
51 Pianist 99

P50 SCORES Respighi-FINAL.indd 51 10/11/2017 10:49

 WATCH CHENYIN LI AND IAGO NUNEZ PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 9 Ottorino RESPIGHI (1879-1936) INTERMEDIATE
DUET
Natale, Natale! No 4 from Six Little Pieces

bbb f j j
15
b j j f f f f f f f f f
5 5 4 5

& f f f ffff ffff ffffffffff

2

f f f f ff f

{ ? b b nff
bb
fj
f
f f
j
b fF
fj f fj
f
f
f
f
cresc.

f
f
f
f f
f
jf f f f f

b f nbff ff
17

& b bb bbff f ff f nff f ff f bff f f f ff n f f

bf f bf J

{
nf f f f f f
cresc.
mf

? bb b b f bf f nf f f f b f
f f f
b f
f f bf nf J & nf f f f
f ff
3
3

bbb f f f nf f f bf f f
19

& b J J f f f f f f f f f f f f f f f f

{ b
& b bb f j j j
f f f f f f f bf
5 f
J
1
?
f
f
ff
f f
J f f
J f f
J
f
J

b
21

& b bb f f f f f f f f f f f f f f f f f f f nf f f f bf f f
f f f f f f

{ b f
f f f f f
? bb b f J J f f f
J J w
w
w

dim.

b
23

& b bb f f f f f bf f f f f nf f f bf f f f f f f f f f f f f f f f f f f f f f F F

{
f nf p dim.
jf f jf f jf f F F
? bb b ff f ff f ff f F
b ww
J J J
w 2
5
2 1
2 2
5

j ffj ff ffj
ff j fffj fj ffj
affrettando
bbb
26

& b f f f

F F f ff ff

J J

{
f f f f

F F fj f
pp
ff f ff f
? bb b F f J J J J fff ff
f ffff f
ff j j
b J J J J J f.
f.
2
52 Pianist 99 5

P50 SCORES Respighi-FINAL.indd 52 10/11/2017 10:49

 WATCH CHENYIN LI AND IAGO NUNEZ PLAY THIS AT WWW.PIANISTMAGAZINE.COM
TRACK 9 Ottorino RESPIGHI (1879-1936) INTERMEDIATE
DUET
Natale, Natale! No 4 from Six Little Pieces
ffff f fffff f
b ffff f
nf f bf nf f f bf f f f f f
15
f f
& b bb J J

{ f. f ff f fffff f
cresc.

b f f f f f nf f f bf nf f f bf f f f f
b
&b b J f f f J J
2 3 3 4 2

<> b f nf f
17
b
b f f f f f nf f f bf f nf f bf f
& b bb J nf f

{ bf bf f f
mf
f f nf f f
cresc.
b b J
&b b

>f
f .
n f f f f f b f f . f f
f f >f >ff >f >ff >ff >ff
ff ff ff ff
b
19
b f f f f f
&b b J

{
>f >f >f >f >ff >f >ff
ff ff ff ff
f f dim.

b f f f f
b f
&b b

<> ff f ff >f f f f. f f f. f f f. f f f f f f f f
23
b ff f
&b b b f f f f f f f f f f f f f f f

{ & b
f
bbb f f
ff f ff f - -
f f f f f
J J J

f. f. f. f. f. f. f
affrettando
f.
5

f ff
3
f f
1

f f f f f
b fff
26 1

& b bb J J J J J J J J J
2 1

{
. f. f. f.
f. f. f
pp f
bb
&b b J J J J fJ. J J J
3 1 4 1

53 Pianist 99

P50 SCORES Respighi-FINAL.indd 53 10/11/2017 10:49

 S
MIS
DOT NTWMANS
NE
ON
Gabriel FAUR (1845-1924) INTERMEDIATE
LESS
TRACK 10 JANE
IECE DUET
HIS P
ON T AGE
Berceuse from Dolly
P 2
2

What, you may wonder, ever happened to Dolly? Born as Hlne Bardac to Sigismond in 1911. Her husband Gaston died in 1958, but she lived on until 1985, full of
Bardac and his wife Emma, she became known as Hlne de Tinan after she married memories both of Faur and her stepfather Debussy: Dolly, however, was childless.

Secondo
Allegretto moderato
fff f f f f f f f f f f
4
2 5 3

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

? ## # 42 f
1
f

{
pp

? #### 42 f ff f ff f ff f ff f ff f ff
f 3 1
3
f f f f f

5
sim.

fff f
f f f ff
5 3

# f
7 3

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

& f f ff f f ff f f

{
f f f f ff # f f f ff pp
f f
? #### f ff f ff f f f f ff f f f f f f
f f f f f 1 3 1 3
5 1
5

####
5 4 5
13 1 2 4 2 2 5 2 2 2

f #f f #f f f ff f f #f f fff f f f nfff
f
1

&
1 1 3 4 3 1

ff f f ff f f f f f

{
f f f f f ff
f f f
poco cresc.
? #### f f f f f f f f f
f f f ff f f
f f #f f f

#### > >

19 5 4 5 4 4
1

&
1 2 5 3

f f

{
f f f f ff f f f f f f f f
fff f ff ff ff ff ff ff ff ff
? ####
p sempre
f
f f f f ff f f ff f f ff f f ff f f ff
f 3 1 3

54 Pianist 99

P54 SCORES Faure-FINAL.indd 54 09/11/2017 11:43

 TRACK 10
Gabriel FAUR (1845-1924) INTERMEDIATE
DUET
Berceuse from Dolly

Playing tips: There are many helpful ideas for playing this popular duet inside the playing tips by Nils Franke in his duets article on page 76. Pedal tips: Janet Newman
issue. Read Janet Newmans step-by-step lesson on page 22. There are further has added some pedalling, to be played by the secondo part.

Primo
Allegretto moderato
#### 2 f f f f f f f f f f 4
f
5

f
3 2

4
1 1

& J

{
p dolce
#### 2
& 4 f f f f f f f f f f f

1 2 4

f f f f
5
f f f f f 3

#### f f f f f f f f f
7
J
5 3

&

{
p
#### f f f f f f f f f f f f f f f f
& f f J
1 3 1 3

f f f f f f f f f f
5 4

f f f f f
2

f
4 4 1 3

#### f
3
3 2
13
f
1 1

& J

{
cresc.
#### f f f f f f f f f f f
& f f f f f f
2 1 3 2 3 2 3
2 4 5

#### f f f f f f f f f f f f
2 3
f f f f
19 1 5 4
f
4

f
1 3 2 1

& J

{
p
#### f f f f f f f f f f f f
& f f f f f
4 1 2
4

55 Pianist 99

P54 SCORES Faure-FINAL.indd 55 09/11/2017 11:43

 TRACK 10
Gabriel FAUR (1845-1924) INTERMEDIATE
DUET
Berceuse 3from Dolly 3

######
4 4
25 2 2 4 5 4 2
3 5 3
3 3 5 3 4 1 1 1
1 2 4 2 1 1 2 4
25 1 5 5 3

#
4

& f
2 2 4 3

& ######
f ff ff ff ff fff
nnff ff ff ff fffff
3 3 5 3 4 1 1

ff f fff f
ff ##ff ff ff nn ffffff
1 2 4 2 1 1 4

fff f
ff ff ff ff nn ffffff
25 1 1 5 2 5 3

{{
2 2 4 4

## ff ff ff ff ffff
1 2 4 2 3 1 3 5 3 4 1 3
1
3 1

f
1
3 1
4 4

& ## #
25 4 2
ff f f f ff
5

nf f f f fff
2 2 4 5 2 3 4
25
f ##ff f ff nn fffff f ff f ff ff
4 5 5 3
2 3 5
3 5 3 2 1 4 1

f n fff
1 2 4 1 1
1 2 4 2 1 1 3 1 1 1

# f f f f fff f fcresc.
2 1

&
1 1

f ff f ff fff f n f f f ff nf f f f ffff f f
? # #f f f f fcresc.f f
? ######## f f
cresc.
ff f ff f ff ff ff ff
? ## # ff ff f
ff
ff ff fff ff ff cresc.
f ff f ff ff ff ff ff f f f
f ff f ff f ff f f
cresc.

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

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

###### nnnnnn
3 5 3 2
4 4
5
31 1 1 2 4 2 5 3 1
2 4

f ff f ff f f f nnnnnn rr ff f ff ff r f f f
3 5 3 4 5

ff ##ff fff ff nnffffff ff f ff

31 5 3

& ########
1 2 4 2

&
1 1
4 4 2 5 1 4 2 5 4
2
f
3 5 3 5
31 4 3 5

ff f f ff ffff ffrr ff ff ff ff
1 4 2 5 4

{{
ff f ff ffff
1 1
4 2 4 2 1
5 4 2 5

f f ff ff ff ff ff f nnnn ffr f f f f
2 4

#f f nff
3 5 2 4

&##
3 5 4 2 5 1 4 2 5 4
31
31 1
1 5 3
3 1
1 2 4 2
2 4 2 5 3
3 1
1

ff #f f f nf f f f ff f f f f f fff p f f frdolce fr f f f f
ff
4
4 2
2 5 1 4
4 2
2 5
5 4

& fff f ff
5 1 4

ff f p f f fjf f f
? # f f ff ff fff f ff f f f nnnnnn sempre ff ff f f ff
? ########
pf f f fj f f
sempre
f
f f
ff ff ff ffj f
sempre dolce
f ff f f ff ff
f
ff f dolce
? ## # fff pf
nnnnnn sempre ff f ff f
dolce
f f ff f ff ffj
p
? #### f f f f f ff f nnnn ff f ff f
sempre dolce
f f f f
f f ff
1 2

f f
2 5 1 4 1

f f f f f
1 2 5 1

f f
5 1 4 1
1 2 5 1

f
5 1 4 1

1 2 5 1
2 1 2

2 5
5 1
1 4
4 1
1

5
5 1
1

37
r f f f r f f f r f ff f r f f ff f r f f bbff f r f f f
37
37
&
& frr ff ff ff ff frr ff ff ff ff ffrr ff ff f ff ffrr ff f f ff bb ffrr ff f bf ff ffrr ff ## ff ff ff

{{
37
37
&
& ffr f f ffr f f fr f f f f fr f f f f b fr f f bf f fr f # f f f
? ff f f f ff f ff f ff f ff f ff ff f f f ff ff f f ff bbffb f f ff ff f # f ff
? ff ff f ff f ff f ff f
? f fff f f f ff f f f f f f f f ff bf f f
bf f f
ff f ff f
? f f f f f f f f f f f f
f sim. f f f
2 1

f f f
4 1 4 2 4 1

f f
2 1

4 2 4 1 5 1

f
4 1

f
2 1 5 1

4 1 4 2 sim. 4 1
2 sim.
1 5 1

4 1 4
4 2
2 2 1 4
4 1
1
4 1 5 1
sim.
sim. 5 1

43
r f f f r f bbff f r f f f r f f f r f r f f f
3 2 5 3
43
&
1 3 2 5 3
43
& ffrr ff ff ff ff bb ffrr ff ff bf ff ffrr ff ff ff ff ffrr ff ff ff ff ffrr ff ff ff ff ffrr ff ff ff ff

{{
1

3 2 5 3

&
43
43 1

fr f f f f b fr f f bf f fr f f f f fr f f f f fr f f f f fr f f f f
3 2
3 2 5
5 3
3

&
1
1

? ff f f ff bbffb f f ff ff f f ff ff ff f f f ff ff f f f ff f ff f f ff
? ff f fff f bbff bf ff f ff f fff f f ff f ff f ff f ff f fff f
? f
? f
f f f f bf bf f f f
f f f f f f f f f f f f f
f f f f
bf
2 1

f
3 1 5 4 2 1 3

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

49
r f f f r r f f ff f r f f ff f r f f ff f r f f ff f
3 2 5 3
49
&
1
ff f
3 2 5 3

# ffrr ff ff f ff
49
& ffrr ff ff ff ff r ffrr ff ff f ff ffrr ff ff f ff ffrr ff ff f ff

{{
1

f
ffr #f ff f f
3 2 5 3

&
49
49 1

fr f f f f fr #f f f f fr f f f f fr f f f f f f fr f f f f
3
3 2
2 5
5 3
3

& ff fr f f ff f
1
1

ff f #f f ff f
cresc.
ff f f ff ff f ff ff f ff ff f f ff
? ff
cresc.
? f ff f
f f ff f
cresc.
ff f ff f ff f fff f f ff f
? f f ff f f ff f cresc.
ff f f f f f f f
f f f f f
cresc.
? f f f f f f f f f f f f f
3
f 1

f f
3 1
f f
4 5 1 3 1
4 5 1
f f
5 3 1 5 1
4 5 1 3 1
5 4 5 1 5 1
3 1 4 5 1
5 4 5 1 5 1 3 1
3 1 3 1
3 1 56 Pianist 99 4
4 5
5 1
1
5
5 4 5 1
4 5 1 5
5 1
1

P54 SCORES Faure-FINAL.indd 56 09/11/2017 11:43

 TRACK 10
Gabriel FAUR (1845-1924) INTERMEDIATE
DUET
Berceuse from Dolly
f f f f f f f f f f f f f f
#### f f f f f f
25 1

ff Jf ff ff ff f f ff ff ff f f
& ###### ff f ff ff ff ff
25 1

fJf f f f ff ff f f f ff ff

{{
f
25 1

& ###### f ff JJ f f
25 1

&
& # cresc.
# # f f f f f f f f
& #######
cresc.
f f f f f f cresc. f f f f f f
ff Jf ff ff ff ff f f ff ff ff ff f f
cresc.
&
& ###### ff f ff ff f JffJ f f f f ff ff f f f f ff ff
& f ff
5

J 5
5

31
####
2 1
f f f 5
f f f f f nnnn
4

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

& ###### ff f f ff Jf nnnnnn

31 5

ff
2 1 4

ff ff ff ff ff ff ff

{{

5 4 2
31
& ###### f f f f ff ff fJf nnnnnn
2 1 4

f
31 5 4 2
f
2 1 4

& f JJ
4
f f f 2
f f f
& # f
f f
p
nnnn
sempre dolce
# f f f f f
& ########
f
f ff f
p
f
nnnnnn
sempre dolce
ff
ff f f ff ff Jf
p
f ff
sempre dolce

f p
& ###### ff f f f ff ff JffJ nnnnnn
sempre dolce

& f f f
& f J
1
4 5
1
4 5 1
4 5 1

>f
4 5 5

f
3

>>f
5 f
fJf
37
f
5

fJf >ff f f f f
3 5
f
4

1 2 4 3
f f f f f
5 5 3
37
& f
3 3 2

fJ ff
5

fJ ff f f f
4 3

{{

37 1 2 4 3
ff ff f f ff
5 5 3

& JJ JJ
3 2
ff f ff ff ff
37 4

f
5 1 2 5 4 3 3

&
3 4 2

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

&
3 2

f >>f f f f f f
& f ff ff ff Jf bf
& ff ff >ff f f fJf bbff ff
& f f 1
f JJ bf f 3

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

>f
3 1 3 1 5 3
5 5

f >>f
3
5

f >ff
43 3 5
f f f f f
f f f f f f f JffJ
4 2 3 4 5 3 3 5

& ff
43
ff ff ff ff
3

ff

{{
ff ff ff f f ff J
4 2 4 5
43 3

&
3
43 4 2
f f f f f J
4 5 3

& f f ff ff f
3

f f
>f
4 2 4 5 3

&
3

f f >f
f f >>f >>f
& ff >ff
ff f
>ff
& ff
f f ff
& f
1 1

&
5 3 3

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

f
ff f f #f f f #f
5
f f f f
49 4

f f
3

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

& ff ff #f ff f #f
5
ff ff ff ff
49 4

ff ff
3

ff ff ff ##ff ff

{{
f ##ff f ff ##ff
5 2 5 3 1 2 4
49 4

&
3

f
5
f f f f
49 2 4 5 3 1 2 4

f f
3

&
2 5 3
f f 1

f #f
2 4

& f
cresc.

Jf f f
cresc.

&
cresc.
fJf ff ff
cresc.

&
& JJ f
f
3

&
5
5 3
5 3 57 Pianist 99
5 3

P54 SCORES Faure-FINAL.indd 57 09/11/2017 11:43

 TRACK 10
Gabriel FAUR (1845-1924) INTERMEDIATE

####
rall. 4 a
a tempo DUET
55
55 Berceuse
rall. 3 2 5 from
2 5 2
1 2Dolly 1
4
2 1 4 2
2 3
tempo 5
5

& r #f f f r rall.#f f f f #f #f
1 3 2 3
3 5
5 1
4 3 1
1 2 1 5

aftempof ffff
1 2 1 5

f
f #f # f f #f # f f f f

{{
f f f f #f f ####adolce
4
55 3 2 5 2 1 2 4 2 3 1 5
3 5 1

& r #f f f r ff #f f f f #f #f
1 2 1 5

#### f f f f f
f
rall. 4 tempo
f
f #f #f f f# ff f #ff #f #ff# f#ff f f
55 5 2 5

f fr ff # f ff f
2 1 2

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

? f f ff f f f f
#### dolce
Ff f #f # f f F #f # f f f#ff

{
f f ff f f #f f f f f f
f f f f f #f f f f #f f f
?f ff f f F #f f Ff f #f #f f #### dolce f ff
f f f f f f
3

#### f f f f f f f f

3

?f
5

#f f
5

f f f F F
f
f
3

####
61 5
61

4
4 5
4 5 3 5

61& f f f f f f f
4 3 2 3 4 5

f f f f f f
1 2 3 4

f
f f f nf
1

{{
ff f
61 #### f f f f f f f
4 5
4 3 5

& # ## f f f f f f f
2 3 4

f f f f f f
1
f ff f ff f f f ff nf
4

? #####
5 3 5
ff ff f f f ff f ff f f f ff
4

& ff
2 3 4

fff ff
1

f f f f f ff f f fff f f nf

{
ff ff f f
f f f f f f ff
? #### f f f f f f f 3
3
f f
2
f f f f
f ff
f f f sim. f f f f f
2 1

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P54 SCORES Faure-FINAL.indd 58 09/11/2017 11:43

 Gabriel FAUR (1845-1924)

TRACK 10 rall. a tempo INTERMEDIATE
DUET
5
Berceuse from Dolly
4 5
f f #f ff ff #f #f ## a tempo
4

#
3

fJ
55 5 2 1 3

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& 59 Pianist 99

P54 SCORES Faure-FINAL.indd 59 09/11/2017 11:43

 TRACK 11
Billy STRAYHORN (1915-1967) INTERMEDIATE
Take the A Train

This song was the signature tune of the Duke Ellington Orchestra, but in fact the
melody was written in 1939 by the composer Billy Strayhorn, then just 24 years of
age. The lyrics were added five years later by Joya Sherrill, but the songs most famous
recording is of Strayhorns instrumental original, made in February 1941. Ellington
had given Strayhorn directions to find him in New York City, and his first line
became the songs title.
Playing tips: Lively is specified, and the metronome marking is spot on: you could
try using the metronome when starting out. Rhythm is everything in this piece. Play
a little with the melody as you see fit, but the underlying pulse should be rock-solid.
The RH has some tricky leaps here and there, so keep the hand close to the keyboard.
Make the most of all the syncopations and really fall into that syncopated last chord.
Pedal tips: Change the pedal for each chord change. The chord symbols will help.

Take The A Train.Words & Music by Billy Strayhorn Copyright 1941 Music Sales Corporation/Tempo Music Inc.Administered by Chester Music Limited trading as Campbell Connelly & Co for the British Reversionary Territories.Administered by Music Sales Corporation
Lively q = 76
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You must take the A Train

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for World excluding USA, Canada and the British Reversionary Territories.All Rights Reserved. International Copyright Secured.
1

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If you miss the A Train
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60 Pianist 99

P60 SCORES Modern-FINAL.indd 60 09/11/2017 11:44

 TRACK 11
Billy STRAYHORN (1915-1967) INTERMEDIATE
Cmaj7 C7 C6 Gmaj75 G75 Fadd9 F
Take the A Train
f f.
15 4

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4 1

f f f f f f
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Take The A Train.Words & Music by Billy Strayhorn Copyright 1941 Music Sales Corporation/Tempo Music Inc.Administered by Chester Music Limited trading as Campbell Connelly & Co for the British Reversionary Territories.Administered by Music Sales Corporation

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P60 SCORES Modern-FINAL.indd 61 09/11/2017 11:44

 ISS
T M
DON
LUCY ON
PA RHAM
S
Sergei RACHMANINOV (1873-1943)
LESS
TRACK 12 ADVANCED
IECE
HIS P
ON T AGE
Prelude in D Op 23 No 4
P 4
2

As a composition student, Rachmaninov so impressed an examination board that Playing tips: Editor Erica Worth studied this prelude at music school, but to this day
they determined to award him the highest grade a 5+ until Tchaikovsky she has kept it in her fingers and still enjoys playing it (If youre wondering how to
intervened and added three more plus signs. Thus there was always a firm technical keep a piece fresh that you learned years ago, turn to Mark Tanners article on page
Andante cantabile q =are50
## 3
foundation for Rachmaninovs expression. The Op 23 Preludes full of formal 16: in fact he addresses this prelude.)
Andante into complex textures,q even
tightly woven cantabile

= 50

& ### 433

intricacies and melodies
Andante cantabile q = 50in the slower Pedal tips: Subtle techniques are needed, such as half-pedalling and flutter-pedalling.

F
examples such as this cradlesong Fourth. The best judge is your ear. Read Lucy Parhams step-by-step lesson on page 24.

{{
& ## 4
Andante cantabile q = 50
FF f
& # 43Andante cantabile ff
& # 43 pp
q = 50

# f f
mfF sempre
f f f
cantabile
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pp f f f f f mf sempre cantabile
ff f f f
f f f f f f f mfF sempre

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mf
? ## 43 pp f f f f f f ff f cantabile
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ff f f f ff f f f ff f f ff & ff
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P62 SCORES Rach-FINAL.indd 62 09/11/2017 11:44
 TRACK 12
Sergei RACHMANINOV (1873-1943) ADVANCED
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P62 SCORES Rach-FINAL.indd 63 09/11/2017 11:44

 TRACK 12
Sergei RACHMANINOV (1873-1943) ADVANCED

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P62 SCORES Rach-FINAL.indd 64 09/11/2017 11:44

 TRACK 12
Sergei RACHMANINOV (1873-1943) ADVANCED
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f f 65 Pianist
99
- F

P62 SCORES Rach-FINAL.indd 65 09/11/2017 11:45

 IN TUNE WITH

CHRISTMAS
Bring home the joy of music with your favourite
Christmas tunes & carols from Musicroom

2 Pianist 96

musicroom.com/christmas

p66_pianist99.indd 2 09/11/2017 11:09


WORBEY
FARRELL
Stephen Worbey from the duo with a difference
explains to Pianist why they love arrangements but it
may be a while before they play on another ocean liner
How did you form the duo?
We met at the Royal College of Music in London
where Kevin was studying piano and composition,
and I was doing piano performance. We got on
well and after graduating we would meet socially
at least once a year. One afternoon we found
ourselves accidentally locked in my Kings Cross
flat. Instead of going out drinking we had to stay
in, so we opened a few bottles of wine. We began
playing some duets and improvising together and
we found we had such a creative spark. We knew
immediately that we had something together at
the piano that we didnt have separately.
Did either of you ever want to be a soloist?
I had aspirations of a career playing solo and
achieved this to some extent. I also performed a
series of duet concerts with the late Peter Katin.
This was long before we formed our duo. Kevin
always wanted to be part of a comedy duo, as he
loved the likes of Victor Borge and Dudley Moore.
p67_Pianist at work-FINAL.indd 67
D U E T S P E C I A L P I A N I S T S AT W O R K
Is it a full-time job? Or do you teach and do
other forms of work?
Its a full-time job! Because of our busy schedule
we wouldnt be able to provide commitment to
piano students. We also decided early on that if
we were to make a real success we would need
to work exclusively together and not accept offers
of work separately. You wouldnt see Ant without
Dec, would you?
How many hours do you practise separately
before getting together?
We practise separately probably an hour a day
each (time and location permitting). We find
that it is vital to practise separately as there are
always sections and passages that need extra
attention without the other player. Strangely
enough it feels rather odd to be sat at a piano
alone in the solo pianist position. I sometimes
find myself accidentally veering to the side even
when playing solo.
67. Pianist 99
And then how many hours together?
Ideally two to three. If were on tour we sometimes
go for days without having quality rehearsal but
this doesnt matter, as were always extremely well
prepared and theres always an hour or so before
a performance to rehearse.
So its pretty much 70% together, 30% separate.
Kevin used to find it difficult practising alone,
particularly as he is only allowed the black notes
(not really!). But we each practise in slightly
different ways Kevin prefers to hear the other part.
What makes you different to the usual
piano duo?
We like to engage with the audience more, and
not just musically. We talk to the audience in a
lighthearted way before we play, and between the
pieces. When you walk onto the stage, the
audience doesnt really know if they like you.
If you can get them to like you, then theyre
certainly going to enjoy the music more.
Weve been to some amazing performances
by concert pianists who look so glum.
What type of repertoire do you play?
Not the regular duet repertoire. We only play
our own arrangements often of orchestral
pieces or organ works. We wanted to play the
famous Toccata and Fugue in D minor by Bach.
We looked at Max Regers transcription, but it
seemed rather thin in parts and lacking the
majesty of a cathedral organ. So we decided to
create our own arrangement that replicates what
Bach had intended, but for the piano.
We wouldnt take a sacrosanct piano piece by,
say, Chopin, and arrange it for four hands that
would spoil it. We like to think of the piano as
our own orchestra. With the use of four hands
and some trickery its amazing how much you can
make a piano sound like a lush string section,
a muted trumpet or a percussion section with
triangles and glockenspiels.
We like to push the piano to its boundaries.
Well cross hands and sometimes get into unusual
positions to create the right colour and texture.
Not many four-hands one-piano arrangements
require the players to cross hands, but the sounds
and possibilities you can create by doing so
are astounding.
When playing four hands, do you stick
to the same position?
We switch around. In fact when we perform
our four-hands one-piano arrangement of the
Three-Hands Concerto which Malcolm Arnold
wrote for Phyllis Sellick and Cyril Smith, we
switch positions on the piano stool between
the second and final movements that goes
down well! Quite often Kevin will be playing the
very high end of the keyboard and the low bass at
the same time, leaving me in the middle. In terms
of orchestration, its as if I am in charge of the
strings and brass and Kevin is the percussion,
flutes and piccolos.
Is it always one piano, never two?
We only ever play on one piano. When we started
playing together, the idea was to be a two-piano
team, but most venues only have one piano.
09/11/2017 13:18
 D U E T S P E C I A L P I A N I S T S AT W O R K
In 2009 we spent the autumn playing in Vienna.
We appeared in a play at the English Theatre,
2 pianos 4 hands, and played 24 different
characters between us! It was quite a challenge to
perform it six nights a week for six weeks. And at
the end of each performance we had to play Bachs
D minor keyboard concerto. Kevin lost a lot of
weight during that period!
What can we expect at a W&F concert?
The Toccata and Fugue in D minor; the 1812
Overture, Rhapsody in Blue, maybe the Pomp and
Circumstance March No 1, all done with comic
banter and what we call lollipops. They might
include Russ Conways Sidesaddle, some boogie-
woogie, medleys, even Lady Gaga. We have also
introduced a multimedia aspect where our hands
are projected on to a large screen so the audience
can see the choreography of our hands.
Tell us more about the composing/arranging.
We made a set of Paganini Variations entitled
Deviations on a Caprice. There are 24 variations
ranging in difficulty and all in different styles.
Thats our favourite, but we have also composed a
piano concerto between us, and we always enjoy
playing Widors Toccata and the Bach/Gounod
Ave Maria. All of our compositions and
arrangements are written so that they fall under
the hands well. You can buy several of them from
our website, www.worbeyandfarrell.com.
We decided
early on that
we needed
to work
exclusively
together. You
wouldnt see
Ant without
Dec, would you?
p67_Pianist at work-FINAL.indd 68
Any downsides to being a piano duo?
We both agree, there are no downsides!
And the upsides?
Being paid to do what we love is a gift. Travelling
and performing with someone is much more fun
than being alone. We get on extremely well.
Youve toured so often, there must have been
some misadventures.
Weve arrived at a concert venue to be told
theres no piano. Weve been stranded on an
island off Madagascar. We performed on a piano
on an ocean liner that was tied by all three legs
with ropes to the walls, the sea was so rough!
We were performing at the Grassington Festival
and during a comedy moment a young boy on
the front row burst out laughing and simply
couldnt stop. His father was holding his hand
in front of his mouth and had to take him out.
We later received an email from the father
thanking us for introducing his boy to music
and fun. It was very moving for us.
Youre playing at the Usher Hall on
30 November.
That concert is the result of 15 years of work!
Well be playing the Rhapsody in Blue
along with Queens Bohemian Rhapsody
(which was originally composed at the
piano). Then the 1812 Overture and
a tango by Piazzolla. Its St Andrews Day,
so expect something Scottish!
Whats next?
Well be touring the UK and elsewhere. Were
particularly looking forward to performing our
Arnold concerto arrangement (thanks to the
original publisher, Faber Music) with the
Brighton Philharmonic and Barry Wordsworth
on 25 March.
We will also be doing Carnival of the Animals
with our own narration, where the animals are
disgruntled with the fake news about them on
swine flu, bird flu and mad cow disease. This is
a chance for the animals to relaunch their image!
Tilly the Tortoise reminisces about her days doing
the Can-Can at the Moulin Rouge while she sits
smoking and drinking her booze. The Cuckoo
has OCD and the fish in the aquarium are all
very flamboyant! We will also be playing at
Glamis Castle Proms next year to over 3,000
people and touring South Korea again in
the summer.
www.worbeyandfarrell.com
Worbey & Farrell perform at Usher Hall, Edinburgh,
on 30 November, www.usherhall.co.uk.
09/11/2017 13:18
 PianistOct17.ai 1 11/09/2017 09:44:36

Peregrines Pianos
Peregrine's Pianos awarded
"Best dealer worldwide" 2015 and 2016 by August Frster Pianos.

CM

MY

CY

CMY

www.peregrines-pianos.com

Peregrines Pianos, 137A Grays Inn Road, London WC1X 8TU Tel: 020 7242 9865

2 Pianist 96

p69_pianist99.indd 2 09/11/2017 11:11

 JAZZ

LEARNING LESSON 1: ii
ii-V-I
-V-I (MAJOR)
JAZZ PIANO CHORD PROGRESSIONS
The backbones of jazz: Dave Jones takes you through some fundamental major-key LH chords
and how to begin improvising over them

L
ike many other jazz pianists, I learnt jazz following an initial
grounding in classical music. There are plenty of similarities
between jazz and classical, but jazz brings its own specific set
of challenges. The genre of jazz has undergone numerous, rapid
changes since its beginnings around a century ago. Many different
styles have evolved during that period, and this plethora of styles
can be the cause of some initial confusion.
Many musicians who are new to jazz have started by voicing chords in
a jazz way in the LH. This forms the basis for improvised lines in the RH,
which are often in single notes, but sometimes in pairs such as 3rds, 4ths,
6ths and octaves.
One of the most common chord progressions in jazz is the ii7-V7-Imaj7
(in major keys see Example 1a) or ii7b5-V7-i7 in minor keys well look
at these in the next issue. The chord structures for many standard jazz tunes
are either comprised of these chords, temporarily moving through different
keys, or they form a substantial part of them. The jazz pianist needs to be able
to play these progressions in the LH (see Example 1b) almost without
thinking, so that you can gradually begin to improvise over these chord
changes with the RH. You may notice a similarity here between these generic
chord symbols (using roman numerals) and figured bass in Baroque music.
Author John Mehegan based an entire method on this jazz version of figured
bass, which a good number of jazz musicians adopted for themselves. EXS24 Sampler
In these examples, as is typical in most jazz, the voicings are extended
from triads and dominant 7th chords to include higher parts of the chord
such as the 9th and 13th. The three chords of the C major ii7-V7-Imaj7
progression might typically be labelled as Dm9 (D minor 9), G13, and
Cmaj9 (C major 9). Theres a strong connection between this type of chord
extension and voicing in jazz (typically by Bill Evans and Oscar Peterson) and
the music of early 20th-century composers such as Debussy, and by extension,
to a degree, to Romantic composers such as Chopin, who often adds
colouring notes to chords.
Example 1a Two-handed full chords, with root notes: voicings for
ii7-V7-Imaj7 progression in C major. There are several ways to voice chords
in this progression, typically to accompany another instrument or singer:
,, , ,,, ,,
% \\ ,, ,,, , ,,
EXS24 Sampler
, , , ,
70 Pianist 99
Dave Jones is a pianist, composer, producer,
teacher and writer. His work as a jazz
pianist takes him to the US, India, France
and Ireland, performing at festivals and
giving workshops. He has taught students
of all ages and up to Masters level, and
co-devised and authored BA programmes
in music, including a new module on
improvisation. Acclaimed recordings have
led to commissions for TV and film, and
some of his tracks have recently been
used in The Big Bang Theory, Late Night
with Seth Meyers and Location, Location,
Location. Dave also writes for Jazz Journal.
www.davejonesjazz.com/workshops.asp.
Example 1b LH rootless voicings for ii7-V7-Imaj7 in C major, in preparation
for RH improvisation. This is one of numerous ways of voicing LH chords for1
this purpose:
, , ,, ,,,
% \\ ,,, ,,, ,, ,
Note in particular the rootless LH voicings in 1b, where the LH takes
over the notes that the RH plays in the full two-handed chords in 1a.
These rootless voicings are the basis over which RH improvisation takes place.
This has been the most common type of LH chord voicing in jazz since the
1950s. Many great jazz pianists use this technique such as Bill Evans (there are
links to him playing Autumn Leaves at the end of the article) and Herbie
Hancock. Youll notice in these films that the pianists dont always play the
LH chords on the first beat of the bar where the harmony changes they may
delay the chord slightly, or even play it slightly early, at the end of the previous
bar (the question of timing is something that well look at in a future lesson).
1
Over to the RH
Once these rootless voicings have been mastered in the LH, ultimately in as
many keys as possible, how do we improvise with the RH? Jazz pianists may
give the initial impression that they are whizzing up and down all the scales
with their RH and thats improvisation but a closer look reveals that
something quite different is happening. Yes, they do utilise numerous scales,
and often at speed, but at the heart of any good improvisation is melody.

p68 Jazz-FINALish.indd 70 10/11/2017 12:49

 1

What does a melody look like on the page? A melody is comprised of a Example 4a Improvised phrase using the C major pentatonic scale:
series of pitches, sometimes moving step-wise on a particular scale, using
the Sampler & \
intervallic leaps and rhythms grouped in phrases. This is what we do inEXS24
\ E . . . . . . . . . . . -# . . ,
RH when we improvise: make melody. Imagine how very different and less "
interesting the first few bars of Autumn Leaves would sound, without that
leap of a perfect 4th at the end of each of the opening phrases. \ ,,, %\ , ,,, , ,,, , ,,,,
EXS24 Sampler
Example 2 Autumn Leaves opening phrase:
\D . ,
&\ . . Example 4b Improvised phrase using the C major pentatonic scale in an 1
alternative position, centred around the tonic C:
\ E ! . . . . . . . . . . . ,
The notes chosen in the RH improvisation should fit harmonically withEXS24 Sampler
the LH chord. Improvising in the RH over LH chords brings two basic &\ . . -#
approaches into play, vertical or linear. A vertical approach takes into account
, ,,,, ,,,, ,,,
% \\ ,,,
which improvised notes would fit with each chord. In real time this is difficult
for a beginner. The linear approach is much easier, allowing the learner EXS24
to useSampler ,
a single scale or collection of notes through a string of chords within a
progression. This gives them more time to think about the aspects of their
improvisation that will make it sound melodic and musical: the rhythm Lets go through the same process, but now using the four-note group from
and phrasing. the C major pentatonic scale (from Example 3c above). Try playing the
Heres an example of note choices for improvisation in the RH. Over the following two examples.
given LH progression of ii7-V7-Imaj7 in C major, the most obvious linear
1
approach would be to use a C major scale (see example 3a) or a C major Example 4c Improvised phrase using the 4-note group from the C major
pentatonic scale (3b). Theres a distinct advantage to pentatonic scales, pentatonic scale:
. . E . . . . . . . . . - . . . . ,
because they naturally include not only stepwise, major-scale movement but
\ E
also some larger intervals. Using pentatonic scales will make an improvisation
EXS24 Sampler &\ . . "
sound more melodic and less like an endless series of scale runs. The same "
could be said of a four-note group chosen from these scales (see Example 3c):
,
many jazz musicians use this approach to great effect, extracting as much
% \\ ,,, ,,,, ,,
,,
,,,
,
melody as possible from this small group of notes, before moving on toEXS24 the Sampler
next part of the chord structure. This is a highly effective tool in jazz
improvisation. The technique of repeating short phrases has its roots in the
blues, which well look at in a future lesson. Example 4d Improvised phrase using the 4-note group in an alternative 1
position, centred around the tonic note, C:
Example 3a C major scale:
\ E ! . . . . . . . . - E . . . ,
\
&\ . . . . EXS24 Sampler &\ . . "
. . . .
,
Example 3b C major pentatonic scale: % \\ ,,, ,,,, ,,,, ,,,
,
EXS24 Sampler

\ D
&\ . . . .
. Now try making up your own improvised phrases in the RH over these LH
chords, using the methods above. Experiment with different note values
Example 3c 4-note group from the C major pentatonic scale: (quaver triplets, and ultimately semiquavers) to vary your phrases. As you gain
confidence in playing these RH phrases and coordinating them with the LH
\
&\ . . . . chords, bring a metronome into play, initially at a moderate tempo of around
120 crotchet beats per minute, then gradually increasing the tempo to
something brighter.
We have chosen collections of notes for the RH that will fit with the In the next issue well explore how to improvise in the minor, using a
underlying chords in the LH, but what do we do with them? Example 4a similar method to the major, but adjusting scale and note choices to account
shows a phrase based on the C major pentatonic scale. Try playing this, for the greater complexity of the minor.
and then 4b, which is also based on a C major pentatonic scale. The second
example uses the same note names but in a different position, still centred WATCH DAVE ONLINE
around the tonic C. Thinking laterally like this will bring variety when
repeatedly improvising over a progression, and the result is more likely
to make a rounded and more satisfying musical phrase.
Youll notice that the rhythm of these RH phrases is predominantly in
quavers. This tends to be the norm in jazz improvisation, but there are two
ways of playing them: straight (which is suitable for Latin American, funk
and rock grooves) and swung (for playing over swing grooves). Swung quavers
are not readily committed to paper. Various attempts have been made to
notate them accurately, but none are perfect. Swing or Swung is often
found at the head of the score for a jazz swing piece, and the tradition relies
on you to do the rest. Remember that jazz is more of an aural tradition than Dont miss Daves video lessons, which youll find at pianistmagazine.com
a written one. The best way to pick up swung rhythm is by listening to others under Piano Lessons. Dave demonstrates everything he discusses on these
play it, so tune in to the accompanying videos where I play all the examples pages. Seeing him in action will make learning jazz piano clearer!
in straight and swung rhythm. Watch the Bill Evans excerpts here:
Try out both quaver approaches on the examples that follow: play four bars pianistm.ag/bevans1; pianistm.ag/bevans2
using straight quavers, and then the same four bars using swung quavers.
71 Pianist 99

p68 Jazz-FINALish.indd 71 10/11/2017 13:23

 E D U C AT I O N
UNDERSTANDING THEORY
PART 11: FORM IN MUSIC (2)
Moving from binary to ternary form, Nigel Scaife outlines the rich possibilities of an A-B-A
structure with the help of a famous Prlude by Chopin
I
n the previous issue we began to look at binary form, using a simple
but charming minuet by Mozart as our illustration. A piece in binary
form has two sections, each of them usually marked with repeat signs.
Each section of the minuet was eight bars long and the structure could
be described in a diagram like this:
Symmetrical binary form
A B
I and presenter. Nigel has contributed to many
V
V I
The theme of Bachs Goldberg Variations is a classic example of symmetrical
binary form in which the first A section ends with an open cadence in the
dominant. The B section, of equal duration, works its way back to end with
a close cadence in the tonic. There is much beauty in such well-crafted
balance and sense of even proportion.
Sometimes this symmetrical structure is extended a little by a short codetta
(from the Italian coda meaning tail). The opening Allemande of Bachs
French Suite No 6 is one example, which cadences back to the tonic four bars
before its conclusion. These short codettas elaborate the tonic simply and
round the piece off smoothly.
In other binary pieces the B section is much longer than the A section,
perhaps twice as long or more, and passes through different keys before
returning to the tonic at the end. The Menuet of the French Suite No 6
is a good example. This is known as asymmetrical binary form.
Asymmetrical binary form
A B
I V
V modulations I
This two-part concept is extended further in many Baroque keyboard pieces
such as dance movements within suites, or the self-contained sonatas of
Scarlatti. Its also encountered in shorter Romantic genre pieces by
Schumann, Mendelssohn and others. What might have been a short codetta
becomes a more significant feature of the structure overall as it makes greater
reference to the opening A section in the tonic. When this is the case it is
usually called rounded binary form.
72 Pianist 99
p72 Theory-FINALish.indd 72
Nigel Scaife began his musical life as a chorister
at Exeter Cathedral. He graduated from the Royal
College of Music, where he studied the piano with
Yonty Solomon, receiving a Masters degree in
Performance Studies. He was awarded a doctorate
from Oxford University and has subsequently had
wide experience as a teacher, performer, examiner
publications as a writer on music and music education.
Rounded binary form
A B
I V
V modulations I I
Such a form is clearly heading towards being more properly considered as a
three-part structure and some theorists have preferred the term incipient
ternary to describe it. A piece in ternary form has three sections. In A-B-A
the A sections are the same; in A-B-A1 the return of the A section is varied in
some way. So while the two outer A sections use the same musical ideas, the B
section sometimes called an episode provides contrast and a sense of
departure prior to the restatement of the original material in the tonic key.
The beauty of ternary form lies in the restatement of the main idea
following a period of digression. This is a basic rhetorical concept found in
music and language around the world. In a performance of a jazz standard,
for example, the head the main theme heard at the start which is then
subjected to variation and improvisation is usually reprised at the end
following a variety of solos.
Repetition of some kind melodic shapes, rhythmic patterns or harmonic
progressions is generally thought necessary in order to bring cohesion to a
piece. Without repetition it can be difficult to grasp the ideas on first hearing;
the music may seem to wander aimlessly or to lack shape and balance. On the
other hand, too much repetition and the music risks becoming monotonous
and dull. Composers may introduce formal contrast and variety with a new
melodic idea, perhaps involving a modulation to a new key, or through
1changing the texture, the rhythm or the metre: the possibilities are endless!
10/11/2017 10:32
 Dont miss

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from which this Scherzo is taken.
momentum towards the following bar.
dolce (sweet) marking here. Make each note 1 INTERMEDI ATE
and produced the Bonbonnire musicale 33 brightens the tone: take care of the Nielsens
this tender Scherzo in A minor, which means together: not so easy when playing softly.Op 3 encompasses all manner of early
Playing tips: A deft touch is required for of the LH chords sound, and be strictly

WANG
clear from works, unpublished
right finger weight in order to produce a lesson on this piece on page 20. brass and string quartets to a pair of piano
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On exercises, good finger articulation and finding the
but light sound. You could try practising
it at pianissimo, which should make your
job Read Melanie Spanswicks step-by-step probably wrote it as
a teenager, pieces of which this
a (mostly) idyllic childhood while he was still growing up on the
in his lifetime, frail
is the first. He at
heartbeat of the dotted
25 brings a brief but
quaver/semiquaver
motif. The modulation
composing &
island of Funen: belated ray of sunshine. into
Playing tips: For those which he would later a creative approach The element of repetition A major
HOW TO PLAY
recall affectionately

10 LEARN
of you to the score: give the

Beethovens
p01_cover_60.indd 1 11/5/11 14:22:06
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at each new appearance.
p01_pianist69.indd 1 9/11/12 10:31:25 at the start quaver/semiq itself known in bar
tricky Dvork in a subdued manner. this is a folk tune tinged 3, bar 7 and wherever
with melancholy, to uaver figure. At bar it
PIECES TO
p01_pianist86.indd 1 10/09/2015 15:49 A sad A minor tonality be sung through 11, and again at bar echoes the dotted
prevails throughout,
along with the slightly the octave chords. The hand should 19, keep the RH relaxed
Allegro q = 176
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10
b n ff - - -
1

b Ff

{
FFF& F nfff fff fff ff f >

{
mf FF FFF nf f ff ff f
?
F
bF f ff fFF f f F
pp
ff #fff
? F
b FF mf
nf f F
1
3

100 issues with a retrospective of star pianists

#ff
2

ff
5
1

4 1 f f F f F

3

38 Pianist 99

Even more
09/11/2017 11:38
continuted on page
P38 SCORES Moscheles-FINAL.indd
38 44 Pianist 99 49...

P44 SCORES Nielsen-FINALish

weve interviewed along the way

(wrong folio!).indd
44

09/11/2017 11:40

CENTENARIANS OF THE PIANO SCORES

48
Horszowski, Herz-Sommer and PAGES OF
more: what was their secret? MUSIC FOR
YOU TO LEARN
O
HERES TO THE FUTURE Including g

A sneak preview of the Einaudi Song for Gavin Su

Mikel Nicolaou

piano stars of tomorrow Chopin Raindrop Prlude

w
Bach Prelude in C
(Ave Maria)

SUBSCRIBE NOW AND GET IT EARLY! Satie Gymnopdie No 1
an
Call 01778 392483 or visit Let It Go from Frozen

www.pianistmagazine.com 73 Pianist 99

p73_Next month-pq.indd 73 10/11/2017 15:04

 E D U C AT I O N
Ternary form has switched from RH to LH. The contrast is stark and brings a dramatic
change to the character of the melody. This B section is considerably longer
A B C than the outer sections and modulates through several keys, rising twice to
impassioned fortissimo climaxes.
Statement of idea(s) Episode: Restatement of idea(s) When the opening theme returns the septuplet in bar 4 is further embellished
Contrasted idea(s) in an improvisatory way a very Chopinesque feature. The theme is cut
short and the pedal point is suspended for two bars. A single thread of
melody begins an eight-bar coda in which dominant/dominant 7th and
When the initial ideas are restated they can now be heard in a new light, tonic chords are emphasised in a cadential fashion, bringing the prlude
viewed through the contrasting ideas of the B section. The restatement may to a sombre resolution.
be an exact repetition of the opening ideas or it may slightly varied, with
f fj f nf f f f f f nf f f nfbf
10
some melodic embellishment or harmonic twist.
3 4 3 1

b b f f f f f FF f
If the first section is to be repeated exactly then it is not necessary to have &b b b F f F
FF ff fF f f f f ff f

{
f F f smorzando
the music written out for a second time. In these cases the composer can use p FF ff
the Italian phrase da capo (often shortened to D.C.), meaning from the start ? b b f f fff f fff f f f f fff f ff f f f
and the word fine the end will be written at the end of the A section. bbb
>
b b f f fff
The Raindrop Prlude
& b b b bf F f ff f ffff w
w

{
Here is a classic example of ternary form, which Pianist 100 will print in full. f F F
(Alfred Cortots poetic title for the piece was Mais la Morte est l, dans FF slentando f
fffff
p
lombre But death is here, in the shadows which is perhaps more ? b b f f fffff fffffff
bbb w
appropriate than the nickname derived from George Sands recollection
of the works origins.) The opening section has a luminous theme which U
bb
4 ritenuto

&b b b w f f f f w
f w
4 5 2
is dominated by a mesmerising Ab. This note acts as an inner dominant wf f w w
w w
w

{
pedal point: it is the anchor for the entire prlude.
F f w
A pedal point is a note which is sustained through harmonic changes. f f f f f f f f f f f f f f f f f f f f f f f f fF f f f f f f f w
? bb w
The term derives from organ playing, as the organist is able to hold a note bbb w w F
with a pedal while continuing to play moving parts on the keyboard w
u
manuals. The note that is sustained is very often the tonic or dominant and
is usually found in the bass part. However, it may occur in an inner part, as in Considered purely in terms of bar numbers, the ternary form of this prlude
our Chopin example, in which case it is called an inner pedal, or occasionally is quite unbalanced: A (27 bars); B (48 bars); A1 (14 bars). However, many
it may be in the top part, in which case it is called an inverted pedal. ternary-form pieces share this feature. One reason is that simple A-B-A forms
Sometimes two notes are sustained through harmonic changes, usually the are rare in folk and other kinds of popular song, which tend to be structured
tonic and dominant, and these are called, unsurprisingly, a double pedal. in verses of four rather than three or six lines.
Back to Chopin. The title of the prlude derives from this Ab pedal point, Take the A-A-B-A form of The Ash Grove as an example:
enharmonically changed to G# in the B section, and heard by many as an
imitation of falling rain. Here is the famous opening idea: #3 A
& 4 f f f f f f f f f f f f f f f f f f f f f f f f
#
G
Sostenuto 1. 2. B
f fj f f f f nf f f f
4 5

& f f f F f F f f f f f f f f f f f f f f f f f
1 1

b f fF
4 5 7 3
f
& b bbb c f F
3 1 3 4 3
f
f f
5 2

f F
3 1

ff fF f F
2

FF ff f f ff f

{
F f
FF ff #
1

f f #f
1 1 A
ff f f
1

? bb b c f f fff f fff f f f f fff f f & f ffff f f f

2 1 2 3
3 F f f ff f f f
bb 5
f
3 1 5 4 5 D: V I G: I
#
5
2

& f ffff f f f f ffff f f f

The B section is full of foreboding, the death and shadows of Cortots
imagination. From the Db major tonality of the A section there is a
modulation to the tonic minor, now spelt as C# minor, and the melody
Ternary form is a basic rhetorical
concept found in music and language
f f f F
I have written out this Welsh folksong with first- and second-time bars,
in order to show that the tune divides into two parts. Does that make it
a binary structure? Which is more important: equality of length, or repetition
of melodic material? If you think the former is the most important aspect
then it is a binary form, but if you think the latter then it is ternary.
However, the return of strong melodic material tends to make a greater
impact than our awareness of the relative length of sections, so this type
of structure is usually considered as ternary.
Harmonic structure also carries implications for form (and vice versa).
The A section of The Ash Grove cadences on the tonic. It is a short but
self-contained piece, whereas in a binary structure the A section usually
modulates to the dominant and is therefore less able to stand on its own:
it is dependent on the B section to return us to the tonic. In The Ash Grove

around the world

the music modulates to the dominant at the end of the B section here to
D major, with the C# being harmonised by an A major chord (the dominant
of D) followed by the tonic in a perfect cadence.
Different as they are, both the Raindrop Prlude and The Ash Grove
demonstrate the potential richness of a ternary structure. Idea digression
restatement: there are so many possibilities within the form for creating
both variety and unity.

Chopins Prlude in Db Op 28 No 15, Raindrop, will be included in the scores

section of Pianist 100.
74 Pianist 99

p72 Theory-FINALish.indd 74 09/11/2017 13:47

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2 Pianist
5
73 78
95

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p92_pianist95.indd
p05 Ads.indd 5 73 16/03/2017
13/05/201416:37
14:06
 D U E T S P E C I A L H I S TO R Y
Intimate alliances
It may take two, but it doesnt have to be a tango: Nils Franke looks back to a time
when piano duets were about more than making sweet music together
T
here is something about the keyboard that invites interwoven,
even orchestral textures: the range of available pitches,
perhaps, the reliability of reproduction and the rich timbral
palette. Beethoven, Liszt and Rachmaninov wrote for every
available key and tonality in their solo piano writing for
two hands. Godowsky then did the same, but (to the lasting
anguish of many a pianist since) achieved something similar by using only
the left hand.
The piano keyboard has always challenged composers to explore and refine
new timbres, previously unimagined weights of sound, fresh imaginative
journeys. Two players at a single keyboard was a facet of composition for
the instrument long before it evolved into the instrument we know today.
So how did it all start?
In the beginning
According to the pianist and scholar Howard Ferguson, the earliest
undisputed keyboard duets that have survived were written by English
virginalist composers in the 16th and early 17th centuries. The Fancy for
Two to Play by Thomas Tomkins (1572-1640) is a genuinely idiomatic duet,
he observes. Its antiphonal and imitative procedures were undoubtedly
derived from choral techniques; but they are also well suited to establishing
the separate identity of the two players. Ferguson is astute in highlighting
that the nature of a duet does not preclude a true musical dialogue in which
each performer has his or her own, individual role to play. As the fortepiano
of the late 18th century became a focal point at musical soires, and then
a symbol of social mobility and standing during the 19th century, these roles
became more sharply defined in the music composed for piano duet.
76. Pianist 99
P76 History Duet-FINALish.indd 76
Education or entertainment?
Piano duets from the second half of the 18th century onwards served a range
of purposes. Composers adapted accordingly when writing both the primo
(treble) and secondo (bass) parts. Relatively short and easy works were aimed
at students. David Rowland argues that from the 1760s onwards there was a
rapid expansion of duet composition, almost all of it for the domestic market.
Pieces written for teachers and students tend to feature a lower part pitched
at a more difficult level than the upper part; this approach to scoring remains
an attractive one for motivating students, because the overall outcome
sounds that bit more impressive.
Then there are works that demand virtuosity from both players, such as
the Sonata K497 by Mozart and the fabulous Allegro brillant by Mendelssohn;
both probably written with the composers to play with their own sisters,
who were accomplished pianists in their own right.
The radio of the 19th century
Families and groups of music-lovers came to know the symphonies of
Beethoven, Schumann and Brahms in duet arrangements, often long before
they could take a rare opportunity to hear them played in their original,
orchestral clothing. Music for piano trios, string quartet and many other
formations also appeared in duet versions, whether transcribed by the
Photo page 77: Richard Watson
composers themselves, favoured arrangers (such as Theodor Kirchner for
Brahms), or hacks of varying competence employed by music publishers.
The relationship also worked in reverse. Ravel wrote the piano duet version
of Rapsodie espagnole before orchestrating it.
With the arrival of recording technology in the last decade of the 19th
century, the appetite for piano duets began to wane. Fast forward another
10/11/2017 10:10
 Chethams International
Summer School & Festival
for Pianists 2018

Duets to dive into Artistic Director: Murray McLachlan

Part One: 1723 August 2018 The

Friendliest
Part Two: 2329 August 2018
Schubert is the corner-stone of the duet repertoire, Piano Summer
says Nils Franke, but look farther aeld Faculty to include:
School in the
World!
Marcella Crudeli, Christopher Elton,

1 Schubert The range of Schuberts music for piano duet never ceases
to amaze. Yes, there is Hausmusik, music for the home, but there
Margaret Fingerhut, Norma Fisher, Peter Frankl,
Harry Harris, Leslie Howard, Eugen Indjic, Piers Lane,
Leon McCawley, Pascal Nemirovski, Artur Pizarro, Martin Roscoe,
are also astonishingly profound works for this medium. Open almost
Ory Shihor, Claudius Tanski, Seta Tanyel, Ashley Wass
any volume of his piano duets, and you will find music of never-failing
pleasure and refinement.
With daily concerts, lectures, improvisation, jazz, composition,
intensive one-to-one coaching, duets, organ and harpsichord

2 Romantic duets The Six Pieces Op 11 of Rachmaninov must top the

list of works from the late-19th century, written at a time when the Booking opens 10 January 2018
composer still taught the piano! The parts are written with a notable
economy of means, especially the Barcarolle.
For further information, call +44 (0)1625 266899

3 Early 20th century Try Stravinsky. There are two sets: Three Easy
Pieces of 1914-15 (a march, a waltz and a polka) and Five Easy Pieces
or email info@pianosummerschool.com
www.pianosummerschool.com
composed in 1917 along similar lines. The former has an easier
secondo part, the latter an easier primo.

4 The Italian job Ottorino Respighis Six Little Pieces are wonderful,
late-Romantic and easily accessible works (No 4 is included in this
issue). Unsurprisingly for a former student of Rimsky-Korsakov,
Respighi writes with an orchestral depth and breadth of sonority;
the pieces are involved without becoming too demanding.

5 British Music William Waltons Piano Duets for Children. There are 10
pieces, written for the composers niece and nephew. Clever writing,
as one would expect, and top-notch from a musical point of view.

Above left: Mozart and his sister Maria Anna (Nannerl) with their father Leopold. Nevill Estate Yard, Eridge, Tunbridge Wells, TN3 9JR
Painting by Johann Nepomuk della Croce c1780
01892 543233
century and the piano duet is still popular, albeit mostly as a pedagogical The best selection of pianos in
tool. Thus the history of the piano duet has turned full circle. wthe w w.thepianoshopkent.co.uk
South East: upright and
The pianist, an unlikely chamber musician grand; new and restored;
Unlike melody instruments, which can be played in ensembles such as string
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solitary task. Learning by listening and responding to others is not as much

a part of a young pianists training as it might be. Supplying both melody
and harmony, varying the tempo, altering the tone; all of this is done solo, The perfect piano for everyone!
without recourse to the reactions or judgement of others. Thus playing in
duet is a valuable exercise in its own right. Quite apart from developing
sight-reading, duet playing requires the solo pianist to think beyond a strictly
triangular relationship between reading, playing and listening to oneself.
Responding to another musician is the educational spanner in the works
Nevill Estate Yard, Eridge,
that is of inestimable value for the development of general musicianship. Tunbridge Wells, Kent TN3 9JR
Photo page 77: Richard Watson

There are also broader musical skills that duet players tend to develop.
Agreeing who takes on what responsibility involves experimentation, Tel. 01892 543233
discussion and decision-making, all of which are transferable life skills.
Who will do the pedalling, for example? Dvok kindly specified in his
Slavonic Dance Op 72 No 1, where the pedal marks are written below www.thepianoshopkent.co.uk
the secondo part. He was an exception to the rule.

77. Pianist 99

Piano Shop Kent.indd 1 13/03/2017 11:04

P76 History Duet-FINALish.indd 77 10/11/2017 11:06

 D U E T S P E C I A L H I S TO R Y

Four hands,
Francois Barraud and Albert Locca
playing four hands, pencil on paper
by Barraud, 1934

one ambition
Tips on coordination from Nils Franke
for the ve duets inside this issue
Anton DIABELLI (1781-1858)
BEGINNER

Diabelli: Op 149 No 18 (page 30)

DUET
Op 149
No 18 from Melodische Ubngstucke
TRACK 3

but
The responses naturally varied in quality,
every accomplished composer he knew.
of duets, full of the unpretentious tunefulness Diabelli Variations of Beethoven.
There are 28 exercises in this collection produced one enduring masterpiece, the
by the music publisher and sent on to
that distinguishes the little waltz composed
Secondo

The secondo part of this exercise has a much richer

Andante cantabile q = 92
f f #f f
#f f f f f f f f f f f f f f f f f f f f f f
5 5 2 4
2 1 2 1

f 2 4 1
5

?bc f f f f f
1 2 2 1 2

{ ?bc f
p

f f
'
f
' f
' f #f f f
'
f
' f #f
' ' f

texture than the melodic line of the primo part. Written for
1 2
3
' ' f
' ' 3
2
1
2
3
'
5
5 3
5

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

f
3

?b f f f f f
5

{
sf
p

teaching (or domestic) use, it would most likely have been

?b nf f f f
f f f f
f f
' '
f nf f nf f

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

?b f f
8 1

{ played on a square piano, an instrument with a lighter and

p

?b f f # f f # f f f' f'
F
f f f # f f f' f' ' ' ' ' ' '
' ' ' ' 3
2
1
3
3 5

w
# f f f #f f f ff f ff nf f f f nf f # f f w
f
1.
w
3
f
2

more transparent sound than todays piano. To recreate

?b f f f f f
13

{
f p

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

f U

this tonal balance, take the piano dynamic marking

> f > w
4

f > f # f f f f f f >f f # f f ff f # ff f f f #nff f f f f f f f w

f
5

w
1 2
3 4 1 2 3
2.
?b f f f f
16

{ p
pp
U
?b F FF F ff ff ff ff FF f f w
FF >
>F >F >

fractionally lower and use as little pedal as possible,

30 Pianist 99

09/11/2017 11:37

30
P30 SCORES Diabelli-FINAL.indd

so that the primo part may sing out. Emphasizing the second and
fourth beats in the third--from-last bar takes a bit of coordinating
between both players. Given that the melody is in the top line,
the primo player should be calling the shots.
Anton DIABELLI (1781-1858)
BEGINNER

Diabelli: Op 149 No 26 (page 32)

DUET
Op 149
No 26 from Melodische Ubngstucke
TRACK 4

also
K311 and Violin Concerto No 5 (both
Symphony, the finales of Mozarts Sonata the
chords and minor-key Primo melody Abduction from the Seraglio opera and
The brisk march rhythm, stamping Secondo cast in A minor) not to mention his
Classical-era craze for wild, Turkish-style for his Ruins of Athens incidental music.
make this an archetypal example of the uproarious march written by Beethoven
the second movement of Haydns Military
music, noted examples of which include

As in No 18, dont let the fortissimo in the bass register

Secondo
Allegro alla turca q = 144

f f ff f ff f ff ff f f f f
5 5
3 3 2

f f f f ff ff ff ff ff ff ff f ff f f #ffJ fJ f
5 1 1
3

? c ff ff ff ff f f fJ fJ f f f
1

{
j j
f ff ff

overpower the top line. Alla turcas were all the rage at
j j f f
ff

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

ff ff ff ff fff fff fff fff fff fff fff

3
3 1

ff ff ff ff ff
1

f f f f f ff fff f J J
? ff ff ff ff ff f fJ fJ f f f
5

{ ?
f f
f f
j j
f f f
f f f
f
f
f
f

j j
f ff ff
f ff ff the time, not only in concert-pieces of Haydn, Mozart
and Beethoven but also piano tutor books of the period,
f f f f f
5 5

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

3 5 5 5 5 4 3
2 2

fff fff fff ff ff ff

2 3 3 3 2
1

1 1 1 1 1

? f f f f f f f
9 ff f fff ff J J

{
f
j j
f f j f f
p

? f f f f f f
f

13 f f f f f ff
5

ff ff ff ff ff ff ff ff #ff fff fff fff fff

? ff ff ff ff ff f #f f f f f f fJ J J J J J
3
1
f f
such as Clementis much-used method. Square and grand 5
2
1

{ ?
ff

f
f
f
f

f
f pianos were sometimes fitted with percussion and/or

f
f

f f f f
f f f f
j j
j j j j f ff ff
f ff ff

tambourine pedals, which added an authentic military jangle.

32 Pianist 99

09/11/2017 11:37

32
P32 SCORES Diabelli 2-FINAL.indd

No such luck on the modern piano, but to approach the intended effect
you could add some foot-stamping on the first and third beats of the bar.
There are other basic issues to consider, such as starting together and This is music written for fun and entertainment; playing the notes
turning the page. Other, more nuanced demands may come naturally to is only part of the performance.
other musicians while remaining a challenge for pianists. Listen to a group
of 16 professional string players and the ensemble skills are highly developed. Balakirev: On the Volga (page 34)
BEGINNER/
Mily BALAKIREV (1837-1910) INTERMEDIATE
DUET
TRACK 5 On the Volga
form the calm, swaying accompaniment.
Playing tips (secondo): The secondo part should
by Balakirev in May 1967 that the critic Keep the pulse steady, and try not to let
It was in reviewing a concert conducted of Make the switch between LH and RH seamless.
Handful term to encompass the works rarely go beyond piano.

Put sixteen pianists on eight pianos and ask them to play a Czerny
Vladimir Stasov coined the Mighty any notes stick out. Notice that dynamics
to create a distinctively Russian idiom, they are relatively straighforward.

The mere mention of Mily Balakirevs name polarizes

Balakirev and four colleagues who determined Pedal tips: See the markings on the score:
strain of musical form.
without recourse to the dominant German

Secondo

Andantino q = 112
5

# 3

arrangement of a Rossini overture, and performing as a tightly knit ensemble

4
fff ff
& #4 fff fff fff
f #f
2

pianists opinions. Known for piano works such as Islamey,

1

fff fff fff

{
f f f
f

p

? ## 34 f f
f


5 sim.

remains predominantly an aspiration. a dazzling, eight-minute showpiece, using large stretches

5 4

#
2 1 2 1
6

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

{ ? ## f
f f f
f
f f f

12
#
5 5 and preferably keys with at least four or five accidentals,
5

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

fff ff f # ff

The social dimension

& # f f #ff
2 3

nff f nf
1 2

f ff f
1

f f f
f f

{
f

Balakirev isnt for the faint hearted. On the Volga shows f

mf
f f f
? ## F
f f F #f

Quite apart from developing musicianship, playing piano duets involves

5 3

a different side to him. Its scored rather economically,

2

#
4
18
fff ff
& # ff
Ff f f f f
ff ff ff fff ff fff ff
f #f f #f
f f f #f f f

{ ? ## f
f f f f
f
mf
f
f

f
f
f

sharing a relatively confined space with another person. The physical P34 SCORES Balakirev-FINAL.indd
34
with an effective balance between melody and
34 Pianist 99

09/11/2017 11:38

proximity between a teacher and student requires mindful consideration. accompaniment. The secondo part is phrased in a way that stresses
Imagine how much more unusual or uncomfortable it would have felt to the triple-time metre. Offset against it is the timing of the primo part
adults in the late 18th century, when etiquette dictated that people retained that enters on the third beat of the bar. The combination produces a
a respectable distance between each other. In the preface to his Four Sonatas gentle, harmonic bass line with a melody that enters on an upbeat
or Duets on One Pianoforte or Harpsichord (1777), Charles Burney offers and thus moves the piece along.
the following advice:
Though, at first, the near approach of the hands of the performers may TRACK 9
Ottorino RESPIGHI (1879-1936)
Natale, Natale! No 4 from Six Little Pieces
but hardly overshadowed by lateness.
INTERMEDIATE
DUET
Respighi: Natale, Natale! (page 50)
seem awkward and embarrassing, a little use and contrivance with regard
ones, though): his last work for the instrument,
with children in mind (fairly accomplished

This piece is a good example of textural dialogue between

Respighi wrote this set of pieces in 1926
Allegretto vivace q. = 58
5
Secondo
f f f f
f f f f f f f f f f f f ff f ff f ff f f f f f
f f
2 4

b b 12 f f f f
5
2

&b b 8 f f f f f f f f ff f f f f f f f f f
2

{ j f f f f f f f f f f fj f f f f
pp f f f
f
? bb b 12 f f ff f ff f f f
b 8 f

to the manner of placing them, and the choice of fingers, will soon remove the parts. The melody line in bars 1-8 is accompanied by the


1

2 3
5 1

4 5 1 5

f f f
4

f f f f ff f ff f ff nf ff f bff nf ff f bf f f f f f
2 2 2

bb f f f f
2
3

&b b f f f f f f f f ff f f f f f f f f f
fj f

{ f j fj f j
f bfF fj

that difficulty. We may infer from this both the unusual nature of the social
? bb b f
f f ff f f f f f nff f

secondo, who then takes the lead for bars 9-15. It may
f ff
b f 2 4

sim.
5
4 5 4

bbb ff ff f ff ff ff ff ff f ff f ff f bbff f ff f nff f ff nf bff n f ff f ff f ff f
5 1 2 2
5 2

&b f f f f f

{
f

situation, and then how it became acceptable through a common focus on

b f bf f f j f f bf
cresc.
f jf f f f f

take a bit of rehearsal to accommodate the primo scale

f
? bb b f f ff f ff f f ff
b f

f nfb f f fffff f
5

f #f n f f fff ff fffffffffff
5 4

fbfbfnf
5 1
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bb
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#fnfnf
7
f
2 3

&b b nf

the music and the instrument. { in bar 16, and to align the subsequent pianissimo quavers
p
j f f f f f f fj bf ?
3

ff
1

? bb b nf & nf f f f F
b n f fb f
2 1
f fJ
5

-f -f -f -f -f -f -f f f ff nf bf
bb -f ff ff f ff f ff f ff ff ff f ff ff f ffff ff
1 1 5
9 1 5
1 1

&b b f ff f ff f ff

It would be mischievous, not to say far-fetched, to make over-stated claims { exactly with the top note of the arpeggiated secondo part.
pp f f f f f f
f f f f f ff J
dim.
f J f f f w
? bb b f J J

J J J f J w

b f w 3 1 2
1

f f fff ff ffff
fff j f ff ff ff
1 2 4

J
3

bb ff
4 2
12 1

&b b ff ff f bf f
f ff ff f nf ff f bf p
f

for the historic value of the duet as a dating mechanism. However, playing {
f j fff f f f f j fff
f ff fff f ff ff
? bb b ff f ff f ff
b ww
w Pianist 50 99

09/11/2017 11:42

music together, and in close proximity, continues to enhance both social Faur: Berceuse from Dolly (page 54)
50
P50 SCORES Respighi-FINAL.indd

and musical skills. Focusing on the musical aspect, Howard Ferguson Faurs Dolly Op 56 must be one of the most enduringly
Gabriel FAUR (1845-1924)
INTERMEDIATE
T MISS S DUET
DONNEWMAN
TRACK 10 JANET SON Berceuse from Dolly
LES
ON PAGE
THIS
PIECE

22
of
1958, but she lived on until 1985, full
in 1911. Her husband Gaston died in
to Dolly? Born as Hlne Bardac to Sigismond Debussy: Dolly, however, was childless.
What, you may wonder, ever happened memories both of Faur and her stepfather
known as Hlne de Tinan after she married
Bardac and his wife Emma, she became
Secondo

describes this more formally, but also aptly: duets provide pianists with ? #### 24 f
f f f ff
Allegretto moderato
1
2 5 3 4
1 f f
ff f f
popular works in the duet repertoire. There is a lot of detail
f f
ff f f
f f
ff f f
f f
ff f f
f f
ff f f

{ ff
pp
ff ff

invaluable experience in ensemble playing, which is all too often lacking

? #### 24 ff ff ff f f f

to finesse in the graceful opening Berceuse. Writing for an

f f f f f f
f f f

1

3 3

sim.

5

5 3

f f
4
fff f #f
ff ff

from the lives of those who sit and work alone at a keyboard.
3 2 1 2 5 3

f f f #ff
1 4 5 4 1 1

? #### f f f ff f f
1
7

instrument much closer to the modern piano than

1 2 4 1

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

{
pp
ff ff
ff f f f
? #### ff f
ff f f f f f
f f f f f
f 5
1
1
3 1 3

13

&
#### f #f
ff f f
f #f
ff f f
Diabellis square piano, Faur took care to avoid an
5
2
1 2 4 2 1

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

f
5
2
1 3 4 3 1

f f f fff

{ f f

Nils Franke is Dean of Higher Education at the University Centre Colchester, UK.
poco cresc.
ff ff f f f f

overpowering secondo part; hence the opening pp against

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

He specializes in performance pedagogy.

# ## > >

the p marking in the primo part. There are two distinct

4 5 4 4
19
f f
5

&# f
5 3 1

f f
1 2

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

{
fff f
p sempre
f f f f f f f f
? #### f f f f f f f
f f f f f f f f
f

www.nils-franke.com
3 1 3

P54 SCORES Faure-FINAL.indd

54
textures in the piece. The outer sections have a busier
54 Pianist 99

09/11/2017 11:43

(though quiet) secondo line; the predominantly single-line primo part of the
Recommended reading central section is juxtaposed with sustained minims in the secondo part.
Ferguson, H. (Oxford: 1995) Keyboard Duets These need to be voiced clearly, so that three separate lines are audible:
Rowland, D. (ed.) ( Cambridge: 1998) The Cambridge Companion to the Piano two in the secondo part and one in the treble.
78. Pianist 99

P76 History Duet-FINALish.indd 78 10/11/2017 10:10

 Pianissimo
The fantastic repertoire resource
Huge anthologies of some of the most well know and best
loved piano pieces compiled by Hans-Gnter Heumann

Each volume contains at least 50 pieces, each with

ngerings, tempo suggestions and notes on ornaments

Ideal for lessons as well as for enjoyment at home

Plenty of music to keep you going through the holidays!

Piano piccolo 111 short and very easy original classical pieces for piano ED 22601 13.99
Fr Elise 100 original pieces for easy piano ED 20044 14.99
Liebestraum 50 original pieces for intermediate piano ED 20573 15.99
Eine kleine Nachtmusik 60 arrangements of masterpieces for easy piano ED 20764 15.99
Modern Piano 90 pieces from the 20th century for easy piano ED 21128 14.99
The Entertainer 100 original pieces from classic to pop for easy piano ED 22600 13.99
The Great Book of Studies 100 studies for easy to intermediate piano ED 21122 14.99
Piano Duets 50 original pieces for intermediate piano duet ED 21379 16.99

Piano Street
2.0 is here!
Try out the
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www.pianostreet.com/pianist-mag 2 Pianist 96

p79_pianist99.indd 2 09/11/2017 11:13

 E D U C AT I O N

Wanted: Piano Teacher From planning lessons to sending invoices, Dr Sally Cathcart
outlines the essentials for a satisfying career

I
f you play the piano to a reasonable standard theres a good chance that
someone has asked you the question: Do you give lessons? Because I
[or my child, or partner] would love to learn. You may have wondered
to yourself: Could I teach the piano? What would it involve?
In fact anyone can call themselves a piano teacher, both in the UK
and in other parts of the world. You arent obliged to present
qualifications for the job, and you can charge whatever you wish. However,
you may not have many pupils for very long! Teaching the piano is a serious
and professional commitment. Imagine how you would feel if you discovered
that a young relative was being taught maths by an unqualified person.
Some professional qualifications are generally considered necessary: at least
Grade 8 or an associate-level performing diploma to begin with. Within
the first three years of teaching, you should be looking to earn an associate-
level teaching diploma such as a DipABRSM, ATCL, CME or ALCM; after
that, a Licentiate Teaching Diploma such as the LRSM, LTCL or LLCM.
Heli Ignatius-Fleet, Ilga Pitkevica (and indeed me). In addition to the
Certificate of The Piano Teachers Course UK, students can work towards
the teaching DipABRSM and ATCL.
However, all the qualifications in the world wont make you into a teacher
who can coach, correct and inspire your pupils. Having founded The Curious
Piano Teachers, we have often encountered people who would like to get
started as a piano teacher but have found it a daunting prospect. Below are
12 points to consider if you want to take the first steps towards making a
career out of teaching the piano. They are divided into four areas of expertise:
Being a Pianist, a Musician, a Teacher and a Business Owner. Not all these
areas are equal in importance; the percentages are offered as a rough guide.
PIANIST (35%)
Perhaps its stating the obvious to reiterate that in order to teach the piano
you have to be able to play it. However, its worth bearing in mind some
Photos Richard Watson

The Curious Piano Teachers offer an Online Diploma course to help students foundation principles.
prepare for the DipABRSM and ATCL. If you live in the UK, you should
consider taking The Piano Teachers Course (PTC), a part-time, ten-month Passion You need to love, and we mean really love, playing the piano
course of study. Directed by Lucinda Mackworth-Young, students attend and everything that surrounds it. Teaching the piano has to be a holistic
residential weekends with instruction from tutors including Graham Fitch, experience and pupils will only be inspired if you are inspired by music.
80. Pianist 99

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 Competence Your own playing must be at a reasonably advanced standard.
The PTC is open only to pianists who have passed their Grade 8 exam.
As a rough guide, consider the repertoire that you have mastered. If you
have a Bach prelude and fugue, a Beethoven sonata and a Debussy prlude
(or other pieces of a similar standard) under your fingers, you may be
sufficiently competent to take the next step. Taking lessons yourself on
a regular basis will help to keep your technique and progress up to date.
It is up to you to inspire
the student with your playing
Technique We have established that you can play the piano. Is your
technique up to scratch? How are your scales and arpeggios? The
fundamentals of technique really make you think about how every aspect
of learning the piano is connected. You can learn a tremendous amount
about technique through having to teach it, but you need to start with
the fundamentals in place.
Sight-reading Imagine that a student comes to a lesson and brings an
intermediate-level piece; they would like to hear how it goes, but youve
never seen it before. Could you play it there and then, with a good sense
of the style? Being able to do this, and do it well, is essential: it is up to you
to inspire the student with your playing.
MUSICIAN (25%)
It is important to recognise that the piano is just our instrument of choice.
First and foremost we are all musicians. Certain skills are needed irrespective
of the instrument you teach.
Theory The technical skills of a good teacher will be backed up by a sound
grasp of theory. If it is a long time since you did any type of theory you
will need to brush up on this area. Are you confident to study a score
and understand its structure, harmonic development, chord progressions,
use of motives and so on? Could you then pass on an understanding of
these theoretical concepts to a pupil according to their level of attainment?
If you are unsure, find out by reading over one of the theory books published
by the ABRSM and others; you could even examine yourself with a past paper
of Grade 5 theory and see how you get on.
Playing by ear Because so many of us are taught directly and only from the
score (that includes me), the majority of teachers struggle to play without
the dots. Yet the ability to play by ear and improvise is fundamental to being
a musician, and its a skill we should be passing on to our pupils. Can you go
to the piano now right now and pick out the tune of Happy Birthday?
Can you then harmonise it using primary triads? If you struggle to do this,
check out Piano by Ear by Lucinda Mackworth-Young.
Aural Playing by ear relies on your aural skills. As teachers we listen to
our pupils and evaluate their performance. We will know when they play
wrong notes, chords or rhythms. Try going to YouTube and finding two
versions of the same piece. Compare and contrast differences such as tempo,
dynamics, phrase shape and other musical values. Do you prefer one version
over the other? Can you work out why, and communicate those differences?
TEACHER (25%)
Of course, being a musician and being able to play the piano is only
part of the story. Outstanding piano teachers combine their playing skills
with refined and effective teaching skills.
Communication How good are your leadership and communication skills?
Can you inspire people and give them precise feedback on how to reach the
next level? Lets imagine a young pupil who is losing motivation over a piece
Photos Richard Watson
of music he is actually close to completing. Can you help him over this
temporary block by asking him the right questions and pointing him in a
helpful direction? In his book The Coaching Habit, Michael Bungay Stainer
offers many good ideas for asking the right type of questions: nothing to do
with piano teaching, but a lot to do with becoming an effective communicator.
81. Pianist 99
P80 Teach 99-FINAL.indd 81
Experience What was your own piano teacher like? How did you learn
to read notation? Many teachers begin by teaching in the way they were
taught, even though our understanding of how to teach (pedagogy) always
moves on over time, adapting to the concerns, the values, the needs and
the strengths of each new generation of students. Do you have previous
experiences as a teacher/coach/trainer that are transferable to this new
situation? If not, will you spend time learning about pedagogy? As a new
piano teacher, you will soon encounter a pupil who cant read notation.
How would you teach them?
Vision Perhaps your teacher responded to different problems each week
as you brought them to the lesson. This is a reactive approach that modern
pedagogical practice finds limiting. Its unlikely to lead to a smooth or
comprehensive learning experience or more importantly, to a love for
the piano and for music. We often find that the reactive approach coincides
with a rigid adherence to the graded exam system. Time spent before
and after lessons, planning and reflecting, is always time well spent.
As a 21st-century piano teacher you have to offer your students more
than note-to-note, week-to-week coaching.
SMALL-BUSINESS OWNER (15%)
As well as making sure that your pianistic skills and teaching abilities are
up to scratch, you will need to think about all the aspects of becoming
a small-business owner.
Organisation Even if you begin with a handful of pupils you need to
consider the practicalities of running your own business. Organisational skills
are necessary to sort out practical timetables and to establish and maintain
lines of communication with parents and adult students. You may have
trained this skill in a previous career; there again, you may never taken on
this responsibility. Be honest with yourself about how organised you are
in daily life and assess what systems you currently use that work for you.
Admin Your fees should be set in line with your level of experience. A teacher
who is starting out will charge lower fees than the experienced teacher down
the road. Contracts, invoices, marketing, website development and studio
maintenance: all these aspects need to be considered and then managed as
a small-business owner.
As you can see, being able to play the piano is only one arrow in the quiver
of a good piano teacher. Every student will bring their own, individual needs.
Coaching them on a journey towards technical success and musical
appreciation can be deeply rewarding, especially when you recognise
that you are on your own journey of discovery. n
Dr Sally Cathcart is a co-founder and
director with Sharon Mark-Teggart
(pictured far left with a pupil) of The
Curious Piano Teachers. This online
community was created in 2015 and
quickly established itself as the leading
provider of online support and teacher
training for piano teachers.
Membership of TCPT is by annual
subscription. This gives members access
to monthly topics known as Curiosity
Boxes. Each box is presented in
manageable, bite-sized chunks with videos
and workbooks for members to develop
new teaching skills over time and at their
own pace. There is also a monthly live
webinar. Thanks to the success of TCPT,
there are now hundreds of Curious Piano
Teachers across the world, ranging from
experienced individuals to those just
starting out on their teaching adventure.
https://www.facebook.com/
thecuriouspianoteachers/
www.pianoteacherscourse.org
09/11/2017 13:49
 MAKERS

1 2

THE BEAUTY OF
BECHSTEIN
New hammers, old skills: as this venerable German firm turns 165, John Evans meets
the workers and leaders producing a new generation of pianos

3 4

82 Pianist 99

p82_makers-BECHSTEIN-FINAL.indd 82 10/11/2017 15:24

 V
ery few pianos leave
Bechsteins factory without
Matthias Klingsing having
checked and signed them
off. Hes been making
pianos for 39 years and
at Bechstein goes by the magnificent title
of Tone Master.
His position means hes at the end of
the production line, running final checks
on the voicing and regulation of each
factory-fresh piano, before tuning it.
With 350 grand pianos and 1200
uprights leaving the plant each year,
thats a lot of tone mastering.
Fortunately, Klingsing knows exactly
what hes listening for: A warm but also
colourful and brilliant sound the
Bechstein sound, he tells me when
I meet him towards the end of my tour
of Bechsteins factory in the town of
Seifhennersdorf, lying 60 miles east
of Dresden on the German border with
the Czech Republic and Poland.
A couple of years ago, Klingsings job
was made a lot easier by Bechsteins
decision to begin manufacturing its own
hammers, rather than sourcing them
from suppliers. Only three piano-makers
do this, the others being Yamaha and
Pearl River.
Given how critical the hammer is to a
pianos sound, Im surprised a company
of Bechsteins standing hasnt always
produced its own hammers. The catalyst
came from the company changing hands
in 2013. Stefan Freymuth did what new
owners do, and asked questions. I just
wondered how difficult it could be to
join three parts to a hammer-head, he
says to me and he was pushing at an
open door, given a frustration within the
company at the standard of the hammer-
heads it was being supplied with.
Hammering away at innovation
The new owner tasked his colleagues
with overhauling the production process.
Top quality had to be maintained, for
one thing. The heads can now be more
finely tailored to specific piano models
for example, hornbeam cores for
Bechsteins W. Hoffmann brand,
mahogany cores for Bechstein and
top-spec Hoffmanns, and walnut cores
for C. Bechstein instruments.
The process involves conditioning the
hammer felt in a climatic chamber,
before measuring, cutting and glueing it
to the cores. Quality control takes place
at every stage; the felt is weighed in order
to assure the correct mass (an invisible
hole inside the felt layer would mean one
hammer is lighter than its neighbours).
In front of me, a worker gently bends a
hammer shank (the part that connects
the hammer-head to the mechanism) to
see if it is sufficiently supple or if it will
snap. If it passes the test its then dropped
some six inches onto a metal plate. The
pitch of the resulting sound determines
p82_makers-BECHSTEIN-FINAL.indd 83
whether the hammer should be used in
the pianos upper, middle or lower
registers.
Once assembled and fitted to the
piano, the hammers are pre-voiced in the
tuning and voicing room. Voicing
involves gently pricking each hammer-
head with a small needle to loosen and
relax the felt, before refitting it to the
instrument and listening to the effect as
it strikes the string. This, plus tuning and
levelling the strings, takes one technician
around six hours on a single instrument.
The piano is then played to recompress
the hammer-felt and voiced once more to
release it, a process that takes a further 5
four hours, before the piano enters the
most extraordinary stage in the whole
process: the playing-in room.
Accompanied by the ear-piercing hiss of
compressed air, a machine pummels the
keyboard a total of 50,000 key-strokes
over a period of 20 minutes at full
volume. Its so loud and frenzied you
have to wear ear-defenders.
Playing-in complete, the instrument is
checked to make sure nothings broken
and that the keys are sitting as they
should (if necessary, thin paper washers
can be inserted to level a stray one). Only
now is the piano considered worthy of
the attentions of the Tone Master.
Klingsing relishes the improvement
in hammer quality as a result of moving 6
production in-house. It is now much
more uniform, he says. I know exactly
what to expect and what I must do to
achieve the Bechstein sound. For example,
its now much easier to stick the voicing
needle into the hammer-heads, meaning
you dont have to use force. The result is
a voicing of much greater precision, as
every needle-prick is efficient.
Challenging times, changing
markets
Efficiency: its a renowned German
characteristic, of course, and one thats
much in evidence on my tour. However,
as Ralf Dewor, director of sales at
Bechstein Group, reminds me, these
are challenging times for piano 7
manufacturers, meaning efficiency is
one quality none of them can afford
to be without.
Worldwide sales of acoustic pianos are
falling year on year, he says. A century
ago, Berlin had 100 piano makers. Now
theres just Bechstein. Once, every
middle-class family had a piano but thats
not the case today. Families and children
have many more leisure choices.
Not that Dewor is downhearted.
In fact, hes bullish about Bechsteins
future. The market may be down but
his aim is to grow Bechstein Groups
share of what remains by roughly 3-5 per
cent a year, to be achieved organically as
well as by recruiting new dealers.
In September 2017, Bechstein took
8
over distribution of its Bechstein and
83 Pianist 99
10/11/2017 15:24
 MAKERS
W. Hoffmann ranges in the UK, cutting
out the middleman to be in direct
contact with the people who sell and
service its instruments. Dewor is
confident the move will strengthen
relationships and boost sales. The
companys sales of grand pianos are
up worldwide, a trend attributed by
Dewor to professional couples who have
children later in life, once their finances
are healthier. Meanwhile, the Bechstein
Vario, the companys digital, silent
piano range, now accounts for 30 per
cent of sales.
The statistics are impressive: Bechstein
manufactures 4000 instruments each
year and employs 400 people, including
a nine-strong team in research and
development and a group of 30
apprentices. Six enrol each year on the
companys training programme. Over the
course of three-and-a-half years they
learn to build a piano from scratch,
and tune and regulate it. It amounts to
Germanys sole comprehensive piano
technology course, with a mix of factory
10
p82_makers-BECHSTEIN-FINAL.indd 84
Images: placement and theoretical training.
1. At the C. Bechstein The most recent graduates from the
factory in Saxony programme are all now employed by the
2. Grand piano rims Bechstein Group, and the company is
awaiting their bodies planning an international apprenticeship
3. Computer numerical scheme for English-speaking students.
control (CNC) The Bechstein Group has its
procedures at the headquarters and principal showroom in
C. Bechstein factory Berlin. A second factory can be found in
4. Wood in the waiting at the Czech Republic town of Hradec
the C. Bechstein factory Krlov, where Bechstein makes its more
mainstream range of W. Hoffmann
All other images pianos (1800 uprights and 300 grands
(Nos 5-14) are annotated each year), as well as parts for the group.
within the article A further 350 Zimmermann-brand
upright and grand pianos are annually
produced by a manufacturing partner in
China. In a shrinking industry, were
successful, growing and profitable,
claims Dewor.
Noble beginnings
The history of Pleyel in Pianist 98
observed how Carl Bechstein had worked
at the companys atelier in Dresden as a
young man. From there he travelled to
Berlin to refine his understanding of the
craft and gain practical business a
understanding with the Perau firm, and
then in Paris with Pape and Kriegelstein.
On returning to Berlin in 1853, at just
27 years old, he founded the firm that
bears his name today.
One of their hallmarks was power:
a turning point in the firms reputation
came with a concert in January 1857
when Hans von Blow performed the
B minor Sonata of Liszt on Bechsteins
first grand piano, to which he had
cannily given the serial number of 100.
Distinctly better than an rard piano,
remarked the pianist to the composer
afterwards, and thus began a long and
fruitful partnership between von Blow
and Bechstein. To judge your
instruments means nothing else but to
praise them, wrote Liszt to Bechstein,
84 Pianist 99
late in life. I have been playing your
pianos for 28 years now and they have
ever confirmed their superiority. Other
admirers included Brahms and Debussy.
Bechstein himself had a long and
happy association with London. It was
natural that, the year after his death in
1900, the firm should open a concert
hall on Wigmore Street in the West End
of London. However, the firm lost
ownership of it during the First World
War, when the hall (and its contents,
including 137 pianos) was seized as
enemy property and eventually
reopened as Wigmore Hall. C. Bechstein
continued operation in family hands, but
an Allied bombing raid in 1945
destroyed the companys principal factory
in Berlin. The Bechstein name became
part of the US-based Baldwin
manufacturer in 1963.
There it remained until 1986, when
the firm was bought by Karl Schulze.
He was just 38 years old, a master
piano-builder and entrepreneur who
saw real potential in a company that
since the end of the Second World War
had bumped along, making fewer pianos,
albeit all of them to the firms
traditionally high standards.
Schulze had an astute awareness
of Bechsteins international brand
recognition, despite its troubles. His
arrival marked the companys rebirth.
There followed fresh investment in
Photos page 82: C. Bechstein; All other photos John Evans
factories, in research and development,
and in manufacturing techniques that
combine the accuracy and consistency
of computer-controlled production
with traditional craftsmanship.
Along the way, in 1992 Bechstein
moved production from Berlin to
Seifhennersdorf, taking over the
Zimmerman piano factory and
transforming it into a state-of-the-art
facility. In 2007 it acquired Bohemia,
one of the Czech Republics premier
10/11/2017 16:03
 piano makers, turning its factory
in Hradec Krlov into the home of
W. Hoffmann pianos.
Enter Stefan Freymuth, whose
company took a controlling 90 per cent
stake in the Bechstein Group in 2013.
Freymuth learnt to play the piano on the
familys Bechstein grand, and he is
evidently committed to the companys
continued status and independence;
profits are re-invested in order to drive
standards, innovation and more sales.
Shrewdly, he has retained the services of
the man without whom none of this
would be possible. The 69-year-old
Schulze continues to be involved with
the company, not only advising the
management team but also taking an
active interest in the companys day-to-
day affairs. When I enter the Berlin
showroom one morning at 10am hes
there already, checking the pianos. He
asks if he can help. I mistake him for a
salesman and ask if hed please let Ralf
Dewor know Ive arrived. He doesnt
volunteer his name, instead promptly
disappearing into the showrooms
back offices to track down Dewor.
Thats Karl, says Dewor to me later.
Unassuming and absolutely focused
on the business.
Its a focus shared by those at the
Bechstein factory in Seifhennersdorf,
a three-hour drive from Berlin. Katrin
Schmidt will be my guide. She joined
Bechstein as an apprentice in 2003
(she can build, tune and regulate pianos)
and is now manager of the firms
service department.
Guided tour
We begin in the frame storage area
(Photo 5) where up to a years worth
of sand-casted grand and upright frames
produced at the Hoffmann factory sit
in racks awaiting selection.
Next door, in a climate-controlled
area, theyre sorting and crafting the
veneers for the inner and outer rims
of the grand pianos (6; C. Bechstein
instruments have two extra layers).
These go to the next stage for gluing
and clamping before being put to one
side for eight weeks to settle down and
acclimatise.
Now the supporting beams are added
to the rim. Detailed plans on the walls
show technicians precisely where the
clamp feet must be located. The pin
Photos page 82: C. Bechstein; All other photos John Evans
block is added at this stage, too.
In another part of the factory, the
soundboards (pre-shaped by Bechsteins
Italian supplier) are fitted with their ribs,
dried, seasoned (7) and finally installed.
The crown, or raised area of the
soundboard, that gives it its warmth and
resonance, arises as a consequence of the
ribs and bridge being fitted. The ends of
the ribs are chamfered in the CNC room
by computer-controlled mechanism (this
process is performed on C. Bechstein
p82_makers-BECHSTEIN-FINAL.indd 85
pianos after the ribs have been fitted,
so that the crown can be placed with
maximum precision). The bridge is
shaped here, too. For security and
stability, the tuning pins are fired
into it by compressed air, like a bullet
from a gun.
Before being fitted to the frame,
the soundboard is lacquered. Then,
because the grain rises, it is sanded
before a second coat of lacquer is
applied. The frames relationship to
the soundboard is now finalised.
Theres a specification for this but
the technician uses a test bridge and
strings to double-check since each 11
soundboard behaves differently.
Upright piano strings are fitted to
the frames before the frame itself
is fitted to the piano (8).
During the tour, we pass through
the large wood storage-area (9),
a powerful reminder of just how
natural a piano is, and how careful
management of the material at the
production stage is necessary to ensure
its stability in centrally heated homes
and concert halls later on.
A rack of piano falls catches my eye,
described by a group of young visitors
who passed by earlier as looking like
giraffes. Theyre right. Even these
apparently simple components are
made of different layers of wood 12
to prevent warping.
Then we enter the keyboard
construction and installation area.
In one room a grand piano action is
screwed to the key bed (10). Nearby,
a technician voices the hammers of a
grand piano, pricking them to soften
the felt heads (11).
Katrin demonstrates how they select
hammer shanks, testing them to make
sure they bend rather than snap.
A nearby technician assembles and
adjusts the action of an upright (12).
Assembled, voiced and regulated, the
pianos are ready for their turn in the
playing-in room (13), the piano
equivalent of Dantes Inferno.
I sense the Tone Master cant be far
13
away. Sure enough, were ushered into
Matthias Klingsings room (14) where
all pianos are put through their paces
for one last time, to ensure they
perform and sound like a Bechstein.
Some stages such as the lacquering
area have escaped my notice. No
matter: my abiding impression from
an absorbing tour is of a smart and
well-organized factory, staffed by
motivated craftsmen and women
employing painstaking traditional
skills and the latest production
technology in order to build beautiful
pianos. The year 2018 marks the
165th anniversary of Bechstein.
Pianists everywhere should raise a toast
to a distinguished history and, more
14
importantly, a promising future. n
85 Pianist 99
10/11/2017 15:24
 MAKERS

A VERY SMART PIANO

An instrument that accompanies you, and even corrects your mistakes? Yamahas new
digital range impresses John Evans with its connectivity and flexibility

H
ard on the heels of the new CLP CSPs smart compatibility and invest in the and instrumental sounds and accompaniment
series of Clavinova digital pianos top-spec CLP-685. styles are also available. Both models feature
(reviewed in Pianist 97), Yamaha There are two CSP models. In common with Virtual Resonance Modelling (VRM) technology
has unveiled a follow-up range the CLP, both the CSP-150 and CSP-170 feature which, it is claimed, replicates the sympathetic
with a new interactive feature an escapement action for that grand piano feel. vibrations of a piano as a note is struck, in order
which it claims will inspire and Yamahas Graded Hammer 3X system provides to give a fuller, more realistic sound. Headphone
help pianists of all abilities, but especially those who three different key weights and responses, with listening is improved by recording and playback
either dont favour the idea of traditional learning or the heaviest in the bass and the lightest in the technology that has been designed to give the
whose lives are so busy they have little time for it. treble, rather like a grand piano. sensation of an all-encompassing sound. The
According to the company, 80 per cent of A choice of piano sounds is offered, between the CSP-170 features additional refinements including
people aged over 18 have a smart device such as Yamaha CFX and Bsendorfer Imperial grands, natural wood keys, more powerful amplifiers and
a mobile phone or a tablet. Research co-sponsored and an upright. Several pre-programmed vocal more speakers.
by the US National Association of Music
Merchants indicated the potential existence of The launch of Yamahas Clavinova CSP
a large number of would-be musicians who are
keen to play the piano but who cant find the time
to commit to a course of study. Linking this group
to smart technology represents a significant
commercial opportunity, according to Yamaha.
The aim of the new Clavinova CSP is to unite
these two groups the connected and the
musically aspirational with the aid of an app.
Smart Pianist has been developed by Yamaha in
harness with the CSP series. It presently works
only with Apple devices such as the iPhone and
iPad that run Apples OS10 operating system,
but an Android-compatible platform is scheduled
for release in 2018. Once installed on your Apple
device, the app talks to the Clavinova CSP:
heres the link between the digital generation
and those aspiring piano players.
The technology of the CSP models is based on
the CLP series, so they share several features. That
said, if you want the last word in Clavinova touch,
sound and responsiveness you need to forgo the
86 Pianist 99

p86_makers-YAMAHA-FINAL.indd 86 09/11/2017 13:50


Thinking outside the box
So much for the piano aspects of the piano. Its
with the Smart Pianist app that the Yamaha CSP
really gets clever. Pick a track or song from the
music library on your computer (an iTunes file
will do) and load it into the app. An audio to
score feature analyses the music and instantly
creates a score which it displays on your iPad
device. So-called stream lights, located above each
key, indicate which keys you should play (red for
white notes, blue for black) while the Clavinova
provides the accompaniment.
One technical, but important, point: the Smart
Pianist app requires the music to be recorded as a
MIDI file (Musical Instrument Digital Interface)
rather than any other kind of audio file. The
technology behind MIDI files allow the musical
data to be modified and manipulated; its the
language all digital musical instruments speak.
As a result, MIDI files for Smart Pianist are widely
available, including from yamahamusicsoft.com
and any number of websites. However, the MIDI
files dont display fingering. You could view a
downloaded score with fingering on your iPad
but it wouldnt have the same functionality as
a MIDI-generated score.
At the launch of the CSP, Yamaha presented
a vocalist sitting at the instrument. She sang along
to backing tracks which had been stored on the
instrument, while accompanying herself with the
score displayed on her iPad. In itself the
performance was an impressive demonstration of
the CSPs capabilities, but, frankly, it was difficult
to see what readers of Pianist would gain from the
technology until the point when she played a
simple Beyer finger exercise in the right hand.
As before, Smart Pianist displayed the score on
her iPad. A shaded area on the stave helpfully
tracked her progress, while lights above each key
indicated the next note to be played. We braced
ourselves for a dull five-finger exercise and then
the Clavinova did a remarkable thing: it supported
the performers right hand with a chordal
accompaniment that immediately warmed up
the exercise and made it more enjoyable.
Crucially, when our multitalented vocalist/
pianist played a wrong note, the accompaniment
ceased, while the stream light indicated the one
she should have played (had she not enabled this
feature, I learned later, the accompaniment would
have continued regardless). No less remarkably,
the CSP varied the pace of the accompaniment
in time with her playing. Regardless of whether
she speeded up, slowed down or paused, the
Clavinovas accompaniment supported her all
the way.
p86_makers-YAMAHA-FINAL.indd 87
Yamahas Smart Pianist app takes the CSP models to a new level of interactivity
How it works
Open Smart Pianist on your mobile device, and
click the screen to establish a connection with the
Clavinova. From the settings menu, choose the
piano sound and acoustic you want (for example,
recital room or concert hall) and the position of
the piano lid (open, part-open or closed).
Locate a MIDI music file, perhaps by
connecting to yamahamusicsoft.com. Smart Pianist
contains 50 standard classical pieces, some for four
as well as two hands, 50 pop songs, and 303 lesson
pieces by Hanon and Beyer, among others.
Elsewhere, the ABRSM syllabus, up to and
including Grade 5, is available as MIDI files.
From Smart Pianists library I chose a Hanon
finger exercise; hardly the most challenging piece
but I wanted to understand how the CSP could be
used in a learning situation. Guide mode was top
of my list. Using this I played the right hand while
the Clavinova played the left and in perfect time
with me, speeding up, slowing down or pausing.
I followed the stream lights rather than the
Yamaha score (which, as noted above, has no
fingering). The absence of fingering could be a real
handicap to learning. Without finger indications,
even a simple five-finger exercise may quickly
become a five-finger scramble, so a score that
shows fingering is obviously preferable.
The stream lights cue your fingers by coming on
a fraction before you are due to play the note.
Heres another handicap: following them is a little
like following a cars sat nav. You have no idea
where you are, you simply follow the route guide.
The ideal approach would be to combine the lights
with reading the score, so that a knowledge of
which key corresponds to which note will follow.
However, for the time-poor learner with no
knowledge of or interest in conventional learning,
they are at least a way to get playing quickly.
Next, I was interested to see how the app might
help me to grasp a more complex piece. I selected
Bachs Air on the G String. Again, the score was
displayed on my iPad and the stream lights
flashed. I chose to play both hands but the array
of lights was impossible to follow. No problem:
I reverted to the right hand while the Clavinova
played the left, following my stumbling
performance perfectly. At a difficult spot I selected
the repeat function which isolated the troublesome
bars and allowed me to go back over them.
Its worth noting that a music teacher could
record a piece as a MIDI file (as long as they did
so strictly to their Clavinovas in-built metronome
as a reference point for the Smart Pianist software)
and upload it to Dropbox, for example, for their
student to download and use in the same way.
87 Pianist 99
Given the CSPs ability to accompany a pianist
in real time I was curious to see how it might work
in a concerto context. Here it really shines. Smart
Pianist carries a recording of the Larghetto from
Chopins Piano Concerto No 1, with the orchestral
part arranged for the piano. In the role of the
orchestra, the CSP followed my playing perfectly.
A gateway to the piano
Ive only scratched the surface of the CSPs potential;
even so, Id say that it opens a new chapter in the
evolution of the digital piano. The instrument has
been freed from its role as a passive device to
something much more supportive and inspiring.
It could be a gateway to the piano for musical
newcomers, helping them to spend rewarding time
with the instrument in almost no time at all.
However, given the CSPs potential to entertain and
inspire, it would be a tragedy if a beginner didnt
support their fumblings with traditional lessons.
For the more advanced pianist, the CSPs ability
to accompany in real time is wonderful and
genuinely inspiring. Imagine taking a piece of
chamber music, a piano trio, say, or a piano
concerto, recorded as a MIDI file. Upload it to
Smart Pianist, go into the CSPs settings and,
because the file is recorded in 16 channel, dial out
the piano recording. Then enjoy yourself playing
the piano part, with some of the worlds finest
musicians accompanying you, following your
every tempo deviation as though they were present
in your living room. Now that really is smart.
Specications
CSP-150 Black or white 2,231
CSP-150 Polished ebony 2,628
CSP-170 Black or white 2,768
CSP-170 Polished ebony 3,174
Further information at:
CSP-150: pianistm.ag/csp150
CSP-170: pianistm.ag/csp170
09/11/2017 13:50
 REVIEW
Sheet music
Time to sit down at the bench with a friend or three and read through a new jazz suite, a
Debussy classic or some handy teaching material, all reviewed by Michael Macmillan
AVAILABLE FROM THE PIANIST DIGITAL
STORE pianistm.ag/digitalshop
TEACHER-STUDENT
PIANO DUET BOOKS
1-3
Alfred Music
ISBN-13: 978-1-4706-3890-0 (1);
-3891-7 (2); -3892-4 (3)
E.L. Lancaster and his wife Gayle
Kowalchyk have edited the
eight-volume series of Alfreds excellent Essential
Keyboard Duets. The technical focus of their new
series is that the students music in all but two in
the primo part is written in five-finger positions.
You might anticipate this restriction to limit the
musical interest, but composers such as Gurlitt,
Sartoria, Foote, Cui and Godowsky would prove
you wrong. Each volume contains around 20
pieces, with difficulty ranging from pre-Grade 1
in Book 1 and approaching Grade 2 in Book 3.
Strongly recommended to all beginners, the series
also makes good sight-reading material.
JUKE BOX
Olly Wedgwood
OllysPianoSheets
ISBN: 978-1-9997384-0-2
Having studied engineering at
Cambridge and worked in the
industry for a few years, Olly
Wedgwood is now a jazz musician and singer,
a piano teacher and composer. This self-published
book contains eight piano solos and two duets
that are Grade 1-2 in difficulty. Most of them are
one page long, and are all sympathetically written
for students at this level with no chords larger
than a 7th. Boogie In The Barnyard and Plan B
stand out for their rhythmic invention. An online
link is provided to access performance and
backing tracks, and samples can be found
at ollyspianosheets.com.
SUITE ON A JAZZ
THEME
Adrian Connell
Edition Dohr
ISMN: M-2020-9824-0
Adrian Connell (b1964) wrote this
seven-movement suite for harp and
string orchestra in 1989, but his recent four-hand
arrangement lies well under the fingers. The theme
may be jazzy, but the style is modern classical,
including a Romance, a Waltz, a Siciliano and
Chorale. Pianists around Grade 6 could give
p88_Sheet Review-FINAL.indd 88
a respectable performance of the entire 15-minute
work, and less-accomplished players could
attempt several of the easier movements. The piece
is pleasant enough, if not as distinctive as the
composers Evolving Blues reviewed in Pianist 76.
Its good sight-reading material for duettists, but
at 16 rather expensive for 30 pages of music.
4 PRIMA VISTAS
Jairo Geronymo
Breitkopf & Hartel
ISMN: 979-0-004-18443-1
Sight-reading material for keyboard
beginners, were told, with 16 piano
and orchestral classics in new arrangements for
two instruments and four players, each of them
using one hand only. Its a nice idea; focusing on
one part within an ensemble setting adds plenty
of fun to sight-reading. In practice, however, the
combined requirements of two pianos, three other
people and some rather tricky rhythms and octave
passages may restrict the books appeal to beginner
pianists. If instruments and friends are to hand,
however, theres plenty of enjoyment to be had.
Each package includes two copies, which explains
a price point northwards of 20.
PRLUDE LAPRS-
MIDI DUN FAUNE
Debussy arr. Ravel
Henle
ISMN: 979-0-2018-1259-5
The Henle catalogue already includes Debussys
own two-piano arrangement of his orchestral
Prlude laprs-midi dun faune. Ravel hailed it as
a unique miracle in all music, and paid tribute by
making this four-hands arrangement independently
of the composers version. Debussys painstaking
Impressionism requires sensitive musicianship
above Grade 8 for a successful performance.
The parts are printed on opposite pages in this
edition, which includes fingering suggestions
and hand divisions as well as a handy translation
of tempo and expression markings.
ALFREDS PREMIER
COURSE DUETS
BOOKS 5 & 6
Edited by Gayle Kowalchyk
and E.L. Lancaster
Alfred Music
ISBN-13: 978-1-4706-2647-1
(5); -2648-8 (6)
Heres a more advanced series (pitched at Grades
3-5 pianists) from the team that brought you the
Teacher-Student duet books above, complementing
the Lesson Books from the same publisher. There
88 Pianist 99
are eight pieces in each book, written by popular
educational composers such as Wynn-Anne Rossi,
Robert Vandall, Melody Bober and Martha Mier.
All are original works except arrangements of a
sonatina movement by Clementi and Pachelbels
Canon. One notable feature shared by all the
pieces is that the melody is distributed across both
parts, which makes playing more fun and
encourages awareness of ensemble. A John
Field-esque Romance by Dennis Alexander and
Martha Miers Wildflower Rag (both in Book 6)
are particularly enjoyable highlights.
PLAY IT AGAIN:
PIANO BOOKS 1 & 2
Melanie Spanswick
Schott
ISBN: 978-1-84761-459-9 (1);
-465-0 (2)
Melanie Spanswick has written
these books for those adults
who regret giving up the piano in their youth, and
now find themselves with the time and motivation
to improve their playing. Book 1 begins with
basic technical principles and practice tips before
you start with material around Grade 1. Practice
suggestions are provided for 28 pieces in a variety
of styles, and difficulty reaches around Grade 5.
The second book goes through Grade 5-8, ending
with Rachmaninovs C# minor Prelude. No book
is a substitute for a good teacher, but these are
well-presented and contain plenty of sound and
helpful advice for restarters. Recommended.
THE TOP TEN FILM
THEMES TO PLAY
ON PIANO
THE TOP TEN JAZZ
SONGS TO PLAY ON
PIANO
Wise Publications
ISBN: 978-1-78558-401-5
(Film); -405-3 (Jazz)
These are the latest volumes in a series of Top Ten
modern classical pieces, pop and Christmas songs.
Only a couple of the Film Themes (by Chopin and
Nyman) are original piano solos; the remainder
are Grade 6-8 arrangements of music from cinema
hits such as Jurassic Park, Gladiator and Schindlers
List. Ten standards in the Jazz book are pitched
at a similar level, though get ready to sing in
Fly Me To The Moon, Misty and The Very Thought
Of You, where the melody isnt incorporated
within the piano part. A digital edition includes a
link to stream each song for reference, so that you
can hear them before you play them. Pictures and
introductory notes add a welcoming touch.
09/11/2017 13:51
 DUET SPECIAL - REVIEW

CD reviews
Gamelan-inspired exotica and duo arrangements of Debussy, Stravinsky and Strauss tickle
our critics palates. Reviews by Dave Jones, Warwick Thompson and Erica Worth
Pianist star ratings: Essential go get it! Really great A ne release Disappointing Poor

PETER HILL & BENJAMIN FRITH EDITORS CHOICE

Rachmaninov: 6 morceaux Op 11; Tchaikovsky:
50 Russian Folk Songs; Stravinsky: Petrushka
Delphian DCD34191
Theres always an electrifying
frisson when you hear the
synergy of duet players who
perform as one person. Peter
Hill and Benjamin Frith,
duettists since 1986, have that
synergy in spades. Their
performance of Stravinskys 1947 arrangement of
his ballet Petrushka is a joy, and they respond to the
dazzling colours and textures of the score with an
adamantine clarity (aided by the excellent acoustic
of the University Concert Hall, Cardiff.) They
have a showmans flair for narrative and drama
too, and they keep the energy taut through the
many changes of mood and tone. The rest of the
disc gives an ear-opening context to Stravinskys
score, with 22 of Tchaikovskys Fifty Russian Folk
Songs, and Rachmaninovs early masterpiece Six
morceaux Op 11. Its fascinating to hear how both
the modal ambiguities of the folk tunes, and the
sweeping Romanticism of Rachmaninovs work,
feed into Petrushkas glittering sound-world. WT
DUO TAL & GROETHUYSEN
Colors: two-piano arrangements of works by Debussy and
Richard Strauss
Sony Classical 88085446952
The musical paths of Debussy and Richard Strauss crossed
throughout the early 1900s. Debussy was one of several French
composers who admired Strausss opera Salome. And even if
Strauss could make neither head nor tail of some of Debussys
scores, he gave the first Austrian performance of Prlude
laprs-midi dun faune with the Vienna Philharmonic. It seems
fair to imagine that they admired each others use of bold instrumentation in order to evoke the
widest spectrum of colours from an orchestra: the album is aptly titled.
Orchestral music rarely benefits from being reduced to piano arrangements, even when two
instruments are involved. One significant exception is Liszts arrangements of the Beethoven
symphonies for solo piano (especially in the version by Cyprien Katsaris). However, from the
opening flute melody of the Prlude l'aprs-midi d'un faune (arranged by the composer himself ),
Duo Tal & Groethuysen takes the listener on an exquisite journey through Debussys orchestral
sound world. Everything merging into one in the feather-light tremolos and rich bass register.
In La mer (arr. Andr Caplet), the pianists dance their way over the waves to the outburst of the
finale; they are so in sync its impossible to hear them as two separate pianists.
Strausss Salome is already complicated enough, and here in the dramatic Dance of the Seven
Veils (arr. Johannes Doebber), behind what seems like exotic ease, the pianists play with utmost
precision, a rhythmic understanding and determined forward drive. Till Eulenspiegel (arr. Otto Singer)
is the highlight, played with technical brilliance and as convincing as the original. This is another
superb Tal & Groethuysen recording. EW

GRAUSCHUMACHER PIANO DUO VEIN ANNA & INES WALACHOWSKI

Poulenc: Concerto for two pianos; McPhee:
Tabuh-Tabuhan; Adams: Grand Pianola Music
Neos Music NEOS 21703
Three very different composers
are linked here by the exotic
sound of the gamelan. Poulenc
was enthralled by Balinese
orchestras at the 1931 Paris
Colonial Exhibition; Canadian
composer Colin McPhee
enjoyed playing four-hand piano transcriptions of
gamelan while visiting Indonesia in the 1930s;
John Adams created a world of new simplicity
with the gamelan orchestra in mind.
A percussive, chant-like, perpetual-movement
quality runs through all the works on the disc. In the
tranquil Nocturne of Tabuh-Tabuhan, Grau and
Schumacher weave a tapestry of shimmering sounds
from their Bechsteins, with a repetitive motion that
never becomes boring. The long build-up in Part 1 of
Grand Pianola Music leaves us on the edge of our
seats, as both soloists and the DSO Berlin build
sound upon sound with a myriad of subtle
gradations, like Ravels Bolro all over again. Along
with the Poulenc, prepare to be hypnotized. EW
Vein Plays Ravel: Le tombeau de Couperin, Bolro,
Mouvement De Menuet and more
Challenge Records DMCHR 71179
This album builds on the
success of Veins The Chamber
Music Effect (2016), and is a
similarly Western Classical-
influenced set, but this time
based on the compositions
of Ravel rather than the
bands original compositions, although the jazz
re-workings here of this early 20th century music
are certainly imaginative. This time, the jazz piano
trio is augmented by saxophonist Andy Sheppard
for Bolro and Mouvement De Menuet, and a
four-part horn section in Bolro. With their
improvisational ways, the musicians of Vein strike
a nice balance between retaining the essence of
Ravels music, and still sounding like a modern
jazz piano trio. Bolro builds with slow detail from
the delicate initial quoting of the famous theme
on sax, before the horns adopt the trios interactive
approach, finally moving into a very fast swing
version of the original theme. Cerebral jazz,
which rewards attentive listening. DJ
Brahms: Piano Quartet No 1; Clara Schumann:
March in E at; Schumann: Bilder aus Osten
Oehms Classics OC 449
Sisters Anna and Ines
Walachowski (born in Poland
in the late 1960s, now
resident in Germany) have
been playing as a duet couple
since 1996. On the showing
of their tenth disc they are
performers of creditable energy, but there are too
many fluffed notes and moments where an ideal
duet synchronicity is missing, and the splashy
and shrill recording acoustic resembles that of a
municipal toilet whenever the melodies go above
the stave. The meat of the programme is Brahmss
own four-hand arrangement of his G minor Piano
Quartet, dense and muddy in texture as played
here; you have to wait for the propulsive rhythms
of the gypsy-inflected finale to hear how the piece
can take fire. Schumanns Pictures from the East a
charming series of short vignettes are more
successful, despite some lapses in accuracy, and
a brief march by Clara Schumann rounds out
the programme. WT

89 Pianist 99

p89_CD Review-FINAL.indd 89 10/11/2017 10:52

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Est 1910
C

CM

MY

CY

CMY

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

020 7935 8682 www.marksonpianos.com

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 2 Pianist 96

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