Innehållsförteckning för 125 från Pianist

I recently attended a ‘hot ticket’ recital at Wigmore Hall: Martha Argerich and Sergei Babayan playing Mozart and Prokofiev on two pianos. It was the encore, though – the Barcarolle from Rachmaninov’s Suite No 1 – that had me spellbound. It sounded so effortless, so natural, so lyrical. When I remarked afterwards to a fellow pianist about how ‘easy’ it all felt, he confided from experience that to make those rippling pianissimo cascades sound so perfect takes phenomenal coordination and touch. What makes a particular piece harder to play than it looks on the page? Conversely, how is it that some apparently super-virtuoso works actually fall more easily under the hands than they sound? Warwick Thompson has turned up a few answers, as well as some great ‘show-off’ pieces for…

Many piano students fall into the trap of spending hours a day practising technical exercises and studies without simultaneously developing their ear, and their understanding of how the music they strive to master is constructed. To be a good pianist we first need to be a good musician. One of the 20th century’s great teachers of musicians, Nadia Boulanger, used a variety of teaching methods including traditional harmony and counterpoint, score reading at the piano, analysis, and sight-singing (using solfège) to instil discipline and craft into those who were accepted into her studio. In this article, I will look at some of the main skills all musicians need to grow and develop. Singing Ongoing ear training is a required component of a formal musical education, starting with singing. Singing should…

Key A minor Tempo Allegro con espressione Style Romantic Will improve your √Voicing √ Pedalling √Understanding of Brahms’s style Brahms was notoriously self-critical. This statement is often cited as a reason for why comparatively few sketches and draft versions of his piano works survived. But this is the one that got away! The Albumblatt is a real find. There are only a very small number of easier individual pieces by the composer. What distinguishes the Albumblatt (or Album Leaf) from his few remaining sketch-like piano works – such as the Piece in B flat or Canon in F minor – is its musical quality. The moment you start playing the work, it sounds and feels like top-notch Brahms. Brahms must have been partial to this melody line, because a few…

German composer Cornelius Gurlitt was a classmate of another German composer featured inside this issue – Carl Reinecke. In fact, Gurlitt studied with Reinecke’s father at the Leipzig Conservatory. Gurlitt wrote many simple, but pretty, pieces and exercises for the less advanced pianist. Some 20 or so have appeared inside Pianist over the years. Look closely at the technical tips. This piece is in the key of C major. The tempo marking at the start, Allegretto, means ‘at a fairly brisk speed’. But build up the tempo over time. The word ‘animato’, which you can see in bar 1, means ‘in an animated manner’. Think in four-bar phrases: the first two bars are like a question, with the following two bars as the answer.…

German composer Carl Reinecke began to compose at the age of seven, and his first public appearance as a pianist was when he was 12 years old. As a concert pianist, he frequently made concert tours to England and elsewhere, but he still managed to produce over 300 published works.  Playing tips: Do not be put off by the very fast tempo on the recording! The study can be performed at a slower pace, too, and will be just as effective. The key to a good performance is the ability to play evenly and with fluidity; this can be acheived by slow practice. Keep the hands close to the keys whenever possible, even if there is a fair amount of hand-crossing to take into account. At bars 9 and 23,…

This gorgeous piece, in the key of G major, is the first of French composer Cécile Chaminade’s Two Piano Pieces Op 9. The second, entitled Gavotte, is equally engaging, though much livelier in character.  Playing tips: How refreshing it is that the LH starts out with the melody! And for a whole ten bars. We suggest that you practise the LH alone, really working on shaping the tender melody. At the end of bar 10, the RH takes over (cleverly echoing the LH G and D melody notes at the start of bar 9), but not for long, as the opening melody returns at bar 17 (really ‘sound’ that beautiful bass-note G like a soft bell). After a transient passage, the main melody returns again at bar 36, but this…

The 16 Waltzes Op 39 were originally written for piano four hands in 1866, and were transcribed by the composer a year later for two hands (piano solo). At the request of his publisher, Brahms also wrote an easier version of the solo piano set – that’s what we have here, with the popular No 15. The three versions were published at the same time, and sold well, contrary to the composer’s expectations. Playing tips: We suggest practising hands separately. Firstly, the LH is required to jump around the keyboard, but the chords need to sound effortless and smooth. Tip: When you’ve jumped from the first bass note, always have the hand ready over the first chord before you play the notes. In fact, the same can be applied for…

DON’T MISS NICHOLAS WALKER’S LESSON ON THIS PIECE Mily Balakirev was one of the composers belonging to ‘The Five’ – a group of prominent 19th-century Russian composers who worked together to create a distinct national style of classical music. Cui, Mussorgsky, Rimsky-Korsakov and Borodin were the other four. All of them lived in St Petersburg and collaborated between 1856-1870. Balakirev wrote this gorgeous lullaby some years later, in 1901. He made sure to place this text above the score: ‘A loving mother sings, rocking her son to sleep. The child falls asleep, but he is frightened by a bad dream and he wakes up, crying. The mother again sings a little song to him, and the child falls asleep lulled by a marvellous dream: he sees little golden butterflies fluttering…

STAR LETTER Special Serenata I was so pleased to receive all the Spanish themed pieces inside issue 124, and above all the Serenata Andaluza by Manuel de Falla. This piece is relatively unknown amongst my musical friends, but it’s the reason I started to play the piano! My stepfather is a great lover of Spanish music, managing many tricky Albéniz pieces. He used to play the Serenata for my mother in the mornings when he practised, and she adored it (she loved Spain), so our family are very familiar with it. Sadly, my mother died three years ago, but the piece meant so much that we decided we had to have it for the entrance music to her funeral in the little church in Cornwall. Many attendees asked what it…

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 NILS FRANKE is Dean of Higher Education at the University Centre Colchester, UK, having previously held posts at the London Academy of Music and Dramatic Art (LAMDA) and the University of Reading. He has recorded for Warner and Brilliant Classics. Nils specialises in historical performance pedagogy, with a particular focus on 19th-century pianist-composers. His editions are published…

This beautiful cradle song dates from 1901. The title page has the following note by Balakirev (translated from Russian): ‘A loving mother sings, rocking her son to sleep. The child falls asleep, but he is frightened by a bad dream and he wakes up, crying. The mother again sings a little song to him, and the child falls asleep lulled by a marvellous dream: he sees little golden butterflies fluttering to the sound of little silver bells.’ Every detail of the composition reflects not only the actions, but also the innermost feelings and experiences of both mother and child – hence the difficulties! Andantino section (bars 1-28) In the first three bars, and in bars 54-56, one has to produce the most delicate pianissimo imaginable. Balakirev uses ppp very rarely and…

Melanie Spanswick’s playing tips: In Another World might suggest a land which is far, far away. With its chromaticism and simplistic melodic fragments, the LH and RH interweave throughout, barely playing at the same time. This work offers the chance to practise negotiating black keys. It can help to focus on the tips of the fingers for solid finger-key connection, ensuring that every black note is precisely played, with no chance of the fingers slipping off; this will be especially important when using the fourth and fifth fingers. The minims in the first eight bars of the RH part need colour and definition. In bars 8-12, the third RH crotchet beat of the bar also demands greater sonority, and the last crotchet beat of each bar is to be played by…

Born Carl Albert, Loeschhorn was a German composer, pianist and piano pedagogue. Even if he became widely known through his numerous studies for the pianoforte, he published a long list of other worthy compositions, such as quartets and sonatas. Playing tips: This poignant study requires a beautifully phrased RH melody. It is marked mesto at the start, which means ‘sad and pensive’. You will need your best cantabile tone for RH top line, making sure to keep the inner quavers much quieter. The LH acts as the main accompaniment, but remember to ‘shape’ its lovely melody line. Make the most of the sudden changes of harmony, such as at bar 8, allowing for more rubato at these tender moments. The return of the melody starts at bar 17, followed by…

Morgen! (Tomorrow!) is the last in a set of four songs composed in 1894 by the German composer Richard Strauss. Fellow Romantic German composer and pianist Max Reger transcribed it for solo piano. The text of the original song was written by Strauss’s contemporary, John Henry Mackay (the words here are translated by John Bernhoff). Playing tips: If you don’t already know the original Strauss song, do discover it, as it will help with the phrasing. At the start, follow the way that the quaver triplet note stems are pointing upwards or downwards – that is, the first four quavers are taken by the LH and the last two by the RH. The line should sound seamless, of course. Throughout, always make sure the RH melody shines. As the song…

Why most 19th-century editions of this famous piece choose the English title ‘Puck’ is a bit of a mystery (possibly a reference to A Midsummer Night’s Dream?). The original Norwegian name, ‘Småtroll’, means ‘small troll’ – which is something very different. Today, most people are familiar with the word ‘troll’ and a direct translation of the original title will make the programmatic concept of the piece more obviously understood. To summarise: this character needs to be naughty and menacing! Playing tips: Written in the unusual key of E flat minor, try to get used to the key’s scales and arpeggios before diving in. Even if the tempo is ‘very fast’, with slow and articulated practice the speed should be able to increase before too long. Keep the hands close to…

In music, creativity and inspiration go hand in hand with variety of sound. It is important for teachers to encourage an awareness of contrasting textures from the very first lessons. Though musical progress begins and ends with hearing, contrasts in texture can often be encouraged by engaging the other senses in discussion. Think about cuisine: Master chefs are similar to master musicians in that they exploit and realise the wonders of texture to a huge extent. One only need remember the totally different gastronomic contrasts experienced when swallowing freezing ice cream, munching crisps, or allowing chocolate to slowly melt in your mouth to understand the power of texture on the palette! Physical confidence with textural variety can begin with contrasting finger and hand movements. I may get a student to…

Congratulations to Michelle Lord from Birmingham, UK, who has won a Kawai piano. Lord wowed the judges with her 56-bar waltz, The Spectre’s Waltz. Full of unexpected twists and turns, the two-page composition will suit intermediate-level pianists with a good sense of imagination. A regular reader of Pianist, Lord is a self-employed piano teacher. She loves to compose; in fact, she entered the previous competition with Walking the Dog – an entry which received a special mention: ‘I was so glad that I got a mention, so I thought I’d have another go!’ she says. ‘I spent a lot of my time walking last year, and wanted to do something about springtime. All of a sudden, a little tune popped into my head while I was in the shower! So…

The word ‘texture’ conjures up a range of definitions and meanings. Cambridge University’s online definition reads: ‘The quality of something that can be decided by touch; the degree to which something is rough or smooth, or soft or hard.’ To this, we can add any number of variations – a crumbly biscuit or the feel of a piece of fabric. These help us to make sense of texture applied to music, perhaps most simply by confining our vocabulary to the words ‘thin’, ‘thick’ or ‘rich’. When musicians wish to be more specific about types of texture, we might use the term ‘monophonic’ (a single, unaccompanied melodic line), ‘homophonic’ (melody and accompaniment – considered a hallmark of the Classical period), or ‘contrapuntal’ (two or more overlapping layers, made up of independent…

Key G major Tempo Moderato Style Early Romantic Will improve your √Articulation √Balance between the hands √Phrasing This graceful study focuses on developing effective finger articulation coupled with a clear sense of phrasing and melodic shape. Marked Moderato, and set in neat four-bar phrases within an AB structure, the tempo should remain controlled so as to maintain the piece’s elegant character. Let’s start with the LH. The first six bars contain just two chords: the tonic chord (G, B, D) in bars 1, 2, 4, 5 and 6, and the subdominant chord in its second inversion (G, C, E) in bar 3. These chords reappear between bars 9-14. Aim to play the notes in each bar as two minim chords: for example, in bars 1 and 2, play the G,…

On these pages, Pianist covers the most basic stages of learning through a series of lessons by Hans-Günter Heumann. This short lesson features an exercise by Czerny. Czerny Study Op 599 No I5 Focus on the RH in this exercise. The notes might seem simple to learn, but it’s amazing how the fingers Carl might Czerny end up (1791-1857) jamming (you might notice how much ‘weaker’ the fourth finger feels). Start out slowly, making a slight emphasis on the first triplet note. Hans-Günter Heumann continues his series for beginners in the next issue. To find out more about Heumann, visit www.schott-music.com…

The Waltzes Op 39 were written while Brahms lived in Vienna, a city where he would permanently settle in 1872. They were intended as a tribute to the waltz dance form which had become especially fashionable in his adopted city. We asked Mark Tanner to compose a simplified arrangement of the popular No 15 – meaning beginners can enjoy, too! Playing tips: Some advice for the LH first: Keep the hand over the keys (don’t lift it high after you’ve played the notes) and make a slight emphasis on the first crotchet beat. The tricky moments are the arpeggiated chords in bars 5 and 6 (and later in bars 20 and 21); for these, always make sure that the fingers are ready over the notes before you depress the keys.…

DON’T MISS NILS FRANKE’S LESSON ON THIS PIECE Discovered in 2011, the Albumblatt was first performed by Craig Sheppard in April of that year. It seems likely that Brahms wrote it in June, 1853. Nils Franke has added some fingering and pedal suggestions. Many thanks to Bärenreiter for granting Pianist permission to publish the Albumblatt. Find other Brahms titles available from Bärenreiter at www.barenreiter.co.uk. Read Nils Franke’s lesson.…

There seems to be little information about French pianist and composer Théodore Lack. At the age of ten, he was appointed organist in his native town of Quimper in Brittany, and then entered the Paris Conservatoire in 1860. He graduated in 1864 as a winner of many prizes, and immediately became a piano teacher at the school. He never left Paris. Playing tips: Starting in the key of A minor, this Italian dance needs to lilt and sway from the start. It’s lively, but the notes fit well under the fingers – definitely one of those pieces that looks harder to play than it is. The melody proper starts at bar 15 (with the LH having very little to do, with its repeated two-note chords). Bar 35 sees a modulation…

WATCH CHENYIN LI PLAY THIS AT WWW.PIANISTMAGAZINE.COM Mozart wrote this quirky ‘Eine kleine’ Gigue, as it’s often called, during his stay in Leipzig in 1789. It is often cited as a tribute to Bach, although many scholars have likened it to Handel’s Gigue from the Suite No 8 in F minor. In fact, the subject of this Gigue bears a similarity to the subject of Bach’sBminorFuguefromBook1of The Well-Tempered Clavier. Mozart has changed the tempo from Largo to Allegro, of course, and the time signature from common time to 6/8, but the similarity between the two is unmistakable. It’s no wonder that this doesn’t sound like Mozart! Playing tips: Practise this piece at a very slow tempo, making sure to mark out all the places where the subject makes its entrance.…

For pianists used to playing and practising in splendid isolation, enrolling on a residential piano course (or one with links to local accommodation) could be the key to forging an even stronger connection with the instrument, while making new piano-loving friends. Many take place throughout the year but you can’t beat those happening in summer when the countryside, often only a few short steps away, is at its most inspiring best. Ruth Pfunder, Jane Bellingham and Judith Serota – all three of whom you’ll meet in the course of this article – are veterans of piano courses, attracted to them by the infusion of energy and inspiration they offer. ‘My playing has been transformed and I now have many piano-playing friends I might not otherwise have met,’ says Bellingham, who…

How did you become aware of the Albumblatt? In 2011 I was giving a Brahms cycle in Seattle. The musicologist and Brahms specialist George Bozarth is a friend of mine. He happened to call me a few days before one of my concerts, and he told me about a manuscript that had come onto the market. He didn’t realise that I was playing my third Brahms recital in just a few days. It was perfect timing. Was it easy to programme? I looked at it, and I thought it was a big deal. It’s just 32 bars, but it’s perfect for an encore, especially after the huge F minor Sonata! What’s special about the Albumblatt? It’s a haunting piece. The theme is familiar from in the Scherzo of Brahms’s Horn…

JEAN-EFFLAM BAVOUZET Haydn Piano SonatasVolume 10: Sonatas Nos 3, 4, 28, 45 and 60; Arietta con 12 Variazioni Hob. XVII: 3 Chandos CHAN 20191 Anyone familiar with the C major Sonata (No 60) from the likes of Brendel – or under their own fingers – should hold on to their hats. This is bracing, superbly articulate Haydn playing, often dazzlingly quick-fingered but fired with the poetic temperament to open out (the middle of the Allegro’s development) and plunge into Beethovenian depths. The other known quantity here is the Arietta con Variazioni: disarming to begin with, steadily more elaborate and profound. This is music that’s far too good to be left to ‘specialists’, but Bavouzet sets a high bar for anyone hoping to emulate him even in the superficially straightforward sequences…

JOHANNES BRAHMS AND HIS FRIENDS Breitkopf & Härtel This 150-page book contains a fascinating array of piano works by Brahms’s friends. These include well-known composers such as Robert and Clara Schumann, but the majority of the book is devoted to lesser-known musical friends such as Elizabeth and Heinrich von Herzogenberg, Albert Dietrich, and Otto Dessoff. Many of these works are out of print or are published here for the first time, and although compilations by peripheral Romantic composers often contain trivial trifles of salon music, that is not the case here – one can easily imagine these composers playing their pieces to Brahms and receiving warm approval. The only quibbles are the high cost, and lack of an English translation of both the titles of the pieces and the biographical…