Indholdsfortegnelse for 136 i Pianist

Over the years I’ve acquired a huge collection of scores. They take up shelves of precious space, but each score tells its own story, and tells the story of my musical life, too. The editors and editions inevitably reflect my education, my formation and my preferences. As I scan over them now, I see Henle for my Beethoven Sonatas, Paderewski for most of my Chopin, and Boosey & Hawkes for Rachmaninov. No doubt you will have your own favourites. The way a publication looks and feels is important, as Michael McMillan often emphasises in his Sheet Music Reviews. No less significant are those fiddly catalogue numbers within our scores. Have you ever wondered why Mozart scores feature K and KV numbers, for example? What does WoO mean at the head…

INTERVIEW Has any other concert pianist begun their Beethoven journey with the ‘Hammerklavier’ Sonata? This most mysterious, daunting and magnificent of piano works, a kind of Matterhorn amid the composer’s pianistic Alpine range, is Beatrice Rana’s first climb through the territory in the recording studio. On the one hand, it might appear counterintuitive. On the other hand, there’s nothing like starting right at the top. Maybe it is emblematic of the way the Covid pandemic turned everyone and everything inside out. ‘I’ve been playing the piano for my whole life,’ the 30-year-old Italian pianist remarks, talking to me on a video call from her flat in Rome. ‘I started giving concerts very early. I didn’t know what it would mean to stay at home without concerts and without a schedule…

LESSONS FROM THE EXPERTS MELANIE SPANSWICK is a pianist, writer, teacher and composer. As an author, she is published by leading publishing houses, and has written a three-book piano course for those returning to piano playing; Play It Again: PIANO (Schott Music). Melanie teaches the piano at Junior Guildhall School of Music & Drama and Eton College. As a composer, her music is published in the renowned Edition Schott Composer Series. Read Melanie Spanswick’s lesson SAMANTHA EGE is a music historian, concert pianist and research fellow at the University of Southampton. Author of the forthcoming South Side Impresarios: How Race Women Transformed Chicago’s Classical Music Scene, she has recorded several albums featuring piano music by Florence Price, Margaret Bonds and Samuel Coleridge-Taylor. Her next album features piano concertos by Doreen…

ABILITY RATING LATE BEGINNER Key C major Tempo Allegretto Style Classical Will improve your ✓ Rhythmic precision ✓ Articulation ✓ Evenness French composer Théodore Latour (1766-1837) wrote in a typically Classical style. This little Sonatina exudes all the expected qualities of the era, with its stylishly constructed scalic melodic line and clearly defined four-bar phrase structure. The Allegretto tempo marking and metronome mark of 138 beats per minute should ensure a fairly swift pulse – yet not too fast, or else the charm and elegance may be lost. Rhythmic practice can be useful. This can be done before work at the keyboard begins. Start with a slow pulse, perhaps half that of the metronome suggestion, and tap each hand’s rhythmic pattern separately. Do this on a table top, a piano…

BEGINNER Notes from the composer: The flowing arpeggios in this little piece inspired its title. Sweeping quaver passages in the first four bars pass between the hands, consisting of dominant seventh note patterns; this is the stream just trickling down the mountain. By bar 5, the arpeggios move insistently around the keyboard, representing the stream in full flow. Whilst the note patterns in the final five bars return to those found at the opening, the dynamics are now more powerful; the stream has found new channels as it roars down the mountain. Practise and play each bar as one chord – this is a good way to learn note patterns and fingerings. Note that the RH crotchet on the fourth beat in bars 1-4 and 11-13 has a tenuto marking.…

INTERMEDIATE Born in Kherson, Ukraine, Samuil Maykapar studied law at Petersburg University, and went on to study piano at St Petersburg Conservatory, graduating in 1893. He continued his studies in Vienna with the famous Austrian-Polish pianist Theodor Leshetitzky between 1894-1896. As well as working as a concert pianist, he taught at St Petersburg Conservatory between 1910-1930, becoming a professor in 1917. His short piano pieces remain popular to this day, especially the Biryulki (Trifles), the 20 Pedal Preludes and the Miniatures Op 33 – the latter being a collection of 24 small pieces in which this soulful Elegy appears. Playing tips: The LH should ‘glide’ us calmly into the opening theme at the end of bar 1. Use your best cantabile for the melody, shaping it well. The RH bass…

INTERMEDIATE Russian composer, pianist and conductor Sergei Lyapunov is largely remembered for his challenging 12 Etudes d’exécution transcendentante. This set completed the cycle of 24 major and minor keys that Liszt had started with his own Etudes d’exécution transcendentantebut had left unfinished. Lyapunov did write some ‘easier’ piano works, such as his Berceuse d’une poupée Op 59 No 2 (which appeared inside issue 128) and Chanteurs de Noël Op 41 No 3 (issue 111).This catchy piece, entitled Ramage des enfants(‘children’s chatter’) appears within the Six Easy Pieces Op 59 collection. Lyapunov emigrated to Paris in 1923 (and died of a heart attack the following year) – hence most of his pieces bear French titles. Playing tips: This is an immensely fun piece to learn and perform. It is full of…

INTERMEDIATE/ ADVANCED As their title suggests, Schubert’s Moments musicaux are quite brief in length – shorter than his Impromptus. They were composed between 1823-1828 and comprise six pieces in various moods and of moderate difficulty. As is the case with the cataloguing of Schubert’s works, the set is also labelled Op 94. This final piece in A flat major bears a plaintive, reflective mood, very much in the style of a Song without Words. Playing tips: One of the main challenges in this heartfelt piece is the ability to keep the flow/pulse going; it may be marked Allegretto, but the writing is static, so there will be a tendency to drag. It could be useful to use a metronome now and then to keep things on track. Voicing is of…

How many of us use multisensory stimuli in our teaching? Though a multisensory approach has helped many SPLD students in academic subjects for some time now, it can be equally supportive, indeed inspirational, when used in piano lessons in a more general sense. Pupils of every age and level can be inspired by touching, seeing, smelling, and playing with objects, images, food, aromas, and extra-piano sounds. The next time you have a class concert or party for your students, why not consider laying out a ‘platter of plenty’ which could include contrasted delicious items for consideration as well as consumption. You could light scented candles. Find appropriate paintings for display. Above all play musical games: Ask pupils to suggest a pianistic sound or a piece that would complement a particular…

ADVERTORIAL The name of Karol Szymanowski is most often associated with King Roger, frequently regarded in recent years as an almost flagship ‘gay opera’, and also with Mythes – a fixture in the violin repertoire for almost a hundred years. Yet an important place in his oeuvre is also held by music for piano, an instrument he played himself. Szymanowski apparently wrote the earliest of his published Preludes (Op 1 Nos 7 and 8) at the age of 14. Also for piano are his last works, two Mazurkas composed four decades later. Particularly striking on that long and fascinatingly tortuous creative road are four cycles. They stand out for their varied expression, ranging from ecstasy to lyricism, and also their broad palette of tone colours and – less typically for…

PIANO ALBUM: FROM BACH TO GERSHWIN Henle Henle published this book to celebrate the 75th anniversary of their founding. Produced with a stapled binding, it contains 17 pieces, arranged chronologically from JS Bach to Gershwin, and ranges in difficulty from Grade 4 to Grade 8+. Or, in terms of Henle’s occasionally questionable difficulty rating, from level 2 to 6. Given the ‘all-time favourites’ subtitle on the cover, it will come as no surprise that the majority of pieces are well-worn classics such as Beethoven’s Für Elise, Chopin’s ‘Funeral March’, and Ravel’s Pavane pour une infante defunte, although there are a few (such as Scriabin’s Op 11 No 2) that fit the epithet more loosely. THE PIANO PLAYER: UPLIFTING CLASSICS Faber This is the eighth book in Faber’s Piano Player series,…

Colourful cover The classical music world can come across as elitist (a little ‘nerdy’, too) so I was glad to see the effervescent Chloe Flower on the December cover. I read Ms Flower’s interview with interest and with a smile (it’s obvious her interviewer, Warwick Thompson, was also having fun…), plus she had lots of informative things to say. I especially enjoyed the part about her discovery of the wonderful showman and first-class pianist, Liberace, who I managed to see live in the mid 80s not long before he died. Bravo, Pianist, for thinking outside the box! Daniel Glassman, Philadelphia, USA Liszt surprises As a subscriber to Pianist for many years, I always look forward to the December issue which includes all types of enticing seasonal scores. As an intermediate-level…

We are accustomed to seeing (and hearing) jazz pianists instinctively sing, and we’ve perhaps heard Glenn Gould‘s bizarre vocalisations, some of which are preserved in his most revered recordings. Having been shown the importance of singing everything he learned as a young boy, it seems Gould found the habit hard to break when performing. So how can singing out loud be considered a positive facet, one might ask, and should we even be discussing ways of incorporating singing when there are many other skills and techniques we need to hone? The short answer is that the physical act of singing, or indeed humming, can help us to internalise lines of music, typically but not exclusively the melody. Doing this automatically reinforces the line in question in our mind’s ear, making…

ABILITY RATING INTERMEDIATE/ADVANCED It is my pleasure to introduce you to the Andante from Samuel Coleridge-Taylor’s ‘Three-Fours’ Valse Suite Op 71 (published 1909). This beautifully crafted piece might not be as familiar as some other repertoire – however, as we work through ideas for practice and interpretation, you will find that the techniques we apply to piano works by other Romantic composers (e.g. Liszt, Brahms, Schumann, Chopin etc) apply here. Yet, Coleridge-Taylor (1875-1912) was no imitator. In the late 19th century, he burst onto the British classical music scene with a strong sense of his own voice. So, before we delve into the music, I offer a brief outline of a man who was, in his time, regarded as a British institution. Biographical sketch ‘He is far and away the…

On these pages, Pianist covers the most basic stages of learning through a series of lessons by Hans-Günter Heumann. The short exercise below, by Danish composer Ludvig Schytte, concentrates on two- and three-note chords in both hands. Schytte Melodious Study Op 108 No 25 Start out by practising hands seperately at a very slow tempo, making sure that the notes of each chord, whether in the LH or RH, are played simultaneously. The fingerings should be able to help. The RH part requires a more legato touch. Hans-Günter Heumann continues his series for beginners in the next issue. To find out more about Heumann, visit www.schott-music.com…

TRACK 3 BEGINNER/ INTERMEDIATE Jean Théodore Latour was a French pianist and composer. He wrote several piano sonatinas which are not too technically challenging – hence, perfect for the late beginner piano player. It is unclear as to how and when he moved to England, but Latour was appointed official pianist to the Prince Regent, later to become King George IV. Latour taught privately and at girls’ schools, continued to perform and compose, and also wrote some piano tutor books. The English novelist and poet Emily Brontë was known to have piano music by Latour in her collection, including one of his books of progressive exercises. Read Melanie Spanswick’s lesson.…

INTERMEDIATE It’s a testimony to the strength and integrity of Grieg’s musical voice that his allusions to other composers can, at best, be described as ‘almost Schumann’ (such as Canon Op 38 No 8) or, as in the case of this waltz, ‘almost Chopin’. Waltz is in ternary form: the A section comprises bars 1-16, the B section bars 17-32 (bars 25-32 simply repeat bars 17-24 an octave lower), and the A section reprise – which is approached by a five-bar bridge passage – is literal except for changed dynamics and a change of harmony in bar 41. Playing tips: The fingering for the RH alto-voice accompanying crotchets allows the top fingers (usually 4 and 5) to play the melody legato without much help from the pedal. It’s worth practising…

INTERMEDIATE WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM Born in Kharkiv, Ukraine, Sergei Bortkiewicz received his musical training from Anatoly Lyadov and Karl von Arek at the Imperial Conservatory of Music in Saint Petersburg. A brilliant pianist and composer, during his lifetime he was oppressed and persecuted by both Soviet and Nazi regimes (little wonder his music was neglected). The style of his music derives from the great Romantic composers of the 19th century: He adopted Liszt’s rich and brilliant piano writing, Chopin’s lyricism, Schumann’s character-piece imagery and Wagner’s imaginative harmony. But the real trademark of Bortkiewicz’s music is his captivating poetic melodies, and this Consolation is a perfect case in point. Playing tips: The first few bars make up a dreamy intro of which the tempo should fluctuate naturally…

INTERMEDIATE/ ADVANCED Luiz Levy was a Brazilian pianist and composer. He started playing the piano at an early age, performing in public at the age of nine at Teatro São José. Levy enjoyed partnering up with trios and quintets, participating in concerts promoted by Clube Haydn, a musical society he founded in 1883. Among his vast repertoire are several dances, the First Brazilian Rhapsody (dedicated to Leopoldo Miguez) and the Second Brazilian Rhapsody (dedicated to Guiomar Novaes). The style of this sultry Valsa lenta might remind readers of Rebikov’s Valse mélancolique. Playing tips: Challenges appear right from the very first note! The RH melody should be smooth, which – with the ‘jumpy’ two- and three-note chords – is no mean feat. Think in one long line rather than six separate…

The term ‘rubato’ literally means ‘robbed’, or ‘stolen’. Usually associated with music from the Romantic period, we can think of rubato as a certain rhythmic flexibility that applies to some extent to music of all periods. There is a parallel with speech, where we naturally move through less important words and syllables, taking time over more meaningful ones. Unless we are playing a piece that depicts something mechanical, we avoid playing with robotic evenness and metronomic regularity. When composers want to specify where rubato is to be applied, they might use speed-modifying terms such as rallentando, stringendo, meno mosso, etc. In the opening of the Prelude in G sharp minor Op 32 No 12, Rachmaninov indicates two tempos, one fast and one slower; the player moves gradually from one tempo…

ABILITY RATING ADVANCED Key A minor Tempo Allegro maestoso Style Classical Will improve your ✓ Passagework ✓ Trills ✓ Sudden dynamic contrasts Widmung was composed by Robert Schumann in 1840, the year known as his ‘Year of Song’. It is the first piece in his song cycle Myrthen Op 25, using the lyrics from a poem by Friedrich Rückert. 1840 was also the year in which Schumann finally married Clara Wieck, after so much struggle and opposition from her father. Widmung translates as Dedication, and Schumann gave this song to Clara as their wedding present. The words of the poem encapsulate their relationship in all senses. It has to be one of the most romantic and personal songs that Schumann ever wrote. [The poem is printed on the score, both…

BEGINNER French music teacher, pianist and composer Félix Le Couppey wrote a series of elementary studies for piano students. This pensive study, from the popular ABC du piano set, is sometimes referred to as ‘Air tendre’ or ‘Melody’. How the ‘Air tendre’ came about, we aren’t sure; but it could be due to the piece’s tender quality. Look at the technical tips on the score. The key is C major, which means no sharps or flats. However, you will come across the odd accidental when the key briefly changes. When you start out, practise hands separately and at a very slow tempo. Make the melody sing out about the LH accompaniment. Always follow the phrasing and see where the high points arise.…

INTERMEDIATE Portuguese composer and pianist António Fragoso started out with music lessons from his uncle. At 17 he entered the Lisbon Conservatoire where he studied harmony, score reading and piano. In October 1918 influenza claimed his life and he died in his house in Pocariça, aged just 21. Today, the Associação António Fragoso exists to commemorate his work and to promote recordings and performances of his music. This piece appears in the Três peças do século XVIII (Three pieces from the 18th century). Playing tips: In the poignant key of G minor, this simple, slow melody requires a good sense of phrase-shaping and a deep touch. Make sure that the LH accompaniment remains steady and calm throughout, allowing the RH to ‘sing’ over it. There are places that require a…

INTERMEDIATE Beethoven wrote this C major Bagatelle in 1803. It may have originally been intended to be part of a set of bagatelles, but it stands alone. Playing tips: Both hands need to negotiate two independent voices, so you will need to practise at a very slow tempo to make sure the coordination is spot-on. The Trio section requires fluent LH passagework, precise chords and secure octave jumps. Lots to work on! Using a good range of the keyboard, this piece should be playful and humorous, so all of the awkward corners will need to be ironed out. Great fun to learn for an intermediate pianist with good fingers and a comfortable octave reach! Pedal tips: See suggestions on the score. We say less is more.…

TRACK 10 INTERMEDIATE/ ADVANCED Born in Holborn in 1875 to an English mother and a father originally from Sierra Leone, Samuel Coleridge-Taylor identified as Anglo-African. As a composer, conductor and political activist, he was once hailed by 20th-century critics as a ‘musical genius’. But his popularity seemed to wane – not helped by the fact that he died at the young age of 37. In the last few years, his music has re-entered the classical concert hall thanks to brilliant new recordings from the likes of the Chineke! Orchestra, the Kanneh-Mason family and Samantha Ege. This lush Andante is the second piece from the six-movement suite. Samantha Ege plays the track on this issue’s album. Read her lesson inside.…

TRACK 13 ADVANCED In her lesson on this glorious Liszt arrangement of Schumann’s first song from the cycle Myrthen Op 25, pianist Lucy Parham suggests reading the poem by German poet Friedrich Rückert on which the song is based. The original German text is placed above the RH part on the score; see the English translation opposite. Read Lucy Parham’s lesson inside. Lucy also plays the track on this issue’s album. You my soul, you my heart / You my rapture, O you my pain, You my world in which I live, / My heaven you, to which I aspire, O you my grave, into which / My grief forever I’ve consigned! You are repose, you are peace, / You are bestowed on me from heaven. Your love for me…

EDUCATION But first, why ‘an appreciation’? Possibly for the hard work that goes into this aspect of musicology by the compilers and editors; possibly for the catalogues’ usefulness; maybe even for the aesthetic beauty of their systematic and diverse approaches (this last one is a bit niche, admittedly – but some will surely have historical musicologists in paroxysms of joy for their sheer rigour!). Let’s start with the most obvious way of labelling works. ‘Opus’ literally means ‘Work’ (think the phrase ‘magnum opus’) but it has come to mean that a particular piece was published. And if it was published after the relevant composer’s death, it can take on the designation ‘Op. posth’ (posthumous work, in other words – although that does rather sound like the composer wrote it after…

INON BARNATAN Rachmaninoff Reflections: includes Moments musicaux, Vocalise, Symphonic Dances Pentatone PTC 5187 113 I was half-expecting to see a portrait of a swivel-eyed lunatic on the front of Inon Barnatan’s latest album. Who else, after all, would take on the challenge of transcribing and recording a solo piano version of Rachmaninov’s mammoth Symphonic Dances? But the Israeli-American Barnatan actually looks very presentable, and his transcription is most impressive – if not, perhaps, 100 percent successful. The loss of percussive effect and range of colour from the two-piano version (let alone the orchestral version) hampers things, even if there are some wonderful moments: the touching finale of the first movement sounds particularly tender and engaging from a sole performer. There are more solid delights from an energetic and wonderfully varied…