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Helping you becomeabetter player Helping you OCTOBER - NOVEMBER 2017 on Scarlatti, last-minute ﬁ ngering Lucas Debargue a pieceinstyle Starting andfinishing Masterclass onspeed for evenness Beginner exercises and the comforts ofloneliness and thecomforts THE WINDMILLS THE WINDMILLS 11 Sgambati’s arrangement ofGluck ALL LEVELS AND ALL STYLES LEVELS ANDALL ALL N OF YOUR MIND o 98 Mélodie IN-DEPTH LESSON Learn toplay LEARN PIECES TO

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p02_pianist98.indd 2 14/09/2017 09:18 Pianist 98 October-November 2017 CONTENTS The next issue of Pianist goes on sale 24 November 8

84 12 80 4 Editor’s Note Plus three copies of 24 How to Play 3 Lucy Parham helps you 75 Okiem e ‘cinematic classical’ pianist the Editor’s Choice CD to be won to think like a autist in Gluck’s ‘Dance of on touring Russia and letting the ideas ow the Blessed Spirits’ (Scores page 62) 6 Readers’ Letters 76 Composing: a beginner’s guide 26 Composing Competition Win a John Kember outlines some essentials, 8 News Casio’s digital initiatives; farewell to Kawai digital piano worth £2,000! e from a soft pencil to a sharp ear Lugano from Martha Argerich; Maryla Jonas winning score will be printed and recorded reissued; a fresh perspective on Van Cliburn 78 Subscribe today for just £4.50 an 27 The Scores A 40-page pull-out section issue by direct debit and receive the Film 12 Lucas Debargue A Schubertian of sheet music for all levels: includes emes Piano Collection, containing 30 of encounter in Verbier between Peter Quantrill a Chinese Doll, a rustic Musette, a turning the best pieces for lm, worth over £14 and the mercurial French virtuoso Windmill and an erotic Méditation 80 Birmingham Conservatoire 16 How to Play Masterclass 1 45 Beginner Keyboard Class Warwick ompson gets a hard-hat tour Mark Tanner on good rst impressions Hans-Günter Heumann’s Lesson No 24: of a cutting-edge home for student pianists and nishing with a ourish Exercises for articulation and evenness 84 Pleyel How the special sonorities of 18 How to Play Masterclass 2 67 Ivan Ilić e Serbian pianist moves on this French manufacturer’s pianos were Graham Fitch explores techniques from Feldman to the wild world of Reicha instrumental to Chopin’s imagination for playing faster 68 Learning Jazz Piano with Dave Jones: 86 CD Reviews My favourite things: 20 How to Play 1 Re ne your wrist welcoming Pianist’s new columnist Angela Hewitt’s Scarlatti, a jazz-Stravinsky technique with Melanie Spanswick’s fusion and a Sound of Music transcription guide to an attractive Minuet by Bertini 70 Theory Form: a rst look at the (Scores pages 30) building blocks of music with Nigel Scaife 88 Sheet Music Review An innovative sight-reading app, Minimalism made easier 22 How to Play 2 Janet Newman coaches 72 Musical nicknames Who was the Elise and jazz standards for intermediate students your cantabile phrasing in a lovely Mozart of Für Elise? What are the painful origins of Andante (Scores page 32) the Castration Capriccio? John Evans tells all 90 Classiﬁ eds

Cover photo: © Evgeny Evtyukhov. Images this page: © Musacchio & Ianniello (Argerich); © Felix Broede (Debargue); Emma Thrussell (illustration) 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-FINAL.indd 3 14/09/2017 13:21

DON’T MISS OUR FREE TAP HERE TO WATCH ONLINE VIDEO LESSONS A WELCOME FROM THE EDITIOR www.youtube.com/user/PianistMagazine Editor’s note f there was ever an issue of the magazine with a recurring theme, Pianist it has to be this one. So what’s the theme, then? Form. www.pianistmagazine.com Understanding the formal structure of any piece we learn – PUBLISHER whether it’s a one-page German dance by Haydn or a ten-page Warners Group Publications plc sonata movement of Beethoven – is of prime importance. We’d Director: Stephen Warner be lost without a solid sense of form, just as we would be not knowing Publisher: Collette Smith theI balance of ingredients when cooking a meal. EDITORIAL Warners Group Publications Nigel Scaife sets the scene in his theory column on page 70, where 31-32 Park Row, 5th Floor, Leeds LS1 5JD form is the star topic. Mark Tanner also addresses the subject on page Editor: Erica Worth 16: we need to understand the entire structure of a piece to be able to [email protected] Tel: +44 (0)20 7266 0760 open and close it in style. Lucas Debargue, an expert in opening and Deputy Editor: Peter Quantrill closing, also knows the importance of form, as he explains in our [email protected] Marketing: Lauren Beharrell interview with him when talking about his new album of sonatas by [email protected] Schubert and Szymanowski. Senior Designer: Nathan Ward Form plays an important role, too, when it comes to readers entering ADVERTISING our composing competition. Take a look at John Kember’s tips and Gareth Macfarlane, Advertising Manager [email protected] you’ll note that form comes in as the prime consideration for a Tel: +44 (0)845 226 0477 successful composition. Lastly, in our three step-by-step lessons this month, there isn’t one writer who Fax: +44 (0)845 226 0377 doesn’t mention form! Moving on from form, to another great piece of advice: Spend time learning music away from your READER SERVICES instrument. Debargue swears by it, and so do several other performers and teachers within these pages. When I’m trying to come up with exciting ideas for future issues of Pianist, I nd that lightning can UK & WORLD SUBSCRIPTIONS Editorial issue 94 (EXCEPT USA & CANADA) strike at the most unlikely times: while I’m loading the dishwasher, taking out the rubbish or sitting Pianist Subscriptions Department Warners Group Publications plc on the train – so I always have a pen and paper handy. Try it for yourself. Whether you’re composing West Street, Bourne, Lincs PE10 9PH, UK or learning a new piece of music, take the score with you wherever you go and it will work wonders Tel: +44 (0)1778 392483 Fax: +44 (0)1778 421706 for your playing and general understanding of music. Email: [email protected] Nathan: If there’s room, put the ‘Keep in touch with me’ blurb. You had that inside the last Finally, while I was reading through all the scores inside this issue, I realised how Romantically themed issue. USA & CANADA SUBSCRIPTIONS it is. ere are some real tearjerkers, from Chabrier’s album leaf, to Massenet’s Méditation, to Sgambati’s You can subscribe online, via email, Mélodie de Gluck. Even the restrained sonata of Scarlatti has its moments of pathos and yearning. Not fax or by telephone: Back to our usual reader competition. Last one was issue 91: Website: www.expressmag.com forgetting Michel Legrand’s masterpiece e Windmills Of Your Mind, which is shaped with a form as Email: [email protected] elegant as all the other pieces. Toll-free number: +1 (877) 363 1310 CD cover image is the Ed’s Choice image, if that’s OK! Tel: +1 (514) 333 3334 Fax: +1 (514) 355 3332 Express Mag ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM 3339 rue Griffith Saint-Laurent QC H4T 1W5, Canada

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Keep in touch with me for the latest news from the world of the piano. Don’t DISTRIBUTION forget to sign up to our FREE newsletter to receive exclusive how-to-play tips from To find a shop near you that stocks Pianist, contact our distributor: How many exercises does Hanon feature inside his e Virtuoso Pianist anthology? our experts, exciting news and special offers. http://pianistm.ag/pia-signup Email: [email protected] BACK ISSUES A: 24 B: 40 C: 60 Tel: +44 (0)1778 392483 Email: [email protected]

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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, Lincs, PE10 9PH. © Warners Group Publications plc. All rights reserved. to receive this new release full of unknown and extraordinary piano gems. It’s the Reproduction in whole or in part without written permission strictly prohibited. Every care is taken in compiling the magazine and no Editor’s 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 . (Deadline for entries: 24 November) at the time of going to press. No responsibility can be taken for unsolicited manuscripts, photographs or transparencies. Where was the piano-manufacturing firm of Pleyel founded? Printed by Warners Group Publications plc. A: New York B: Paris C: Amsterdam Pianist ISSN 4200395 is published bi-monthly (six times a year in February, April, June, August, October, December) by Warners Group Publications c/o Distribution Grid at 900 Castle Rd Secaucus, NJ 07094, Answer to page 4 competition in Pianist 96: C: No 2. USA. Periodicals Postage paid at Secaucus, NJ. POSTMASTER: send e winners were: Peter Abson (Lancashire), Denis Gale (West Yorkshire), Dawn Underwood (Devon) address changes to Pianist, c/o Express Mag, P.O. BOX 2769, Plattsburgh, N.Y., U.S.A. 12901- 0239.

4• 98 Pianist ISSN 1475 - 1348

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Readers’ Letters GetWRITE TO: in The touch Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK OR EMAIL: [email protected] STAR LETTER wins a surprise CD. Letters may be edited.

Three-stave confusion STAR LETTER Will you please explain why there are three staves of music (Pianist 96, p62) in Enrique Granados’s The joys of chamber music e Maiden and the Nightingale? I have only ever seen this in organ music, and I do not know how I'm an amateur pianist. After studying chemistry, I took the LRSM to teach the piano when I had to interpret this on the piano! Hope you can to give up my job to travel with my diplomat husband. But I began to lose motivation for practice, explain in an uncomplicated way. having no other reason than pleasing myself, until I discovered the pleasure of playing with others. Paul M Stubbly, Langport, UK It started with accompanying amateur singers, then violinists. Now, 31 years after rst playing with others, I play regularly in my retirement with groups of amateur string players, occasionally even with Composers from the Romantic and modern periods winds. I’ve attended workshops for amateur chamber groups in Holland and Switzerland. And may write on three staves for the piano to make it paradoxically, as I’ve had to improve my playing to play chamber music, I’ve nally discovered the joys easier to read di erent layers of the music’s texture. of practising, even the joys of practising solo pieces without any aim other than to please myself. It’s also easier for the composer! Putting a complex But there are pitfalls and stumbling blocks to overcome beyond your own playing when you have to texture on two staves would make it much harder cooperate with others. So far as I know, there isn’t a magazine which caters to the growing army of to write as well as read. e most famous example amateur ensembles in the way that Pianist caters to pianists. String players generally have resources is probably Rachmaninov’s C# minor Prelude. on how to play with others in string trios, quartets and so on. But there is nothing catering to pianists who want to explore playing piano trios, piano quartets and so on. Ten by Five Yiong van Walsum, e Hague, Netherlands I really appreciated Mark Tanner’s ‘Ten by Five’ practice advice (Pianist 97), and have found it very You write to us at the perfect time. Look out for the next issue, which has a special focus on duets. In the helpful for the trickier sections I was struggling with. meantime, a surprise CD is on its way to you. I also enjoyed Melanie Spanswick’s article about returning to the piano (Pianist 96). Having passed Grade 2 about 50 years previously, I virtually had More on Mordents CPE Bach’s Essay on the True Art of Playing to start again from scratch. I used the Carol Barratt I nd the articles on music theory by Nigel Scaife Keyboard Instruments (1753) also includes a detailed course, followed by lots of second-hand music, very useful. However I would have liked more description of the Pralltriller. Regular Pianist contributor including ABRSM exam books with the CDs, so clari cation on how to play an ‘upper’ mordent. Graham Fitch has written a stimulating blog on this I could tell which pieces I liked enough to spend In this part of the world (German-speaking topic, entitled ‘On Trills and Twiddles’. As he points more time on. e rest were sorely-needed grist to Switzerland), it’s not even called a mordent but a out at www.practisingthepiano.com, apart from the sight-reading mill. After about a year of working Pralltriller, and the term mordent is reserved for Howard Ferguson’s Keyboard Interpretation from on my own I joined a group adult-education class the lower mordent only. It would seem that the the 14th to the 19th Century: An Introduction, and some years later I am now playing pieces at ‘upper’ mordent is mostly performed as a short the easiest way to get a clear overview is from a useful Grade 5-6 standard. When I started again I never trill of four notes starting on the upper note. little book published by Alfred, entitled even imagined getting this far – I well remember is is what I usually hear when listening to Ornamentation: A Question and Answer Manual. when Grade 2 pieces looked daunting! interpretations of Bach, and this is also indicated Liz Young, London, UK in the tables of ornaments in authoritative editions Beware the aches and pains! such as Henle Verlag. Would it be possible to I am experiencing tennis elbow in my right arm Sight-reading struggle clarify this in a future article? and am nding it quite di cult to play the piano. I am a returning pianist (about Grade 6 standard) David Maclachlan, Romanshorn, Switzerland I have every issue of the magazine and have been who has always struggled with sight-reading. In order looking through them to nd an article that might to improve this aspect of my playing, I started way Nigel Scaife responds: Further clarity on this provide me with answers concerning recovery and below my actual playing level, with the Paul Harris ornament seesm to be in order, especially as it’s such a a way to play without compromising my elbows. books at Grade 3. I play each piece no more than common feature of Baroque keyboard music. e Michael Allen, Essex, UK twice, sometimes with separate hands, sometimes sign is generally interpreted in German and French straight in with the whole thing. Once played, Baroque music as a trill starting on the upper note, Graham Fitch responds: Michael, you need to seek I don’t go back to a piece. I quickly realised that as described in my rst article on ornaments, rather professional help. Pain and injury usually result from one of my central faults was not reading ahead. than an upper mordent. incorrect use of the body at the piano, and the best So, I consciously focused on this aspect by really e di culty here is that ornaments weren’t advice I can give you is not to ignore it, or hope it slowing my playing down. Finally, I bought three written or conveyed in the past in a consistent will go away, but seek treatment. In the rst instance, large collections of pieces. Each day, I start on the manner and di erent conventions were adopted in visit a musicians’ health clinic for a consultation and subsequent page to the one I was playing yesterday. di erent parts of Europe at di erent times. However then, depending on the diagnosis, track down a If a piece is too di cult, I simply turn the page there are some useful points of reference. JS Bach suitably quali ed teacher with experience in injury and move on. I make no attempt to ‘get it right’ wrote out a table of ornaments for his eldest recovery who can help you with your playing. In the by playing the piece over and over. son within the Klavierbüchlein fur Wilhelm UK we have the British Association for Performing Result: over the past four to ve months my Friedemann Bach (1720). is can easily be found Arts Medicine (www.bapam.org.uk), which o ers sight-reading has improved dramatically! Although online. Signi cantly, Bach makes no mention of the specialist health support to performing artists, with a I still don’t consider myself to be highly competent upper (or inverted) mordent here or elsewhere. For list of regional practitioners available on the website. as a sight-reader, I am now so much more him the sign is a trill, and the mordent sign is the one For those outside the UK, an online search will yield con dent at ‘having a go’ at unseen music. with the line through it. results. Best of luck with your recovery. Jerry Bettington, Hinckley, UK

6• Pianist 98

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p07_pianist98.indd 7 14/09/2017 09:28 News All the latest news from the world of the piano MARYLA JONAS REMEMBERED ONE HAPPY Sony brings together Polish pianist’s KORG WINNER complete recordings for the first time

James Robinson is the It’s hard to know what’s more extraordinary lucky winner of a about Maryla Jonas: her life or her music- Korg G1 Air digital making? Born in 1911, she entered the piano after entering Warsaw Conservatoire at just 11 years of age. the competition in In her twenties she took lessons from both Pianist 96. Ignaz Paderewski and then Emil von Sauer: Having read about two great inheritors from Liszt of the the competition on Romantic piano tradition. Facebook, James was Her concert career in Poland was caught one of 1413 entrants, short by the Nazi occupation of Poland. and he was over the Her family was killed and she was imprisoned moon when Pianist’s for seven months and interrogated by the editor Erica Worth Gestapo before being freed by a music-loving pulled his name from Nazi officer, who advised her to flee to the the hat. Brazilian Embassy in Berlin. This she did – by ‘It’s awesome,’ said James, after taking delivery of walking the 400 miles and sleeping in barns the £1200 Korg model. ‘Genuinely the best sounding along the way – and escaped to Rio de digital piano with the most realistic touch I’ve ever Janeiro. At the urging of Arthur Rubinstein played.’ And James knows his pianos: he is a full-time she resumed her career and became a pianist attached to the Countess of Wessex’s String sensation in postwar America before her early Orchestra, a unit in the Corps of Army Music. Based death in 1950: she was 48 years old but had suffered from ill health for some years, partly as in Woolwich, the orchestra performs at Investitures, a result of her wartime tribulations. State Banquets and other events at Buckingham Palace, Her slim recorded legacy dates from this brief window of fame and opportunity. Portions of it Windsor Castle and other Royal venues. They also have previously appeared on various historical labels, but Sony has now gathered together all the perform at diplomatic and military events such as studio recordings she made in the US, given them new remasterings and issued them in a 4CD the Royal British Legion Festival of Remembrance box which will attract the attention of pianophiles everywhere. and the recent World War I commemorations in The focus is trained – understandably given her heritage – on Chopin, including the Mazurka Ypres, Belgium. James is married to Laura, a flautist recordings that first brought her name to wider international attention when they were issued in the Band of the Household Cavalry. on a Columbia LP after her death. Salon-like ‘This will bring enormous pleasure and practical use charm characterises several waltzes and the to my life and work as a pianist in the Corps of Army Berceuse, but she also had a rapturous Music,’ said James after taking delivery of the Korg command of an authentic Chopin rubato: G1 Air. ‘My wife is looking forward to playing it these recordings really sing. The last disc in when she returns home from tour, and I will highly the set features non-Chopin repertoire recommend the purchase of G1 Airs to the piano including Kinderszenen: an outstanding professor at HQ Corps of Army Music and to my boss interpretation which has been favourably for use at Buckingham Palace and Windsor Castle.’ compared to some of the finest versions on Turn to page 4 for details of this month’s disc by Lupu, Haskil, Cortot and Horowitz. competition, which features the Editor’s Choice recording: three copies of ‘Rarities of Piano Music The Chopin Berceuse on track 14 of this month’s from Schloss vor Husum’ are up for grabs. cover CD is drawn from ‘The Maryla Jonas Story’ (88985391782), now available on Sony

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p8 news98-FINAL.indd 8 15/09/2017 09:53 & WITHQ THE MAKERSA

Casio UK’s product marketing executive Jack Terroni charts the ever-evolving world of the digital piano market Many words

What’s new at Casio? are used to describe The company has released #casiopro, a new sub-brand pianos featuring its stage pianos and studio controllers. This is something of a personal mission: I believe passionately in enabling musicians from diverse social and economic backgrounds to have access to the liberation and catharsis that playing the piano can bring. The #casiopro series features our flagship models (PX-560, PX-360, PX-5S and PX-160). The aim is to breathe life into the grass-roots of UK music culture, giving a platform and a wider audience to emerging singer-songwriters.

Does that complement Casio’s reputation as a popular starter brand? Many musicians will have fond memories of starting out on a Casio keyboard. Yet things have changed significantly since the heady days of the company’s first digital instruments. The Celviano Grand Hybrid range has been designed in collaboration with C. Bechstein to set new standards in the premium digital piano range. The full-length wooden key action is designed to replicate the traditional motion and recoil of an acoustic grand. I am proud to say that whether you are an advanced pianist, a teenager about to start a band or a child requiring their first keyboard, Casio has an instrument of high quality for everyone to experience the joy of music.

What’s your own background in music? My late uncle Raphael Terroni was a pianist dedicated to the art of classical piano, who recorded the often-overlooked work of British classical composers. My own field is popular music, but I am no less passionate about the need to bridge the current disconnect between the soul music of the streets and current mainstream platforms. I encounter vibrant musical sensibilities in #casiopro and at open mic nights across the UK: they deserve more attention. I think of #casiopro as a counter-cultural movement for real musicians, the ethos of which can be found in the lyrics of my current single, Fight for Real Music (available on all major streaming platforms). The PX-560 is my weapon of choice and a favourite of many other musicians in the new UK soul scene.

Where do you see Casio in a year’s time? Nothing would fill me with greater joy than to see the next generation of young musicians inspired by #casiopro and picking up the challenge to create innovative music. Talent and hard work will lead this generation to aspire to a piano of the Grand Hybrid’s stature in order to reach the pinnacle of their art and expression.

Visit music.casio.co.uk to find out more about the Grand Hybrid range and listen to the music of #casiopro endorsees. Find out more about Casio’s latest models Sony Classical (Jonas) Sony

p8 news98-FINAL.indd 9 15/09/2017 09:53 News All the latest news from the world of the piano REVIEW WHEN THE WORLD STOPPED TO LISTEN An authoritative account of Van Cliburn’s Cold War triumph reviewed by Marius Dawn

Russia, April 1958. The Iron Curtain is drawn tight; a new RUSSIAN REVOLUTION international piano competition COMES TO MANCHESTER named after Tchaikovsky has Chetham’s hosts international piano weekend reached its final. Musicians from all over the world have descended October 2017 marks a century since the Russian Revolution; a period of intense social and upon Moscow to see who the cultural transformation which left a lasting mark on Western civilisation, not least in art. In winner will be. It’s unthinkable Manchester, the centenary is to be marked with a month-long Russian October festival of music that Prime Minister Nikita at The Stoller Hall, the award-winning new chamber music hall at Chetham’s School of Music. Khrushchev will give the prize to a The weekend opens on Friday 6 October with a lunchtime recital by Simon Callaghan, a foreigner, least of all an American. Steinway artist and Chetham’s alumnus. He plays Rachmaninov, Scriabin and Mussorgsky’s However, one lanky Texan captures Pictures at an Exhibition, before leading a public masterclass. At 5.30pm, current and former the hearts of the Russian people and jury alike with students of the Glinka School of Music, Yekaterinburg, play selections by Glinka, Tchaikovsky his passionate virtuosity. Emil Gilels, chairman of the and Rachmaninov, before the day ends with Chetham’s Head of Keyboard, Murray McLachlan, jury, is convinced; he must ask Khrushchev to accept giving a recital of music from his 2006 CD recording, Shostakovich and his Comrades. Van Cliburn as winner. The president accedes, and Chetham’s young pianists combine forces with Glinka School students on 8 October to history is made. present the 24 Preludes and Fugues of Shostakovich. The same evening, presenter and perfomer The results of the First International Tchaikovsky Neil Brand plays a live improvised accompaniment to Sergei Eisenstein’s 1925 film, Battleship Competition created an international sensation, but Potemkin, bringing to life the tensions and excitement of this silent masterpiece. it also opened a small chink of light in that Iron Stephen Threlfall, Director of Music at Chetham’s, who curated the festival, explained: Curtain, and became a catalyst for vital diplomatic ‘Russian October derived from a long-held passion for Russian music, arts and culture. encounters. In fact, Khrushchev later became a good It seemed an unmissable opportunity to bring together an exceptional array of artists, performers friend of Van Cliburn who, after his victory, often and specialists to mark the centenary of one of the most significant episodes in Russian history, returned to Moscow. and subsequently in the history of the world.’ In When the World Stopped to Listen, Stuart Isacoff All details at www.stollerhall.com/festivals/russian-october. has unfolded the story of the competition and its controversial aftermath with fresh and painstaking research. He has drawn on Russian archives and ARGERICH IN LUGANO personal interviews with many of those who knew and worked with Cliburn, such as Khrushchev’s son Sergei, Final chapter of festival recordings as well as the pianist at the centre of it all. The complex For the first time in many years, Martha Argerich political history is outlined in a straightforward returned to public solo performance at the final manner, drawing lines all the way up to and beyond instalment of her Swiss lakeside festival, and the the Berlin Wall. Isacoff writes as a fly on the wall in resulting recording of Ravel’s Gaspard de la Nuit the Tchaikovsky Hall during that historic 1958 final, was issued on 1 September by Warner Classics. then takes us from Cliburn’s early years under the For the last 15 years she has curated a festival, tutelage of his formidable mother Rildia Bee, through the Progetto Martha Argerich, in the Swiss the numerous concerts that sucked the energy out lakeside town of Lugano. Selected highlights from of the touring pianist, to his continued involvement each year were released on CD to critical acclaim. with the Fort Worth piano competition that bears They featured Argerich (pictured right last year in his name. duet with Sir Antonio Pappano) in concerto, duet Nigel Cliff’s book Moscow Nights covers much of and chamber music, including new repertoire to her discography. the same ground, and with greater emphasis on the The festival’s principal sponsor has now withdrawn its funding, and so the final edition took political background. However, it’s Isacoff – as a place in June 2016. Highlights of the new 3CD Warner Classics box include Argerich partnering pianist himself – who paints a better and more vivid the Greek violinist Tedi Papavrami in the C minor Violin Sonata of Bach; a duet arrangement picture of the Van. Beautifully written, this will of Debussy’s Prélude à l’après-midi d’un faune with Stephen Kovacevich; Mozart’s Sonata for two undoubtedly be the reference book about the life of a pianos with Sergey Babayan; and Beethoven’s Choral Fantasy and Ravel’s Concerto in G. pianist who, not unlike the Russian Sputnik satellites But the set opens, inevitably, with her new Gaspard. According to the concert reviewer of the which shot to world fame as fast as they burnt out, left Italian Musica magazine, Argerich retained ‘all the rhythmic but above all dynamic finesse that a blinding light in piano history. she had already shown in the 1970s, with a technical glitter virtually unchanged. I do not think any pianist at the age of 75, even from the past, could match her.’ When the World Stopped to Listen: 30 October marks another first for the Argentine pianist: her debut at Severance Hall, Cleveland, Van Cliburn’s Cold War triumph and its aftermath where she will give a duo recital with Babayan. They will present works for two pianos by Mozart, by Stuart Isacoff and Babayan’s two-piano transcriptions of works by Prokofiev, including excerpts from Romeo (Penguin Random House, ISBN 978-0-385-35218-5) and Juliet and incidental music written for a 1937 production of Hamlet and Soviet films of Musacchio & Ianniello (Argerich); Benjamin Ealovega (Callaghan) Ealovega (Argerich); Benjamin & Ianniello Musacchio

10. Pianist 98

p8 news98-FINAL.indd 10 15/09/2017 09:53 The Sound of Excellence

C. Bechstein Concert 8 – the grand piano in an upright’s clothing

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p11_pianist98.indd 11 15/09/2017 10:16 INTERVIEW

LISTEN Tap the play buttons below to hear George play our bonus track

▲ SCARLATTI SONATA IN A K208

Fingering in Schubert, ﬁ nding equilibrium in the lonely life of LISTEN a virtuoso: the French pianist Tap the play buttons below to hear walks his own path. But he’s George play our bonus track

more than a moving brain, ▲ BEETHOVEN PRESTO he tells from SONATA IN D Peter Quantrill OP 10 NO 3

he lights go down, the church is darkened, and from the gloom strides Lucas Debargue on to the stage, all rangy arms and legs. He takes an age to settle himself. Or is he waiting for the patrons of the Verbier Festival to hush and pay attention? Had Debargue read Mark Tanner’s advice in this e local experts agreed; he was awarded the Moscow THe adjusts the stool; looks down, up, down again. issue of Pianist on how to open a piece, he could Critics Prize for his competition performances. Silence eventually descends, and just as a murmur not have given a better illustration: mindful, Despite taking fourth prize (while placing sixth of of impatience begins to rise, his hands move to composed, but personal to him. Here is the the six nalists because of bronze and silver medals the keyboard to articulate the bare opening individuality but also the preternatural command being shared), it is Debargue who was rst to score octaves of Schubert’s A minor Sonata D784. of the instrument that won him a place in the nal a recording contract with a major label. Two Sony of the last Tchaikovsky Competition in June 2015, Classical albums won critical praise in these pages ON THE COVER CD when he became the talk of Moscow. Two years of and elsewhere. Each of them drew on the keyboard

Make this the biggest. Fab piece! Very late proper technical coaching was all he needed to knockouts that dazzled audiences in the competition’s 60s J Late 60s font??! 98 www.pianistmagazine.com Pianist Pianist 98 LISTEN • LEARN • PLAY LEARN 1 CHINESE DOLL ...... 0.49 FIELDING THE WINDMILLS OF 2. HAYDN GERMAN DANCE IN A HOB.IX:12/5 ...... 0.55 Lucas Debargue plays become a major pianist, said Dmitry Bashkirov. recital rounds – Ravel’s Gaspard de la nuit and 3 BERTINI ANDANTINO, NO 8 from 25 STUDIES OP 137 ...... 0.52 YOUR MIND 4 MOZART ANDANTE from SONATA IN G K283 ...... 6.59 PIECES TO 5 SCARLATTI SONATA IN F MINOR K481 ...... 5.06 romanticScarlatti’s font can go here, if needed. Sonata K208 6 CHABRIER FEUILLET D’ALBUM, NO 4 from 5 MORCEAUX POUR PIANO ...... 1.48 LEARN IN-DEPTH LESSON His fellow jury member Boris Berezovsky was Medtner’s First Sonata – and he is keen to note that ALL LEVELS AND ALL STYLES 7 LE COUPPEY MUSETTE, NO 5 from L’ALPHABET OP 17 ...... 0.55 8 LEGRAND, BERGMAN & BERGMAN THE WINDMILLS OF YOUR MIND ...... 2.04 11 9 MASSENET MÉDITATION from THAÏS ...... 5.10 Learn to play and the Presto ﬁ nale of BONUS TRACKS less equivocal. Debargue is ‘a real musician,’ he said. he has moved on with a new coupling of sonatas by 10 JS BACH ALLEMANDE from PARTITA NO 4 IN D BWV828 ...... 5.40 THE WINDMILLS 11 SGAMBATI MÉLODIE DE GLUCK ...... 3.58 Lucas Debargue plays Scarlatti & BONUS TRACKS OF YOUR MIND Beethoven Maryla Jonas plays Chopin 12. SCARLATTI SONATA IN A K208 ...... 5.00 Beethoven’s Sonata OVER ‘He loves music passionately and knows everything Schubert and Szymanowski. Yet the competition 13. BEETHOVEN PRESTO from SONATA IN D OP 10 NO 3 ...... 7.13 IN-DEPTH LESSON 14. CHOPIN BERCEUSE IN D FLAT OP 57 ...... 5.42 We can cut/add to fit: 50 Sgambati’s arrangement of Gluck SCORES BY CHABRIER HAYDN JS BACH MINS BERTINI MOZART and more performed by Lucas Debargue plays tracks 12 and 13. Track 12 is taken from his debut album (Scarlatti/Chopin/Liszt/Ravel, 88875192982). OF MUSIC Op 10 No 3, both released Track 13 is taken from his second album (Bach/Beethoven/Medtner, 88985341762). By kind permission of Sony Classical. CHENYIN LI about it. And not only music. He has a brilliant and its aftermath surface at unbidden moments in Maryla Jonas plays track 14 (mono recording, June 1951). From ‘The Maryla Jonas Story: Her Complete Piano Recordings’, newly remastered and released by Sony Classical (88985391782, 4CD). By kind permission of Sony Classical. Mélodie Chenyin Li plays tracks 1-11. Copyright secured by Chenyin Li, www.chenyinli.com. Pianist No 98 CD (October-November 2017) WGP PIA UK 1798. Producer: Iago Núñez. Editing/mastering: Steve Harrington, Royal College of Music, London. This CD comes free with Pianist 98. It cannot be bought separately. by Sony Classical CHABRIER JS BACH MOZART our conversation, which took place a couple of hours SCORES BY HAYDN BERTINI knowledge of literature and art. e reach of his Cover image: © Alenavlad/Adobe Stock and more performed by CHENYIN LI Total Time: 52:32 © Felix Broede/Sony Classical Broede/Sony © Felix Pianist 98 CD-FINALish.indd All Pages 25/08/2017 09:26 personality is unbelievable. He is kind of a genius.’ before he gave his afternoon recital in Verbier.

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p12_interview-FINAL.indd 12 19/09/2017 14:50 INTERVIEW

‘Now it’s a completely new programme,’ he says to touch; to play sonatas or string quartets or in his French-accented English. ‘What I like to do reductions of symphonies. You can do anything when I have the concept of a recital is to make you wish on the piano. I never think about the unpredictable parallels and connections. So in the piano as an instrument in itself. I am always trying pair of Schubert sonatas we hear the beginnings to reach something else, as if I was orchestrating.’ of Romanticism, and the Szymanowski is very late Romanticism, just before it explodes and changes The heat of the moment into Modernism. What is unpredictable about his performances ‘Almost a century separates the two composers, grows from Debargue’s singular story as a but there is a bigger gap – to me – between the two musician. Self-taught by ear after that late start; Schubert sonatas! Only four years, but there is a giving up entirely for several years; playing in jazz huge di erence of style between them. e A minor clubs and working in a supermarket before starting Sonata is one of the weirdest pieces written for the afresh with a Russian coach, Rena Shereshevskaya; piano. e musical material is so compressed, but learning Gaspard and the Second Concertos of what he does with it is so monumental, like a Rachmaninov and Proko ev, again by ear; making Gothic cathedral: so terse, and cold.’ it to the Tchaikovsky Competition after four years of all-consuming study. Holding the line Here, you might think, are the making of a One common point Debargue nds between decent novel. Or a lm – such as A Musical Life, Lucas Debargue Schubert and Szymanowski is a distance built into released by Medici at the end of September. their forms. ‘It’s Romantic but not close to you Over the course of several months Debargue Up close here,’ and he points to his heart. ‘Szymanowski is allowed his friend Martin Mirabel to peer over his more humoristic. He makes references to many shoulder with a camera, whether backstage at the di erent musical styles that came out of Vienna competition, blinking shyly in the sudden glow If you were restricted to the music of and at the start of the 20th century. I was interested of acclaim, or sitting with score and keyboard, one composer, who would it be? to put these styles in contrast to Schubert, who hour after hour alone – except for the music. Scarlatti. can also be humoristic but in an ironic and cynical He understands, but is wary of, the spotlight way. It’s not a pleasant album!’ He laughs dryly. that his heterodox technique has attracted. Take Which composer(s) haven’t you come ‘And I didn’t want it to be pleasant. Maybe in the ngering: always a hot topic, not least in these to terms with yet? next one I will be more kind to the listeners!’ pages. Choose a ngering and settle on it, say the Schumann and Brahms. All the same, he maintains that the Szymanowski experts. Debargue, not so much. ‘It is very is ‘a very joyful piece. ere is a playful, child-like important to think about ngering,’ he admits. One great work you’d love to learn? spirit to it, playing with the music and using some ‘But sometimes at the last moment, even in the The Well-Tempered Clavier. of the most depressive harmonies, coming from concert, I change my ngerings.’ Even having Wagner and the late-Romantic period, but turning memorised the piece? ‘Yes. Because I have a facility Your favourite non-pianist musician? them into a big joke, full of colours and full of life.’ with my ngers. But that‘s the most di cult thing Billy Holliday. How does it lie under the ngers? A dry laugh in my case. Because I have this facility, I have more from Debargue. ‘It’s terrible. e rst challenge work: to put things together, to organise. e best What’s your advice for amateur is for the brain, to memorise it. en there are feeling for me on stage is to feel that I am pianists? some little bits that are really confusing because of improvising, even if that isn’t the case at all, If they really do it for fun, they don’t need all the di erent techniques it requires – quick because none of what I play now is improvised. advice. Just have more and more fun. octaves, sixths and thirds, holding some notes I need to think about a group of notes or bars There is no reason to think about it too while changing the ngers. And it’s very di cult as though they were improvised, and then my much. If they want to reach some level of to nd the line of expression throughout the piece.’ ngers change what they are used to doing.’ interpretation and understanding, it starts Here we get to the nub of what makes a pianist What he says about improvising and not to be less fun for a while, but then more a musician. ‘It’s the same problem with composers improvising reminds me of Leonard Bernstein’s fun at the end! that are underrated like Medtner,’ he says. ‘People remark: that on the podium, to give of his best, he tend to think it’s enough to play the notes, because needed to feel – not just to pretend – that for the What is your image of happiness? the music is so unknown that just to play it is duration of a symphony he really was Beethoven Being alone for one week in a beautiful already something. But then there is a lack of or Mahler or Tchaikovsky. ‘I can understand that,’ city in Italy. understanding, and the audience can only say replies Debargue, ‘but I was thinking more of “ is bit reminds me of Scriabin, or Proko ev” Proust’s concept, that all artists are continuing a and so on. I wanted to go as deep as possible.’ single, all-embracing work as if they were one ‘Before I was spending too much time at the Finding the line of expression: this is also what single artist – like Prometheus. It’s very idealistic!’ keyboard,’ he continues. ‘Now I am too tired.’ turns a musician into a pianist. ‘You need motion,’ And suddenly he looks it. ‘Giving concerts is says Debargue. ‘ e key thing is always to be moving Back to the score exhausting; I cannot imagine practising for eight from one note, from one chord to another. If you In any case his methods have changed with the hours a day with concerts everywhere. I want to wanted to put in all the details, all your discoveries, pressure of success. Now the score is central. ‘I had make an economy of the time when I play the the performance would die. It would be rotten, it one week of no concerts last summer. I wanted to piano.’ So he is relearning old repertoire but now would be motionless. And sometimes there can be compose my piano trio and to learn the through the prism of the score, including the surprises – you nd you are doing absolutely the Szymanowski sonata. So I did them at the same Proko ev Second Concerto which will feature on contrary of what you had prepared. e key thing time. When I was tired of my trio I went to the his concert schedule in the coming year. is to be attentive to what is happening.’ sonata and vice versa. If you look at my score it’s ‘ ere is something unfair about a concerto,’ He’s talking about both the line of a piece, and almost destroyed! I wrote in all the harmonic and he re ects. ‘ e soloist doesn’t have a score but the journey of an entire recital, or album. In the formal analysis. Now when I learn a piece I wait everyone else does. It’s very di cult. You have to music of both Szymanowski and his compatriot as long as possible before coming to the keyboard. pull the conductor and the musicians with you so Chopin the challenge is to organise ‘phrases that I try even to imagine the ngering in my head, they can follow your conception of the score, and are never-ending,’ as Debargue puts it, ‘or breaking so that I won’t get tired.’ And are the ngerings the only way to make them follow you is to be at unpredictable moments’. But then, as he explains, now written in? ‘No, but I learn them by heart. very strong.’ Work with an orchestra is a steep he was never fascinated by the piano itself. ‘At the Sometimes I write them out when I have found learning curve for someone who has only been ▲

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p12_interview-FINAL.indd 13 12/09/2017 11:01 INTERVIEW

“I never think about the piano as an instrument in itself. I am always trying to reach something else, as if I was orchestrating.”

‘Yes. But there was some rubbish written about me composers, and presented my pieces to them. I am not that ambitious. I don’t want to control in the papers after the Tchaikovsky Competition; “You already have everything you need”, they said, others or be the best.’ Would any of his colleagues “he never played with orchestra, that’s why he because I am composing in classical forms: I am say any di erent? ‘ ere are some – having some played so badly in the nal.” Come on! is was not interested in completely destroyed forms. I still confusion between business and art, probably. the nal, I still made it, I was placed last, but it’s compose with sonata form, with variation form, ese people have their audience. ere is an still a certain level! I didn’t have a lot of and I use the [diatonic] keys. I get non-tonal when audience for Sokolov, and there is an audience engagements in the following season because of I need, but I am mostly tonal.’ for these others. It’s all good! But I don’t know what was written then. Now it’s starting. I gave if I have found my place [as a performing artist]. very strong concerto performances last season How (not) to groove Probably part of it because I still feel better than because I had conductors like Andrey Boreyko e idea that he might still take pleasure or relief I did two years ago. But there is a part that should who were supporting me.’ from playing jazz prompts a gentle rebuke from be devoted to something else – what, I don’t know. Debargue, in terms similar to Pianist’s new jazz Perhaps composing.’ A room of one’s own correspondent Dave Jones on page 68. ‘No, I don’t Or perhaps chamber music, from which e sense of sacri ce, of tough decisions made, have time. Not even for fun. It’s a serious discipline, Debargue takes increasing solace: ‘like being in casts a long shadow. ‘Sometimes I forget I am a and there is a full philosophy of life behind it. the garden of heaven’. In December he will tour body and I feel like a moving brain,’ says Debargue. You can’t improvise how to be an improviser. North America with some distinguished colleagues ‘But because of travelling all the time, the body When I hear a great jazzman, I just put my ears (Janine Jansen, Torleif edéen and Martin Fröst) begins to hurt and says you have to stop. I had back and try to listen as much as I can because in Messiaen’s Quartet for the End of Time, nishing some close friends, now I have only one, Martin. it tells you so much – much more than hearing the year with a Christmas Day concert in Taipei. All the others I see only once a year. My family I a classical pianist. When I see and hear a classical ‘ ere is always a moment when you are tired,’ see only once a year. I would be a liar if I said this pianist the rst thing I notice is the drawbacks – as he says of playing chamber music, ‘when you was a problem for me, though. useless movements, problems with the sound can joke, when you adapt to each other. ere is ‘Right after the competition I was still seeing that upset me.’ much more society. In recitals there is something people, I was in a relationship. But then I stopped. What about the ‘jazzical’ third stream, non-social, almost monstrous: you have to be Because for me this was wasting time. And it’s represented by the likes of Gunther Schuller and borderline, to reach the extremes: a concert should terrible to say this. Maybe I get more inhuman Nikolai Kapustin? With his background, wouldn’t be very close to theatre. You put yourself in this in some ways, because I don’t need what I needed Debargue bring something special to their music? weak situation, with all the expectations from before, like human warmth. But when people are ‘ is is good,’ he replies, ‘but this is not jazz, people that you can feel physically, and go from not considering the special kind of life you have, because it’s written out! Trained classical musicians that to a feeling of achievement at the end. But when a woman asks you to come to her, or to can learn and perform it and you get the illusion I feel strangely comfortable in this borderline, spend time with her when you are just broken by of playing jazz. But this is a very di erent process. surreal state, I don’t know why.’ For now at least, travelling, sometimes you don’t want to explain, to I have nothing against Kapustin and I would love thank goodness for that. ■ justify anything. I am tired, you think to yourself, to play his pieces. But I would play them in a I have the right to rest.’ much more modern, Bartókian style, and not like Lucas Debargue’s new album of sonatas by Schubert Composition occupies an increasingly important jazz. I would not groove, because groove is not and Szymanowski is released by Sony Classical on part of Debargue’s life, though he wrote music from something written down. You cannot have it as 27 October (88985465632). the very beginning. ‘I started to play, to listen and an additional extra. For me that’s sick.’ ‘A Musical Life’, made in to compose at the same time. Unfortunately I can’t As he remarks with a tinge of regret, grooving collaboration with BelAir devote the time to it I want. My aim is to achieve is part of a philosophy of life incompatible with Media and Sony Classical, one or two big pieces per year. So I had my Cello ve-star hotels and kingsize beds. All the same, is available to view at Sonata last year, and now there is a new version ‘being a young man in the midst of all this mess, www.medici.tv. See of my Piano Trio.’ As was his playing, his writing it’s not the time for me to make a conclusion www.lucas-debargue.com is largely self-taught. ‘I have had some talks with or look over my shoulder. I am 26 years old. for tour dates.

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p12_interview-FINAL.indd 14 12/09/2017 11:01 play HOW TO Strategies of opening and closure DRAWING THE CURTAIN First impressions count, says Mark Tanner. Set the scene well and you’ll have the audience in the palm of your hand

tudies suggest that a job Mark Tanner is a pianist, composer, writer and educator. His PhD interviewee has seven addressed the music of Franz Liszt. For the Associated Board seconds to make that of the Royal Schools of Music (ABRSM) he has undertaken all-important first 35 international tours; he is also a Moderator, Trainer and co-author impression. From there, of Teaching Notes, which accompanies the latest ABRSM it will likely as not be an Piano Syllabus. Mark has over 20 pieces on current examination uphill struggle or a smooth syllabuses – his music is published in 65 volumes, and his book, path to success. The same is surely true The Mindful Pianist, is published by Faber Music. His forthcoming of piano performances. Not necessarily book, Mindfulness in Music: Notes on finding life’s rhythm, will be Sbecause of declining attention-spans in published by Leaping Hare Press early in 2018. audiences, but because time has become one of our most precious commodities. If we are not careful we will devote rafters, we undermine all the good work and finish one piece well, you will get inordinate time to practising the music’s we may have done along the way. The a boost in confidence and move to the unfolding ‘storyline’, and overlook its music may pose a question with its first second piece, filled with confidence that all-important launch and landing. How we breath (in Beethoven’s Fourth Concerto), things will go as planned. start a piece will significantly affect the or declare its sunny disposition from the perceptions of our audience – in a living outset (Mozart’s Sonata for Two Pianos). Head first room, a packed church hall, or even Having got the notes of a piece (or a an exam room. Think of the challenge single movement) under your fingers, facing a writer. Will the first sentence work on locking the first and last phrases of a novel invite us to read on? Perhaps Every time you sit down, into your mind. Irrespective of whether there has never been a bolder opening you plan ultimately to memorise the gambit than The Catcher in the Rye by you should hear the music music, aim at least to get these passages J.D. Salinger: ‘They murdered him.’ well and truly ingrained. You can then in your head first look down at your hands, not stare blankly The pianist’s task at the score. A great way to rehearse this Composers, like writers, expend a great is to walk up to your piano a dozen or deal of time and effort on opening and It may cast a spell (Chopin’s Nocturne in more times on a spare day, sit down and closing a work. My experience as a C# minor Op Posth.) or let the dogs loose play for just ten seconds or so each time, composer has taught me that these (Haydn’s Sonata in Eb Hob.XVI:52). then walk off and busy yourself with gestures often take the longest to tease Done well, the opening and closing something else. Importantly, every time into position. The introduction of gambits are more likely to impress you sit down, you should hear the music themes and motifs, or the broadest hint themselves on our listeners than anything in your head first; not just its tempo, but of what will turn out to be a pivotal else we do. Furthermore, if you can start its atmosphere or spirit; also imagine harmonic device, function in these how the keys will physically ‘feel’. opening bars as a kind of musical ‘Once Do this for the ending as well as the upon a time’ – all roads and pathways TOP opening: pianists often become so TIPS will lead naturally from here. The end SPOTLIGHT AND SILENCE exhausted as they approach the final bars of a piece will probably be less indebted (having spent all their energy en route) to this initial material and more 5 Learn the first and last phrases from memory so that you seize that they never get the thrill of hearing concerned with reinforcing the goal 1 and hold your audience’s attention. themselves pull off a satisfying climax or or high-point, either by emphasis or coda; instead, there is a rather apologetic by allusion. What this means is that Practise the start and end in logical loops to maximise sense of anti-climax. You might think of the pianist – who is effectively acting 2 effective learning. isolating key moments like this in the way on the composer’s behalf – is tasked that a tennis player first hones her serve, with ‘selling’ the piece right from its Ghost the first bar or two of music when playing in front of then her volley, then her drop-shot. opening notes, and must then remind 3 others. Breathe long and slow, then launch with confidence. Each action is then called upon in turn, us why we ‘bought’ it right at the end. but linked together into a fluent rally. Practise getting into character by imagining the right tempo, Get into character 4 mood and feel of the keys. Never start before you are ready; Ghost it There are an infinite number of ways be sure your head and body are aligned and focused. When we find ourselves in the hot seat a composer may choose to open a piece, – an exam perhaps, or about to play for and in all cases pianists need to be ‘in Relish the moments of silence, both at the start and end of family and friends – we may be best character’ before we have played a note. 5 your pieces – they are vital, both to you and to your audience. advised to ghost the opening bar or two; Similarly, if we leap from our chair while just run your fingers over the notes at a the last chord is still on its way to the slow, deliberate pace. This may not be

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P16 HTP Tanner-FINALish.indd 16 13/09/2017 11:20 MASTERCLASS

something Lang Lang would feel the e long goodbye – seemingly never need to do, but until we have a fully quite complete as it recedes over the PLOT DEVICES functioning facility at the keyboard horizon. Liszt’s Sonata in B minor Mark Tanner looks at three opening and closing (and a bullet-proof temperament) this gambits in this month’s Scores section little strategy can really help us to nail Silence is golden the opening. We obviously can’t ghost Having mastered the structural pillars 1932) Michel LEGRAND (b INTERMEDIATE 1925; b1929) Michel Legrand Windmills Of Your Mind TRACK 8 Alan & Marilyn BERGMAN (b the ending under such circumstances, at either end of your performance, The Windmills Of Your Mind Playing tips: The RH takes the melody throughout, leaving the LH with the trickier When learning this bittersweet Legrand melody, it would be as well to have in mind rippling accompaniment. And therein lies the problem. We have suggested some the lyrics of Alan and Marilyn Bergman, which they wrote to match what was fingering, but we all have different hand and finger shapes. Whichever fingering you The Thomas Crown Affair. ‘Round like [page 49]: What a splendidly evocative melody originally a French song for the 1968 film, settle upon, do practise the LH on its own first, slowly, in order to attain total a circle in a spiral, like a wheel within a wheel/Never ending or beginning on an ever evenness and precision. Articulate every note, but avoid bumps! Note: a swift page but this merely reinforces the need to consider what your audience expects spinning reel/Like a snowball down a mountain, or a carnival balloon/Like a carousel turn will be needed. 1 that’s turning, running rings around the moon/Like a clock whose hands are Pedal tips: The harmonies don’t change often, so liberal pedalling can be applied. sweeping past the minutes of its face/And the world is like an apple whirling silently Avoid over-pedalling, however, or the melody will become muddy. in space/Like the circles that you find in the windmills of your mind...’ Rubato f f this is; I’ve always loved it. The opening and 5 f f 3 4 f f f f have it fully prepared and ready to go of you. Regardless of your own f f f f f f f f f f f f # f f f f & c mf f f f f f f f f f f closing four-bar phrases are virtually identical f f f f f f f f f f when its big moment nally arrives. mental preparations or lingering ?# c f f f f { 2 1 5 in this arrangement, the only difference being ten. f f f f 4 5 2 4 1 f f anxieties, your listeners will hope 1 2 1 f ™ f f f f f f f f f # f f f ™ & F 6 f f f the Em ﬁ nal chord in place of the initial four ten. f f f ™ f f f f f f f to be compelled by what they see as f f f ™ f f Loop the loop ?# f { f F 1 2 4 2 1 Em descending quavers. You could do worse than to 7 2 Next, if the music permits it, create an well as hear. I like to start slow, quiet 3 f f f f f f f f f f f f f f # f f f f f f f f & f f ‘hear’ a windmill slowly turning in your mind, so f f f f f f f f recurring loop out of the opening few pieces with my hands to my side, f f f f f f f f ?# f # f # f f 2 { 4 2 f 5 f Em B7 that your ghosting and looping practice may set a

bars or phrase – in certain pieces you calm and still. When my composure 10 f f f 5 f 1 2 1 f f 2 3 f f f f f 2 f f f f f f f f f f f f f f f f f 1 f f f # f & strong rhythmic foundation for your performance. f f f may need to venture a little further has steadied, I breathe mindfully, f f f f f j f f f f f f f f f f f f f # ‰ f n ‰ fj f ŒÓ ?# 3 2 1 { f w 2 1 w 2 5 1 3 D7 Gmaj7 N/C Bring out the top note quasi melody of these long and slow, and move each hand E7 Am7 before a loop-point becomes plausible. 98

49• Pianist The Windmills Of Your Mind. Words by Alan & Marilyn Bergman. Music by Michel Legrand © Copyright 1968 EMI U Catalog Inc. EMI United Partnership Limited. All Rights Reserved. International Copyright Secured. Copyright International Reserved. Rights All Limited. Partnership United EMI Inc. Catalog U EMI 1968 Copyright © Legrand Michel by Music Bergman. Marilyn & Alan by Words Mind. Your Of Windmills The 12/09/2017 11:08 magical introductory quavers, and really enjoy is serves three purposes: rst, it gives unhurriedly towards the keys. I then P49 SCORES Windmills-FINAL.indd 49 you many more opportunities to revisit begin playing straight away, almost the herringbones, which give the music its distinctive ebb and ﬂ ow. these bars in quick succession; second, as though I am conducting myself.

INTERMEDIATE/ Johann Sebastian BACH (1685-1750) ADVANCED Bach Allemande from Partita No 4 [page 56]: TRACK 10 it will encourage you to join the opening Importantly, the music will already Allemande from Partita No 4 in D BWV828 Try looking at some of the quickest passages first (such as bars 19-20) and work out When publishing the six partitas in 1831, Bach designated them as the first part of how fast you need to play the demisemiquavers, then choose your basic tempo a Clavier-Übung (keyboard exercise) and wrote in an elaborate preface that they were accordingly. Before even attempting to play the notes, tap out the rhythm. Your The opening and closing four bars of each ‘composed for lovers of this music, for their enjoyment’. Thus they became the first fingers should feel like a spider crawling over the keys. Keep them close to the keys of the elderly Bach’s attempts to assure a kind of immortality with a series of at all times and feel the fingers digging deep into the keys. Some finger substitution bars to the phrase which follows directly be going through my head before compendious, uncommissioned projects which would test the fingers, voices and has been added here and there (such as the RH in bars 2, 6 and 13), in order to create 2 minds of his performers to their utmost. The Goldberg Variations form the fourth a seamless legato without requiring pedal. and last part of the Clavier-Übung. Pedal tips: Use sparingly, bearing in mind the music’s origins as an aria for harpsichord. Playing tips: A judiciously chosen tempo is crucial in this elegant yet searching Allemande. 1 Allemande 2 1 1 half of this Allemande will function perfectly as f f 1 4 1 f f f f f Allemande f f 2 1 f™ f f f f f n on from it; and third, it may nudge you I physically begin to move. On no # 4 f f f f fF f f 1 fj F f f 1 Ó f f f f # cAllemandeF 2 1 f™ f f f f n f & F Ó f f f f f 1 # j F4 f f f f f fF 1 f f f & # cAllemandef F Ó f 2 1 f™ f f f f Óf f n f f # F4 f f f f f fF f f f f # c fj F f f f f f™ f f f f ÓFf f n f f &## fj F ÓFf f f f f f f fF f Ó f looping practice, if you stop at beat 3 of bar 4. ?#& # c ‰ ŒF f Ó f F™f F {{ F™ F 3 f to memorise progressively further into account should you start with your Œ f F™ F f ?## c ‰ f f {{ F™ F 3 f F™ f ?## c ‰ Œ f F f f f F {{ F™ 3 f ?# Œ f F™ 3 # c ‰ f 1 {{ F™ 3 3 3 In each case, you need a rock-solid pulse 3 1 3 f f f f f f f f m f1 f f 3 3 f f f f f f f f f f3 1 f f 3 f f hands xed on the keys – this often # f f # f m 1 f f f f the piece. Looping can help to ensure # f n f f f f 3 3 f f f f f f & f f f f3 1 f f 1 3 f f f ## f n f f f f f#f f m f f f f 3& f f3 f f f f3 1 f f f f f f f f ## f n f f f f f#f f f m f f f f &# ™ f f f f f # f f f f f f f f f f f f f established in your mind’s ear. Though the # Ff n F f f f f f2 ?#& # f f f f f f f f 3 f f {{ F™ f f 2 f that your majestic opening doesn’t turn leads to non-speaking notes, ?# F3 f 3 f f # f3 f f f f f f f f {{ F™ f f f2 ?# F3 f f 3 f f f # f3 ™ f f f f f f {{ F f f 2 ?# F3 3 f # f3 f 2 3 1 1 f {{5 4 f 3 1 f f semiquavers mustn’t appear hurried, it’s 3 f f f 3 1™ f f f 1 f™ f f f f f f f2 f f 1 f 5 4 f1 f f f # fjF f f f # 3 1™ f f f f out to be a busted ush. Do the same for horribly tense-sounding chords # 1 f™ f f f # f f f f2 f f 1 f 5 4 f1 f 1 f f &# jF Ó f # 3 1 f f f f1 ™ f f f f1 2 f # f 2 f™ f f 1 5 # f4 f f f fj f f & 1 Ó f1 f f1 f f f # f1jF ™ f f f f # f ™ f f f # f f f f1 2 f # f f f f f f ‰Œf f f f1 f f fF f j &# fjF f f Ó #f f # f 1 ‰Œf actually the LH notes that provide the anchor. # ‰ f f1 2 f f f F f f fj 5 4 &?# f 1 Ó f f Ff f f1 # ‰ f f Œf1 2 f f ‰Œf f f {{ F f1 f j 5 4 hope and a meandering, lacklustre start. F the ending; you won’t then it works 1 5 f f ?## ‰ f f f Œf f f f f ‰Œf f f {{ F f F 5 4 f ?## 1‰ 5 f f f Œ {{ F 5 4 ?# 1 5 4 # Œ 4 {{7 4 f f f f The anacrusis is more critical than you might 1 5 f f f f f f f f f f f f f f f f f f f f f f f4 f f f f f 4 4 7 f f f f f f # f f f f f expect is isn’t about showmanship or # f f f f f f f f f f f f f f4 f well on the day, you can it to. f f 3 f # f f 4 7 f 3 4 3 # f f f f f &# 3 f f f f f f f f f f f f42 1 f f f f f 1 2 f f 4 f f f f 3f f 7 # f f 3 4 3 f F f f f f f &# 3 f f f f f f f f f f f f f f f f f2 1 f# f # f f f f f f f1 2 f f f f f 3 f f 4 f 3 f F 3 f F # f &# 3 f f f f 2 1 f imagine in cueing up the rhythmic impetus, # ‰ f # f f1 2 # 3 f f 3 f F 4 f 3 f F f F f &?# 3 f f f f 2 1 f theatricality. Your aim is to create # ‰ f # f Œf1 2 # f f f f Here are a few of the more common {{ F 4 f f Ff f F f ?## ‰ f f # f Œf # f f f f f f {{ F 4 f f f F {{?## ‰F f # f Œ # a sense of stillness that is important {{?## Œ so keep it a touch lighter than the ﬁ rst beat of gambits composers call upon to draw 98 56• Pianist

12/09/2017 11:10 bar 1 (and the equivalent in the second half). us in and send us packing. for both you and your audience. P56 SCORES Bach-FINAL.indd 56 ese few seconds of repose will help It is the demisemiquavers and triplets, growing steadily in prominence Openers to bring about that magical moment during each half, which will guide your overall tempo to ensure e curtain raiser – bold, rousing, when silence becomes music. a consistent pulse throughout the piece. exuberant. Tchaikovsky’s Concerto No 1,

ADVANCED DON’T MISS Giovanni SGAMBATI (1841-1914) LUCY PARHAM ’S Sgambati Mélodie de Gluck [page 62]: TRACK 11 LESSON Mélodie de Gluck ON THISPAGE PIECE Grieg’s Concerto and Beethoven’s A magical ending 24 Playing tips: Chenyin Li, who plays this work exquisitely on the covermount CD, The editor of Pianist has been waiting to put this spellbinding piece in the magazine tells us that the hardest technical challenge for her was to catch the LH bass notes for many years. There is a historic recording by Rachmaninov, which is worth seeking with the pedal, especially in the wide chord stretches which need to be arpeggiated. out (on CD or YouTube) even if the pianist’s unsentimental style is presently out of Pedal tips: Ample pedal can be used, changing when the harmonies change. For a Sgambati’s transcription involves a fair amount fashion. In Jascha Heifetz’s playing of the violin-piano transcription can also be heard piece of this advanced nature, subtle pedalling will always be required, such as half- ‘Pathétique’ Sonata e same is true when executing a a noble and unmannered melodic restraint. There’s a more recent recording by pedalling and flutter pedalling. 3 Evgeny Kissin, who often plays it as an encore. The Mélodie is also available written Read Lucy Parham’s step-by-step lesson on this piece on page 24. out in three staves, but Lucy Parham prefers the two-stave option featured here.

Lento q = 50 4 5 of dividing notes between the hands. As Lucy molto espressivo 5 2 3 1 Œ 5 1 f f f™ e slow-burner – patiently unfolding delicate, poetic ending – but now in F 1 f f f f f f f f f f f f f #f f f f f f f 3 f 1 3 1 b f f 3 3 1 # 2 & 4 p 1 2 3 4 ∏

f ∏ f f ∏ œ Parham remarks in her ‘How to Play’ article on f f ∏ œ œ# œ œ f ∏ œ œ œ f f ∏ f ? ≈ and steadily building up to more reverse – and possibly even more f ∏ f f f f f f f f ? 3 & 2 Œ 4 f 1 { b 4 2 f

3 page 24, you may need to do a bit of judicious 5 f 5 5 4 f f drawn out. Play each nal note as f f f # emphatic music. Mendelsohn’s Andante j 3 f ‰ ® F 1 f f f f f f &b mf f reworking/’cheating’ of your own if you can’t f f f f f f f and Rondo Capriccioso and Grieg’s though it had been crafted out of f f f f f f f #f f f f f & f f f f f f f ? f 1 f f 3 f { b # 2 stretch a tenth (e.g. bar 3, RH). From these 3 4 f Wedding Day at Troldhaugen freshwater pearl; come o the keys 4 5 f f 3 f™ f f f F 1 # 5 # f # j f ‰ ®f f # œ# œ œ p &b p semiquavers is constructed the engine for 1 2 2 3 f ∏ f f ∏ f ∏ f ∏ f ∏ e wrong-footer – a subdued start sets up a few inches and just hover there, ∏ 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 # 1 5 2 {& #f œ 1 5 4 4 5 Œ 4 the entire piece – albeit an engine with the

our expectations, but almost immediately breathing and listening to the magical 1 f 4 5 f f 1 f f f™ 1 f # 7 f f f f f f f f f n # # ‰ f f f f n œ œ œ# n &b softest purr imaginable. Hear these gently moving 2

casts them aside. Chopin’s ‘Winter Wind’ silence that you made happen. If this ∏ 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 b f f f f f f f & f # {& #f 1 5 Œ 4 in your head ﬁ rst of all, set against the airy ﬂ ute

Etude and Beethoven’s ‘Appassionata’ is done well, your audience will hold 62• Pianist 98

12/09/2017 11:11 melody, so that the opening F sets a winningly e late-bloomer – slow to evolve, but all its breath and hardly dare to initiate P62 SCORES Gluck-FINAL.indd 62 the more exhilarating for doing so. the rst clap. Many adults struggle to prominent tone. I’d memorise (then practise in loops) the ﬁ rst four bars, Scriabin’s Second Sonata and master a poised conclusion yet I see turning back at the second beat. Then, at the end, a four-bar loop will Rachmaninov’s Prelude in D Op 23 No 4 children as young as six or seven achieve also work nicely – again, the subtlest handling of texture is key to e teaser – painfully aloof and hypnotic, this from time to time in their Prep Test, ‘selling’ and tapering off the tune down to its ﬁ nal note. yet hauntingly vivid from the outset. or at a festival, and I always make a Ravel’s ‘Le Gibet’ from Gaspard de la point of congratulating them straight Nuit and Rachmaninov’s ird Concerto away, for this is the stu magical music-making is made of. ese ideas are just to get you going Closers In terms of stage presence, gung-ho, as you think about how to give a e pin-drop – mysterious, enigmatic, blockbuster endings usually take care convincing beginning and end to each spine-tingling. Debussy’s Le cathédrale of themselves in terms of generating piece you play. I’d like to reiterate one engloutie thunderous applause. However, remain key point: never to start until you are e smash – bold, heroic and seated at the bench and sustain your ready. Precious moments spent settling uncompromising, leaving us breathless engagement with the music until it yourself can make or break a and ful lled. Proko ev’s Sixth Sonata is complete – add ve seconds on for performance. Another is never to leave and Beethoven’s Sonata Op 110 good measure. In the recording studio, your seat before your audience (if you’re e punchline – witty, capricious, tongue- producers remind pianists of the need lucky enough to have one) is ready. in-cheek. Litol ’s Scherzo (Concerto- to be silent for up to ten seconds before You’ll still have your work cut out to Symphonique No 4) and Debussy’s and after each take. At rst, this feels learn the pages of music in between Minstrels a little counterintuitive, especially with the opening and closing bars. But by e calm after the storm – conciliatory, triumphal or spectacular music, but it is devoting attention to how a piece starts profound and resolute. Rachmaninov’s a ne discipline for live playing, and can and nishes, you will have ensured that Prelude in C# minor really help to align the body and mind. the middle has a worthy context. ■

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P16 HTP Tanner-FINALish.indd 17 12/09/2017 13:15 play HOW TO Little bits fast HOW TO SPEED UP YOUR PIECES: 1 In the first of a two-part article on gaining speed,Graham Fitch says it’s not all about practising slowly in order to become a quicksilver player

ave you yearned to include faster pieces in your repertoire Pianist, teacher, writer and but are not sure how you can ever get them up to speed? adjudicator Graham Fitch gives I have noticed that some players suffer from a mental block masterclasses and workshops with fast pieces, feeling insecure about their ability to move on piano playing internationally. quickly enough. I would like to share some tried and tested He is also in high demand as techniques to address this problem. a private teacher in London. HOpinions are divided in the piano pedagogy world about the methods used Graham is a regular tutor at the to speed up playing. One teacher may insist on slow practice while another Summer School for Pianists in forbids it. Should we organise a fingering from the start and stick to it Walsall and a tutor for the Piano religiously, or allow a fingering to develop naturally as we learn the notes over Teachers’ Course EPTA (UK). time, not bothering to write anything much in our score? Some players love He writes a popular piano blog using the metronome; others can’t abide it and find that it doesn’t help them and has recently launched an at all. As in so many areas of life, personal differences need to be respected online piano academy. and accommodated. Our brains are all wired differently, and the way one www.practisingthepiano.com person learns will be different from the next. As you experiment with the ideas in this article, use those that help you and leave the rest. Why do it? We use slow practice when learning new pieces, concentrating Let’s look at slow practice first. Unless you are a very good reader, the chances on each note and every finger stroke as I described above, in a process where are that you will need to approach a quick piece slowly at first, at a speed where the brain moves faster than the fingers. Slow practice can be used to correct you can process all the information from the page in a way that is rhythmical and refine passages of more familiar pieces in your repertoire if they have and fluent. If you don’t go through this initial stage, you are hindered by stops become uneven or lack the technical control they once had. It’s also good for and pauses while you figure out what is supposed to be happening next. You are places that sound dull and mechanical – at a slow tempo you can concentrate suffering from ‘buffering’, your playing feels like a video clip that hasn’t fully on exaggerating the dynamics, hairpins and tonal balances. The technique will loaded. All might go well for a few bars and then there is a hiatus while the also enhance musical memory. If you can play ultra slowly from memory, you brainbox grinds into action. You need to get to the autopilot stage where can be certain you know every atom and molecule of the musical structure. everything happens automatically without the need for conscious thought There are some pianists and teachers, however, who do not believe in slow about which finger goes where; a state in which the playing simply flows. practice at all, especially in the early stages of learning a quick piece. If you I am reminded of the story of a celebrated pianist of yesteryear who was wish to practise by playing the piece up to speed from the very first stages of famous for his accuracy. A fan went backstage after a recital and asked his learning it, I would suggest that you try out the ‘little bits fast’ process hero why he never played any wrong notes. ‘It’s simple!’ came the retort: outlined below. This process develops the reflexes you use in performance ‘That’s because I never practise any!’ Practising at ‘the speed of no mistakes’ from the very start. Slow practice may be used at a certain stage after the is a great first-stage technique when learning any piece, especially a fast muscular reflexes have been formed and ingrained – but certainly not before. one – provided you know how the piece should sound at full tempo. It cannot be denied that there are serious drawbacks to slow practice Confining yourself to this sort of work for several days, resisting the for gaining speed. Relying on the technique to excess is likely to form temptation to end your practice session by trying it out fast, is an excellent different reflexes from those we are going to use when we play the piece at foundation for developing speed afterwards. If you are fully conscious and its proper tempo. Despite the enormous array of benefits offered by slow aware of every note you play before you play it – which finger you’re going practice, it is often overdone by pianists who resort to this method as a to use as well as its rhythmic value and dynamic level – then it ought to be panacea when they cannot think of other more creative ways to solve possible, in theory at least, to avoid errors completely. What you don’t ingrain technical problems. Every pianist must learn to think for themselves: when is you won’t retain, or reproduce in performance. the right time for slow practice? When will it be an impediment to learning? It may seem counterproductive to work at a fast piece slowly in the early Whichever method you settle upon, the best way to speed up a piece stages, but it has enormous value later on. If you’re serious about playing reliably and accurately in your practice is to use a process I call ‘little bits fast’. the piano, there’s no getting away from slow practice. It is a cornerstone It’s sometimes known as chaining. of our work from the beginner stages right through to the advanced level, and a practice tool also used by many professional pianists and seasoned Little bits fast virtuosos all the time. An analogy for fans of vinyl: listening to ‘little bits fast’ done properly may remind you of trying to find an exact spot in the middle of an LP track. You drop the needle down where you think the place is, lifting and replacing @ GET IN TOUCH the needle until you find the spot. What you are hearing each time is a tiny sound-bite. The benefit of building up speed using ‘little bits fast’ is that we Graham Fitch would like to hear from readers who are practising a performance from the very beginning – albeit tiny snippets have piano-playing questions, whether about a certain of one – rather than going through the motions mechanically. In this process we include every aspect of performance (the proper dynamic and expressive technique or a passage in a piece of music. Please write to range, musical feeling, character and energy, as well as tempo), but we play [email protected] just a short burst at a time. The segment may be only a few notes to start the editor at . with, before we add more notes to make whole bars and then phrases at full Due to the large number of requests, Graham may not be able to answer each one submitted. speed and with all the nuances. If we change the starting places, the stops we make will not become ingrained. Here is how the process might look:

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P18 HTP Graham-FINAL.indd 18 12/09/2017 11:01 WATCH GRAHAM’S ONLINE LESSON AT WWW.PIANISTMAGAZINE.COM

• Start with a small section – it might be a complete bar or just two or three Presto notes, depending on the situation. Don’t play anything until you have spent f f f. f f f a moment focussing your mind on the sound you’re after, then play the # f. f. f. f. section up to speed, just once – in one impulse, as one gesture. # 6 • You’ll want to do it again immediately: resist the temptation. First take time & 8 pp leggiero to evaluate your result as right or wrong, good or bad, comfortable or tight. f f f Be as speci c as possible. If you played a wrong note, which one was it? ?# 6 fj # . f. Where precisely did you go o the rails? If what you played was correct { 8 ‰ f ‰ & but was unrhythmical, felt awkward or tense, log this too. • Mentally rehearse the group of notes you just played, focussing on the For the next section, rather than going back to the beginning you might corrections or changes you want. Imagine yourself playing the snippet prefer to start from the middle of the bar (writing in extra ngering for this perfectly and hearing it inwardly. If notes and rhythm were correct but purpose so that you don’t accidentally practise a ngering you’re not going it felt sti , imagine playing it freely and loosely – with infectious rhythm. to use in performance). It is tempting to skip this step but the rewards of doing it are signi cant. f. f Liszt insisted that his students should ‘think ten times and play once’. f f. f. f f f. • Now replay your snippet. Focus your attention on reproducing the corrections # J # or improvements exactly as you imagined them in the previous step. & J • Aim for a few repetitions at full speed: remember to play with the intended f f f dynamics and full range of expression, as though you were performing. # # f..f f. Take the time to evaluate anew after each and every repetition. Your playing {& J should be interspersed with plenty of silences as you re ect and concentrate. When we practise using repetition, we are using our working memory. e working memory is where we hold information in our mind – and Once you’ve polished this to your full satisfaction, you are ready to work where we do something with that information. is is why it is important on the complete rst bar as a whole unit before moving on. is type of not to make repetitions mechanically, but always with some intention. practice is challenging because it takes an enormous amount of concentration. • en add another note or two (or more) and repeat the process over again. While developing the re exes for up-to-speed playing, it is tempting to revert You now have a longer sound-bite. to slow practising here and there because it feels safe and secure. Again, resist • Go on adding notes until you have a section within your grasp. the temptation! As you develop speed through fast practice, some minor • Establish a new starting point – the second bar, or wherever you have errors and blemishes are inevitable. However, you do not allow these slips reached – and create another sound bite from the new place, following to become ingrained, because you identify them during the evaluation after the same principles as before. See my video demonstration at each repetition, and on the next repetition you summon by force of will the www.pianistmagazine.com for how this works in practice. coordination and motor skills needed to iron out the wrinkles. is process might take a few days to complete, and any type of slow practice would be Here’s how ‘little bits fast’ might look with the start of the Rondo Capriccioso a serious impediment during this time. ereafter, you can do some Op 14 of Mendelssohn. occasional slow practice when you sense the need. Presto Another very di erent way of building up speed involves playing along with a metronome. Even though this is a very traditional and well-known f f f f f f # f. f. f. f. f f f f f method, I thought it ought to get a mention here. First, nd out what # f f. f. f f f f metronome setting ts the speed at which you can comfortably manage to 6 # f f # & 8 .. play your piece. After a few faultless repetitions, increase the speed by a pp leggiero certain increment of your choice (say 5 or 10 beats per minute) and repeat f f f ?# 6 fj # f..f f f f until you can manage it uently at that speed. Repeat this process, notching { 8 ‰ f ‰ & . f f f f up the metronome each time until you’re up to the speed you’re aiming for; . # f you can even go a bit beyond your eventual tempo if you want to build in a margin. Many famous pianists swear by this method and use it all the time. f Personally I nd it rather laborious and mechanical, but I recognise that f f. f. f. f. # f #. f f f f f f # it suits some people and it might very well work for you. & # J ‰ In my next article, I will look at two more ideas for speeding up your pieces, one very traditional and one rather exciting method that I have been developing. All will be revealed in the next issue! ■ # f f f f {& f f f f f # # f f # f . . f . . . . WATCH GRAHAM ONLINE e rst snippet could be just three quaver beats. I strongly suggest moving the LH quickly to the new position after the octave E even though we’re not going to play the semiquaver group in the LH yet.

Presto f f f # f. # 6 & 8 pp leggiero 6 fj {?# 8 ‰ f ‰ Don’t miss Graham’s video lessons, which you’ll ﬁ nd on the Pianist website, www.pianistmagazine.com. Graham demonstrates everything he discusses Once you’re completely happy with the rst snippet, add a few more notes. on these pages – and more. His lessons are presently ﬁ lmed at Steinway Hall, Focus on what you have to do before you play. London, on a Model D concert grand. There’s nothing like watching an expert.

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P18 HTP Graham-FINAL.indd 19 12/09/2017 11:01 DON’TMELANIE MISS BEGINNER/ TRACK 3 SPANSWICK’S Henri BERTINI (1798-1876) Andantino, No 8 from 25 Studies Op 137 INTERMEDIATE LESSONON THIS PIECE PAGE 20

Born in October 1798 in London, Bertini moved six months later with his family attention to all the markings of staccato, tenuto and to the slurs. The study begins back to Paris, where he became a thorough musician at a prodigiously young age piano and only reaches a resolute forte at bar 17, so make sure to keep things light. through the tuition of his father and his brother, who himself had studied with Observing the hairpins of crescendo and diminuendo will also give your playing shape. Muzio Clementi. In fact contemporaries compared Henri’s playing in favourable Bring out the LH at bar 32: it has a strong presence through to the end. terms to Clementi’s, but he became better known as a composer of educational piano Pedal tips: The odd dab of pedal here and there, as marked on the score. music such as this set of elementary studies. Another Beginner/Intermediate-level piece is printed on page 44 for reasons of layout. HOW TO Playing tips: Articulation is of the essence in this high-spirited Andantino: pay close Read Melanie Spanswick’s step-by-step lesson on this piece on page 20.

Andantino q = 104 5 4 3 3 4 1 f- f f 2 1 3 3 . f. f f. f fj 3 f . . f. f..f f. f. f & 4 Œ . . p f f f f f f f f f ? 3 ŒŒ ŒŒ ŒŒ # ŒŒ ŒŒ { 4 1 1 1 1 2 3 2 2 5 5 4 FULL SCORE ON PAGE 30

6 5 1 f f f. f. f f . . f f- f f. f f f f . . f . . . . & ŒŒŒ . mp f f f f f f f f f f ? ŒŒ # ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ { 1 3 5

12 4 f f. f f f 1  . f. f f . . f f. f...f fj f f. f . . . & . ŒŒŒ f f f f f play f f f f f F™ f ? # ŒŒ ŒŒ ŒŒ # ŒŒ ŒŒ # { 1 3 5

5 5 18 f 1 . f f 1 3 4 3 f 4 1 2 . . f f  f f f . . f. fj f. f. f f f f .. & . Œ Œ # dim.. F™ F™ F™ F™ f F™F™ F™ F™F™ F™ F™ f. ? # # ŒŒ { 1 2 1 2 4 5 5

30• Pianist 98 BERTINI P30 SCORES Bertini-FINAL.indd 30 12/09/2017 11:02 Etude Op 137 No 8 It’s all in the wrist: staccato technique is key to developing the necessary space and style in this early-Romantic study, says Melanie Spanswick Beginner/Intermediate Ability rating Melanie Spanswick is a pianist, author and music educator. Info Will improve your She selected the repertoire for The Faber Music Piano Anthology, Key: A minor 3 Staccato playing and is the author of a new two-book piano course, Play It Again: Tempo: Andantino 3 Sense of rhythm PIANO (Schott Music) intended for those returning to piano Style: Early Romantic 3 Chord playing 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 An etude is a study; an exercise USA and the Far East, and runs a bilingual piano project in designed to hone a pianist’s technique. Germany. She is a tutor at Jackdaws Music Education Trust and This early-Romantic example was written curator of the Classical Conversations series on YouTube, where by the French composer Henri Bertini she interviews pianists on camera. www.melaniespanswick.com (1798-1876), who began his career as a child prodigy and once gave a concert with Franz Liszt. Combining quick movement arm are relaxed and loose, but keep the There aretenuto markings to be around the keyboard with a beautiful, fingers firm (try playing on the finger observed within the melody line. wistful melody, Bertini’s etude is perfect pads instead of the tips). Take the notes Tenuto means leaning into a note; holding for students who are working to develop down into the keys at precisely the onto it for slightly longer. You can find staccato articulation and chordal prowess. same moment, negotiating the key bed it on the third beat of the bar at the (the ‘biting point’ of the sound) with beginning of the phrase in bars 1, 9 and The etude is cast in a ternary A-B-A a downward movement in the wrist. 25, for example. Take the 5th finger form with a brief concluding coda. The hand should stay balanced yet (on the A) down deeply into the key bed The given metronome mark is crotchet relaxed; make sure the weaker 4th and placing it exactly on the third beat. equals 104 beats per minute. However, and 5th fingers are well supported, Using a richer tone, contrasted with the the Andantino tempo marking and the otherwise they will lag behind when staccato articulation, will bring greater prevailing sentimental character may playing the lower notes of each chord, poignancy to the melody. suggest a steadier pace. and won’t sound at the same moment. We’ll look at each hand in turn, Crotchet chords such as those in the Learning Tip working at them separately. The LH first 16 bars can be played non legato. Keep your use of the sustaining consists mainly of chords, both whole- Once the notes have been played, roll the pedal to an absolute minimum; bar dotted minims and shorter crotchet hand and wrist swiftly upwards, releasing only add it at the places marked beats. Bars 1-16 are repeated (bars 9-16 the notes fairly quickly and cleanly – but in the score. are an exact repeat of bars 1-8), and the not too quickly, as these chords are not two- or three-note chords here move at staccato. Longer chords (such as the a steady pace, needing firm fingering dotted minims in bars 17-22) must be Acciaccaturas can be played quickly, but (some of which has been written into the held until the end of the bar with a must still be audible as separate notes. score) and quick physical preparation. nimble, prompt movement from one Work at these accents in bars 5, 13, chord to the next, carefully matching the 20 and 29 with lots of slow practice To learn how to play chords with ease, sound. Use dynamic shading to create and a deep finger touch, lightening begin by laying your fingers over the the illusion of legato between chords. the touch when playing up to speed. keys. For the first beat of bar 2, keep Join each one to the next, so that there This should ensure clarity and crispness. the hand and fingers over the B, F and are as few gaps in the sound as possible. Legato phrases such as bars 37-40 can D crotchet in order to locate the shape then be played with greater weight in of the chord, resting the fingers on the Staccato is a feature of the RH part. order to provide contrast, smoothly keys before they are depressed. If you Having learnt the note patterns using the joining every note, evenly transferring can do this for every chord in the piece, suggested fingering, practise wrist staccato the weight from each finger and carefully you will be in position and ready to play by imagining that the keys are burning shading notes as marked. ahead of the rhythmical beat, accurately hot to the touch. Depress each note and and with a solid tone. Once the chord after it has sounded, rapidly bounce off When practising hands together, focus has been sounded, move immediately to the key rolling the wrist and hand on the rhythm. Any rushing or pushing the next position for the following chord, upwards, using a flexible loose wrist of the pulse will detract from the stately so this is also prepared for in advance. motion. It can help to use the tips of the quality. Set a slow metronome beat and fingers, but as the pace is reasonably slow, place each beat firmly on the tick, Assimilate the note patterns and wrist staccato is the most ideal method. gradually increasing the speed. When positions systematically. This will help Aim to keep the hand hovering over the playing staccato, there can be a tendency to ensure that each chord sounds in notes and close to the keys, especially to swallow the beats due to the spaces unison, without any note ‘splits’ in which while playing passages such as bars 6-8, between the notes after they have been one note sounds after the others. To do where sudden, larger melodic intervals played, but it is exactly this sense of space this, rest your fingers over the notes of require more weight and support for the that will convey the sense of an

20• Pianist 98

P20 HTP Melanie-FINALish.indd 20 12/09/2017 13:19 it’s a piano thing

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p21_pianist98.indd 21 14/09/2017 10:05 DON’T MISS Wolfgang Amadeus MOZART (1756-1791) TRACK 4 JANET NEWMAN’S INTERMEDIATE LESSONON THIS PIECE Andante from Sonata in G K283 PAGE 22

The first five of Mozart’s piano sonatas were probably written quite close together, rhythms are spot on, such as in bar 5. Notice how bar 10 is an embellished repeat of before the composer left Salzburg for Munich in December 1774. He later referred bar 9: this movement is full of such intricacies. The development starts at bar 15 to them as his ‘difficult’ sonatas; reflecting, perhaps, how their relatively modest where you can see the theme passing its way through different keys. The technical challenges conceal their depth of expression. recapitulation begins at bar 24, and so the second subject at bar 32 is now in the Andante e = 88 3232 Playing tips: This elegant, sonata-form Andante in the key of C should4 be handled 3 tonic key of C. Take your time;4 there’s much to master, but much to enjoy. 4 with care. Study the phrasing3 and 2 melodic 3 line carefully. 2 It’s1 all aboutf the melody,f Pedal tips: Discretion is your watchword.f f Remember that Mozart was writing for the Andante e = 88 . f f f 3232M which is supported by a fcalm, steadyf LHf accompaniment.f f Make 4sure the 3dotted much lighter touch of a fortepiano,4 so heavy sostenutof f is quite out of place. f .... 4 f f f f f cAndante3 2 e 3= 88 2 1 f f f f 3232 & 4 3. f 4 f f M HOW TO f f f f f1 f4 f f 3.... 2 3 2 f f f Andantep e = 88 f f f f f f f 3232M f c f f f f 4 3. 4 f f & f f f4 f f Mf f f c legato3.... 2 3 2 1 f f f f f f f f f f f & pf f f f . f f f f ff™ M f ....f f f f f f f f f f f ? f f f f f Mf f f f & c plegatof f f f f f f f f Ó f f f f f {& f 1 3 f f f f 5 2f 5f 1f™ 2 1 2 3 1212M 3Jf 2 1 f legato3 f 3 ? f f f f f f p f f f f f f f f f f f 4 f f f™Ó5 f f 5 c f5 f fŒ f f2 f 4 f f M f {& f 1 3 4 f2 f f f 5 2 5 1f 2 f1 2 3 1212 3J 2 f1 legato ? f f f f 3 f f f f f f f f 4 f f5 f 3 f f Ó f f c f f f f f f 4 f f f™5 f5 {& f5 1 3 2 f f f f 5 2 5 1 2 1 2 3 1212 3J 2 1 Œ 4 f f f f 4 f f 2 f f3 f 3 f f ? 3 f f 3 41 4 5 4 4 Ó5 5 3 c f5 f f f f2 2 f 1 2 5 4 3 {& f 1 3 1 Œ 4 3 3 f2 f4 f f 5 2 5 1 2 21 2 3 31212 3J 2 3 1 4 3 2 3 4 f 1 3 2 2 3 f f f f4 53 f™ 5f ™ ™5 f 1 4 4 4 f f f f f 5f f . 2 2 3 f f 41 2 fj 4 . f f . 3 f1 Œ 4 3 3 2 f f 5 3 2≈ 3. ≈ 3 .... 4 53 1 f 2 2. 4 3 2 3 41 4 f f4 f ‰ f™ ™ ™ f f f f2 f3 1 f2 f 4 f f f 3& f f f f 1 4 3. 3 f f f5 j 3 2. f 3 f 3. 4 3 2 3 f f f1 2 ≈ . 2 ≈ .... f f f f 1 3 4 f f™ f ™ . ™ 3 4 f f 3 f . f2 f 1 2 f5 ‰ f 4 3 f pf f & f f f f f1 4 3 3 f f f f fj 2. ≈ 3. f ≈ 3. FULL SCORE ON PAGE 32 4.... 3 2 3 f f 1 legato2 2. 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 f f f f f fj . ≈ pf. f ≈ . ....f f f f f f f f f f f legatof f f f f f . f f ? &? f f f f f f f f f ‰ & f f f p f { f3 f f f2 f f f f f f1 f4 f1 f1 f2 1 f f 1 2 f 1 f 2 f f f f 2 f f f3 f 4 f f f2 4 5 f f 5 4legato 3 4 3 4 ? ? f5 f5 4 f f f f5 5 5 f f f 5 f f f fp f f f f f5 f f f f f 4 f f5 f f f f f f f ‰ & f f f f { 3 f f2 f 1 4 1 f1 f2 1 flegato1 2 f 1 f 2 f f f f f4 f f5 f 2 f 3 3 ? ? 5 3 4 f2 f4 f5 5 5 5 4 f f f f 4 f f f 4 f f f f5 5 f f f f f f f f f f f f ‰ & f 5 f f f { f3 f 2 4 5 1 4 1 1 2 1 f 1 2 f 1 f 2 f f3 f4 f f f5 2 5f 4 3 4 3 4 ? ? 5 4 f2 f4 32 5 5 5 f f 5 f f f f f f 6 5 53 4 f5 ‰ & 4 f f f f { 23 2 2 1 31 2 4 1 1 2 1 2 f 1 2 f11 f 2 f ™ ™ f 2 4 3 f4 . 2 4 5 5 4 32 4 3 1 4 5 5 f 5. 4 32Ÿ 5 5 5 5 f f 6 f. ≈ #. 3 ≈ 4f 5 f f f f f4 f f f f # 2 ™ 2 ™ f 1 3 2. f2 f f1 f f 4 f . 32 ‰ f2 1 6& f ≈ f. 3. ≈ f Ÿ 4 f f f 2. ™ # 2 ™ f f f1f 3Jf 2 2 f f 1 # f f # 4 f f . 32 . f f f f2 f f 1 f 6 f ≈ . 3. ≈ f Ÿ f ‰ f 4 dim. f f & 2. ™ # 2 ™ f f f1 3f 2 2 f f 1 # f f # 4 f ff f f . f f J. f f f f f f2 f f 1 f f & f ≈f . f. ≈f f f Ÿ f f ‰ f f f dim.f f f f f f f . # f f Jf. 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 dim.f f f f f f f f { 3 4 3f 5 2 3f 4 2 f1 f 2 1 2 1 # 2 4 f f f f f f J f f f5 f4 f f f f f ? f f f f f f #f f f f f f dim.f f f f f f { 3f 4 3f 5 2 3f 4f 2 1 f f f 2 1 f2f 1 2 4 f f 4 f f f f ? f f f f f f #f f f 5 f f f f f f f f { 3 4 3 5 5 2 3 4 2 1 f f 2 1 2 1 2 4 3 4 3 f f5 4 ? 1 # 2 8 f 4 3 2 { 13 4f f 3 5f 2 3 4 2 1 1 2 1 2 1 3 2 2 4 f f f 4 f f 5 3 f4 f3 5 f f f 3 2 1 2 f™ f . f f f 8 f f # # 4 . . f f3 2 1 f f f f 5 f3 f4 f3 1 3 2 f f f f1 f2 ‰ f f f ® ® 3f 2 ≈ 8& f f J f™ f 4 . f f f 3 2 play 1 f f f 5 f3 f4 3 1 . . 3 f2 # f #f # f f 3 2 f f1 f2 f f f f f 8 pf f f J ‰ ff™ f 4 . f f f ® 3 2 ® ≈ & 1 f f f f f f # 1 # . . 3 f2 f f # f f f f f f f f ‰f f f f f f f f f f ® f f ® f3f f 2 f≈ & f f f p f f J f ff™ f f . f. f. f f f ? # f f f # #f n f f # f f f f f f f#f f & f f pf f f f f J f ‰f f f f f f ® f ® f f ≈ { 1f 4 f 1f 3 2 4 1 2 3# 5 1 n f5 f 4 # f f f f f f f f f f f f f f f f ? f #f f f pf f f f # n f f ff f f f f f { 1 4 1 3 2 4 f1 2f 3 5f 1 5 f f f f 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 { 1 4 1 3 2 4 1 2 3# 5 1 n 5 4 ? # 1 3 5 5 4 10 2 3 1 3 2 5 3 2 3 3 { 1 4 1 3 2 4 1 24 2 3 3 53 12 1 1 52 1 4 2 2 f f f f f f f f f f f f f™ f 1 3 5 f f f f f f 5 4 3 f 10 # 2 3 1 f . f f f3 2 5 3 n 2 3 # 1 f f 4 2 3 3 2 1 f f1 f2 f1 # 2 f 2 f f1 3 5 f2 f ≈ f f f 5 f4 f3 10& f™ f 3 f1 f f f 3 2 5 3 J2 f f3 f 1 # f f 4 f2 3. 3 f2 f1. f f 1 # 2 1 n 2 f # 2 f f1 3 5 f f f f f f f f # 5 f4 f 10 pf™ f 2 3 f1 f f f 3 2 ≈ 5 3 2 f f3 p 3 f & 1 # f 4 f2 3. 3 f2 f1. f 1 # 2 f1 nJ 2 # 2 ™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 & pf # f f f f. f f f. f # nJ f p # ? 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 fJ f p f { f5 f 4 . # f f f f ? f f f f f f f f f f f f f f f f 4 f f f f pf f f f & f5 f f f p f { 5 f f f f 4 f f f f f f f f ? f f f f f f f f f f f f 32• Pianist 98 4 f f f f & 5 f f f f { 5 4 f f f f ? f f f f 4 f f f f & 5 f f f f { 5 4 f f f f 4 5 MOZART P32 SCORES Mozart-FINAL.indd 32 12/09/2017 11:04 Andante from Sonata in G K283 Mastering Mozart is a challenge for a lifetime, says Janet Newman, but don’t despair: a singing approach and elegant ornamentation will help you on your way

Intermediate Ability rating here: resist using only the one finger as rather than the upper starting note as is Info Will improve your this will produce a lifeless sound without more often suggested in Classical playing. Key: C major 3 Detail in articulation direction; it really does make a difference! In bar 9, there is a further opportunity Tempo: Andante 3 Singing line to practise the strong/weak phrasing of Style: Classical 3 Understanding of dynamics A ‘feminine’ ending is key to articulating two-note slurs; think of them falling the slurred leap from B to F in the away expressively and almost with opening bar of the theme. Lean slightly reluctance. I have said very little about The G major Sonata is one of Mozart’s on the first quaver and gently release the the LH, but pay attention to the balance earliest surviving works for the piano. second. For comparison, think of any at all times. By practising the part He wrote down a set of six sonatas in two-syllable word where the stress falls separately, you will begin to appreciate the first months of 1775, while visiting on the first. If you relax your hand into and to master the subtle inflections Munich for the first production of his the keys on the first note and then release within it. opera La finta giardiniera. Even for upwards on the second, this will help you Mozart, such industry is unprecedented: achieve the articulation. However, you it may well be that the teenage composer need to understand the importance of Learning Tip was drawing upon earlier drafts or keeping the wrist and arm free while A tempo of quaver = 88 combines recollected improvisations. K283 may retaining strength and steeliness within spaciousness with momentum be counted the most elegant – perhaps the fingertips. This is difficult to explain in an article: now is the time to find a Pedalling in Classical-era music has teacher who can make it clear in person! to be clear, precise and uncluttered. Ornamentation is what it says it The sustaining pedal should only be A cantabile (singing) approach is key used in a very subtle and sparing way. is: an embellishment to the line, to Mozart. So often his melodies have a The technique of finger pedalling holds vocal contour, even when not written for the notes over slightly, which allows you not the main draw singers. Scales in Mozart are never just to blur the harmonies together (usually scales, and the melodic line in this Andante in the LH) while still allowing the the most old-fashioned – of the set, is a case in point. The scale has an inner melody to sing out cleanly. This will help recalling in style both the harpsichord direction that brings a sense of expansion you to achieve the effect of pedalling sonatas Mozart had composed as a child, and expression out of all proportion to without affecting the clarity of the line. and the music of Johann Christian Bach its humble origins. Listen carefully as you which he had admired ever since his first play the descending scale in semiquavers A troubling shadow is cast by the visit to London at the age of six. in bar 2: make sure that you don’t accent harmony in bar 15. This central section the first note – easily done as it follows a brings contrast to what has until now The Sonata’s Andante in C has an longer note (the E) – and let it flow with been a piece characterised by light and artless simplicity about it. The RH a graded tone quality through to the next sunshine. The diminished 7th leads into melody at the outset is based on repeated group of repeated notes in bar 3. D minor, which Mozart used for some notes and a downward scale, separated of his darkest music: think of K466, by the leap of a 5th and accompanied Graceful ornamentation is another arguably one of the greatest piano by a typical Alberti bass in the LH. quality of fine Mozart playing. Try not concertos of all, or Don Giovanni. However, don’t be fooled by this to let the mordent in bar 2 (and elsewhere) It doesn’t last long, but there is a definite apparently straightforward material. interrupt the rhythmic flow: incorporate it chill in the air and this needs to be Mozart is very difficult to play well within the shape of the phrase as a whole. explored. Let’s also consider dynamics: due to the exacting nature of the details. If you have a problem getting this correctly unlike Beethoven a few years later, There is so much about interpreting in time, first play the phrase without the Mozart does not mark extremes. A forte Classical-era music that simply has to ornament so that the rhythm is crystal- needs to be considered within a Classical be right, and the contrast of what clear and then add it in once the structure context, as encouraging a warmer and appears to be simple versus this is under your fingers. Ornamentation more expressive statement rather than demanding precision is what makes is what it says it is: an embellishment mere volume. this music so hard. But there are many to the line, not the main draw. great musicians who believe that one The movement’s principal theme returns may learn more about both pianism Bar 5 brings a new idea. This is a dotted in bar 24. Mozart adds small variations and musical discipline from Mozart Janet Newman is Head motif, but graced with elegance. The to the established melodic line which than from any other composer. of Keyboard at the Royal demisemiquaver in the RH should be retains the freshness and creativity within Grammar School in placed precisely between the fourth and the music. There is nothing extraneous, Let’s look at the repeated C in the RH. Guildford. In addition to first semiquavers in the LH groups but nothing superfluous in this music, and Think of the notes as lightly detached her teaching, she is in without any urgency, and the staccato yet it has an improvisatory quality. and tenuto rather than completely demand as a freelance notes need to breathe – don’t peck at Alfred Brendel said that Mozart was one staccato: you could imagine them played pianist and is an examiner them. As the RH trill in bar 6 is placed of the most sensuous of all composers by a violin in order to achieve the right for the ABRSM. within a two-note slur, convention has it and this Andante, with its simplicity length of note. The fingering should help that it can begin from the note (i.e. the C) of line, perfectly illustrates his point. ■

22• Pianist 98

P22 HTP Janet-FINALish.indd 22 12/09/2017 13:21 Help Musicians UK supported our family when my husband, a professional singer, was left paralysed. Now he is back home where he belongs for which we will always be grateful.

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Help Musicians UK - Beethoven FP.indd 1 11/01/2016 16:36:31 p23_pianist98.indd 23 14/09/2017 10:06 play HOW TO SGAMBATI Mélodie de Gluck The Dance of the Blessed Spirits: one of the loveliest melodies in all music? Lucy Parham helps you pick your way through the tricky accompaniment and advises you to think like a flautist

Ability rating Advanced Sgambati’s arrangement of the of bar 5, the D and the F are split between Info Will improve your accompaniment is tricky, even the RH and the LH – but on the third Key: D minor 3 Voicing of melody unpianistic at times. For this reason, semiquaver the same notes are both taken Tempo: Lento 3 Sense of phrasing I think it is crucial to master not only the by the LH. You have a choice: play it as Style: Late Romantic 3 Subtle use of dynamics LH alone but the whole accompaniment. written, or keep the voice entirely in the It is also important that you observe the LH. This figuration recurs throughout slurs throughout. They are stylistic slurs the piece and you should bear your own Giovanni Sgambati (1841-1914) and cannot be compromised. hand comfort in mind. Personally, was an Italian pianist and composer. I would play it all in the LH because He became a pupil and protégé of Liszt Ample pedalling should be used. I like to keep the pattern constant. in his twenties. It was Liszt who Sometimes you might employ the pedal However, there are always exceptions introduced Sgambati to the pianist- throughout a bar, or at least when the and everyone’s hands are different: see composer Anton Rubinstein, who in harmony changes. It is important to keep Graham Fitch’s article in Pianist 97 on 1876 engineerd an encounter with none the bass note in the pedal, depressing the finding fingerings that work for you. other than Richard Wagner. By then pedal again when the harmony requires. Sgambati had become renowned as a The tempo may be slow, but this is still pianist but he was unwilling to uproot a dance which should stay gracefully on Learning Tip himself from his native Rome; after their Lucy Parham performs its feet, moving with a sense of direction. Learn the accompaniment alone encounter, however, Wagner was Elégie – Rachmaninoff; Avoid a heavy accent on the first beat of and sing the top line. sufficiently impressed by Sgambati A Heart in Exile at the the bar, and phrase over the bar-lines. to recommend publication of his two Rose Theatre, Kingston The bass bB on the third beat of bar 5 piano quintets to Schott. on 15 October with Sink into the first note of the RH. should have real weight and depth. narrator Henry Goodman. Draw out the sound of the piano with Make the progression clear between this Most of Sgambati’s own music is now She performs Nocturne your whole forearm in order to create a note and the A in the bass at the start of forgotten. Despite a body of fluently – The Romantic Life of flowing cantabile sound. This first note bar 6. The spread LH chords on the final crafted chamber music and a Requiem Frédéric Chopin at the needs a certain amount of weight so that beats of bars 5 and 7 need to be gently which was often used at Italian royal Dorset Arts Centre it does not die out too early. Note the marked. They are quite tricky, technically funerals, he is best remembered for (Harriet Walter/Guy Paul) molto espressivo marking here and balance speaking, so take your time. this transcription of the ‘Dance of the on 22 October, at the the LH accordingly. Accommodate the Blessed Spirits’. This was composed in Canterbury Festival RH grace notes (beat 3, bar 1) gracefully There is a long and beautiful scale in 1773-4 by Christoph Willibald von (Harriet Walter/Henry within the phrase, without grabbing at the RH of bar 8. This is hardly the kind Gluck as a ballet-intermezzo for the Goodman) on 27 Oct and them. Try giving a little swell to the alto of scale you would play in your warm- Parisian version of his opera on the again at St John’s Smith and tenor semiquavers on the first beat up: it carries deep melodic weight and Classical myth of Orpheus and Euridice. Square on 29 October of bar 2 where they form a duet. Bar 3 meaning. It should grow steadily through The original scoring of the dance is for (Patricia Hodge/Alex should project a little more, with a a crescendo: start quietly (with even less flute and strings, cast in the Baroque Jennings). She performs yearning appoggiatura on Bb to A. Take tone than your instinct may tell you) and form of a minuet. It accompanies a Nocturne at the Yvonne care not to snatch the demisemiquavers then move through the scale, opening scene-change from the darkness of Arnaud Theatre, Guildford, at the end of bar 4: give them time and out for the top F at the start of bar 9. Hades, where Orpheus has gone in on 26 November (Patricia space to breathe as a flautist would. However, the dynamic marking here search of his departed wife, to the Hodge/Alex Jennings). is only mf: resist the temptation to Elysian Fields. What Sgambati (and Further details at Now comes one of the main challenges play out with a healthy forte sound. others after him including Alexander www.lucyparham.com in the piece. On the second semiquaver Dynamic pacing is crucial in a short Siloti) arranged is the D minor central piece such as this one. You can allow section of the dance, which was yourself a little space in the E and D originally placed between the much RH semiquavers in bar 9 in order to more sunny outer sections of the minuet, bring out their melodic character. written in the pastoral key of F major. The Mélodie also tests your skill at It would be as well to bear this context matching tone between notes. On the in mind when playing the Mélodie. second beat of bar 10 it is important to As pianists, our aim is to evoke the match the RH A to the preceding Bb smooth, vocal cantabile of the flute and with a seamless slur. Change the pedal the sublime melancholy of the melody. on the second beat of this bar to make At the same time, the accompaniment a clean harmonic shift. Lean into the should be clearly articulated and carefully appoggiaturas in the RH of bar 11 for balanced against the melody. This is a a full expression of the melody’s pathos, technical challenge we often encounter as but tail the phrase off elegantly and ease pianists, especially in Romantic into bar 12. The semiquaver figuration at repertoire. Think of a Chopin nocturne the end of bar 12 returns at the end of

24• Pianist 98

P24 HTP Lucy-FINALish.indd 24 15/09/2017 09:10 DON’T MISS TRACK 11 LUCY PARHAM ’S Giovanni SGAMBATI (1841-1914) ADVANCED LESSONON THIS PIECE PAGE Mélodie de Gluck 24

The editor of Pianist has been waiting to put this spellbinding piece in the magazine Playing tips: Chenyin Li, who plays this work exquisitely on the covermount CD, for many years. There is a historic recording by Rachmaninov, which is worth seeking tells us that the hardest technical challenge for her was to catch the LH bass notes out (on CD or YouTube) even if the pianist’s unsentimental style is presently out of with the pedal, especially in the wide chord stretches which need to be arpeggiated. fashion. In Jascha Heifetz’s playing of the violin-piano transcription can also be heard Pedal tips: Ample pedal can be used, changing when the harmonies change. For a a noble and unmannered melodic restraint. There’s a more recent recording by piece of this advanced nature, subtle pedalling will always be required, such as half- Evgeny Kissin, who often plays it as an encore. The Mélodie is also available written pedalling and flutter pedalling. out in three staves, but Lucy Parham prefers the two-stave option featured here. Read Lucy Parham’s step-by-step lesson on this piece on page 24.

Lento q = 50

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62• Pianist 98

P62 SCORES Gluck-FINAL.indd 62 12/09/2017 11:11

dynamic range in your technical and long phrase, rather than separate bars. expressive armoury at the keyboard, In bar 27 you may choose to pop the in order to make the second one second, sixth and tenth semiquavers more persuasive and more projected. into the RH. As I wrote earlier, there A subtle diminuendo in bar 15 should are many examples in the piece where lead smoothly into the next phrase it is possible to distribute the notes in at bar 16. is RH F should ring out whatever way feels most comfortable with a beautiful cantabile, even for your hands. within a piano dynamic, so use your whole forearm weight and sink into it. e trill-like ornamental guration You could try using the side of the 5th returns three times in bars 28-30. nger rather than the tip. is It is important to do something technique, accompanied by a slower, di erent with each one (the una corda more drawn-out movement, will lend pedal marking should also come into a richer singing tone to your playing. play). You could make a diminuendo through them; or play the second or e RH melody soars in bar 17. third repetition as an echo; or follow At the same time, however, note the the suggestion in Josef Lhévinne’s subito piano in the LH – and then the edition to make a crescendo through RH echo (p) at the end of bar 17 into them and reach a natural harmonic bar 18. And it is here, at bar 18, that climax at the beginning of bar 31. the LH begins to dominate. is part Experiment to nd an expressive serves to bring the crescendo which solution that you like – but whatever the ute would accomplish by itself. you do, don’t play them all in the Grow through these LH chords, same dynamic range!

Take care not to snatch at the notes: given them time and space to breathe as a flautist would when playing Gluck’s original minuet

especially the descending bass line In bar 33 note the molto espressivo itself. Another RH echo follows in marking. Achieving this is di cult bars 19-20. Note the pedal change within a pianissimo context. Bend the on the third beat of every bar in this ngertips and grip the key for extra section. e LH crotchet leans into control. Overlapping your ngers in the rst beat of the next bar and it is a smooth legato to sustain a cantabile important to ensure that the harmony tone is particularly important in this is always clean. passage: imagine the sound of a ute being played from afar. e ornamental RH guration in bars 12-13 returns in bar 20. On this As the melody tails o in bar 35, occasion, however, it is repeated three the dance enters to a serene coda. times, not twice. Bar 22 brings the Begin a ritardando here which should climax of the phrase, so pace it with carry gradually through to the last care. Bar 23 is forte but also dolce. chord. In bars 36 and 37 note the e semiquaver phrase in bar 24 is LH descending D minor triad (F, D, written as a duet, with the lower A, F semiquavers, then A crotchet, parts dovetailing like two violins. F crotchet, D minim) and mark Yet, through this duet, you need to these notes gently as an inner melody. make a diminuendo, shadowing the Hold the last chord and lift the pedal melody in the previous bar like an echo. and hands without any bumps to bring the blessed spirits to rest and Bar 25 brings a feeling of resigned keep your audience rapt in the peace. Aim to make bars 25-26 one Elysian Fields. ■

24• Pianist 98

P24 HTP Lucy-FINALish.indd 25 15/09/2017 15:19

COMPOSING2018 COMPETITION ENTER AND WIN A KAWAI DIGITAL PIANO WORTH £2,000 Plus! The winning piece will appear inside our Scores and on our CD! Now’s your chance to be creative at the piano! Compose your own piece of music in any style you like – whether it be Classical, Romantic, modern, jazzy, boogie-woogie, Traditional or other. Make it simple or make it challenging – the choice is yours. All we ask is that it’s an original. Eligibility We welcome entries from anywhere in the world. There are no restrictions of age, nationality or profession. However, you are ineligible if you derive income from composing. Style and length of piece Your entry can be in any style you like, and for any level (easy, intermediate, advanced). It must be an original work for solo piano, and the length should not exceed 64 bars. Entries must be submitted online as a digital PDF or a legible scan of a handwritten manuscript.

Judges The entries will be judged by a panel of experts, including Pianist editor Erica Worth, Theory educator and Pianist contributor Nigel Scaife, composer John Kember and Matt Ash from Kawai. The Prize The winner will receive a Kawai Concert Artist digital piano, worth £2,000. Features include real wooden keys, a graded hammer action and HI-XL samples of Kawai concert grands. The winning entry will also be published in the Scores section of a future issue of Pianist. Our in-house pianist Chenyin Li will record the composition for the covermount CD. The winner will be interviewed by Pianist editor Erica Worth.

Deadline for entries Entries to be received online no later than Friday 3 November 2017. There is an administration fee of £20 per entry. The winner will be notified by 22 January. The judges’ decision is final. One entry per person. Any queries, please contact the editor at [email protected] or phone +44 (0)20 7266 0760.

Note: For a non-UK winner the piano will be forwarded to an international shipping company (to be notified by the winner), and all arrangements and costs thereafter will be between the winner and the shipping company. ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM

P26 Comp comp.indd 84 15/09/2017 10:14 Pianist 98 October-November 2017

TRACK 3 DON’T MISS TRACK 12 TRACK 8 JANET NEWMAN’S Wolfgang Amadeus MOZART (1756-1791) SAINT-SAËNS arr. SILOTI (1863-1945) LESSONON THIS PIECE Fanny MENDELSSOHN (1805-1847) PAGE Minuet and Trio in G K1e & f 26 The five-year-old Mozart had made his first public appearance as a performer in Melodie Op 4 No 2 Pupil of Tchaikovsky, cousin of Rachmaninov, Alexander Siloti was prominentThe Swan September 1761 before writing this minuet the same December, doubtless under The Editor of Pianist suggested Fanny Mendelssohn’s music to our house pianist, among the ‘Silver Age’ of Russian musicians at the turn of the last century, as a Pianist suggested FannyBEGINNER/ Mendelssohn’s music to our house pianist, the tutelage of his father Leopold. Chenyin Li, who asked to record this piece as she felt it was the most poignant and teacher, arranger and performer; he partnered Rachmaninov in the Second Piano ADVANCED interesting to learn. This Melodie liesINTERMEDIATE at the less challenging end of the composer’s INTERMEDIATE Playing tips: The character is graceful and stately: it’s a minuet, so imagine dancers Concerto on separate occasions as both soloist and conductor! His transcriptions of at the court in Mozart’s time. The notes look simple enough to learn, but there are ‘down/up’ motion with the slurs extensive(in bar 2 andwriting throughout); for the instrument, lift the relevant which hand includes a stormy Allegro molto every Bach and other composers are surprisingly delicate compared with his contemporaries Playing tips: When our editor first heard a performance of this Siloti arrangement when there’s a rest, and take care tobit play as virtuosic notes in as both her handsbrother’s simultaneously more famous when Allegro brillante. Don’t let any initial apprehension put you off. First get to grips with the three-partAdagio she was transfixed and immediately determined to include it within the Scores plenty of technical and expressive details to take into account. Pay attention to the texture of the piece: a top-line RH melody, a middle-partand reflectsemiquaver his fastidious accompaniment perfectionism: nothing is left to chance. there are three even crotchets in a bar.Playing Tricky tips moments: When listening to work toon this out piece of context played beautifully by Chenyin on the q = 72 section of Pianist. Here, at long last, it is. The melody should feel like it’s gliding by, : When listening to this piece played beautifully by Chenyin on the include bars 7-8 in the RH, where youcovermount should get CD, used it allto thesounds triplet so simple.timing, Lookfollowed Allegroat the score, brillante and it mightAllegro create molto panic! and regular crotchets in the bass. Once you understand this, the learningAdagio process just as a swan would swim across a lake. . will become a lot clearer, as you will find out when you read Janet Newman’s helpful by the trill. You may also need to work on the semiquaver runs in the Trio (they are # Adagio q = 72 Pedal tips: See pedal markings on the score. Allegretto lesson, which addresses each part of the texture separately. 6 qf = 72 q = 126 easy enough to find). Don’t rush through them in panic! & 4 72f Read Lucy Parham’s step-by-step lesson on this piece on page 24. q = 126 Pedal tips: See the legato pedalling markings on the score. # f f f q = 126 AllegrettoAlle f 1 gre 4 Read Janet Newman’s step-by-step lesson on this piece on page 26. 6 f f f f 5 3tto 5 3 &# 5 2 4 46 f f f f # # 1 2 ppf f f f f f q = 126f5 4 & 4 f f f 1 # # 6 1 j f3 fj 1 3 4 5 f f f f f f f f f # f 1 & f 2 f5 3 3 4 f f # 3 f 1 # # f 1 2 f f f f # 5 2 8 f f pp f f f f f f f f & 3 f f f 2 5 # f f 3 4 >5 & 43 f f f f5 # 6 j fj f f 1 5 f f f f f f f & 4 f f f2 5 & f f f™ 2 3 4 3 4 5 ?# pp f f f f 4 f f f f f f f 8 p f # f f™ 1 2 1 6 f f

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F f Buy more sheet music TRACK 7 & 4 1 f 4 f f f f f f f. f>F f f... .f f f. >F f f f F4 # f # f f f f f f f ?# # the nextf chord, it. should remain4 close to the keyboard, or you’ll losef4 valuable time. f f > ‰Œ f f 1 # f 4 F f f Felix ARNDT{ (1889-1918)## WithfÓf the RHf melody,. take> liberty, with the Jodd rubato‰ŒÓ here and# there. It shouldf f f. Œ >F Jf 29 HAYDN ?# f sound flashy!f The RH has>F to be articulate, though. It’s a great workoutf for thef fingers.f f f ‰Œ 3 # # F ‰ŒÓ f f f ™ f f {f ÓYou will notice on the score that there are someJf twig-like diagonal# lines (thef firstf one Jf 19 2 f f ?# # f # f f f ‰Œ f ?#### appears in bar 7). They are what we like to call ‘courtesy‰ŒÓ™ lines’ – they# are there to help ‰Œ Œ f { # # Ó the eye realise that one hand needs to takeJ over the‰ŒÓ fother hand’sf part. J f.. { Ó Pedal tips: See suggestions in the score.J ff f f J # # f f ff f f German Dance in A Hob.IX:12/5 Ingasas f f Whether you fancy a timeless classic or a jazz f™ f™ # 3 fff f f f & 75 f fŒ f f ff f f f 1 f ff f f f f f f f f f f f ff f f 2 f f f f f f f 75 ff f f f f f ffff 1 ff f f f f # # f f 1 2f 1 f# f f f f3 f TRACK 10 f 2 f f f ff f f 1 f f # # f f f f f f 2 f f f f 75 # 5 3 f f 3 fff f 1 f f f f f f f f 75&# f 3 f 1 f f f f f f f f f # f # # f f f fff f f f ffff f f f f f1 f f f f f f f f f f f standard, the Pianist Shop is home to hundreds of f &# # f f f f f f f ff# f f f f f f f fff f f f ##3 . & ## f f f f 4 . { # # 3 fff f f & f F 2 f > Felix Arndt was an American composer of light-hearted music, of which Nola& (written f1 . f f f f = 72 f f™f f f f f f f . F f f f 30 BERTINI in 1915) is a splendid example. He wrote the piece for his fiancee and later wife, Nola ff F f f f h3 3 f f 1 f F > ff Locke. Though cruelly cut off in his prime aged 29 by the Spanish2 flu, which was f . f f F f f pieces – from beginner to advanced levels – to suit 5 f?#f™f # f f. f j JF. f ‰Œ epidemic in 1918, Arndt was enchanted by what hasf becomef knownf as the ‘noveltyf # f f F Œ 5 f f. > ff ‰Œ 23 f # Ó f F sim.f f 2 f Óf 3 f ragtime’ genre, exerting influence upon Gershwin. {™ # f f jf f >F J f ™ # ?# f 1 f F f ‰Œ f Playing tips: The LH here plays in aLightly ‘stride’# style,3 even f though itf was written# decades# Ó f F Œ ff# Ó ff f f{ f 3 fJf f f J Andantino, No 8 from 25 Studies before that style was popularised. Because‰ the hand needs to move quickly,# ready for f F f f f ?###f# Œ f 3 Ó 4 f f ‰Œ & f { # f# Ó f ° Œf Ó f . J everyone’s musical taste. All pieces have appeared in # #C f { Ó 1 f f f ... 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{ ?## # f f & f ff ‹f w Uw { # fF n F w 88 w ‹ Uw ?#?#?# w • Pianist ## f 4 f f ff 65• Pianist41 88 {?#{ # # fF nf Ff f w w Feuillet d’Album, No 4 from { # F n F ‹ w w ‹ w w ?# # f 11/01/2016 09:41 P59 SCORES Tchaikovsky-FINAL.indd 65 { Cinq morceaux pour piano

P40 SCORES Clementi-FINAL.indd 41 44 LE COUPPEY P49 Scores ARNDT-FINAL.indd 49 Musette, No 5 from L’Alphabet Op 17

45 KEYBOARD CLASS Finger Fitness exercises Watch more videos for articulation and evenness

Head to the Pianist website, where you’ll nd over a hundred 49 LEGRAND, BERGMAN & video lessons. Tim Stein teaches the basics of playing, and BERGMAN The Windmills Of Your Mind Graham Fitch coaches you through more demanding technical challenges. Simply go to pianistmagazine.com/tv to get 52 MASSENET started with the complete piano-learning experience! Méditation from Thaïs

56 JS BACH Allemande from Partita No 4 in D BWV828

Receive more 62 SGAMBATI information Mélodie de Gluck

Sign up to receive our free Typesetting by Spartan Press newsletter which contains Music Publishers Ltd extra news, articles, learning tips, exclusive competitions Quick guide to and more. UK/North American Visit pianistmagazine.com note value terminology and look for the ‘sign up’ button along the top right. w = semibreve/whole note h = minim/half note q = crotchet/quarter note e = quaver/eighth note x = semiquaver/16th note y = demisemiquaver/32nd note

p27_Scores Intro 98-FINALish.indd 23 12/09/2017 13:31 TRACK 1 Mark FIELDING BEGINNER Chinese Doll

This beginner-level piece was written by pianist and teacher Mark Fielding. also be managed successfully by using the palm of your hand. Composer’s playing tips: Chinese Doll is based on the pentatonic scale: in this case all Chinese Doll comes from my book All Styles! This is a collection of piano pieces the black notes on the keyboard. Try also ignoring the key-signature and playing it written to interest and challenge players of all levels between Grade 1 and Grade 5. all on white notes as it will sound much the same. The LH notes all use the interval There is a companion volume, All Styles Essential Exercises, aimed at students from of a 5th and will help to develop a good arched hand with curved fingers. When you beginner to Grade 3. This consists of 12 exercises and comes with a fun duet-part add the RH, this will challenge your co-ordination and balance between the hands. for the teacher to play. Both volumes are widely available for sale online. Contact The piece is formed of four-bar phrases, with the repeat to be played softly. me direct at [email protected] for further information. Mark Fielding The final chord sometimes causes problems! Ideally, use all five fingers, but it can Look closely at the technical tips within the score.

Don’t be put off by the six When you return to the opening for the Playing only black notes may feel awkward at first – especially sharps in the key signature. repeat, play everything much quieter. the thumb on the C sharp – but you will get used to it. Take care All you need to be aware of to follow the suggested fingerings. is that you are playing only = 100 black notes. Andante q 1 2 4 3 # # # Andante q = 100 f # # 4 2 f4 f f f & # 4 ∑ ∑ f1 f f F F 3 # # # Andante q = 100 f # # 4 mf (2nd∑ time p) ∑ f f f f & # 4 f1 f2 4 f F F 3 # # mf (2nd time p) f ?###### 4 f ∑f f ∑ f f f f f F f f f f {& # ### 4 f f f f f f fF f f f 1 ?# # 4 mf3 (2ndf time fp) f f f f f f f f { # ### 4 f f f f f f f f f f 1 °3 ?# # # 4 f f f f f f f f f f { # ## 4Pedal°f notes: makef sure you to holdf down thef Thef LH: the notesf of the LH aref very easy tof grasp: It’s justf f pedal all the1 way through to the end of bar 6. the F sharp and C sharp interval of a 5th for the first six bars. 3 °

6 Carefully place the 1 5th on thef5 D sharp. 4 f 2 5 3 3 5 6 # ## # f f F F f f f # # 1 5 4 2 5 3 f 3w 5 &# # w f f f f F 6 # # # F f f f f w & # w1 5 4 2 5 3 3 5 # # # f f f f F F f f ?##### f f f f f f f f f w f f {& # ### fw f f f f f f f f f 2 ?# # # f f 5 f f f f f f f f { # ## f f fø f f f fø f f f 2 ?# # f f 5 f f f f f f f f { # ### f f fø f f f fø f f f 2 Pedal change5 at the start of bar 7. The harmonies have changed. Another pedal change at the start of bar 9, and we are Now youø are playing D sharp and A sharp for these two bars. øback to the F sharp and C sharp in the LH. 5 4 “” (2nd time poco rit.) Place3 all five fingers over the 11 52 F 2 3 notes1 ofF theU” chord before 5 4 5 1 4 “FF f f (2ndOnly slow time down (rit.)poco rit.) you3 depressF the keys. 11 # # f f F for the repeat. ™ 2 F # # F2 f3 f f ™ 1 FU # 5 4 5 f 1 5 F”F Ó & # w 4 “F # # f f f f F (2nd time poco rit.) ™ 3 11 # # # F f f f f ™ 2 ppp 1 FUF Ó & # 5 4 2 3 F f f 5 w1 FF # # # f f F F f ™ ppp ?##### f f f f f f f f ™ U Ó {& # ### f f f f f f wf F ∑ 1 1 f 2 f 3 1 3 ™ ppp U ?# # f f 5 f 5 f 5 f ™ { # ### fø f f f ø f f fø F ∑ 1 1 f 2 f 3 1 3 5 5 ™ ?# # f f f f 5 f ™ U { # ### fø f f f ø f f fø F ∑ 1 1 f 2 f 3 1 3 ø 5 5 5ø ø Take note of the pedal changes. This last chord as

28• Pianist 98 quietly as you can play.

P28 SCORES Fielding-FINAL.indd 28 12/09/2017 11:02 TRACK 2 Joseph HAYDN (1732-1809) BEGINNER German Dance in A Hob.IX:12/5

Haydn composed these German dances late in 1792, and originally scored them for Playing tips: It’s always good to decide on the final tempo of a piece before you begin a small orchestra, evidently with a winter ball in mind: pairs of flutes, oboes, clarinets, to learn it. We have suggested a moderate pace of 116 bpm, but you may want to bassoons, horns, trumpets and violins could all stand wherever they were placed, begin your practice at a very slow tempo, learning hands separately. You don’t want with a bass and a timpani player probably tucked away in a corner. ‘Tedeschi di ballo’ errors (that is, wrong notes!) to creep into your practice. Pedal is not required. he subtitled them, and gave them a little coda to round off the set in style. Take a look at the technical tips within the score.

Count the tempo silently for For the RH arpeggio figure, have the thumb ready and waiting two or three bars before you begin. to strike the A at the beginning of bar 4. It needs to shift quickly under the hand. Make sure not to tense the thumb.

The key is A major (three sharps). 5 = 116 3 q 1 f 1 3 5 f . 3 f . 5 3 = 116 . 3 # q F™ f f f f 1 f F™ # f f f f1 3 5 f . # 3 3 f f . 5 3 q = 116 f . 3 & # 4 F™ f f f f f f 1 f F™ # 3 f f1 3 5 f . # p3 f. . 3 &# # 4 fF™ f f ff f ff f ff f f f f f f f fF™ f f # 3 pf f f f f f f f f f f f f f f ?#& # 43 f f f ff ff ff f f f f f f f f f # pf f f f f f f f f f f f f f f { 4 1 1 ?# # 3 f3 f f 2ff ff ff f f f f f f f f f # f5 f f 5f f f f f f f f f f f f { 4 1 1 ?# # 3 3 2 Make# sure to 5depress the three-note 5 The crotchet chords should sound even, with a slight emphasis { 4 1 1 chords at the same time. Not easy, on the first beat of the bar. They should be ‘tenuto’ in 3 2 especially when5 playing softly. 5 articulation: not joined together, but not too clipped either.

Keep the dotted minim The arpeggio figure appears again, but now Repeat the Dynamics slightly 2 E sharp held for the 6 there’s no need to put the thumb underneath.5 3 first 8 bars. 3 stronger now. 1 1 2 3 f f f f F™ f durationf off the bar. f f F™2 f 6 # # f f f f f 3 5 3 ™ ™ 3 1 # f f1 2 f f f f ™ ™ F™ #f f f # & f f F™2 f 6 # # f f f f f 5 3 ™ ™ 3 1 f f1 2 3 ™ ™ ™ # f # # f f f f f mpF F™f f f &# # ff f ff f ff f f f f f ™ ™ f f f # # # f f f f f f f mpf f f F™ ?#& # ff ff ff f f f f ™ ™ f f f F™ # f f f f f f f ŒŒ mp F™ { f1 f f ™ ™ ?# # ff ff ff f f f f ™ ™ 3 F™1 # f f f f f f f ŒŒ f f f F™5 { f1 f f ™ ™ ?# # ™ ™ 3 F™1 # Lift the LHŒŒ off the keyboard 5 { 1 for the two crotchet rests. 1 3 5

4 3 5 Lift the hands 11 2 Again, keep the dotted Both hands3 are moving around the keyboard quite a bit 5here.3 1 f 1 4 2 3 2 1 3 from the F™ minim heldf for the whole bar.2 Practicef slowly, hands separately.2 1 4F 3f f f 5 f f f keyboard 11 # 2 ™ F™ n f # 3 f f f3 5 f3 ™ # 1 f 1 4 2 f 2 1F 3 together. ™ # ™ f 2 f 2 1 f f Œ & 4F 3f f f 11 # F™ F™ n f f 5 # 3 f f f f5 ™ # 2 1 4 f f3 f3 2 1F 3 ™ # ™ f 2 f f 1 2 2 1 f f Œ & # F™ F™f n f f f # f f f f f f ™ ## f f f F™ f f f f f f F ™ & f f f n f # f f f f Œ ™ ?### f f f F™ f Œ f f Œ Œ f F Œ { #F™ f f1 1 f 1 f 1f ™ # 1f f f n 2 #3 2 3f 2f 2 ™ ?# F™1 f f 4 5f F # f3 f f 5 5 Œ f f Œ 5 Œ F Œ { #F™ f f1 1 f 1 f 1f ™ # 1f f f n 2 #3 2 3f 2f 2 ™ ?# F™1 f 4 5 # 3 5 5 Œ Œ 5 Œ Œ { # 1 1 1 1 1 2 3 2 3 2 2 1 4 5 3 5 5 5 Lift the hand on

the rests. 29• Pianist 98

P29 SCORES Haydn-FINAL.indd 29 12/09/2017 11:02 DON’TMELANIE MISS BEGINNER/ TRACK 3 SPANSWICK’S Henri BERTINI (1798-1876) Andantino, No 8 from 25 Studies Op 137 INTERMEDIATE LESSONON THIS PIECE PAGE 20

Born in October 1798 in London, Bertini moved six months later with his family attention to all the markings of staccato, tenuto and to the slurs. The study begins back to Paris, where he became a thorough musician at a prodigiously young age piano and only reaches a resolute forte at bar 17, so make sure to keep things light. through the tuition of his father and his brother, who himself had studied with Observing the hairpins of crescendo and diminuendo will also give your playing shape. Muzio Clementi. In fact contemporaries compared Henri’s playing in favourable Bring out the LH at bar 32: it has a strong presence through to the end. terms to Clementi’s, but he became better known as a composer of educational piano Pedal tips: The odd dab of pedal here and there, as marked on the score. music such as this set of elementary studies. Another Beginner/Intermediate-level piece is printed on page 44 for reasons of layout. Playing tips: Articulation is of the essence in this high-spirited Andantino: pay close Read Melanie Spanswick’s step-by-step lesson on this piece on page 20.

Andantino q = 104 5 4 3 3 4 1 f- f f 2 1 3 3 . f. f f. f fj 3 f . . f. f..f f. f. f & 4 Œ . . p f f f f f f f f f ? 3 ŒŒ ŒŒ ŒŒ # ŒŒ ŒŒ { 4 1 1 1 1 2 3 2 2 5 5 4

6 f5 f. f. f f1 . f. f f- f f. f f f f . . f . . . . & ŒŒŒ . mp f f f f f f f f f f ? ŒŒ # ŒŒ ŒŒ ŒŒ ŒŒ ŒŒ { 1 3 5

12 4 f f. f f f 1  . f. f f . . f f. f...f fj f f. f . . . & . ŒŒŒ f f f f f f f f F™ f f f F™ ? # ŒŒ ŒŒ ŒŒ # ŒŒ ŒŒ # { 1 3 5

5 5 18 f 1 . f f 1 3 4 3 f 4 1 2 . . f f  f f f . . f. fj f. f. f f f f .. & . Œ Œ # dim.. F™ F™ ™ F™F F™ F™F F™ F™ f. ? # # ŒŒ { 1 2 1 2 4 5 5

30• Pianist 98

P30 SCORES Bertini-FINAL.indd 30 12/09/2017 11:02 3 3 3 BEGINNER/ 24TRACK 34 5 Henri BERTINI (1798-1876) 3 24 f f INTERMEDIATE 4 f5 f f - f. f f f f 24 f f f Andantino, Nof- 8 fromf 25f Studiesf. Op. 137f. . f. f f f4 f5 f f f f Œ f f f f. . f. . f. f. f..f & f f f f f Œ f. - . f. f. f. f. f. f.. 24& 5 f f. ..f 4 Œ p. f f & f f f f p. - f. f f f f f f f f f f f . f. . . f. f..f &? Œf p f f #f {? ∑ f ŒŒ. f ŒŒ f ŒŒ #f ŒŒ f { ∑ ŒŒp f ŒŒ f ŒŒ # ŒŒ ? f { ∑ f ŒŒ f ŒŒ f ŒŒ f ŒŒ f f f {? ∑ ŒŒ ŒŒ ŒŒ # ŒŒ 29 4 29 f f. f f 42  . f. f f f f. f2 29 fj f f f . . . . f f4  f. f . . f f f2 fj f. f. f f f . . f. f. f ŒŒ f ŒŒ & fj . . . f. f. ŒŒ f ŒŒ 29& f. f. f. 4 f f. f f ŒŒp 2 ŒŒ &  f . . f f f . p f fj f f f . . f. f f f. . f f f f ŒŒp ŒŒ &? f ŒŒ. f ŒŒ #f ŒŒ f Œ f f f f f {? f #f f f f4 # f f ŒŒ f ŒŒ f ŒŒ Œ 5p #.3 { f # 4 #f . . { . . ? f ŒŒ ŒŒ f ŒŒ f Œ 5f f 3 f. f. { f f f 4 # . f f 5 3 . . ? ŒŒ ŒŒ # ŒŒ Œ f f f f f { 4 # 5 .3 . . 34 3 4 1 2 34 3 42 f 2 f f f1 f2 2 34 f3 f4 f f f f f f f f f 2 f f1 ŒŒ f2 ŒŒ f ŒŒ bf f bf & f ŒŒ f ŒŒ f ŒŒ b f f b f 34& 3 f4 f f f f f 1 ŒŒ ŒŒ ŒŒ bmf2 b & f 2 mff f f f f f f f. f. f. f f f f f. fŒŒ. f. f. fŒŒ. #f. f. fŒŒ. f. bmf. f b &? f. f. f. f. #f. #. . f f. f. ŒŒ f ŒŒ {? # 3 f f1 3. 1 f3 f2. 4f f. . . mf ŒŒ ŒŒ { f. . . 3 # 1 3 ? 2 4 # f 1 3 4 f f ŒŒ f ŒŒ { 3 f1 f3 . . 2 4 f . f1 f3 f. f f. . . ? . . . # # ŒŒ ŒŒ { 3 1 3 1 3 2 4 39 5 39 5 53 f3 f5 f3 f f 39 f f f f f f f5 f f f f5 f f f f f f3 f f & #f f f nf f f f f f ŒŒ f ŒŒ f ŒŒ 39& # f nf f f f 5 ŒŒ ŒŒ f ŒŒ & #f f f 3 & #F™ f5 n ff ŒŒ f ŒŒ f ŒŒ F™ f f f f f f f f f f f f f f f F™f n f ff ŒŒ f fŒŒ. f fŒŒf &? #F™F™ f ŒŒ #f f f f. f. f. f. f f {? 1 f1 3 f f5 1 3 2 5 f . 4 f F™ 2 ŒŒ # . f . f { 15 1 ff3 5f 1. 3. 2 5. { . 4 ? . f4 f F5 ™ f2 ŒŒ # . f { 1 f1 3 5 1 3 2 5 f f . 4 2 . f F™5 ° f f f . f ? ° ŒŒ # f f . . . { 1 1 3 5 1 3 2 5 . 4 5 °2 . 5 44 4 5 3 1 3 5 1 2 4 5 44 4 f f5 1 3 1 4 3 1 2 f4 f f f°5f f f f f 1 f™5 f 44 f . f f 5 f f f #f3 f f4 f3 1nf 2 f 4 f f f™ f f f 1 . f f f 1 f 5 f f & #f f f f nf f f f f f™ fJ f f ŒŒ & f . 5 f f f f ŒŒ 44& # f 4 n 5 f J f 3 1 3 f 1 2 4 f 5 p ŒŒ & f f f f f 1 f™ J f p f f f . f f f. f f f f f. f f #f f f f. n f. f. #f. . pf ŒŒ &? f f f. ŒŒ f. ŒŒ f. #. J f. f ŒŒ {? 4f 2 f1 5 f3 1 f2 f f ŒŒ f ŒŒ f . p ŒŒ { 4 2 . 12 5. # 3 1 24 ? f ŒŒ f25 ŒŒ f f4 ŒŒ { 4f 2 f1. 5 3 1. f2 f 5 f f. f2 f. #. 4 ? ° ŒŒ °5 ŒŒ ° ŒŒ { 4 2 ° °1 5 3 1 °2 2 4 ° °5 31• Pianist 98 ° ° ° °

P30 SCORES Bertini-FINAL.indd 31 12/09/2017 11:02 DON’T MISS Wolfgang Amadeus MOZART (1756-1791) TRACK 4 JANET NEWMAN’S INTERMEDIATE LESSONON THIS PIECE Andante from Sonata in G K283 PAGE 22

The first five of Mozart’s piano sonatas were probably written quite close together, rhythms are spot on, such as in bar 5. Notice how bar 10 is an embellished repeat of before the composer left Salzburg for Munich in December 1774. He later referred bar 9: this movement is full of such intricacies. The development starts at bar 15 to them as his ‘difficult’ sonatas; reflecting, perhaps, how their relatively modest where you can see the theme passing its way through different keys. The technical challenges conceal their depth of expression. recapitulation begins at bar 24, and so the second subject at bar 32 is now in the Andante e = 88 3232 Playing tips: This elegant, sonata-form Andante in the key of C should4 be handled 3 tonic key of C. Take your time;4 there’s much to master, but much to enjoy. 4 with care. Study the phrasing3 and 2 melodic 3 line carefully. 2 It’s1 all aboutf the melody,f Pedal tips: Discretion is your watchword.f f Remember that Mozart was writing for the Andante e = 88 . f f f 3232M which is supported by a fcalm, steadyf LHf accompaniment.f f Make 4sure the 3dotted much lighter touch of a fortepiano,4 so heavy sostenutof f is quite out of place. f .... 4 f f f f f cAndante3 2 3= 88 2 1 f 3232 e f f f 4 f f M & f f f f 4 3. f f 3.... 2 3 2 f1 f 4 f f f f f cAndantep e = 88 f f f f f f 3232M f & f f f f 4 3. 4 f f .... f1 f f4 f f Mf f f c legato3 2 3 2 f f f f f f f f f f f & pf f f f . f f f f ff™ M f ....f f f f f f f f f f f ? f f f f f Mf f f f & c plegatof f f f f f f f f Ó f f f f f {& f 1 3 f f f f 5 2f 5f 1f™ 2 1 2 3 1212M 3Jf 2 1 f legato f 3 ? f f f f f f p3 f f f f f f f f f f f 4 f f f™Ó5 f f 5 c f5 f fŒ f f2 f 4 f f M f {& f 1 3 4 f2 f f f 5 2 5 1f 2 f1 2 3 1212 3J 2 f1 ? legatof f f f f f f f 4 f f5 f 3 f f f Ó f f f f f c f3 f f f f f 4 f f f™5 f5 {& f5 1 3 2 f f f f 5 2 5 1 2 1 2 3 1212 3J 2 1 Œ 4 f f f f 4 f f 2 f f3 f 3 f f ? Ó 3 f f 3 41 4 5 4 4 5 5 3 c f5 f f f f2 2 f 1 2 5 4 {& f 1 3 1 Œ 4 3 3 f2 f4 f f 5 2 5 1 23 21 2 3 31212 3J 2 3 1 4 3 2 3 4 f 1 3 2 2 3 f f f f4 53 4 4 f™ 5f ™ ™5 5 . f 3 f1 4 f f f f 3 f f f f Œ 2 2 f 41 2 f5 j 4 3 . . f . .... f1 4 3 4 3 2 f f 2≈ 3 . ≈ 3 4 3 2 3 4 f53 f41 f 2 f™ ™ 2 ™ f f f 2 f3 1 4 1 f f ‰ 4 f 3& 4 3. 3 f f 2 5 f 3 f f f f f f f f1 f f f1 fj 2 2. ≈ 3. f2 ≈ 3. 4.... 3 2 3 f f f f 3 4 f f™ f ™ . ™ f f2 3 1 4 f1 f f ‰ f 4 f p f 3 f f f f 4 3. 3 f f f2 f5 j 3 . f. f . & .... f1 f f f f1 2 2 ≈ 3 2. ≈ 3 4f 3f 2f 3 f f f f f f f f f ‰ flegato f™ f f ™ ™ f & ff f f f f f f f . f f f f f f f f f fj . ≈ pf. f ≈ . ....f f f f f f f f f f f legatof f f f f f . f f ? &? f f f f f f f f f ‰ & f f f p f { f3 f f f2 f f f f f f f4 f1 f1 f2 1 f f 1 2 f 1 f 2 f f f 1 f 2 f f f3 f 4 f f f2 4 5 f f 5 4legato 3 4 3 4 ? ? f5 f5 4 f f f f5 5 5 f f f 5 f f f fp f f f f f5 f f f f 4 f f5 f f f f f f f ‰ & f f f f { f3 f f f2 f 4 1 f1 f2 1 flegato1 2 f 1 f 2 f f f f f4 f f5 1 f 2 f 3 3 ? ? 5 3 4 f2 f4 f5 5 5 5 4 f f f f 4 f f f 4 f f f f5 5 f f f f f f f f f f f f ‰ & f 5 f f f { f3 f 2 4 5 4 1 1 2 1 f 1 2 f 1 f 2 f 1 f3 f4 f f f5 2 5f 4 3 4 3 4 ? ? 5 4 f2 f4 32 5 5 5 f f 5 f f f f f f 6 5 53 4 f5 ‰ & 4 f f f f { 23 2 2 1 3 2 4 1 1 2 1 2 f 1 2 f11 f 2 f 1 ™ 3 4 ™ f 5 2 5 4 32 4 3 1 4 4 5 f f 4 . 2 4 5 5 5 5 f 5 . 5. 4 5 32Ÿ f 6 f. ≈ # 3 ≈ f f f f f f4 f f f f # 2 ™ 2 ™ f 1 3 2. f2 f f1 f f 4 f . 32 ‰ f2 1 6& f ≈ f. 3. ≈ f Ÿ 4 f f f 2. ™ # 2 ™ f f f1f 3Jf 2 2 f f 1 # f f # 4 f f . 32 . f f f dim.f2 f f 1 f 6 f ≈ . 3. ≈ f Ÿf f ‰ f f4 f f f & 2. ™ # 2 ™ f f1 3f 2 f2 f f f 1 # f f # 4 f f ff f f f. f f J. f f f f f2 f f f 1 f f f & f ≈f . . ≈f f Ÿf f f ‰ f f f dim.f f f f f . f # f f f ff Jf. f f f f f f f f f #f f f f # &? f f f f f f # ‰ f f f f f dim.f f f f f f f f { 3 4 3f 5 2 3f 4 2 f1 f 2 1 2 1 # 2 4 f f f f f f J f f f5 f4 f f f f f ? f f f f f f #f f f f f f dim.f f f f f f { 3f 4 3f 5 2 3f 4f 2 1 f f f 2 1 f2f 1 2 4 f f 4 f f f f ? f f f f f f #f f f 5 f f f f f f f f { 3 4 3 5 2 3 4 2 1 f f 2 1 2 1 2 4 5 3 4 3 f f5 4 ? 1 # 2 8 f 4 3 2 { 13 4f f 3 5f 2 3 4 2 1 1 2 1 2 1 3 2 2 4 f f f 4 f f 5 3 f4 f3 5 f f f 3 2 1 2 f™ f . f f f 8 f f # # 4 . . f f3 2 1 f f f 5 f3 f4 3 1 3 2 f f f f f1 f2 ‰ f ® ® 3f 2 ≈ 8& f f Jf ™ f f 4 f f 3 2 1 f 5 f f1 . . f. f3 f2 # f f f 3 f4 #f3 # f f 3 2 f f1 f2 f f f f f 8 pf f f J ‰ ff™ f 4 . f f f ® 3 2 ® ≈ & 1 f f f f f f # 1 # . . 3 f2 f f # f f f f f f f f ‰f f f f f f f f f f ® f f ® f3f f 2 f≈ & f f f p f f J f ff™ f f . f. f. f f f ? # f f f # #f n f f # f f f f f f f#f f & f f pf f f f f J f ‰f f f f f f ® f ® f f ≈ { 1f 4 f 1f 3 2 4 1 2 3# 5 1 n f5 f 4 # f f f f f f f f f f f f f f f f ? f #f f f pf f f f # n f f ff f f f f f { 1 4 1 3 2 4 f1 2f 3 5f 1 5 f f f f 4 f f f f f f f f f ? f #f f f f f f # n f f f f f f f f { 1 4 1 3 2 4 1 2 3 5 1 5 4 ? # 1 5 4 10 3 5 2 3 3 2 5 3 2 3 3 { 1 4 1 3 2 4 11 24 2 3 3 53 12 1 1 52 1 4 2 2 f f f f f f f f ™ f f 1 f f f f 5 4 f f 10 f 3 5 2 3 f f. f f 3 2 5 3 2 f 3 3 1 # f 1 4 f2 3 3 2 f1 f f f1 2 f1 n # 2 # 2 f1 f f f f f f5 f4 f 3 5 f2 3 3 2 ≈ 5 3 Jf2 3 f3 10& f™ f f1 f f f 2 # f f f2 1 # f f f f 4 f2 3. 3 f f1. f f 1 2 1 f f n 2 f f # f 1 3 5 f f f f f # 5 4 f 10 pf™ f 2 3 f1 f f f 3 2 ≈ 5 3 J2 f f3 p 3 f & 1 # f 4 f2 3. 3 f2 f1. f 1 # 2 f1 n 2 # 2 ™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 & pf # f f f f. f f f. f # nJ f p # ? f f f f f f f f f f f f≈ ff f f f f# f f f f & p f f f f & f fJ f p f { f5 f 4 . # ff f f f f f f f f f f f ? f f f f f f f f 4 f f f f pf f f f & f5 f f f p f { 5 f f f f 4 f f f f f f f f ? f f f f f f f f f f f f 32• Pianist 98 4 f f f f & 5 f f f f { 5 4 f f f f ? f f f f 4 f f f f & 5 f f f f { 5 4 f f f f 4 5 P32 SCORES Mozart-FINAL.indd 32 12/09/2017 11:04 TRACK 4 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE 12 5 3 Andante from Sonata 4in G K283 3 5 3 2 3 4 4 12 3 1 3 1 2 1 f f 2 3 f f 1 2 1 2 1 4 1 2 1 2 1 5 f f 1 3 ~~~1 2 1 f f f f f1 2 1 2 1 f f 1 2 1 2 1 5 12 f f Ÿ f5 f3 f f U 4 f f f f f f f f f f f 12 f3 f f f Ÿf~~~ f n f2 f3 # f f f 4 f f f f f f f f f n f1f 3 f1f2 f1 n # U f # 1#f 2n 1f 2 1 nf1 2f 1 2f 1 5 f f 12 n f f f f5 f3 Jf # ‰ 4 f f n f #f f nf & f3 f f f Ÿ~~~ f2 f3 ‰ f #f f f f 4 f f nf f f & f1f 3 f 1f2 1 f f nJ U f f # 1f 2 1f 2 1 f1#f 2 f1f 2f 1 5 f f nf f nf f f Ÿ~~~f f Jf #f f U‰ f f #f nf f f f f f nf # f f n & n f f f f ff n # # n f f f f f f & f J ‰ # n # n f f f f f f f f f U f f f f f f f f f f f f f f f f ‰‰ f f f f {& f 1 f 1 1 f #f1 f f f ‰‰ f f #f f3 f f U f f {& f 1 f4 f1 1 f4 # 1 f5 f f f f # 1 5 f 4 3 f 4 f f f f f f f f f f21 5 f 5 f f U‰‰ f f {& f 1 f f1 1 f # 1 f f f f f # 2 { f # f f f # f 4 3 f 4 f f f f f f f f f f1 5 f 5 f f ‰‰ f f {& f 1 f 1 1 f # 1 f f f f f # 2 3 4 4 5 1 5 2 14 1. 2. 14 1. 1 2. 1 14 1. f f f f ™ 2. f f f f f1 j f f f f fj f f f f fj ™ fj f f f f fj f f f f fj 14 1. fj f f fj f f fj ‰Œ ™ 2.fj f f fj f f fj ‰Œ & 1 f f f f f f ‰Œ ™ f f f f f f ‰Œ & f.j f f.j f f.j ‰Œ ™ f..j f fj f f.j ‰Œ & fj pf f f f fj f f f f fjf ™ fj pf f f f fj f f f f fj f & . p . . f ‰Œ ... p . . f ‰Œ . p . . f f f f ™ ..p . f f f f f p‰ Œ ≈ ff f f f f f ™ p‰ Œ ≈ ff f f bf f f f {& j ‰ Œ ≈#f # nf f j ‰ Œ ≈#f n 2 1 b 2 1 f3 f ™ 3 f {& fj # # f n f ™ fj # n 2 f1 f2 1 3 4 f f f f f f 3f f f 5 ‰ Œ ≈ f ™ ‰ Œ ≈ b f f4 {& j # # f n f ™ j # n 2 f1 f2 1 3 { 5 # n f # f f 3 f f f ‰ Œ ≈ f f f f ‰ Œ ≈ f b f f4 {& 5 j # # n f j # n 2 1 2 1 3 3 f f 4 5 4 3 4 5 3 2 1 2 2 5 1 2 4 15 3 4 3 2 2 1 1 5 1 15 2 f 1 2 2 f f 5 3 2 3 f f 5 f 2 f f f4 f f1 f f 1 3 2 3 f f3 f4 bf5 f3 f2 f f1 f2 n bf f ff f f f 15 ™ f2 f1 f f2 n 5 f f....f f f 15 ™ # b f f 2 # f4 b 1 5 n f f1 f3f 2f 3 ™ # 3 f4 f5 3 2 f # 1 f2 f f f n .... ™ ≈ f2 f f 1 # ‰Œ ≈ f2 f n f f f 15& b f f # 2 f b 1 5 f f1 f3f 2f 3 & ™ ≈#f f f f f Jf ‰Œ ≈#f f f n f f ff f nf .... ™ ≈ f b f f #f ‰Œ ≈ b fpf....f f f & ™ #f #J # n p & ≈ ‰Œ ≈ p ™ f J f f f f f f f p f f f f ™ jf ‰ Œ ≈ f f f n bf f f f f f f j ‰Œ pf f f f f f f f {& f ‰ Œ ≈#f4 n 1 b nf f f ‰Œ f 1f 3 f f ™ j f 4 1 n f4 j f {& ™ f5 # 4 f 1 f f n f 3 f1 3 f f f # f f f # 5 f f n f4 f1 f n 4 5 f53 f fŒ f ™# j ‰ Œ ≈ f b f f # 5j ‰Œ f {& ™ f # 4 f 1 f f n f 5 f1 3 f Œ f f { # n 5 f f n f4 f1 f n 4 f3 f f f # j ‰ Œ ≈ b f f # 5j ‰Œ f {& f # 4 1 n f 5 1 3 Œ # 5 4 1 n 4 # 3 5 5 Œ

17 5 4 5 5 17 2 5 4 3 5 5 2 f f 3 f f 1 f 1 2 3 2 f f f f f f f f1 f f f f 1 2 3 2 17 f 5 4 f 5 f f 5 f f f f f f f2 3 f f f....f f f # f f f f 1 f n 1.... 2 3 2 17 # 5 4 f 5 f f 5 f f n & f2 3 f f f f f f f & # f f f f f f f1 f f f f n 1.... 2 3 2 & f ff....f f f & # nf f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f bf f f ff f f f f f f f {& f f f 1f 2 f f f 1 f 2 f 1 f f f f f f f f b {& f f f f f f f1 2 f f4 f f f f f1 f f2 f 1 f 1 f # # n 5 n f2 f f 4 f 4 5 5 5 f f 2 f f f f f2 #f3 f4 # n 5 5 b 5 5 1 nf24 f f f {& 4 f f f f f3 f f1 2 f f f f5 f f f1 f f2 f 1 f f Œ { f5 f f f f f 53 f f 4 f f f f 4 f53 f 4 f1 Œ f2 #f5 f4 # n 5 b 5 5 1 nf2 f f f {& f f5 1 2 f f5 f5 1 f 2 f 1 f f 3 5 4 3 f3 4 4 Œ 2 # 5 4 # n 5 5 5 1 n 2 5 5 5 4 3 3 4 Œ 5 5 4 3 1 3 5 2 3 19 5 4 4 3 2 4 1 3 5 19 1 5 4 4 3 5 1 3 2 3 1 f f 3 3 5 . f f f f 1 f 2 f4 1 2 3 19 f f5 f f4 3 f5 f f f f f 3 1 5 4. f f f f f3 f f f f f5 f # n f f1 # 4 n 3 f f1 f f 2 3 19 f Jf ‰ ≈ f #3 f5 n ≈ 2 f3 f f & 1 5 4. ‰ ≈ 4 f f f ≈ f3 #f f nf # 5 & f J f f f1 f f f f # f #f2f 3 f f. ‰p ≈ f #f f nf ≈ f # f n f # . & f J p f f f f f f f # ff f f. ‰ ≈ # n ≈ #f nf. f f # & J pf....f f f f f f. # f f f f. f f f f f fj ? f....f f f #f f f f f #f f f. f f f f f f f fj ‰ ?pf f f f #f . f≈ f #f f f f f f & {& f 1f 2 1 #f ‰ 2.... 3 2 3 f4 1 2 ≈ f f f f f f f f f f 1 f2 f f & {& 2 1 2 1 #fj ? 2 3 2 3 #4 1 2. # f2 f f f f2 f f f f f f31 f42 f f f f f f4 . ‰ .... ≈ f3 f4 f f f f f & {& 4 1 2 1 #f52 j ? 2 3 2 3 #4 1 2 # f2 f f f f5. 1 2 f ‰ ≈ 3 4 & {& 4 1 2 1 #f2 2 3 2 3 4 1 2 2 5. 1 2 4 2 33• Pianist 98 3 4 5.

P32 SCORES Mozart-FINAL.indd 33 12/09/2017 11:04 TRACK 4 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE 4 Andante from Sonata in G2 K2834 2 2 21 f 32 2 f 1 2 2 f 1 1 2 32 3 3 1 4 f 3 3 f 21 f 1 3 2 2 1f 2f f f f1 2 f f f f f1 n 1 2 1 3 2 3 3 f n 4 f f f2 3 3 f f f n f f 32 f f f f 2 n 4 f1 f. f f2 f f f 21 f 1 2. ŸF~~~~~~~~~~~~~~~ f f 3 2 3 1 2 f f # 2 3 3 f f 1 f f 32~~~~~~~~~~~~~~~ 1 3 f2. f f f f f 2. f f f f f 21 nf 1 . ŸF32 f f f 3 # 2 3 1f nf f f1 #f 3 # 2 3 f f f f1 21 f 2 1 3 2. f 2 f ≈ 1 f f f 1 R. f 2 f ≈ f f f 1 & n f1 f2 ~~~~~~~~~~~~~~~ f3 2 3 #f 3 f f n f f f f 3 #f 3 f f f f f & n f f. ŸF~~~~~~~~~~~~~~~ f1 Rf. f f f ≈ f n f #fR. f f f ≈ f f f f. ŸF~~~~~~~~~~~~~~~ f f Rf. f #f f ≈ #R. f #f f ≈ & p f f f. # f≈ pR # f≈ & p f R f≈ pR f≈ p f R ff pfj ff p f f f f f f f fF fj #ff pfj #ff {& p≈#f f f f f f f ffF f f f #fj ‰ #f fj ‰ #f f f f {& #f2 f f f f f f #F #fj #f1 1 j #f 1f f f f f41 fj f ≈ f42 f f f f f f #1fF f4 3 f5 fJ2 j ‰ # f51 ‰ # {& # 31f f f F f #Jj f4 5 f ≈ f4 3f f f f f f 51f f4 f3 f5 f42 ‰ #f1 f1 ‰ #f {& ≈#f2 1 f f f # f #f ‰ f ‰ 5f f {& # #1 4 3 5 #J4 14 15 4 2 13 2 1 1 42 1 #15 4 3 5 J4 4 5 3 5 J2 4 5 4 3 15 4 3 42 5 4 23 3 23 3 23 f 2 1 f f 23 #f3 2 1 f f f f f f f f f. 23 3 2 1 f f....f f f . #Jf3 f fj f f f f f f bf nf .... f f f & #Jf f2f 1 j f f #f nf #f b n f f f f f f. & #f 2 1 f #f nf #f f f f f....f f f f f f. #pJ f fj f f f f bf nf pf....f f f f . & pJ f fj f f #f nf #f f b n p.... & J f fj f f #f n # b n legato & pfj # n # p legato pfj p pf ‰ŒÓ pflegatof f f f f f f f f f f f f {& fj ‰ŒÓ flegatof f f f f f f f f f f f f f f {& fj f f f f f f f f f f f f f {& fj ‰ŒÓ f f f f fŒ f f f f f f f f f f f {& f ‰ŒÓ f f f f fŒ f f f f f f f f f f f {& f f f f Œ f Œ 32 25 4 32 1 25 1 4 1 f f 1 f f32 rK 25 f f f f M 4 Ÿ~~~~~~~~~~~~~f1K f f f f f M f f f f f f1 f fŸ32~~~~~~~~~~~~~fr 25 f f f f f f f f f....f f f 4 32 1 25 f f f f f f Mf f f f .... f1 f4 fŸ~~~~~~~~~~~~~f1rK & f f f f f f f f f f f f f1 f f~~~~~~~~~~~~~frK & f f f f f f f f f Mf f f f f....f f f f f fŸ~~~~~~~~~~~~~frK & f f f f f f f f ff....f f f f & f f f f f f Mf 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 f f™f f M f f ff f f f f f f f f f f f ? f f f f f f f Mf f f f ff f f f f f f f f f f {& f f f f ? f f f f ff™ f f f Mf f Jf 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 Jf 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 ? J f f f f f f {& f f f f J f f {& f f J

32 4 3 4 3 27 4 2 4 3 2 3 3 3 32 3 f™ 2 2 3 27 2 1 f f f2 ™ f f 3 ™ f f3 f 1 1 f4 f3. f4 f3 . ™ f f2 ™ . f 32~~ 1 2 b . f2 b f2 . f3 27 f3 f f f Ÿ f 4 3 f4 ™ 3 . ™ f3 f2. ≈ . f f Ÿf32~~f f 1 bf4 f 2 4 bf3 2 ≈ . . ≈™ 3 27 3 f f32 1 f2 f J3. f f™ f2 ≈™ f3 2 f3 27 f3 f f ~~f 1 bf f ‰ 2 ™ bf . 3. f ™ . & f f f f Ÿ 1 2 f1 f fJ. ‰ f f f f. ™ f f2. ≈™ f. & f f f f Ÿf~~f1 f2 b J. f b f. ≈™ f. f. ≈ f. f f f Ÿf~~f f f b ‰ b ≈ p. . ≈ & f f f J legato ≈ p & f f f J ‰ legato & f f f f f f . p f f f f f f f f f f.j legatof f f f f fp f f ? f f f f f f f f f f f f fj legatof f f f f f f f fp f f f ? f f f f f f f f f f f f f. ‰ & legatof f f f f f f f { f4 1 4 1 5f 1 f f 3 f1 f.j ‰ f4 f f f5f 3f f 4f 3f 2f f 4 f f f f2 1 f & {? f f54 1 4 1f 5 1 f f35 1 fJ3.j 4 f f f 5 f f3f 4 f f3f f 2 f 4 f f f f f f24 1 f f f f f 5 f 5 Jf35 j ‰ & f f f f f f f f f f f f f {? f 4 1 4 1 5 1 4 f3 1 f f4 f 5 3f 4 3f 2f 4 ? 2 1 5 ‰ & f f f f f f { 45 1 4 1 5 1 35 1 J3 ‰ & 4 f5 3 4 3 2 4 4 { 4 1 4 1 5 1 2 1 3 1 35 4 5 3 4 3 2 4 5 2 1 5 J 5 4 5 J53 4 5

2 3 2 3 f 29 2 f . 1 3 2 4 29 2 ™ f ™ f 3 2 1 2 1 1 f f ™ f. f3. ™ . f Ÿf~~~~ 1 f 2 2 f4 f1 f f f f2. ≈ n 2. . ≈ f f ~~~~ f f f f f 1 2 1 f f f f 29 . n 2 f3 . Ÿf f1 3f f2. 2 f4 f f f f f f1 29 2 ≈™ f2 3. ≈™ f 3 . f f 1 2 1 f f f f2 . f f. f Ÿf~~~~ 1 f 2 2 f4 f f f f1 f 29 . ≈™ nf f. ≈™ . ~~~~ f1 3 f2 ‰ f2 4 f f 1 2 1 f f 1 f f & f. ™ nf. . ™ f Ÿf~~~~ f f fJ. ‰ f f f1f 2f 1 f f f f f & . ≈ n ≈ Ÿf f f fJ. ‰ f f f f f f f f f f & J ‰ f f dim.f & Jf f ‰ f f f dim. f f f f ff f f dim. f f f f ? f f ff f f f f dim. f f f f f f f f f f ? f f f f f f f f & f f f f dim.f f f f f f f f {& f5 1 f2f 3 1 f f3 1 f 1 f3 f1 f3 4 5 f f 1 2 f f f f f f f f4 f4 ? f f & f f f {& 5f 1 2 3f 1 f5 3 f1 f f1 3 1 f3 4f 5 f 1 f2 f 4 4 f f f f f f f f4 f f 5 f f4 f 5 f ? f & f f f f4 f f f f f4 {& 5 1 f2 3 1 f 3 1 f5 1 ? 3 1 3 4 5 1 f2 f f f f f f4 f f f 5 f f4 f f & f f f f4 f f f f f f f4 {& f5 1 2f 3 1 f f3 1 f 1 3 1 3 4 5 1 & 2 f f f f f f 5 f f f {& 5 1 4 2 3 1 f5 3 4 1 f 1 3 1 3 4 5 1 2 4 4 4 5 4 5 34• Pianist 98 4 4 5

P32 SCORES Mozart-FINAL.indd 34 12/09/2017 11:04 TRACK 4 Wolfgang Amadeus MOZART (1756-1791) INTERMEDIATE Andante from Sonata in G K283 4 2 5 3 4 3 5 4 4 4 31 5f 2 5 3 24 13 1 4 1 3 2 3 2 31 5f 4 2f 5 3 24 13 1 1 3 2 3 2 3 2 f f4 f f 1 4 3 2 31 5f f f f f f2 5f 3 f42 f31 4 1 3 2 3 2 f f f f f f f2 f1 1 f f f 1 3 2 3 2 3 2 31 f f f f f f ™ f f f f f 3 2 f f f f f f f f f ‰ f™ f f f f f f f f ® f f ® ≈ & f f Jf ‰ f™ f f f f..f f. f f ® f f ® f f ≈ & p J ‰ .. . f ® f f ® f f ≈ & p J f .. . f f p f J 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 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 f f f f f f f f f f f f f f f & {& f1 f f f f f 2 f ? 1 #f4 1 nf f f f f f f f & f f {& f1 f f f1 f5 f2 4 ? 1 4 1 f f5 f f4 f { 1 f 2 1 4 1 f 1 f4 # n 5 4 & {& f1 f4 f f f5 f2 1 4 1 5 4 f 1 f4 5 4 & {& 1 f f f5 2 1 4 1 4 1 5 4 5 4 4

1 2 3 4 5 2 3 1 5 5 4 3 5 1 2 3 4 5 2 3 1 5 2 3 5 4 3 3 5 2 33 2 3 f4f 5 5 2 4 4 3 2 3 2 5 3 2 3 f 2 33 2 1 2 f f f 2 f3 1 5 4 4 3 4 3 2 1 f5 f4 3 2 3 f5 f 2 33 f f2 f3 f4 5 f2 f3 f 2 3 2 4 3 2 1 1 f f f f3 f f f f2 33 f™2 f1 f f f f f1 f5 f4 f4 f 2 3 2 1 5 4 f3 f2 f f5 f f f™2 f f f f f f f2 f4f 4 f3 f f4 f 1 f f bf f2 3 f nf 2 33 f™ f f f f f f f f f f.2 f4 f3 f2 f1 f1 f f b #f f f f n f f f f f f f f. f f f1 f f # f f f f™ f f f f f f. f f f f ≈ f bJ #f n & . f f ≈ f J # & p ≈ p & p f p p f p p 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 f f f f f f {& f f f f f f f f f f f f f f f5f f 3 f f f f f 4f f 2 f f f f f f {& f5 f f f 4 f f f5 3 f f4f 2 f f { 5 3 4 2 f f f f f4 f f f f f f f {& f5 f f f f f f5 3 f f4 2 f f4 f {& f5 f 5 3 4 2 5 4

1 4 2 3 1 5 4 3 3 3 1 5 4 3 4 35 3 2 1 5 4 3 2 3 1 1 1 4 2 3 1 2 f5 f4 3 2 f4 f 1 2 1 2 1 4 1 2 1 2 1 5 35 f3 f 1 2 1 f f f f3 f4 f f f 2 2 f f 1 2 1 2 1 5 35 f f2 f3 1 5 4 f3 f2 f f f f1 2 f1 2 f1f 4 f f 1 2 1 2 1 f f3 f f f f Ÿ~~~ 1 f2 1 f f b f2 f3 f n f f2 f f2 f f f f1 2f 1 2f 1 f5 f f 35 f n f f f Ÿf~~~ f f f1 bf # f U f nf f1 f n 1 f 1f 4 f f f f f f 5 f f f nf f Ÿf~~~ 1f f2 f f f f #f U f f #f2 nf f2 f f f f1f 2 1f 2 1 f f f f nf f f f Ÿf~~~ f f f1 bJ #f f U‰ n f #f nf f f f f f #f f f f f f f nf & n f Ÿf f f f bJ # U‰ n # n #f f f f f nf & J ‰ # # n & f f f f f f f f f f f f U f f f f f f f f f f f f f f f f f f f f f U‰‰ f f f f {& f5f 1 4f 1f 3f 1 4 1 f f f f f f f f f1 U‰‰ f f f f1 {& f5 1f 4 1 3 1f 4f 1 f f f1 f f f1 { 5 1 4 1 3 1 4 1 1 ‰‰ 1 f f f 4 f f2 {& f5 1f 4 1 3 1f 4 1 f f f14 ‰‰ f f 12 4 2 {& 5 1 4 1 3 1 4 1 14 12 4 2

1. 2. 4 3 4 2 37 1. 2. 4 3 4 2 1 37 4 3 4 1 1. 1 2. 1 f4 f f 2 1 37 1 1 f f3 f4 f f f 37 1. f f f f 2. f4 f f f2 f1 f f f f f f f1 f f f f f f f f f f ™ f1 f f f f f. f f f f f. f f f f f1. nf f f f f. f f f f f. ™ f1. f f f. f f f f f. f f f f & f. n f f f. f f f. ‰Œ ™ f. ‰‰ J. Jf. f f & J. n J. J. ‰Œ ™ J. ‰‰ J J & J p J J f J p J J p J J f J p p f p f f f ™ f f f f j f f ? j ‰ Œ ≈ f f f bf f f f ™ j f nf f f fj f f f f fj f f f f j ‰ ? {& fj ‰ Œ ≈# f f b f f f ™ fj f1 n f f3 fj f1 f f1 n 3 f f f fj ‰ ? j f j f j {& f #f f f f ™ f 1 f f3 4 f1 f1 nf3 fj f f f f ? { ‰ Œ ≈# b 5 1 n j 1 2 n ‰ j f f f j f4. f 4 f j {& f ‰ Œ ≈#f b f f5 1 n 3 . 1 2 1 nf3 f4.j f f f f ‰ j f j 4 4. f .j {& f # f5 1 3 . 1 2 1 n 3 4 f. . 5 4. 2 . 4. . 3 5 4 3 5 4 1 5 4 1 13 2 5 4 38 15 4 31 2 3 2 38 4 51 2 135 124 38 4 1 4 1 1 38 1 f1 2 153 142 f f f4 1 f f f 1 38 f f f f f f. f 1 f f f f31 f2 j f....f f f f f f. 4 f f f f f1 f1 j f....f f f f f f. f f1 f f f f f fj & f....f f f f . f f f f f f fj ‰ & .... ‰ f f Óf f ‰ & f p‰ Ó f f f f f f f p‰ f Ó ff f f f f f f f f f f f f f p ™ fj f #f f f f f f f f nf f f f f f f f™ f fj f f f #f f f f f f f f nf f f f f #f f f™ nf f fj f nf f ? f # f f f n f #f f nf f f nf f ‰ {? 2 1 3 2 1 1 2 ‰ { 2 1 3 # 2 1 n 1 1 n 2 f5 ‰ { 2 ? 5 5 4 1 4 5 4 5 { 52 1 53 42 3 4 5 41 1 2 ‰ 31 4 5 5 { 25 1 35 24 4 14 1 2 13 5 5 5 5 4 3 4 5 4 35• Pianist 98

P32 SCORES Mozart-FINAL.indd 35 12/09/2017 11:04 TRACK 5 Domenico SCARLATTI (1685-1757) INTERMEDIATE Sonata in F minor K481

In our interview with him on page 12, Lucas Debargue remarks that he would choose bar 27. They usually take half the note-length, which is different to how it looks on Scarlatti over any other composer (even Bach!); among a certain select band of the page. The opening may be calm, but by bar 9 a more searching quality enters. thoughtful pianists he is not alone, and this sonata is a fine example of the composer’s At bar 17 onwards, the LH chords can be rolled (arpeggiated). The second section (from inexhaustible sense of invention. bar 36) is even more tense, with a mezzo-forte bar echoed piano. Give the LH descending Playing tips: This poignant sonata, accessible to most players, is one of our editor’s arpeggios at bar 44 and elsewhere a detached articulation (listen to how Chenyin Li favourites. About the ornaments: The four-note ornament at bar 2 should start on does this on the cover CD). The opening returns at bar 52, but already at bar 55 we are the upper note, but a simple crushed note (an acciaccatura from the note above) is ‘surprised’. The fingering of 1-1-1 in the RH at bar 61 might seem odd, but it works. also possible, and occasionally the three-note ornament can work too. Listen to the Pedal tips: A dab here and there, to round off phrases and to create legato when this cover CD to hear how the appoggiaturas are played – at bar 21, for example, and is not possible with the fingers alone.

Andante e cantabile 5 4 4 r 1 4 2 f f b f f f f f nf mf f f f f f bf f f nf mf f f f &b bb c mp bbbb c f f f f f f f f Œ f f f f f f f & 4 2 1 2 3 1 { 4 4 f f

3 5 1 1 3 2 f f f m f 2 b F f f nf f f f f f f f m U b bb J f f f f f f f f f f fj f™ Ó & 1 n f f mf f nff f f f b ? f f f f f f f U b bb f f nf n f & f f f f 1 2 f f 3 5 F { 2

9 5 2 1 f 1 2 f f b f f f F j F™ f f F f F™ &b bb nf ‰ n ‰ 3 3 J p f f f f f f f f f f f f f f ? { bbbb Œ Œ Œ Œ f &

5 13 3 3 3 f 2 1 f f 1 f f f f b b J f mf nf nf f f f f f nf f mf f &b b J J J n

b b f f f f f f {&b b Œ f f f Œ f f f Œ f ff ff

36• Pianist 98

P36 SCORES Scarlatti-FINAL.indd 36 12/09/2017 11:05 TRACK 5 Domenico SCARLATTI (1685-1757) INTERMEDIATE Sonata in F minor K481 16 16 2 r 3 3 2 f fr f 3 3 f f f f f f f f f f f f f f f f f f 16 b b f f nf f f f nf f f f f nf f &bbbb nf n 2 fr 3 n 3 nf n J &b b nJ f f f f f f f f nJ f fJ b fJ f f mf f f f fJ f f b bb n n mf f f f n f nf f n f f J & J f f f f Jf f nf f b ? mf f f f f f f nf f bbbb Œ f f f ? f f f f f f f f {&b b Œ f f f f f f f f f nf f { ? { b b {&b b Œ f f f

3 3 2 19 3 2 r 19 1 2 3 5 fj fr 1 2 3 5 bfj F™ fr f f f f f f bfj F™ nf f f f f f m f f f f 3 F n 19 b b f #f nf f m f nf nf f f f f 2 n bb b # n f f f f1nf 2n 3n 5 f f j fr &b bb n J #f f f f n n f bf F™ f & b f #f f f fJ # m f nf f f n bb b n f f f f nf n f f & b f f ffJ # ff F nf f ff ff nF f f ? b b f f f f F Ó‰ nf nf f f ? ?bb b f f f f F Ó‰& n n f5 f f b bb f f Ó‰& 1 2 n 5 f1 f f b b nf f f f nF f1 2 3 5 1 nf f { f2 3 n nf { n n ? {? n f f n bb b Ó‰& n f f b 1 2 5 1 f { 3 n n

22 22 1 2 1 3 r™ 22 f F 1 2 1 3 fj ™ fr™ f f nF 1 2 f 1 3 bfj F™ f f n f f f f f f f f m b F n 22 b b nf f f nf f f r™ &bbbb f F n 1 2 n 1 3 nf fj ™ f f &b b n 3 f 3 n b F n & f f 3f f 3f f m b b f n 3 3 n f f &b b f f f f nf f f nf f 3 f 3 f nf f f ? b f f f f f n f f nf f nf f f ? ?bbbb nf nf f f f f f & ‰ n nf f f f ? { b b f f n f nf f f nf & f f nf nf { n n ? {? f n f f n bbbb n nf f & ‰ n f f { n nf

3 25 5 3 25 5 5 13 25 F 2 5 3 2 1 5 1 f nF 2 f5 3 2 1 r f n f f f f fr f f f f f f f m f f f f3 f b f f f f f f mf f 5 f f f Ff f 25 b b nf 5 nf f f f nf f Ff1 f &bbbb f F n 2 3n 2 1 nf n nF &b b n 3 f f 3 n fr 3 n & f f 3f 3f f m f 3f f f b b n 3 3 n f f f mp n3 f F &b b f f f nf f mpf nf f f f f 3 3 f nf f f 3 f ? f f f nf f f nf F mp f f ?bb b nf nf f f f f f fF f f f { b bb f f n n f nf f f nf f f {? f F { bbbb n nf f

28 28 3 2 5 1 3 28 3 2 5 1 3 r fr 3 2 f5 f 1 3 fr fr f fr f f f f f f f f f f f f m fr f f f f f f 28 b bf nFf f f f Ff f f f nf f f f f mf f f nf f Ff f f f bbbbn nF 3 f F n 2 5 1f 3 nf f n f nF &b b rn fr f f n fr n & f f f f f f f f f 3 f 3f f m f 3f f f f f b b nF f F n 3 3 f f f p n3 f F &b b n f f f f f f f nf f p f nf f f f f 3 3 f nf f f 3 f ? f f f f f f f nf F p f f ?bb b f f f f f f f f fF f f f { b bb f f f f f f f nf f f {? F bbbb { 37• Pianist 98

P36 SCORES Scarlatti-FINAL.indd 37 12/09/2017 11:05 TRACK 5 Domenico SCARLATTI (1685-1757) INTERMEDIATE

Sonata in F minor K481 4 31 3 r 3 4 2 1 f f f bf f 3 1 3 f f f f f f f n f f f m f f f f f f m b b nF f f n f 4 n f 31 b n 3 n 3 n & b 3 4 2 1 f r 4 2 1 3f f f 3 bfr f 3 3 1 3 f nf f f m b f f f f33 1 3 m b b nFf f f f f f f f nf f f mf mf f nf f f mf b bn nf f f f nf f f nf 4 f n f nf 31&b b n n 3 n & f 3 f f 3 3 f nf r 3 3 f nf f f 4 2 1 3f f f 3 f 3 f33 1 3 ? f b mff f bb b f f f f f f f n f f f f m mfŒ f f f f f m bbb nfF f f f f f nf f f f 4 f n f f {31&b b n f 3 f f f nnf r 3 f nnf f f n n f f f4 2 1 f f f f f f f3 1f 3 f ? b f f n3f 3f b f 3f f f 3 bbbb Ff f f f f f f f f f f mf mfŒ f f f f mf {&b bbn nf f f f nf f f nf f n f nf f f f f f 3f 3 f nf 4 3 f 3 f nf 31 3 3 3 5 ? b 4 2 1 f 3 fmfr 34 b b rf f f f f f f 1 b fŒ 1 f3 1 3 b f n f f f f f 2 1 1 f f1 { b b Fff fff f f f f f f f f ff f nFmf F f f f fF nmf b n f mf n f f f f n f f b n f f f f fj f ™ ™ F n 5 ff f F n &? bbb n f n ™ ™n3 3 f5 f 34 bb b n w 1 3 Œ 1 34&b b fr 3 3 1 3 1 3 b bf f 3 2 1 1 1 { b f f f f 3 m f f f F mff F 3 F mpf ff f f f mf j f f f f F f ff b b nf f f f nfj ™ ™nmfF f f pf f f F f ff b b f n nf n w f ™ ™ 3 n f5 n f 34&b b f f n f f f3 f 1 f f f & r 3 f 3 f 1 ? b b f 3 f 3 ™ ™ Œ 32 1 1 1 ?b b mpf f f ™ ™ mf f f F pF 3 F bbb mpŒ f f f f mf j w & ™ ™ mfFf f f f pf f f Ff f f { bbbb n f nf ™ ™nf3 f f f < >f5 f f f w 3 b {34&b b r f f n 1 1 f f 3 f f w ™ ™ 2 1 1 1 ? b f f f 3 ™ ™ f f F F 3 F ? b b mpŒ f f mf j w & ™ ™ mff f f f pf f f f f bbbb n f f f nf w & ™ ™nfF f f f < >f f fF f f {&b b n w f f f f b 3 f 3 f w 3 5 34 f ™ ™ 3 1 3 ? rmp 3 ™ ™ mf1 p 38 b b bf Œf f w & f f f f f 2 1f 1 f f1 b b f f f m f f f Ff f f < >Ff f2 Ff f3 { b f f Ff f f f f F fj F ™ ™nFF F bffffff F f bbbb nFf f n f n f fn wf F f™ ™ # n f f f 38&?bb b Œ 3 ™ ™ fF f Ff f f f fn f 38&b b 3 3 f w & n < >f f2 f f3 b mp f f f f b 3 f 2 J3 { f f f F f F 3 F mfF F fp f nf f mff f F f p f w #f n f f bb b nF f f f f F f F F # nf f 38&b b 3 f f ™ ™ n ?& ™ ™ 2 J3 b b Œ 3 & f f f f f f ff f fJ bbbb mff f f fF f f fpfF 3 w f fF f ffF ff fFf ff ff n ff ff ff {&bbbb mfnfF f f f pf f f fF f f Ff f Ff f #nbf f fnf f f 38 b 3 w n {& b #n 2 3 b f f f J bb b f f f fF f f fF 3 f fF f fF f fF f f f n f f f f &bbb mfnfF f f f pf f f fF f f f f f f #nf f f f f f {&b bb f f f f #nfF f fF f n n J 38 b 3 3 f f b mff f f f pf f f f f f f f 2 f 2 f 3 42 b b 1 3 1 3 n f & f f f Ff f f Ff f 5Ff f fF f fF f 1 f f f f f { b nFf f f f f 1F f # m n# n f f f b b f j m f f fF F f n bbb f f ™ j n n f f f F2 f f f 42&b f f ff3 f ff f ff f f f f f f F2 Ó J 42& b n 1 3 f f f f n 1 3 n 1 nf f f f Jf f f f # 3 # 1 5 Jf f f f# 1 { mf m p 1 f # m n f j m f f f bb b f f fj f™ f f fj f nf f f f f f F Ó 42&b b n 3 f f # n nFf2 Ó & b n 1 # # f f n 1 3 #nn 1 f f b b J # # 5 J f # f f f f &bbbb f f f f f 1f ?f fn f f f f nf # ff f f &b b f ff j fmff f f f f f f f ff mff f f n n & { b b f n f ™ f fj n f # f f f Ff12 2 3 5 42 b n f3 f f nf f # Ff ÓF {& b n 1 f f f n 1 3 nn 1 f n 2 # # 5 f #n f f b b J 1 ? n J f n #f f bbbb f f mf f f f m # nf & & bb f f nf j ff f ff f f f f 1 2 5 & b n n f f™ f f nfj n f f F1 2 3 5 F { b b n n f nf # n nfF nÓ2 {& # # f # n 2 f n f J J f 2 f 42 b 1 3 ? n 1 3 n f b f 5 1 # 45&b b f f ff f 1 f f f f n & n n m f nf f f# m f1 2 f3 5f fF { b f ff f j f mf f f ff f f ff f f fn ff n 2 f f b ff ™ j n f ff F &bbbb nf n f f #f f f ? n nf n n n nF n #f f Ó 45 b b Jf f f f# # J # n & & f nf f f ff 1 2 5 n f f n f f f f3 f fF f { f f f f mf f f ff ff f f f f f nf2 f f mpf f f f #f m f f ff nf f f f bb b nf f # f # fnf n n nf f 45&bbb ? n f n f f bbbb f f f f ff f f f f f f ff #f nf f f & & b mpf f ff f f f f mf ff f f f f f bf 1 f 5 f f b b nŒf n f f f#n nf Œf n f f f2 f3 F {& b b n n n f n 2 f n {45&b b f f b b f f f f f mf f f f f f f bf ff f f f f f &bbb mpŒf f f f #n f Œf f n nf f f f f f {&b bb n 38• fPianist 98n n 45 b f f f f f f f f ff f f f b bb mpŒ f f f nf f f Œ f f bf f f f f & f f f f f f mf f f f f f f f f nf f f f P36 SCORES{ Scarlatti-FINAL.inddb 38 # f n n 12/09/2017 11:05 bbbb n f f f f f f n f f bf ff f f f &b b Œ f f f n f Œ f f f f f f f { mp f n b b f f f f f f f f bf ff f f f &b b Œ f f f n f Œ f f f f f f f { f n TRACK 5 Domenico SCARLATTI (1685-1757) INTERMEDIATE Sonata in F minor K481 49 f f f f f f f 49 nf f f f f f f j bbbb n f J J f f f f f f fj f™ Ó &b b fJ f f fJ fJ fJ J Ó b b n f fJ f f f f fj f™ &b b J J J f J f f Ó f nfJ f f b f ? f f f f f bbbb f f f f f ? f f f n f & &b b f f f f f f nf f f F & { b b f f f ? f f f F b b f f f n & {& f f f f f F

52 5 52 f f5 f f f mf f f f f f nF f f 52 f f f f f nf mf f f f f f bf f f n f 5 bbbb f f n f b f nF f f f f &b b f f f f mf f f f f f f nnF b b f f n f b f mfF f f &b b p nmf b b p f f f f f f f f mf &b bb Œ f f f f f f f Œ f f f bff f f f {& b f f f f b f f { b f f f f f f &b b Œ f f f f f f Œ f f f bff f f f { f f

5 56 5 3 56 f f 2 3 r f f f 2 f 3 fr f f f f f f f f f m f f f f f f f f f f f f f f f f f f 56 5 f f mf f f F F 3 f F b b J n J 2 n nn &bbbb Jf n f f fJ f f f f f 3 n fr f n n f & b f 3 3 f f mf f 3f f Ff f f f Ff f f f Ff f f f b J n J 3 3 n 3 n n &b bb 3 3 3 b b f f f f f f f f &b bb f nf f f f f f F f f f {& b f nf f nf f f f f F f f f f f f { b f f f F &b b f nf f f f f f F f f f { f f f nf f f F f f f 3 3 60 f f f3 f f f f f3 f f mf f F f f F f 60 f f nmf f F f f F f bbbb n f f f n f f f f f f f f f f f f f f f f &b b f f f 1 1 f1 1 f & f f mf f F1 1 1 1 f f F f b b n n 3 b f 3f f f f f f f f f 3f f f f f f & b 1 1 1 1 b b f f f 3 3 &b bb f f f f f f f f f f f {& b f f f f f f f f f f f f { b f f &b b f f f f f f f f f f { f f f f f f f f f f

3 63 3 r 3 63 2 fr 2 f f f f m 3 3 f f f f3 f f fm f f m 3 3 m 63 b f 3 f Ff nf f f bf f f m m U ™ b b 2 fr F n f b f f f f ™ b bb f f f m f f f f 3f 3 ™ & b f f f f f f f f f f nmf f f bf f f f m U b F n 3f b f f f f ™ b b 3f f f f f nf w ™ & b f nf f bf f f n w 3 f f f f b f 3 ? f n Uw ™ bbbb ff f f f F ? f f f f & ™ &b b f f f f fF f f f w & { b b f f f ? f f f f Uw ™ b b ff f F f & & f f f f f f f w { 39• Pianist 98

P36 SCORES Scarlatti-FINAL.indd 39 12/09/2017 11:05 TRACK 6 Emmanuel CHABRIER (1841-1894) INTERMEDIATE Feuillet d’Album, No 4 from Cinq morceaux pour piano

Chabrier wrote this album leaf late in his career, around 1889. By this stage he had and the suggested fingering should help. You can use ample pedalling, so finger completed the last in a sequence of magnificent comic operas including Le roi malgré legato is not a ‘must’. As the piece develops, so does the texture, the last two pages lui and L’Etoile. With Briséïs he turned again to serious opera but also found time to being the most challenging. The melody returns in bars 32-33 with a ravishing new write piano miniatures and some absurdist songs (including one about little ducks triplet accompaniment divided between the hands. Try not to tense the wrists when marching like country gentlemen) before delirium and paralysis overtook him as a playing the melody, which is now in octaves (bars 32-38). result of having contracted syphilis in his younger days. Pedal tips: At the start, one pedal change per bar is sufficient. When the harmonies Playing tips: This hauntingly beautiful album leaf looks more complicated on the thicken and change more frequently, then the pedal should follow suit (in bar 8 we page to learn than it is to learn, so don’t be put off. The notes sit well under the fingers suggest three changes, one for each beat).

En un mouvement assez lent de Valse, et très tendrement

5 5 4 5 3 4 4 f 5 4 2 # # F f f # 3 f f™ f f f f F f F f & 4 f F # ‰ ‰ ‰ J J1 dolce J 1 2 ?# # 3 { # 4 Œ F™ ™ pp F™ F -2. 5. -. con Ped. -

sf 4 4 4 1 4 3 5 2 -. 5 4 # 5 ™ 1 f f f 2 f ## F f f f f f f f f f & f F f F ‰ f f ‰ # ‰ n Œ J1 2 J # {?## F™ F™ F™ -. . F™ . - -. -

8 5 2 4 2 3 5 2 1 2 1 4 1 f f 1 # # f f f ™ f F F f # f f f f f F F f & Œ #f F # Œ 1 Œ Œ pp F F F f f f fF™ f ?### f f fF™ fF™ { 2 1 3 5 2 1 . -. -. - 40• Pianist 98

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31 5 dim. fj f 1 f f f f™ fj F f™ 2 1 f f 31 # # ff f f 5 ™ f f F f # dim. fj f 1f f f f & f f f™ fj F f™ 2 1 f f 31 # # Œ ff Œ f 5 f F dim.  f fŒ 1‰f™ f F 3f f f # f™ fj f f f™ 2 1 f f 31& f f j F pp 5 3 f # # Œ Œ dim.f™ fffj Œ f f f 1 ™ f f Ff fj f # f f ‰f™ f™ fj F f f Œ ‰f™ 2 1 f3f f &# # f f™ # ff f f‰ f pp 3f F f f ?### Œ f Œ f™ Œ f f f f™ f fF f fj f‰ & # ‰ #f ‰ f f ‰ŒŒ ‰F™ f3 f { f™Œ fJ Œ J pp 3 1 2 5 f f f f f f ?# # Œ dim.f™ f f Œ ‰ f 3 fj ‰ # ‰ #f™ ‰ f f ‰Œpp F™ 3 f f { Œ f™ ™ fJ f fJ -. f1 2 5 f f f f f f fj # f ‰ dim.f™ f f f f ?## f f f™ # f f‰ f ‰Œ F™ f f ‰ { # J J -. 1 2 5 ?# ‰ # dim. ‰Œ F™ { J J 1 2 5 dim. -. -. f 5 34 F f f f f f f F 3 2 f # F f f f f f 5f f f 34 ## F # f f f f f f F # f f f & f f f f F 3 2 f ‰ f f f ‰‰f f 5f f f 34 # # F f f fJ f ‰ f f # F # 3 f f F # 3 f 3 3 f f 5f f F 3 2 f 34& # F‰ f f f ‰‰f f f f f # f f fJ ‰ 3f 2 f # # f f fj f 3 f f f 3 f F # f3 f &# # F 3 f #f 3 f f f3 f f # f fj ?### ‰ # f f Jf ‰‰‰ f f f ‰ ? F‰ # f f ‰ & f f fj 3 3 F™ f3 { # ‰ 3 # 3 J ‰‰ ™ & f fj 3 # f fj f f F™ F 3 f ? ‰ f ?# # 3 f 3 fj ‰ f ‰ ™ 3 f3 ‰ { # # f f ™ & 3 f fj -.F f # f fj f f F f ?# # -.F™ f f fj ‰ -. f3 ‰ ? f ‰ # # f f ™ & f f fj -.F™ # f fj { # 42• Pianist 98 ? ?# F™ ‰ .F f ‰ ‰ { # -. - ™ & f fj F™ F™ F -. -. -. . -. P40 SCORES Chabrier-FINAL.indd-. 42 - 12/09/2017 11:06 Emmanuel CHABRIER (1841-1894) TRACK 6 f-. f INTERMEDIATE 37 f™ Feuillet d’Album, No 4 from Cinq morceaux pour pianof f f F f f f fj f f f f f ff ff ff ff ff # # f™ n f f f fj f f-. f f 37 # f™ f f f f -. f f f f & ‰ f f ‰ f f4 2 f 1 fJ 1 f 3 1 37 f fj f 1 5 f f 4 f1 f f # # f™ f F f 3 Œ j mpf 2 f 3 - f f f ff f ff f n3 f 3f f f fj f f f . f f f 3 f f 3f f 37 ## ™ f F ff f f f f f f f f3 f ff f f ff f &# f f f f fL.H.j f 4 f2 1 J 1 3 1 # ‰f™ n ff fj f f ‰ 3 f poco5 cresc. f f4 f f f f f fj 2 f f1 f f f f f1 f f & # ™ f F n 3 Œ mpf f 4 32 f1 Jf f1 f f f 33f 1 # f‰ 3 f 3f fj ‰ 1 f 5 34 1 ?### Œ n f 3 ff Œf 2 f f3 f f f f & # F™ 3 f 3 J L.H. mp f 3 ™ 3 3 { ‰ f fj ‰ f3 4 2 1 JFpoco3 cresc.1 3 1 f 4 f f f F™ 2 1 5 1 nf f 3 Œ L.H. mp 3 3 # 3 3 j poco cresc. 3 3 ?## -.F™Œ f n Jf f f -. ™ 3 { # f f . L.H. 3 Fpoco cresc. {?## F™Œ n Jf fj -F™ F™ ?# # -.Œ F™ . { # .F™ J -. -F™ - .F™ -. . - - . -. 3 - fj f f f 40 f pp ff™ f f f ff™ 2 f f 3 # f f f f f f F f f F # f f # f F # f F f f f3 f 40 # 3 3 pp ™ j & f f f f 2 f ff f f 3 ff™ f f fj f 3 f 40 2f f 1 ppf f 3 ff™3 f F # # f f f f # f fsmorz.f™f pocof F a poco2 f f f F 3 # 3 f f f sf f pp f #f F f f f f 40&# # f 3 pp f f F ™ fj f f f f f f f # f F 2 f ff™# f F j # 3 1 3f 3 ff™3 4f f ff 3 & # 2 f f f f f fsmorz.f™f pocoF a pocof f f ff F 3 # f f #3 3 f F 3 f F ?### 2 1 sf fpp f F # F & # 3 3 smorz. pocoF a poco fj f f3 f { sf pp 4 ff™ 2 1 2 f 3 3 f 3 f 2 1 ff™ f f ™ f F fj f 3 f # f f smorz.f pocoF a poco4 f ff ?## sf pp ff™ F f f f F f f f f { # f f F ™ j 2 1 2 ?# F # f ff™ F 4 f f ff { f f F 2 1 2 f f F ?### F F { 2 1 2 rit. sempre f 3 3 43 f Ff f f frit. fsempre. f. f...f ff™ f f # f F f frit. sempre f f f f f # # f f 3 3 n f f f 43 # f f . . & f F f f frit. f3sempre‰Œf f...3 f ff™ f f ‰ 43 f 3 f fF 3f fJ . . ...f 3f f fJ f # # f F f f f f f3 f f f ff™ f f # f F # 3 f3 n f f f f 43&# # f f f f f . . 3 f f f f 3 # ‰Œf. ... ff™n f f f f ‰ & # f f f Ff f f 3 fJ f. f f f f. ff™3 f fJ f # 3 f f f ‰Œ f f f f ‰f ?## # F #3 f fJ 3 3n f f f Jf & # f # f 3 n f f { 1 3 f 3 . ‰Œ. . ‰ 1 J ‰Œf ff™3 f J ‰ f f fF f f 3 f fJ f. . f f3 f. f f fJ f ?# # f F f f f 3f f f f ff™ f f # # f f3 n f f f { # 1f F f f f f f ?# f . ‰Œ. ‰ # f F f 1f # f f f f f. ff™ n f f f { 1 J f J f F 1 f f ‰Œ f f f ‰ ?### # fJ n f fJ { 1 ‰Œ ‰ 1 J J ppp -. -. “” F™ ∏ f f f f™ ∏ 46 rall. 1 f F fj ∏ f f 4 ∏ 1 2 4 2 f ppp ∏ f f 1 f # nF ∏ “” f - ff -. ∏ . ∏ # # ppp F™ ∏ f f ∏ f f ∏ “” f # f™ n ∏ # rall. 1 - fj -. ∏ f Jf 46 ‰ f F f ∏ ‰ . ∏ f 4 ∏

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∏ pp F™ ∏

# ∏ ?# . ppp Œ ∏ f f - ∏ f Jf ‰ # 3 & ∏ f fJ { # -. ∏ ?# Œ F™ ∏ 43• Pianist 98 F f ‰ { # F™ & ∏ f Jf ?# pp# F™-. ŒF Jf { #pp . F™-. & J ‰ F™- . F fJ pp F™- P40 SCORES Chabrier-FINAL.indd. 43 12/09/2017 11:06 - -. J TRACK 7 Félix LE COUPPEY (1811-1887) BEGINNER/ Musette, No 5 from L’Alphabet Op 17 INTERMEDIATE

A musette is a kind of rustic bagpipe which became identified with music either Playing tips: Two things to enjoy here: the drone of the LH two-note chords at the written for it, or that imitated its sound. Musettes can be found in many Baroque interval of a 5th (all the way through!) and the syncopation of the RH tied notes dance suites, but composersAllegro continued hto = use 126 the form to evoke an idyllic, pastoral over the barline at bars 2-3, 6-7 and so on. Make sure there’s ample weight on the character, such as Vaughan Williams in his Oboe Concerto. LH notes to last through two bars. Die away at the end. No need for pedal. 4 =3 1265 2 Allegro3 2 h = 126 4 3 1 5 4 Allegro h = 126 2 4 3 2 1 3 h = 1265 Allegro2 f4 h 3 f 2 f4 f f # f3 f 4 f3 5 f2 f3 1 2 4 3 f5 4 1 f3 f f 3 2 4 3 5 2 4 3 f1 f f4 f 5 2 f4 C 3 2 5 4 3 1 f2 4 3 5 f2 4 1 3 & 2 f4 3 f 2 f4 2 3 2 F1 3 f f # f3 f f f f f3 1 2 4 3 f5 4 1 f3 f f f # C f f f f f f f f f f f f f f f2 f f f f f f & C f bourréef f f f f f f f f f f f f f f F f f f f f &# C f f f f f f f f f f f F f & bourrée F f bourrée ?# f bourrée { C fw bourrée w w w w ?# w w w w w ?# C w>1 w w> w w> {?# C w5 w w w w {?# C w w w w w { C w1 w w w w w> w w> w w> { >51 > > w>51 w w> w w> >51 > > 6 2 5 1 2 4 4 1 3 2 1 3 1 6 2 F 6 # f f 1 2 4 f f4 1 >3 6 f2 f 2 1 3 1 f 4Æ f 2 f1 f 2f 4 f f f3 f1 4 1 3 6 2 1 f2 4 f2 1 f 1 1 3 & f 2 F f1 3 f4 >F3 # f f f 1 2 4 f 1 3 1 f f' fÆ f1 >F # f f f f f f f f f f2 f F f f f f f' f fÆ f' >F &# f f f f f f f f f f f F ff f f f f f' fÆ f > & f f f f f f f F f f f f ' ' ' & f ' ' ' ?# f ' ' { w w w fw w ?# w w w w w {?# w w> w w> w {?# w w w w w { w w w w w { w w> w w> w w w> w w> w 11 > > 3 4 2 3 1 4 2 4 4 5 3 1 1 3 1 1 3 4 2 3 11 f f f f f f3 4 2 f3 f 1 4 2 f 4 F f f f f 11 # 4 4 f2 3 f f1 f4 5f 3 1 f fÆ 1 3 4 f f 11 4 3 4 2 3 1 4 f2 5 3 f1 1 3 f1 f 4 f1 3 4 2 3 11 f4 3 f 2 5 3 1 1 f f3 1 4 1 3 f4 f 2 3 & f f f3 f4 f2 f3 f f 1 f4 2 f f1 3 1 f4 F f f f f f2 f3 f f # f f4 f f f f f f f5f 3 1 3 1 f f' Æ f1 F3 f f4 f f 2 f3 f # f f f f f f f f f f f f >f f' f1 f f f f' f fÆ f' F f f f f f f f f &# f f f f f f f fmf f f f f f' fÆ f f f & > f' f f f f ' ' ' & > ' mf ' ' ' ?# > ' mf ' ' { w w mfw w w ?# w w w w w {?# w> w w> w w> {?# w w w w w { w w w w w { w> w w> w w> w w w w w 16 > > > 2 16 3 1 16 1 4 2 5 2 4 3 16 f f 2 16 # f f f3 f f 2 f f 1 4 1 4f 2 5 F 3 f f2 f1 f 2 f 3 f f 1 4 2 5 3 1 f2 4 f3 f & 1f 4 2 f5 f f 2 f 2 4 3 F # f f f f f3 f f f f f f f 1 2 4 3 f # f1f 4f 2 f5 F f f f f f f f f f f f f f f f f &# f f f f F pf 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 & p F ?# p { w pw w w w ?# w w w w w {?# w> w> w w> w {?# w w w w w { w w w w w { w> w> w w> w w> w> w w> w 21 > > 1 4 > 2 3 5 3 1 3 1 2 4 2 21 f 2 3 5 1 4 3 21 # f f f f f 1 4 5 1 4 3 1 2 U 21 3 f f2 f f 2 f4 3 f5 1 4 1 3 2 1 2 4 f3 F F 3 1 2 21 3 f 2 1 f2 3 5 F1 4 F3 F2 &# f f f f f f 1 2 4 1 2 Uw # f3 f f f f f f f f f f f f f F F F F F Uw &# fpp f f f f f f f f f dim.f f f f F F F F F pppUw & f f f f f f f f F F F F F F w & pp dim. F F w pp dim. F pppUw ?# pp dim. pppw { wpp w w dim. w w w pppUw ?# w w w w w w Uw {?# w> w w> w w> w Uw ?# w w w w w w w { • { w w w 44 Pianist 98w w w w { w> w w> w w> w w w> w w> w w> w w

P44 SCORES Couppey-FINAL.indd 44 12/09/2017 11:06 36 G Major 5-Note Pattern HANS-GÜNTER HEUMANN 36 G Major 5-Note Pattern AZERTY 26. ImitationXXXX (XXXXX) Study PLAGE 27. Triad Exercise BEGINNERSzerty 36 G Major 5-Noteq = 108-120PatternKEYBOARD CLASSHans-Günter Heumann = 120-144 Hans-Günter Heumann 1 26. Imitation Study q 27. Triad3 Exercise LESSON 25: ARTICULATION AND EVENNESS 1 5 36 G Major 5-Note Pattern   = 108-120    Hans-Günter Heumann On these four pages,q Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Günter Heumann.    Hans-Günter Heumann   1      = 120-144 3   Lesson 25 features exercises to help26. with articulation Imitation and evenness in your playing. GiveStudy them a try, always starting out slowly.  q 27.1 Triad5 Exercise mf  mf Imitationq = Study108-120     Hans-Günter Heumann      26.  Imitation  Study      = 120-144 27. Triad  Exercise  Hans-Günter Heumann A warm-up exercise1 which should train you to play sequences first in the RH and then imitating in the LH.    q  3          1 5    mf          = 108-120  5    mf q  Hans-Günter Heumann 531         = 120-144 Hans-Günter Heumann 1         q 3                  1  5                    mf  5    mf     531                         5                5     mf     mf      5           531 5                               5             5            531 5                    5                                5                        5                                                            9                         9                    9                            9                              9                         9                           9                     9                                                                          13                 13                                       13              13                                        13                         13                                      1 1 13     2 3 © 2013 Schott Music  Limited, London          © 132013 Schott Music Limited, London                    5    5         45• Pianist 98                         1 1              2  3 © 2013 Schott Music Limited, London        © 2013 Schott Music Limited, London            5   5  p45-48_Keyboard-FINAL.indd 45                      12/09/2017 11:08        1 1 2 3 © 2013 Schott Music Limited, London © 2013 Schott Music Limited, London 5 5 S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 36    18.02.13 08:45                                 1 1 2 3 © 2013 Schott Music Limited, London © 2013 Schott Music Limited, London 5 5 S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 36 18.02.13 08:45

S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 36 18.02.13 08:45

S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 36 18.02.13 08:45 44 D Major 5-Note Pattern HANS-GÜNTER HEUMANN KEYBOARD CLASS

33.Evenness Evenness and Articulation andAZERTY Study Articulation No 1 Study: 1 34. Accuracy PLAGE Make sure to observe all the articulation markings (phrasing, XXXXslurs, staccatos, (XXXXX) even the rests!) as well as keeping the notes even in sound. Notice the dynamics and crescendo sign as well. zerty Hans-Günter Heumann Hans-Günter Heumann du faux texte q Bella= 144-160 terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus q = 144-160 tuto ignosci potuit,1 conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut 1 remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi Asescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus  civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta.     Ex quibus deduxi in colonias aut remisi in municipia sua stipendis emeritis millia aliquanto  plura quam trecenta,  et iis omnibus agros adsignavi  aut pecuniam pro praemiis               militiae dedi. Naves cepimf sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot. f   

                 1  1            5 2 3 5   

5 5 1                                                                             5

9 2 3 9 1                                      p                                   2  3               4 5

13 13 5 5 5 1 4                                         f                                     1  1   1   2  © 2013 Schott Music Limited, London © 2013 Schott Music Limited, London

46• Pianist 98

p45-48_Keyboard-FINAL.indd 46 12/09/2017 11:08

S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 44 18.02.13 08:45 F Major 5-Note Pattern 49 HANS-GÜNTER HEUMANN KEYBOARD CLASS

36. Preparatory Exercise for No. 37 37.Evenness Evenness and Articulation AZERTYand Study Articulation No 2 Study: 2 The Alberti bass quavers (starting in the LH, then copied inXXXX the RH) (XXXXX) should be even, with a slight emphasis on the first and third beats. PLAGE The first eight melody notes should be articulated with a smoothzerty legato; the next eight should be detached staccato; and so on. = 100-126 q Hans-Günter Heumann Hans-Günter Heumann 1 q = 100-126               5                   5            legato            mf mf   

2                                      5                           1     

3       5                                                                                    4

5    9                    mf                                             5                            

5 5 13                                 mf                                                                         5 © 2013 Schott Music Limited, London © 2013 Schott Music Limited, London

47• Pianist 98

p45-48_Keyboard-FINAL.indd 47 12/09/2017 11:08

S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 49 18.02.13 08:45 Changing Positions 59 Changing Positions 59 Changing Positions 59 46. Changes between Two 47. Evenness Study / Alternating ChangingHands Positions 59 46. Changes between Two 47. HANS-GÜNTEREvenness Study HEUMANN / Alternating KEYBOARD CLASS Hands 46. NeighbouringChanges between Keys Two 47. Evenness Study / Alternating Hands Neighbouring Keys Evenness Study/Alternating Hands Hans-Günter Heumann Neighbouring Keys See if you can = create 144-168 a seamless line between theAZERTY hands. The listener shouldn’t be able to hear where the change takes place! Neighbouring Keys PLAGE q XXXX (XXXXX) q = 144-168 Hans-Günter Heumann Hans-Günter2 Heumann q = 144-168 Hans-Günter Heumann = 12144-168 3234541 Hans-Günter Heumann = 144-168 zerty q q = 144-168 Hans-Günter2 Heumann q = 144-168 Hans-Günter Heumann q 2 q = 12144-168 3234541 Hans-Günter Heumann du faux texte Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas2 gentes, quibus 12 3234541 tuto ignosci potuit, conservare quamR.H. excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut 12 3234541 5              remisi in municipia f sua stipendisR.H. emeritis millia aliquantolegato plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi. Naves cepi                  2 3 4 2 2            Asescentas praeter eas, si quae minores quamR.H. triremes fuerunt.Bella5 terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus   f legato           f legato                     civibus peperci. Externas gentes, quibus tuto2R.H. 3ignosci4 potuit,5 conservare quam2 excidere malui. Millia civium Romanorum2 sub sacramento meo fuerunt circiter quingenta.    legato               f 5 legato    f                               Ex quibus deduxi in coloniasf aut remisi in2 municipia3 4 sua stipendislegato emeritis millia2 aliquanto  plura quam trecenta, 2et iis omnibus  agros adsignavi aut pecuniam pro praemiis  legato                 militiae dedi. Naves cepi sescentas praeter2 eas,3 si quae4 minores quam triremes2 fuerunt.Bella terra et mari civilia externaque2 tot.   f legato                     f           5                  2   5   5      54                5 4 3                 3 4 3 2 1 2 5                                     5     5                    4 3 2   5           54     1 2            5     5  5  3 4  3 2     5             4 3 2 5 5    54      1 2              5 2 5 5 54   3 4   3 2  5      5 4 3    3 4 3 2 1 2 5 5 L.H. 2 5 5 L.H. 5 L.H.2 5 5 L.H.2 5       2 5                                                                                                                                                                                                                                                                                                                                   

5 9 4 3 2 9 5 54 3 4 3 2125 9 4 3 2 5 9 4 3 2 9 4 9 5 4 9 54 3 3 2125   3 2     9 54 3 4 3 2125             54   3 4  3 2125                           2 3 4                         5                                 2 3                               L.H.  4 5                              2 3                            2 4 5                            L.H.3 4 5                 L.H.                                L.H.             12   323 4541                                                            12    323   45   41                        12 32345  41               12 3234541  

13 13 13 13 13 13 13   13                        R.H.                                                    R.H. R.H.                           R.H. 2                                 R.H. R.H.          R.H.2                  R.H.                                 2                        2 © 2013 Schott Music Limited, London                © 2013 Schott Music Limited, London                                                               © 2013 Schott Music Limited, London                     © 2013 Schott Music Limited, London        © 2013 Schott Music Limited, London  © 2013 Schott Music Limited, London Hans-Günter Heumann continues his series for beginners in the next issue.   © 2013 Schott Music Limited, London © 2013 Schott Music Limited, London To find out more about Heumann, visit www.schott-music.com

48• Pianist 98 S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 59 18.02.13 08:45

S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 59 18.02.13 08:45 S&Co_8898_ED_13551_Heumann_FingerFitness_INH.indd 59 18.02.13 08:45 S&Co_8898_ED_13551_Heumann_FingerFitness_INH.inddp45-48_Keyboard-FINAL.indd 48 59 12/09/201718.02.13 08:45 11:08 Michel LEGRAND (b1932) TRACK 8 Alan & Marilyn BERGMAN (b1925; b1929) INTERMEDIATE The Windmills Of Your Mind

When learning this bittersweet Legrand melody, it would be as well to have in mind Playing tips: The RH takes the melody throughout, leaving the LH with the trickier the lyrics of Alan and Marilyn Bergman, which they wrote to match what was rippling accompaniment. And therein lies the problem. We have suggested some originally a French song for the 1968 film, The Thomas Crown Affair. ‘Round like fingering, but we all have different hand and finger shapes. Whichever fingering you a circle in a spiral, like a wheel within a wheel/Never ending or beginning on an ever settle upon, do practise the LH on its own first, slowly, in order to attain total spinning reel/Like a snowball down a mountain, or a carnival balloon/Like a carousel evenness and precision. Articulate every note, but avoid bumps! Note: a swift page that’s turning, running rings around the moon/Like a clock whose hands are turn will be needed. sweeping past the minutes of its face/And the world is like an apple whirling silently Pedal tips: The harmonies don’t change often, so liberal pedalling can be applied. in space/Like the circles that you find in the windmills of your mind...’ Avoid over-pedalling, however, or the melody will become muddy. Rubato 3 f4 f5 f f f f f f f # f f f f f f f f f f f f f f f & c mf f f f f f f ?# c f f f f f f f f f f f f { f 1 f f f f f 2 5

4 5 ten. 2 1 4 f 2 1 f 1 f f f f f f # f f ™ f f f f f f f f & f F

ten. f f f f f f f f f ™ f f f f f f f f {?# f F f f 1 2 4 2 1 Em

7 f f3 f f f f f f f2 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 4 2 f f 2 5 B7 Em

10 3 f f f f 1 f f 5 f f f 2 f f f f f 1 f f f f 2 f 2 # f f f f f f 1 f f f f f f f & f f f f f f f f fj f f f f f f f f f f f f ?# # ‰ n ‰ fj f ŒÓ { f w 2 1 3 2 1 1 3 w 2 5 E7 Am7 D7 Gmaj7 N/C

49• Pianist 98 The Windmills Of Your Mind. Words by Alan & Marilyn Bergman. Music by Michel Legrand © Copyright 1968 EMI U Catalog Inc. EMI United Partnership Limited. All Rights Reserved. International Copyright Secured. International Copyright All Rights Reserved. EMI United Partnership Limited. 1968 EMI U Catalog Inc. Michel Legrand © Copyright Music by Bergman. Alan & Marilyn by Words Mind. Your Windmills Of The

P49 SCORES Windmills-FINAL.indd 49 12/09/2017 11:08 Michel LEGRAND (b1932) TRACK 8 Alan & Marilyn BERGMAN (b1925; b1929) INTERMEDIATE 5 3 The Windmills Of Your Mind 53 5 4 31 14 53 3 3 1 42 31 5 4 5 3 14 f3 f f f f3 f f f f5 f f42 f1 53 f42 f f5 f f f1 14 f f f3 f f f3 31 f f f f f f3 # f f f 5 f2 f 5 f f f f f f f f42 f f f f3 f f f1 14 f f f f f4 13 1 f f f #f f f f # f f f3 f f2 f 35 f f f f f2 f f f f f f f f f f f f1 1 f #f4 f f f f &# f f f f f f f f 3 f f f f f f f2 f f f f f f f & f f 1 f #f f f &# f f f f f f f f f f # f f & f f ?# f f f f f f f f f f {?# f f f f f f fF f f f fF f f f f f f f f f fF 1 fF fF fF f f f f {?# 2 f f f f f f fF f fF f fF f f1 f fF f f f f4 F fF fF f f fF f f {?# 5 2 4 f f f f f f f5 F f 1 f fF f f fF fF fF f f fF f f { Cmaj7 2 F©7(¨5)4 B7 f5 F 1 fF fF fF Cmaj7 2 F©7(¨5)4 B7 5 Cmaj74 3 F©7(¨5) B7 17 42 4 17 Cmaj7 31 F©7(¨5)42 B7 421 1 17 f1 f f 3 421 f42 f f f f1 f1 f f f f 17 f1 f f f f3 f42 f f f f ™ f f # f2 f f f f f f1 f1 f f f f f ™ f f f f f # #f1 f f # f # 2 f f #f #f ™ f f nf f f f f #f f f f #f f n#f1 f f f #f ™ f &# #f #f f f f #f f n#f f f f f #f #f ™ f f f nf f f f &# #f #f f # f n#f f f f #f #f ™ f f nf f f f & # #f n # n f #f f f f f f f ™ f f f f f f ?# fF f #f fF f f fF f f fF f f ™ f f f f f f f {?# #fF f #f fF f f fF f f fF f f ™ f f f f f f f f {?# # # f fF f f fF f f ™ f f f f fF f fF f ™ f f f {?# A©dim# B7fF fF ™ Emf f fF fF { A©dim# B7 Emf A©dim B7 Em 20 A©dim B7 Em 20 20 f f f f f f f f f f f 20 # 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 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 f f f f f fj f f f f f f ?# f f f f f f f ‰ fj f f f f f f ‰ fj f f f f f f {?# f f f f f f f f w‰ fj f f f f f f ‰ fj f f f {?# f f f f w‰ f f f ‰ j f f f f f f fj f f f w f f f f {?# f f Am7w‰ D7‰w j f f f f f f f { f Am7w D7w Am7 D7 Am7 D7w 23 f f f f f f f 23 f f f f f f nf f f f f 3 f f f f f f f f f f f f f f3 f f f f f 23 f f f f f f f f f f f nf f f f f f f f f f f 23 # f f f f f f f nf f f f nf f f f f #3 f f # f f f f f nf n f f f #f3 f f f f &# f f f f f f f nf f f f #f f f f f f &# f n # f & f f f f f f fj f f f f f f fj f f f f f f f f ?# ‰ fj f f f f f f ‰ fj f f f f f f f f f f { j j f 1 f w f f f f w f f f f fF f fF f {?# ‰ f f f ‰ f f f 2 1 w fj f f f w fj f f f fF f2 f fF f f {?# ‰ ‰ 5 1 w w f5 F f2 fF f { Gmaj7 G7 Cmaj7 1 Gmaj7w G7w Cmaj7f5 F 2 fF Gmaj7 G7 Cmaj75 Gmaj75 3 G7 Cmaj7 53 32 5 4 3 31 21 53 42 4 5 3 31 42 1 21 53 2 1 53 3 4 3 21 26 1 1 f3 f f2 f4 2 26 f3 f 2 f5 f f4 f1 f21 f f f f f f f f f f f3 f4 2 f f f f f f f #f1 f ff1 f # 3 f2 #f1 f1 f f f f f f f f f f f f 26 ##f f f f #f f f #f f2 f2 f f nf #f f f f f 26 # # f f ff f f f f f1 f f nf f #f f f f f f # #f f #ff f #f f f #f f f2 f f f f f f f f f f f f &# ##f f #ff f # #f f f f f nf f #f f f f f f f &# # # f f nf #f & # f f fj f f ?# ‰ fj f ‰ fj f F‰ fj f FŒ f ‰ fj f Œ f {?# ‰F #fj f ‰F fj f F‰ fj f FŒ f F‰ fj f FŒ f {?# ‰F #fj f ‰F fj f F‰ fj FŒ ‰F fj ŒF {?# ‰F #fj ‰F fj F‰ FŒ ‰F fj f ŒF f F©7F # F Bm E7 { F©7 Bm 50• Pianist 98 FE7 F F©7 Bm E7 F©7 Bm E7

P49 SCORES Windmills-FINAL.indd 50 12/09/2017 11:09 Michel LEGRAND (b1932) TRACK 8 Alan & Marilyn BERGMAN (b1925; b1929) INTERMEDIATE 29 ff The fWindmillsf Of Your Mindf f f n f f f f f f f f f f f f f f f f f f f f f 29 # f f 29 ff f f f f f & nff f f f f f f f f f f f f f f f f f f f f f # n f f f f f f f f f f f f f f f f f f f f f &# n f & j F™ f ?# ‰ f ‰ fj f f f f { w F™ f ŒÓ fj F™ f f f ?# Am7‰ fj D7w‰ fj f f f Gmaj7f N/C {?# w‰ f ‰ fj f f f f ŒÓ { w f f f { w ŒÓ { w w Am7 D7w Gmaj7 N/C Am7 D7w poco a poco rit. Gmaj7 N/C 32 Am7 D7 Gmaj7 N/C 5 5 f f f f poco a poco rit. 2 32 f f f f f f fpocof af pocof rit. 2 f f f f 32 f f f f F poco aF poco rit.f f 1 F 1 f f f f 32 # F F F5 F f f 5# 5 # f f f f f f f f f 25 f f 52 & f f f f f f Ff f f f f f f 52 f f f f 12 f f f f f f f f f f Ff f f Ff f f f 21 fF f f f 21 f f f f # f f f f f F Ff f f f 1 F f f 1FFf f f f # f f f f F F f f 1#F FFf f #f f &# F #F FF # & F™ f {?# ‰ fj Ó f F f ?# w‰ F™ wÓ f f F F {?# Cmaj7‰ fj F™ F©m7(¨5)Ó f B7F { fj { w F w w F Cmaj7w F©m7(¨5)w B7 F 35 Cmaj7w F©m7(¨5) B7 a tempo f f 35 f f f f f f f f f f f f 35 # a tempof f f f f f f f f f f f f f f f a tempo f f & fa tempo 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 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 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 ?# Em f f f f f f f f #f f f f f #f f f f {?# f f f f B7 f f # f f # f { f f f f { f f f f # f f # Em f f Em 39 Em B7 B7 molto rall. f f f f f f f f f f ten. 39 f f f f f f f f f f f f f f 39 # f f # f f f f #f moltof f rall. #ten.f #f # f f f f f molto rall. ten. & f f f f f f f f f f f f f f ten.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 ?# fF f fF f ‰ fj F™ F F { # f F f #f f f w F™ F ?# A©dimfF f # fF f f Em‰ fj F™ B7F F {?# #fF f fF f ‰ fj F™ F F { #fF fF { # { # w A©dim Emw B7 A©dim Em B7

42 a tempo accel. rit. f f f f f f f f f f f f F™ 42 # a tempof f f accel.f f f f f rit.f f f f FUF™ 42 a tempo accel. rit. # F™ 42& fa tempof f f f f f f frit. f f f F™ Œ # f f f f f f f f f f f f f f f f dim.f f f f f f f f FUF™ # f f f f f f f f f f f f f f f #FUF™ Œ &# # F™ Œ & dim. U ?# f f f f f f f f f f f f dim.f f f f f f F™ { f f f f f f UF™ Œ ?# f f f f f f f f f f f f f f f f f f UF™ {?# Emf f f f f f f f f f f f f f f f f f f f f f f f Em6F™ Œ { f f f f f f F™ { f f f f f f F™ Œ Em 51• Pianist 98 Em6 Em Em6

P49 SCORES Windmills-FINAL.indd 51 12/09/2017 11:09 TRACK 9 Jules MASSENET (1842-1912) INTERMEDIATE Méditation from Thaïs

The subject of Massenet’s hit opera was a courtesan turned saint, first recorded as a fingers more comfortably than you might think from the page. Don’t rely on the legend in the 10th century. The story was filled out and spiced up as an anti-clerical given fingerings, but use them as a guide. Ample pedalling also means you don’t satire by Anatole France in a scandalous novel published in 1890. The opera’s premiere need to rely on the fingers to create legato. The LH is challenging and should be in 1894 also caused a stir when the soprano Sibyl Sanderson, for whom Massenet wrote practised on its own, very slowly. Even if the tempo is a calm Andante, there’s lots of the title role, ‘accidentally’ exposed her bust mid-aria. The Méditation is placed at the jumping around and, of course, it all needs to sound effortless! Savour those heart of the opera, but returns in Act 3 to underscore the priest Athanaël’s anguish over gorgeous, floating moments such as the descending RH triplets in bars 14-15. the deathbed of the sensual Thaïs, who is at the last granted a vision of heaven. Pedal tips: One pedal change per bar at the outset, but more later on (two changes Playing tips: Lots of slow, precise practice will reveal that the notes fit under the per bar in bars 7-8, 14-15 and so on). Your ear will be your best guide.

Andante religioso 5 5 3 4 f 3 2 1 2 3 F f 3 F f f f f f f f 2 1 # f f f f™ f f f F™ f f & # c J 3 5 pp très soutenu 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 ?## c f f f f { ∏ f f f ∏ 5 3 2 1 2 1 2 4 2 3 2 1 2 1 w 4

∏

∏ w w w

∏ conw Ped.

5 rall. 5 3 5 2 1 2 f f 2 4 f f F f f f f - 3 f F F # f f F f f f f f n # # f b & n f f p sf f f f f f f f f f f f f n f f f f f f f f fF f fF f b {?## f f f f n fF fF b n w 4 2 1 2 1 w 5 3 2 1 5 4 2 1

a tempo 9 f f 2 3 F3 f f F f f F F f™ f f n # # f f f f f f & # 3 ppp subito f cresc. f f f f f f f f f f f f f f f f f f f f f f n ?# f # f f f f { # f5 n f f f n n w 4 w w w

F f 5 5 5 13 4 2 f f 5 1 # # f f f 2 1 5 4 f f f - f f- f f 3 # # f f f f - fj & # J J f f f f f 3 3 3 3 f f 3 3 # f f p f f f f f f f f f # f f f f f f {?## f f # f f f n fF f w # w fF

52• Pianist 98

P52 SCORES Massenet-FINAL.indd 52 12/09/2017 11:09 TRACK 9 dolce Jules MASSENET rall.(1842-1912) a tempo INTERMEDIATE 16 dolce 3 3 4 1 16 dolce5 3 4 1 rall. a tempo 16 5 3 3 4 Méditation1 from Thaïs # -5 - - - - - # dolce- - f- - ∏ - - rall.-- a tempo ∏ 16 ## f 3 ∏ f4 -1 -- F 3 f f ∏ f ∏ -- # 5 f f ∏ f - F & # F f f f ∏ f - f F dolceF f f f f f f f ∏ f f f F & ∏ rall.F F a tempo 16& f f f f3 f f f3 f4 f1 F w # ‰-5 f - - - - - p w f ‰ J 2 1 f ∏ p-- f # ‰F J2 1 f cresc.f- f ∏ f - f p f 2 1- ∏ - f f &# - J2 1 2 1 cresc. - - 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 w 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 w f f f ∏ ∏ ∏ J f 2 1 f F™ ∏ w f f ∏ 2 ∏ f ?# ∏ 1 cresc. ∏ w ?## ∏ f F™ ∏ w f ∏ ∏ f

∏ f F™ ∏ f ∏ ‰ { w ∏ pw f 2 1 # ∏ f ∏ f f f f f # ∏ ∏ dim. ∏ J ∏ f f 2 1 { ∏ w 2 1 ∏ w f f 2 f f f f f f 2 1 ∏ ∏ { ∏ w 1 cresc. ∏ w f dim. f ∏ f ∏ f dim. w f ∏ ∏ f 4 ∏ ∏ ?# ∏ w w f ∏ wf f f f f w 4 f ∏ w wf f F™f f f ∏ w f f f f4 # ∏ w w f ∏ w f f

∏ ∏ { ∏ w ∏ w f 2 1 ?# w ∏ ∏ ∏ f F™ ∏ dim. f

∏ ∏ # ∏ ∏ w { ∏ w ∏ w f 4 2 1 ∏ w w ∏ w dim. ∏ ∏ w mfw w w poco4 a poco 20 mf 3 poco a poco 20 3 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 mfF- f f f f f f f ∏ f # f ∏ f ∏ poco a poco f ∏ ## n f ∏ F f # f # f F # 20 f ∏ ∏ f f f f f f ∏ F ∏ ∏ f ∏ f F # 3 f n # n # # ∏ # ∏ f & # n ∏ F # # w # f ∏ ∏ f

f ∏ mf ∏ w # n poco a poco3 f & ∏ w 20& ∏ w 3 f F f #w 3f # F- f #w f piùf f f f ∏ #fw f3 ∏ #w f f ∏ #fw f più f f F f f più ∏ # n ∏ #w F f # f f Ff f #f f#f ff

f ∏ # F- f f ∏ f#f ff f f f ∏ f n f f f f & ∏ ∏ w f f ∏ f f f f f f f f F f f f f ∏ # n f nf f ∏ w F f f #f # f f f f f # f f f #f # 3 f ∏ f f f n f ∏ f f #f # # f f f #w fnf nf # & f f f n ∏ #w f f f # più f f w f # ?# f f f f w f f # f f f f f #wf f n f f3 f {?## f f n f #wf # f f più f f f wf f { # f n 4 wf # 4f 3 w 4 f f w f4 1f 2 1 { w 4 f f 4 3 f f4 w f 4 1 2 1 4 n w f4 3 # f w 4 f 4# f 1 2f 1 ?# w f f f f f f w f f #f f f f f f f f f f f f nf f { # f f nf f f n f #f f f # # f f w f n # ?# 4 4 3 w f 4 f 4 1 2 1 { # wf f n wf # f w w 4 w 4 3 w 4 4 1 2 1 appassionato calmato 24 appassionatof calmato 24 f™ f f- f f™ ff ffff- f f f f f f™ - f-f- f™ ff fffff- f- f ∏ f f f f f # appassionato f f™ f f f ∏ F n f -f f - ∏ f -f- - f - f- ∏ f f f ∏ calmato # -f # - f f ∏ F f n f ## J f n - ∏ F f n n 24 - - ∏ - # - f ∏ b f f ff f f # f ∏ f # appassionatoJ n - ∏ n & # J f n - ∏ b f f ff f n f ∏ b f f f ff f f f f™ - ff ∏ calmatow f 24& f f™ ff 5 ff - f ∏ w f f dolce f f f f -f- f5 - f ∏ bw J dolcef f f # ff™ - f- ff - ∏ pbwF J f dolce fn # f J f f™ ff# ff - f n f- ∏ p J f f f n f f ∏ ‰ f f -f-f f - f ∏ pb f f ff f f f f ∏ f &# f f f- f - f ∏ ‰F f f f fn # f Jf f f f# 5 f nf f- ∏ w f f f n f ff f f fn ∏ b f f ff f dolce fbf & ff f fn ∏ bw J f ?# fFff Fff Fff Ff n ∏ p w f∑ f fb f f ? ∏ f Ff 5 Ff ∏ f ? Ff Ff Ff Ff ∏ dolce ffb f ? ?# f f ∏ ∑ ?## Ff Ff n ∏ bnw‰ ∑ & f f f ∏ J ∏ f b f { f ∏ f& f f # n nw b f f ∏ p f & # n ∏ nw f f ∏

{ ∏ f f

{ ∏ f f n f ‰ f f f f f f ∏ nw nwf fb f 4 f ?# Ff Ff f Ff f Ff ∏ nw ∑ nw 4 f 4 f ? f f fn ∏ nw nw 4 4f b f # f n f ∏ nw fb & f

∏ { Ff Ff ∏ ? ?# Ff Ff ∑ f ∏ f ∏ f b f # n ∏ nw & { ∏ nw poconw più appassionato4

∏ f 4 nw poconw più appassionato f™ f™ 4 f f-4 f 28 f™ f ™ f f™ f f f nf-™ f- f- f- f 28 f™ nf f™ f f nf f f f-j npoco- più appassionato- - nf- f- n f n f nf-j n- bf- # J J ™ J n fpoco™ più appassionatoJ f f b 28 ## f™ Jf ™ Jf f Jf f f n- Jf- - - f & # f f™ f f- f™ f f- f - f 28& f™ nf ™ f f nf f n j n- - - nf b- # nJ f J cresc. J n f f-j f J n- f- # cresc. n f f bf &## fJ J f fJ ^ f f nJ ^ f f nf & f f f ? cresc.f f f f ? F^f f b F^ff bf n ?# f f n & f f ? f f n & f f f ? fbFf n b f Ff b {?## f n n & f nf cresc.wf n n & f nf f fb n n f # n n b n { # f n & f f n w5 n 1f & f n ^ f nf n f { n n w5 2 n n ^ f f f 5 4 f 1 f f n nw 2 n 2 1 n 2 Ff b b f nw 4f n f ? 4f f n 4 2 1f 2 ? ^ f n Ff f ?# nw f n2 1 4 f f n 4 2f 1 2f n ^ # n4 f & 4 n f & 4 2 b f b n f n { f 1 4f n f ? w f f n f ? Ff Ff b ?# f f n f f 5 f n 1 f f n # n & n n4 2 & n b n { nw 2 f n w f n 1 2 f 4 f 5 1 4 2 très expressif 1 n 4 4 2 n ntrèsw expressif2 2 très expressif4 4 2 1 31 1 4 più mosso agitato 31 f f f f più mosso agitato # ntrèsf- expressiff- f- f^ f f ^ ^ ^ ^ ^ ^ # n- - - ^ f- f più^ mosso agitato ^ ^j ^ ^ ^j 31&## ntrès expressif n- bf- f- f™™ f™ f f fFj f fj f™™ f™f f fFj f fj 31& f f f f b n- npiù bmossof™ f fagitatofF n bf™f f Ff # n- f- f- ^ f f n n‰^ bbf™ F ^ ^ n‰^ bbf™ n ^ ^ # f- f - f^ f n- - f più ff‰ ™™b j f fj f‰ ™™b j f fj &# n - f f f b f- più f^ f™ f f fF ^ ^ ^ f™f f Ff ^ ^ # ^ f bfbf ^ n- f- nnf nf™™ bf™ f f fFj f fj nf™™ bf™f f nfj f fj ?#& F^f nf b b F^f f bf nn- nf‰ ™™b f™ f f f fF f f f nf‰ ™™b f™f f f fF f f f {?## bFf n f bFf nf f più nf‰ bbf bf b f f n‰ bbf bf b n bf nf { # b f b n più b b nf b b b n { b b f ™™ ™™ Ff b ^ f f f n Fff nf f Fff f f ?# Ff n bfb F^f f f nFf™™ f f f Fff n f f nFf™™ f f fbFff f f { # b^ f b b^ nf f n f f f bf bf nf f f f f f bf bfbf bf nf f ?# Ff n Ff n f f n f f { # b b n Ffv f b b Ffv nf Ffv f b b Ffv b n Ffv n v n Ffv bFfv 53• Pianist 98Ff b v n v v v v v v v

P52 SCORES Massenet-FINAL.indd 53 12/09/2017 11:09 TRACK 9 Jules MASSENET (1842-1912) cédezINTERMEDIATE un peu Méditation from Thaïs cédez un peu 5 34 3 - - 5 5 - cédez-1 - un peu 1 - -3 - 5 ∏ 4 f f f 34 ^ 3^ f f f ∏ f f f f- - - - f5 - ∏ f cédez1 unn peu ^ 1 -3 - 5 ∏ 4 # f ^ j 5 ™ f - f ∏ cédezf fun peu # f f f nf # f ∏ f n f ^ ^ f f ∏ f f 34 f™™ f^ f 3 f f f ∏ f - #- n- # ^ f f fj f b j b ™ f #f 5 b f- ∏ w -1 # f 5f f nf #- 5 ∏ 4 n f & f 51w f - -3 ∏ w f f 34 # nf™™ j f f^ 3^ f f # f f f Jf ∏ fw f f f - ∏ - 34 f f f ^ f b b3 f 2 f5 b 2 -1 f -1 - #- n- # w w J ∏ & ^ f j 1w™ f f -15 -3 - f-5 ∏ sfw 4 très expressif-1 f f f # n f f f nf #- 5 ∏ 4 n f nw ^ 1^ - f-3 f Jf1 ∏ f f f f f f f ∏ f f f f f f f ∏ # # wf™™ j ^ sffw^ 2 # Jf1 f2 f ∏ w f f f n ^ ∏ très expressif# sff^ f f f ^ f b j b ™ f f f b f ∏ ∏ sf f # n # ^ f f f nf # ∏ n & nw f j w™ f f f ∏ ∏ w # n f f f nf # ∏ n f f ∏ f™™ f f sff f f f J1 ∏ w # j # ∏ w # # sffwf™™ f f f fj f f bf bw ff f f 2 # Jf1 b 2 w & f f bf f f b bw bf f b ∏ sfw très expressif & nnw f w f ∏ w ∏ J ?# n‰ f sff‰ f 2 J1 ∏ f ∏ 2 1 # sffw f b w b 2 J1 2 ∏ sf très expressif # w ∏ w J1 w # ∏ très expressif nw ∏ sf ?# ‰ f4 ∏ ‰ f { wn n w ∏ 5 4 nw f ∏ sff w f ∏ f ∏ sff sff ∏ # ∏

∏ sff f b b ∏ { wn n 4 ∏ w w f 5f 4 ∏ ∏

∏ ?# ‰ f ∏ ‰ f w nw f w f ∏ f f f b ∏ f b w # f b ∏ b w { nwwn n 4 ∏ w w ?# ‰ ‰ 5 4

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∏ { # wn n 4 ∏ w 5 4

4 ∏ { wn n ∏ w rall.nw w 5 4 ∏ rall.n5w a tempo w 37 nw w f f™5 a tempo F f f 37 rall.^ f- f f F f f f f ™ f f ffff # f™^5 f f - f a tempo f f F f f f 37 rall. - f F f f f f f f f™ f f fff f ## f™5 J J - f a tempo F f & # ^5 f- f aF tempo f f f J f ff f f f 37 f™ J J f fJ f 3f F f f f™ f 5 f &# pf™^ f f - J pp f F J f f f # Jf- Jf f- f F f f f3f f f f f™ f f f5fff f &# p - Jf pp f f ff f f f f J f f f & # J J f f f 3 f f f f Jf f 5 f f ?#& p J pp f f f f f f J f 5 ∑ J f f f f f3 f f f f f f f f f 5 f f f # p ∏ pp f {?# p ∏ f f f pp f f f f f f f f f f ∑ ∏ # ∏ f f f f f f f f f f f ∏ w w w { ∏ f f f f f f f f f f f ∏ ?# ∏ f f f f f f ∑ ∏ w f w f w f

# ∏ f f f ∏ w f f f { ∏ f f f f f f ?# ?# ∑ ∏ f f f # ∑ ∏ w w w

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P52 SCORES Massenet-FINAL.indd 55 12/09/2017 11:09 TRACK 10 Johann Sebastian BACH (1685-1750) INTERMEDIATE/ Allemande from Partita No 4 in D BWV828 ADVANCED

When publishing the six partitas in 1831, Bach designated them as the first part of Try looking at some of the quickest passages first (such as bars 19-20) and work out a Clavier-Übung (keyboard exercise) and wrote in an elaborate preface that they were how fast you need to play the demisemiquavers, then choose your basic tempo ‘composed for lovers of this music, for their enjoyment’. Thus they became the first accordingly. Before even attempting to play the notes, tap out the rhythm. Your of the elderly Bach’s attempts to assure a kind of immortality with a series of fingers should feel like a spider crawling over the keys. Keep them close to the keys compendious, uncommissioned projects which would test the fingers, voices and at all times and feel the fingers digging deep into the keys. Some finger substitution minds of his performers to their utmost. The Goldberg Variations form the fourth has been added here and there (such as the RH in bars 2, 6 and 13), in order to create and last part of the Clavier-Übung. a seamless legato without requiring pedal. Playing tips: A judiciously chosen tempo is crucial in this elegant yet searching Allemande. Pedal tips: Use sparingly, bearing in mind the music’s origins as an aria for harpsichord. Allemande 2 1 1 1 Allemande4 # 2 1 1 f f f 1 j 4 f f f™ f f f f f & # cAllemandef F f f f f f f fF f f f n f # F Ó f 2 1 f™ f 1 Ó f f f f f 1 # cAllemandefj F4 f f f f f f f fF f f f f n f f &# 2 1 1 f f f 1 # fj F4 fÓ f f f f f™ f f f Óf f n f f f &# c F f f f f fF f™ f f f f f f f ?## c fj FŒ f fFÓ f f f f f f fF f f f f ÓfF n f f {{& # c ‰ F™F Ó f F™ Ó f F f F ?# Œ f 3 f {{ # c ‰ F™ f F™ f F f F ?# Œ f 3 f {{ # c ‰ F™ F f fF™ F f ?# Œ f f {{ # c ‰ F™ f F™3 f 3 3 1 3 3 1 3 3 f f f f f # f f3 f f f m 1 f3 f f f f f f f3f 1 f f f 3 # f n f f f # f f f f f &# f f3 f f f m 1 f3 f f f f f f f3f 1 f f f 3 # f n f f # f f f f & f 3 f f m 1 3 f f f # f f f f f f f3f 1 f f f f f &## f nf f f f f f #f f f f mf f f f f f f ?## fF™n 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 2 ?# F f f f f 3 f f f f {{ # f3 ™ f 3 f f f F f f 2 ?# F f f f f 3 f f f f {{ # Ff3 ™ f 3 f f f f f f f f2 ?# f F f f 3 f f f {{ # 3 f 3 f f f 5 4 2 2 3 1 3 13 f™ f f3 f f 1 1 f 5 4 f f f f f # fjF f f f f f f2 f3™ 1 f f f f # 1 f™ f f f f 1 1 f 5 4 f f # # f f f &# j Ó f f 2 f3™ 1 f f f f # f1 F ™ f f1 f f f 1 5 4f f f f f1 2 1 f f & 1 f # f # 2 3™ 1 f f f f # f1 jF ™ Ó f f1 f f f f f f f 1 # f f f f f f f f1 j f f & f f f1 2 f # f # f ™ f f f f ## ‰fjF f f 1 Ó f f fF f f f ff fj f‰Œf f f ?#& F f f f1 2 # # f 1 # ‰ f f 1 Ó f F f fj f‰Œf f {{ f f f1 5 4 F f f fŒ1 2 f ?## 1‰ 5 f f 1 f f fF f f fj f‰Œf f {{ f f f 5 4 F f f Œ ?## 1‰ 5 f f f F f f f‰Œf f {{ F f 5 4 ?# Œ # 1 5 {{7 5 4 Œ 1f 5 f f f f f f4 f 4 4 7 f f f f f f f f f f f f f f f f f # 4 4 f f f f4 f f # f f f f f f f f f f f f f f f f f f f f f f 7& 4 f f f f f f # f f ## f 3 f f f f f 3 f f 4 3 f 4 3f f 7 f f f f f 1 2f f f f f # f f f & 3 f f 3 4 f 4 f f f f f42 1 f f # f f f f f f f f f f f f 3 f f 3f f f f # f f 1 2 f f f f f f f F f f &# 3 4 f f 3 f f f f f f f2f 1 # f f # ‰ f f # f F 3 f 3 f f F f 1 2 f f f F # f & 3 4 f f 3 f # f f 2 1 f ?## ‰ f f # f f fF 3 f f 3 f f {{ F 4 f f1 2 # f F2 1 f Œ ?## ‰ f f # f f fF f f Ff f f {{ F 4 f f f # f f ?# f f Œ F f f f f {{ # F‰ f # f # f {{?## Œ Œ

56• Pianist 98

P56 SCORES Bach-FINAL.indd 56 12/09/2017 11:10 TRACK 10 Johann Sebastian BACH (1685-1750) INTERMEDIATE/ ADVANCED 9 Allemande from Partita No 4 in D BWV828 3 f f 9 2 1 2 f 1 3 f 1 f f f f f 3 f f f™ f f f f f f f f f 3 f f f f f f f f 9 # f f2f f 1 2 f 1 3 f 1 #f f f f f 3 f f f f 9 # f f™ f f f f f f f f f 3 f f f f f f f f 9 # f # 2f f 1 2 1 3 1 #f3 f f f f f 3 f f f & f2 1 2 ™ f f f 1f 3 f f 1 f3 f f f f f f f 3 f f ## f f # 2f f 1 f2 ™ f f f f f f1 f3 f f f f1 #f f f f f f3f3 f f f3f f f 3f f &# f f f f f f™ f2 1f f f f f f f f # f f f f f f f f f ## f f f # 1 3 f 3f f 3 & # #f f 2 1 & # f # 4 f f fj f 3 & #f f # ‰ f f f1 3 3 3 fF 4 f f2 1 f f fj f ‰ 3 fj ‰ 3fj 3 f 2 1 f™ f f f1 f f F 4 f #f f n‰ 1 f fj ?# f 4 f f f f fj #ff™ f f1 f‰ fj f‰ # Ff f4 f f #f f n‰ fj f f f f f f {{?# F3 5 f #f f3 f‰ j #f™ f f f ‰ fj f‰ fj # F #f f nf‰ f™ fJ ‰f fj ‰f fj {{?# 3 5 3 n #f™ f f j f ?## n # fJ {{?## 3 5 3 {{ # 3 5 3 J {{ 3 5 3 J J 11 2 3 11 1 2 f f f f f f 3 3 2 f f f f f f 3 f f 11 # f f f f1 f™ f f f2 f f f #f f f f f 3 f f f3 f f f f f f 11 # f2 f f f f f f n 3 f #f # n 11 # f 2 1 f™ f f f2 f f # f f 3 3 f f f3 f f f f & f #f2 f f1 f 2 f f f f f f3 f f # 3 3 f f # f 1 f™ f f f f f f2 f f f f nf f #f f f f f f f3 #3f nf3 f f &# f f #f f f f™ f2 1f f f f f f f f f f f # f f #f f f f f3f f f 3f f ## f f f™ f f f f nf # 1 2 # #3f f nf f f f f & # f #f f f f f2 1 n # # n 3f 3 f & # f fj f 1 2 3 & #f nf 2 1 f f f 3 3 3 ‰F f f2 1 f f‰ f # 1 f fj3 f 3 3 f n 2 1 j f nf1 f 2 f 3fj 3 ‰F f f f n‰ 1 f f2 fj f f ?## f f nf f f fj #f nf f f 2 f #f fj {{?# ‰F5 f f n f f3 n‰ fj f2 f f f f fj f ‰F f n f f ‰f #f nf f f fj f fj # ‰F f f ‰f #f5 n f f f f f #f fj {{?# 5 3 nf #f2 n f fj f fj n f ?## n 5 #f {{?## 5 3 2 {{ 5 3 2 # # {{ 5 3 25 5 5 13 3 2 1 2 1 f 3 f 13 f f f n f f f f 2 1 f 3 2 1 f2 f f f f f f1 f f f 3 f f f™ f f f f f f f 13 # f ™ ™ f #f f n nf nf f f f2 f f 1 #f 13 # 3f 2 1 f #f2 f f f f f f1 f f f 3 f nf f™ f f f f f f 13 3 2 1 2 1 # f f n 3 f2 f f 1 # f &# f3# 2™ 1 ™ 2 f 1 f f nf nf f f f3 2 1 f # f f #f3f f f f f f f f n f f f f f f nf f™ 2 f f f f f1 f f &# f # ™ ™ f f f f f f f f #f n f nf nf f f f f f f™ f3f f f f f f f f #f ## f f™ f™ # 3 # n n n f f f # & # f1 #f™ f™ 3# n 3 & # ‰ 3 f f f f f ‰ f™ 2 & 1 # f3 j 3 n f f f 3 f f f f # 3 F f #F f 3 ‰f™ f™ 2 f ?# 1 ‰ f3 j f f fÓ # f f f # f1 f 3 F nf f F f ‰f™ 2 f {{ 1 f ‰ #3 f f f # f f ‰ f™ 2 ?# 1‰ 5 fj f f fÓ # f f f J5 {{ # f‰ f f‰ #fj Ff nf f f #fF f f f ff™‰ f™ f2 f ?# # n f #Ó #f 5 {{?## f‰ fJ 1f 5# F #ÓF # f™ fJ {{ Jf 1 5 J5 {{ # ‰ f 1 5 J5 ‰ 1 5 J5 ‰ J 15 3 4 ff f 15 f 3 2 1 f ff f5 1 f f fff 1 n f ff ff ffff f 3 4 ffff f ff f 15 # nf 3 f f™ f2 f fffff1 #f#fff fffff nf5 f1 f#f#fff 1 n f ff 15 # ff ffffn f 3 4 f ffffn f ff f 15 # n 3 f f™ f2 f fffff1 # # ff f3 f f4 n 5 f1 f#3 # 1 fffff & f ff f f ff 3 3f 4 f 3#f ff f f f ff3ffnf 3fff 3ff # ff ffff3 fnf f™ 23fff ff1 f#fff f f53fff 3fnf1 f#3f ffff1 n f ff &# ffnfffff f f™ ffffffff#f# f ff3fff 3#fnfffff f # #f 3ffn 3 3 ## n nf f™ f3f fffff# # f fffff fn 3 3 nf # # 1 & # n fff#f n 3 f3f 3f 3 & # f 3 n f ‰ 3 3# fj n f 3 3 3 3 & fj f f 3 F f3f 3# f3 3 f3# 3n 1 3 f 3 f nf f f f F‰ f 3nf 3 F f f fj # f 3 F f f # f j f 1 ?# nff f f n f f f n f #f nf1 # f 3 f f #f F‰ f fj fJF f f f1 {{ fj # f f F 4‰ 5 f # f3 fj f f ?# n fj f3 f #f nf # fffj f f nf Ff f f5 #f F‰f f f nfj fJF # n {{ f #f f f4F 5 #f 3 F # n ?# nf f n f f n ?## n # f5 #f F # JF {{?## n # 4 5 3 J {{ 5 # 4 5 3 J # {{ 5 4 5 3 5

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P56 SCORES Bach-FINAL.indd 57 12/09/2017 11:10 TRACK 10 Johann Sebastian BACH (1685-1750) INTERMEDIATE/ Allemande from Partita No 4 in D BWV828 ADVANCED

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2 23 1 1 3 2 23 5 3 2 1 1 3 1 5 23 f 5 3 2 1 1 3 12 5 f f 1 1 f f f f f 5 3 2 f f 2 5 23 # nf f f f f f 1 1 f3 f f f f ™ ## f n f f f f nf5 f3 f 2 f f f f #f f f f f1 f f5 f f f f f™ ™ &## nf f f f f n #f f f f f #f f f f # f f f f f f™f f f f f #f f ff™ f ™ &# n f nf #f f #f f f # f f f #f f nf f ff™ f f f #f f f™f f ™ # n #f f f f # nf f™ f3f f f fJ & # # 3 # J f f ‰f fj# f f f n f 3 Jf™ f f ‰f nfj fF f f f 3 f f™ ™ ?# f #f nfj fF f ff™ f f f™™ ™ {{?## f #f 3‰f f f ff™ f f™f ™ n {{ # #f 3 2F ‰ ff™ f f™ ™ # {{?# # # 3 52 ‰ f ™ 4 ff™ f™ # #4f 52 ‰ {{ 4 3 5 # 2 ‰ 4 5

2 25 2 2 25 4 2 2 25 4 f f f f f f f 2 fj F4 f f2 f f f f f f f f f f f f f f # ™ fj 25 F f f f f f f f f f f f f f f2 f f f f f f ## ™ fj F4 f f f f f f f f f f f f f f f f f f & # ™ fj F f f f f f f2 f f f f &## ™ ‰ F f f f2 f f f f f f & # ™ ‰ F 2 & 2 2 ‰ Œ f2 F f ŒF™ f2 F f ™ f f f F™ 2 F f ?## ™ ‰ F™Œ f f f ŒF™ f f {{?## ‰ Œ F™ 4f # F™ {{ ™ ‰ f 4 {{ 4 # {{?# ™ Œ f 4 # ‰ F™ {{ 4

27 27 3 1 1 f f 27 3 1 f f 1 f f f f f f f f 3 1 f f f f1 f f f f f f f f f Mf f f f f f f 27 # f f f f f f f f f f f f f f f f f f f f f Mf f f mf f f f f f # f f f3 f f f f1 f f1 f f f f f f Mf f f mf f f f f &## f f f f f f f f f f f f f f f f f f f f Mf f f mf f f f f nf &## f f f f f f f m f nf & # f n f fF f fj f‰ f Œf f f Œ ‰ f fF f f fj f‰ f Œf f f f fŒ ‰f fj ?## f fF f f fj f‰ f Œf f f f fŒ f ‰f fj {{?## f 1 f 5 3 f # f j {{ 1 f 5 5 3 {{ 2 f 5f 3 # {{?# 21 5 5 3 f # 2 5 {{ 1 5 3 2 5 58• Pianist 98

P56 SCORES Bach-FINAL.indd 58 12/09/2017 11:10 TRACK 10 Johann Sebastian BACH (1685-1750) INTERMEDIATE/ Allemande from Partita No 4 in D BWV828 ADVANCED 29 29 1 1 1 3 29 1 1 1 f f f f f f 3 f 1 1 f f 1 f f f f f Mf f f f f f f f f f f f f f 3 f f mf f f 1 1 f f f f f f f1 f f f f f Mf f f f f f f f f f f f f f f f f3 ## f nf mf f f f f f f f #f #f f f f f f f f f f f f f f #f &## n f #f f f f # # # & # 1 2 1 2 1 2 f F f f f f f f f f #f F f f Ff f f nf f™ f f Ff f#f #f f f f f ?## F f n #f™ f f F # # f f {{?## 5 # f {{ 5 # {{ # 5 # 3 5 {{ # 5 J 3 5 {{ 5 J J J 3 5

31 2 1 31 2 1 2 2 1 2 2 31 f 2 1 2 2 1 2 2 f f f f f f f 2 f f f 1 2 2 1 2 f f f f f2 f f f f f f f f f f f f f2 f f f f f f f1f 2 f f f2 f #f f f f f f2 #f f f ## f #f f f f f nf f f f f f f f f f f f f f f™ #f f # f f f f f # &## # f n f f #f f™ # & 3 # 3 & 3 1 3 3 1 4 f f 3 1 4 f f f f f f f 1 4 f f f f f nf f f f f f f f f f f f f #f f nf f F f #f f Ff f f #f ?## # n F # F # {{?## 5 3 4 5 {{ 5 3 4 5 {{ # 5 3 4 5 {{ # 5 35 4 5 {{ 5 35 4 5 5 5

33 33 2 2 1 3 2 1 33 2 f f f f 2 1 f f f f 3 2 1 f f f f2 f f ff ff f f™ 2 f ff f f1 f f f f ff ff f3 f ™ 2 f 1 f f f # fnfnf ff ffnf f™ ff fff ff f#f f f ff ff ff f f™ ff ff fff f#f#f f ## n n n #f f f # nf f ff f fff f# # f & # # n 3 & 3 3 3 3 2 1 3 2 1 ™ 2 3 f 2 1 f f ‰ f™ 2 fj 3 f f F f f f f f‰ f™ 2f Ffjf f3 f f fF f #fF f #f f f‰ ™ f f f nFfjf #f f fF f f f ?## #F # f™ f n # f #f {{?## J4 5 3 # {{ J4 5 3 # {{ # J4 5 3 {{ # J4 5 3 {{ J4 5 3

35 ™ 4 35 f™ f f f f f 1 4 35 2 4 1 f™ f f™ f f f f f f f f1 f4 f f 2 3 2 4 1 f™ f f f f f nf™ f f f nf f f f f1 f4 f f f f f 2 f f 3 f 2 4 1 f™ f f f f f f f n f f n f f f f f f f f f f f2 f f f f3 # f f f f f f f nf™ f f f f f #f f n n f f f f f f #f f f nf f f f f &## f f f f #f f n # # n nf f f & # # 3 3 3 3 3n 3 & 3 3 # 3 3 3 3 3 3 3 3 fj fj 3 3 fj ‰‰ fj fj f‰‰f fj fj f‰‰ fj fj ‰Œ #fj ‰‰f f fj fj nf‰‰f #nfj f f‰‰f #fj f ‰Œ ?## #f f f nf #f n #n f f #f f f f f {{?## 1 3 n # 4 f f f {{ 1 3 n # 2 4 f f {{ # 1 3 # 2 4 f {{ # 1 3 2 4 {{ 1 3 2 4 2 4 4 4

37 1 1 37 4 1 1 2 3 f f 4 1 2 37 4 1 1 2 3 f f 4 1 f f 2 4 f f 2f 3 f f f f 4 1 f f 2 # f f f f f nf f f f f f f f f f f f #f f f f f f f f f f f f f #f f f f f ## nf f f f f f f n f f f f f f f f f f f #f f # f f f f f f f f # f f f & # n f f f f # #f & 3 3 3 3 # 3 3 3 3 f f f f f f f f f f f ?## f nf f f f f f f #f f f f {{?## f n f f f f # f 1 {{ f f f f f 1 {{ # n f f # 1 {{ # f n f f # 1 {{ 1

59• Pianist 98

P56 SCORES Bach-FINAL.indd 59 12/09/2017 11:10 TRACK 10 Johann Sebastian BACH (1685-1750) INTERMEDIATE/ Allemande from Partita No 4 in D BWV828 ADVANCED 39 f 4 4 5 3 2 1 39 f f f f f f f 39 f f n 4f f 4 f f f m 5 3 2 1 f f f f f4 4 f f f f™ f F5™ 3 2 1 ## f f nf f f f f f f f f f f f f mf™ ™ f f ≈ f f &## f f n f f f f f f f mf™ 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 ≈#f f f f f f f f {{?# f f f f F3 5 ≈# f f f f ≈# f f ?## f 4 f F f {{ # 1 f 3 5 {{ 3 5 {{ # 4 f 3 5 {{ 4 3 5 4 1 1

41 1 1 5 1 41 1 5 41 1 1 5 1 1 f 1 5 1 f f ## f f f f f f1 f f n f f f f f f f f f f f #f &# f Œ f f f f f f f f f f f f f f f f f f f f f #f & # f Œ f f f f f f f f f n‰ f ≈ f f f f f f # & f f ‰ ≈ 3R f f ‰ ≈ 3R 3R f f 3R F ?# f f f f Œ‰ ≈ fr F {{?## ≈ f f f f Œ f Œ‰F™ ≈ fr F f f f ≈ f {{?## ≈ f4 f Œ Œ f FŒ‰™ f {{ 4 f {{ # f4 Œ f ™ {{ 4 Œ f 4 Œ

3 43 3 2 3 3 2 3 4 1 1 43 3 f 3 2 3 43 f f f f f f f f f f f f 2 3 4 1 3 2 1 3 # f 2 3 4 1 f 1 f ## f f f #f f f f f f f f f f f f f f f f f f f f f f™ f f f f f f f f f f &# f f #f f f f f f f f 3 f f f f™ f f f f f f f f f f &## f # f f f f f f f f3 f f f™ f f f f f f f f f f & 3 3 f 3 3 fj f f nf ff™ F ?# fj f f f f nf f fj f fj f f f {{?## nfj f f n f #fj ff™ f f™ fj F #f nf f f f j f {{?## nf f f f # f f™ fj #f n f {{ f™ {{ # n f™ # {{ ™

45 45 1 3 2 1 3 2 45 1 3 f f 2 1 3 2 45 1f 3 f f f 2 1 3 2 # f1 3 f f f f f f f f f f 2 1 3 f f f 2 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 f3 f f f f3 f f f3 f f f f f f f™ f f f f f f f f f f & 3 3 f 3 f f f f 2 1 & 3 3 3 f 3 2 1 2 f 2 1 f f f f f2 1 fj f2 ‰ j ‰ fj ‰ f nf ‰ f™2 f f f f F f f f f f fj ?## f™f f f f f ‰f fj ‰f fj F‰ f f n f f nf‰ fj {{?# f™f f fj f fj F5 f f3 f ?## f™ f f f f F f f nf {{ # Jf 5 3 n {{ 5 3 {{ # 5 3 n {{ 5 3 J

47 3 1 3 1 5 47 3 3 3 47 3 1 3 1 5 f f f f3 3 3 1 3 1 5 # f f f 3 3 1 3 1 f5 f f f ## f f #f f f f f f3 f f f3 f f f f f f f f f f f f f f f bf f f f f &## nf f #f f f f #f #f nf f f f f nf f nf f f f f f3 f f f3 f & # f # f #f 3f f f f f3f f f 3 f f f nf f 3f f f f3 f f f3 f b f f f f f & n # #3 f n f3f f 3 f f f3 f n n3 f f3 f f f f b 3 3 & n 1 # #3 n 3 3 f f f n n3 3 3 f 3 3 2 3 3 3 3 f 3 3 3 1 3 1 2 f f1 f 2 f #f f f2 fj f j f f f f ?## #f nf f f f fj f f fj F‰ f f f F‰ f f nf {{?# #f2 n f f fj f fj ‰ f f f ‰ f f n ?## #f n f f f f #f fj ‰F f f f F‰ f f n {{ # 25 f f F5 F {{ 2 {{ # 2 # {{ 52 # 5 # 5 5 60• Pianist 985

P56 SCORES Bach-FINAL.indd 60 12/09/2017 11:10 TRACK 10 Johann Sebastian BACH (1685-1750) INTERMEDIATE/ Allemande from Partita No 4 in D BWV828 ADVANCED 49 2 2 1 3 3 1 49 f f 2 2 1 3 3 f f 2 2 1 49 f f f f f f 1 f f f 1 f f # 3 f3 f f f f f #f f ff 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 f nf™ f 2 nf f2 f f #f f f f f f f f f 49 # 3 f f f nf f f # f f f f f f f 1 f f f f f f f f f f1 f f f &## f nf f f3 nf f f f 3# 3 f nf™ f f fnf f f f f f f #f f f f f f #f ff f & # f f 3 3 f f f ff n n f f f f # 2 f f n f f ff n f 3 3 f f™ f f Jf2 f f f f f f f # f f &# f n 3f 3f f 3# 3 f f f f f f f f f 2 f #f ff # f f 3n 3 4 n n J2 f # f f2 f & n f f 3 3 f™ Jf2 f f™ # f f 3 3 4 f ™ 2 f f f4 f f™ #f f #f ?## F‰ f f f ‰F nf f #f f™ J2 #f f™ #Jf {{?# ‰ f ‰ # 1 5 J 5 ?## ‰F ‰F nf4 f # # ™ #J {{ F f f F f™1 5 fJ f5 f # n f J {{ f f 1 5 J 5 # f # ?## F‰ ‰F n # J {{ 1 5 J 5

3 3 3 1 3 3 3 3 5 2 51 2 1 3 3 3 1 3 3 3 3 5 23 3 51 f f 3 3f 3 3 2 1 51 f f ff f fff 3 1 ff ffff ffff f5 2 2 fff # ff ff f fff f ff f f f ff ff ff f ffnf f ff 1 f3f 3f f fff f ff fff f f 3 f1 f f f 3fff 3ff 3fff 3f f f ff2 f ff 51 ## ff fff f ff ff f ffff f f ff ffff nffff f5 2 fff &## fff ff f fff ff ff f ff f f f n f f #fff1 ff f f & # f fff f fff fffff f ffff Jfffffff fffJ ff‰f #fff ffffff &# f f f ff f ff f f fJ f n fJ ‰ #fff f Jf & # f™f f f f™ f fJ f J f # f f Jf f™ f f™ f fJ nf J ‰f f ?## f™ Jf J n f f J {{?# 5 ™ 3 f ?## f™ fJ f fJ f f {{ 5 J J3 f # n {{ 5 3 ?## J J {{ 5 3

2 53 3 3 3 f 2 3 3 3 5 3 2 1 1 53 2 3 3 3 3 3 3 3 3 53 bf f f f 3 3 f 3 3 f 3 3 f 5 3 2 1 1 3 3 # bf 2 ff fff fffff fffff f ffff 5 3 2 1 1 f f 3 3 53 ## b fff f 3bf 3 f f f 3 f fbf f f f f ffff & f f f fnff ffff3f f 3ffff f3f fff 5f 3f 2 1f f f 1 f f f ## ‰ f ffbfff fffff fffff bfffffnf f f f f ff#ff ff3fff 3f &# b‰ fff fn bf f f f f fbf fn ff#f f f f f ff# f ff ‰ ff ff ff ff ff ff fff f 1 f f & # f n bf b f f ff#f f f ff f 2 fffff f‰ f f ‰ f fj ‰ j n‰ fj# f f f # 1 2 f f f ‰f f f f f‰ f f f f f f1 f2 ?## f nf f‰ f f fj f‰ fj f‰ nfj# ff™ f f f f {{?# 4 n f f4 4 fj n f 1 2 f f f ?## n f n f™ f5 4 f {{ f4 f ‰4 f f ‰4 f™ f # f j j ‰ fj f 5 4 J {{ 4 f4 f 4 f f f f f f ?## n n f™ 5 4 Jf {{ 4 4 4 5 4 J

55 3 5 3 2 1 1 5 2 55 2 3 5 3 1 5 1 25 55 2 1 f f 5 3 3 1 5 2 1 f f 1 f f f5 2 2 ™ # f f f f f f f 2 f 1 5 ™ 55 # f f nf f f #f f f f 3 f5 f3 f ™ # f f1 f f f f f f f f f f f 2 f f f f™ ™ &## 2 f nf f f1 f #f f 5 #f f nf f 1 5 f f ™ & # f f f f n f f f # f #f2 f f f nf f f f™ f f f f f f™f f ™ &# f f f f f f f f f f f f # f f nJf f™ f f f f f f ff™ f ™ # f f f f n # f f f Jf f f f™ 3 f f f f™Jf f & # nJf1 f f3f f f J fj fj f f1 j f™ 3 f Jf™ f ™ ?# ‰ f fj fj f J1 f f ™ # f f f fj fj f f fj f 3 f f fJ ™ ™ {{?# ‰ f f f f f1 j f ff™ f ff™™ ™ ?## f‰ f f4 J f ™ {{ 4 f fj fj f ff™ f f™ # f f f f {{ f 1 3 f 4 f fj fJ ff™ f™f™ ™ f ™ ?# ‰4 15 3 4 f J f # f4 f f {{ 15 3 ff™ f™ 5 4 61• Pianist 98 J 4 1 3 5

P56 SCORES Bach-FINAL.indd 61 12/09/2017 11:10 DON’T MISS TRACK 11 LUCY PARHAM ’S Giovanni SGAMBATI (1841-1914) ADVANCED LESSONON THIS PIECE PAGE Mélodie de Gluck 24

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P62 SCORES Gluck-FINAL.indd 62 12/09/2017 11:11 TRACK 11 Giovanni SGAMBATI (1841-1914) ADVANCED Mélodie de Gluck

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63• Pianist 98

P62 SCORES Gluck-FINAL.indd 63 12/09/2017 11:11 TRACK 11 Giovanni SGAMBATI (1841-1914) ADVANCED Mélodie de Gluck

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5 4 5 5 4 3 5 5 3 f 5 25 f f f f f™ 3 3 2 1 f f f f f f f f f™ f f n f f f f f f f f &b n # p 2 f f f f ∏ f f f f f ∏ f f f f f f ∏ b f f ∏ f f f f f f f f f f {& ∏ ∏ f f f f ∏ f f #

27 4 5 3 f5 f f f f f™ f f™ f f f f™™ f f f Œ f f b n f #f f f f & pp f ∏ f ∏ f ∏ f f ∏ # f f ∏ f ∏ f f ∏ f ? ∏ f ? f f f

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P62 SCORES Gluck-FINAL.indd 64 12/09/2017 11:11 TRACK 11 Giovanni SGAMBATI (1841-1914) ADVANCED Mélodie de Gluck

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65• Pianist 98

P62 SCORES Gluck-FINAL.indd 65 12/09/2017 11:11 PIANIST AT WORK ON RECORD Ivan Ilić From Morton Feldman to Anton Reicha: the Serbian pianist has found another labour of love, as he explains to Peter Quantrill

The Op 36 fugues of Reicha have a certain notoriety among the academic fraternity. I bought them in Prague in 2014, and I just couldn’t believe what I was seeing. One of the fugue subjects starts on a single repeated note. Another is in 5/8. Others are on themes by Bach, Scarlatti, Haydn. ere are so many key pieces which are only recorded as part of a complete series, but not very well – not in ideal conditions, or you can often tell that the musicians are doing it because they have to.

If anything, rare repertoire needs even more passion in the advocacy than a Beethoven sonata. Last night I gave the German premiere of a Reicha sonata written over 200 years ago. It’s quite likely that no one in the hall will ever hear that piece again – they’ll forget everything. But if the piece has an impact, that’s the beginning Has your experience of Feldman transferred itself to of a future for its reception. ere are ethical questions that come into play. playing other composers? To what extent do you have to sell such a piece? Does that give you more It’s given me a lot of other possibilities. Just as if you can play a piece twice license in performing it? as fast as you need to, if you can play a piece twice as slowly, it opens a new world of possible touches. It’s also a way of nding slower gestures even Why didn’t you put any of the fugues on this ﬁ rst volume within fast music. of ‘Reicha Rediscovered’? I was tempted to, but I wanted to demonstrate Reicha’s versatility. He was at Patience and timing are as crucial in Haydn as Feldman. the University of Bonn at the same time as Beethoven. ey both learnt the And learning Feldman made my memory much stronger. I’ve found ways of music of Bach from Gottlob Neefe, but they also studied mathematics, logic anchoring material so that if I apply these techniques, there is no doubt in my and Kantian philosophy together. ey were interested in the ideas of the mind what’s going to happen next, and that gives you a certain stage presence. French Revolution. One of their favourite professors from Bonn later moved to Strasbourg to be part of the fermenting of the revolution, and was later What techniques are those? guillotined. Both composers were very ambitious intellectually, and that Most of us fall into the trap of repetition by rote: 99% of musicians do this. manifested itself in di erent ways. I wanted to show that Reicha could write If you ask them to memorise a piece, the rst thing they’ll do is to repeat it 70 a big ambitious sonata but also experimental works like ‘Harmonie’ from million times! But there are many other ways to memorise. ere’s a book on this strange collection called Practische Beispiele. e last piece on the disc piano technique written by Karl Leimer with Walter Gieseking, discussing the is a very a ecting Etude, which sounds to me like Handel but also Satie. importance of visualisation and how you can learn a piece away from the piano. In Feldman it was a matter of nding patterns. I read more widely about et into the The composers you’ve investigated – Reicha, Scriabin, memory competitions, and a speci c technique called a memory palace. more ‘mode Godowsky, Feldman – share a peculiar combination of People imagine that they are walking into a palace, and they’re placing an ﬂ amboyance and introversion. object on one shelf, the next is to the right of that, and then another over ere’s an outward variety that allows you to reach very di erent audiences. by the replace. ey construct these speci c associations. I wasn’t sure how People willing to listen to a recital of Feldman and Satie are very di erent to to use this with music, but the key insight was that when you associate a those who will listen to Godowsky’s works for the left hand – or again early memory with something, it becomes stronger. What can I associate with this Beethoven and Reicha. ere are very few people that would own all three CDs! note or that chord or structural point? Everyone has to nd their own way of exploring these techniques, but I use them every day in my practising. These projects of total immersion must be hard to schedule. Whatever one needs musically at a certain time is very hard to predict. What are you looking at next? Something just hits you and you realise it’s the right time. Coming to A wonderful aspect of this Reicha journey is that it’s changing my perspective Feldman was quite impractical at a time when I should have been playing on his contemporaries. Last night I played Beethoven’s rst published piece, Beethoven piano concertos! But it felt like a way of reconnecting to my Nine Variations on a March by Dressler, written when he was 12 years old. American roots, and at some point I felt like I was so immersed in Feldman It was very poorly received, Beethoven was disgusted by that, and didn’t allow that I had to give it three years. anything to be published for another seven years, but it turns out the piece is really good. And with Haydn, there are many pieces beyond the sonatas Did you have other composers by your side as daily bread? worth investigating: there’s an E major Capriccio on a folksong which is about No! Invariably I would give concerts of other things, just to survive. castrating a pig! [See John Evans’s story on musical nicknames on page 72.] But something in the slowness of the gestures of Feldman was physically is is a brilliant little piece! Completely Haydn but completely unfamiliar. ■ healthy for me. Playing very quietly in Haydn or Mozart, or waiting for the right moment to hit a note, may occur right at the end of a piece, but to do Made in association with Palazzetto Bru Zane and Swiss Radio RTS Espace 2,

that for every chord is a strange and unnerving experience. Volume 1 of ‘Reicha Rediscovered’ is available from Chandos Records (CHAN10950) Xavier © Ker

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p67_Pianist at work-Ilic-FINAL.indd 67 15/09/2017 08:52 JAZZ

LEARNING JAZZ PIANO

Jazz pianist and educator Dave Jones introduces his new column for Pianist. Learning how to improvise isn’t rocket science: it’s a matter of being open to the ‘jazz way’

’m very pleased to say that I’m the new jazz writer for Pianist Dave Jones is a pianist, composer, producer, magazine, and over the next few issues I’ll be providing a series of teacher and writer. His work as a jazz pianist lessons to teach you how to begin playing jazz piano. Where does a takes him to the US, India, France and pianist with little or no experience of jazz piano begin? By buying this Ireland, performing at festivals and giving magazine – I hope – but in this introductory piece I’d like to share masterclasses and workshops. He has some of my own musical experiences, to explain how I got into jazz taught students of all ages and up to and what I hope you’ll learn from this column. Masters level, and co-devised and authored IAt 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 ve. anks initially to my sister’s interest in the piano, module on improvisation. Critically acclaimed 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 ﬁ lm, 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, ABRSM grades. Having changed teacher I discovered a wider variety of piano Late Night with Seth Meyers and Location, music, and the beginnings of composition. Doing the ABRSM Grade 8 got Location, Location. Dave also writes for Jazz me to music college, and into the wider musical world. Journal magazine. www.davejonesjazz.com During my later piano studies with Philip Mead, I started to develop a curiosity for jazz that took root when I attended the rst-ever Jazz and Since then I have taught music for decades to every stage of learner from Rock Summer School at the Guildhall School of Music and Drama in 1983. beginners up to degree and masters students. I write for Jazz Journal is inspiring week changed the course of my music making, as I met some magazine: ‘ e Classical Tinge’ was a series of articles in which I explored the of the UK’s best jazz musicians and teachers, including the late pianist John in uence of classical music (in the western European tradition) in jazz, with Taylor and the jazz education author Lionel Grigson. A sta -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 lm, and run a private practice for piano tuition, sometimes via the months, but he was one of those teachers who could o er you more in a few technological wonder of Skype. hours than most could in years. With the exception of a few jazz weekend courses and workshops, I did What to expect? the rest of my jazz learning myself and from fellow musicians. Opportunities Pianist readers often write in on the subject of improvisation. I saw some of with bands came my way, and professional gigs followed. My debut CD was those letters, and I wanted to help. Improvisation is not unique to jazz – it released in 1997 and entitled Have you Met Mr. Jones (PARCD507). is was can be found to some extent in most types of music – but in these lessons I’ll followed by a string of albums of original material under my own name, concentrate on helping you to develop a method for improvising in a jazz context. including Journeys (DJT004) in 2010, which was chosen by jazz critic Initially, it’s all about the chords, and how to voice them, so that they

Jack Massarik as Jazz CD of the Week in the London Evening Standard. sound like jazz chords. en it’s a case of understanding and applying various Worth Photos © Erica 68. Pianist 98

p68 Jazz-FINAL.indd 68 15/09/2017 10:12 techniques to improvise over those chords, in a ‘jazz way’. It takes a lot of listening to nd that jazz way, so I’ll give plenty of examples and make recommendations for you to listen to and then follow the great pianists of jazz. Music examples in the lessons will be supplemented by specially made videos in which I play these examples. Please write in. Let me know what you think of the column, ask me questions, and I’ll try to answer them.

How good do I have to be? ABRSM and University of West London jazz piano exams start at Grade 1, so that might tell you that anyone can learn the ‘jazz way’, whatever their level of accomplishment. e lessons in Pianist, particularly the initial ones, will be aimed chie y at beginner and intermediate students, although more advanced pianists should pick up some useful tips.

Improvisation is less structured than composition, and takes place ‘There is nothing more musical in the heat of the moment than a sunset.’ - Claude Debussy The recording is simply superb. An important release, beyond doubt. It’s worth remembering that jazz didn’t land from a great height. It’s a genre Fanfare Magazine that has evolved by borrowing from other styles of music, including the Fanny Azzuro is a 31-year-old French pianist with Italian roots. She is known to have a ‘ﬁ ery and endearing personality’ and is now a major classical tradition. Pianists who have learned within that tradition will have player in the piano world (in France as well as in Asia and, more recently in musical knowledge and skills that are certainly transferable to the study of Belgium, the Netherlands, Germany, Brazil and the United Arab Emirates). jazz piano. It’s a case of learning to play in a di erent context: this is a process that requires more learning in terms of related listening than classical piano. www.fannyazzuro.com You don’t need to be able to compose in order to learn how to improvise: Next dates: Mozart Concerto 21 Veynes Oct 1st, Dignes Oct 14, Forcalquier Nov 11 composition and improvisation are not the same. Composition is more (FR), Recital Thonon les Bains Nov 26 (FR), Recording release concert formally structured and notated, and isn’t a real-time process – whereas « Passerelles » Ermitage, Paris Dec 5 improvisation is a little or a lot less structured, less notated, and takes place in the heat of the moment, at the same time as performance. Improvisation is a performance skill that can be learned, and one that used to be commonplace in classical music.

How long will it take to learn? Well, like any worthwhile learning in music, jazz piano can’t be picked up in an afternoon. For example, take the great jazz pianist Bill Evans: a classically Advertise with pianist magazine.indd 1 12/09/2017 13:09 trained pianist who adapted what he could do in that tradition over the course of two decades and more to work in a progressive way in jazz. I remember a workshop in Cambridge a few decades ago that was led by pianist Simon Purcell (now head of Jazz at Trinity Laban Conservatoire of Music and Dance). I had just about got comfortable with voicing jazz chords in di erent keys and had begun to improvise over them. ‘Give it ten years’, Simon told me (until I could do it to a high level professionally, having already learned to play piano). However, other learners can and do pick it up more quickly – and that time can be substantially reduced if your intention is to play jazz piano purely for your own enjoyment. ■

Learning Jazz Piano begins in the next issue of Pianist. For media sales and sponsorship WATCH DAVE ONLINE enquiries within Pianist Magazine, please contact Gareth Macfarlane Advertising Manager [email protected]

WATCH Dave Jones introduce his Learning Jazz Piano series at http://pianistm.ag/davejazz

LISTEN to Dave Jones’s library music tracks at https://soundcloud.com/ Or call us on 0845 226 0477 gold-leaf-music-library Photos © Erica Worth Photos © Erica to discuss what we can do for you 68. Pianist 98

Media Shed.indd 1 15/09/2017 10:39 p68 Jazz-FINAL.indd 69 15/09/2017 10:40 EDUCATION

UNDERSTANDING THEORY PART 10: FORM IN MUSIC (1) Form is what makes music out of sound. Nigel Scaife introduces some basic principles of motif, phrase and binary form which are the building blocks for composers of any level

n the next few theory articles we’re going to be considering aspects Nigel Scaife began his musical life as a chorister of form in music. It’s a vast subject which is incredibly rich and diverse, at Exeter Cathedral. He graduated from the Royal potentially covering everything from simple melodies and dance forms College of Music, where he studied the piano with to fugue, sonata forms and the complex structures of pieces such as Yonty Solomon, receiving a Master’s degree in ILiszt’s Sonata in B minor. As well as outlining the common designs that Performance Studies. He was awarded a doctorate composers have used over the centuries, we’re going to look at some of from Oxford University and has subsequently had the fundamental principles underlying the way music is constructed. wide experience as a teacher, performer, examiner rough analysing the form of the music we’re playing or listening to we and presenter. Nigel has contributed to many can learn more about its true nature and the way it works. is is rather publications as a writer on music and music education. like a mechanic taking an engine apart and putting it back together again. e process leads to greater appreciation and enjoyment, as well as the kind balance must be considered in both cases. Unlike the architect, however, of insights we need to interpret and communicate music e ectively as pianists. the composer has to take on the responsibilities of both designer and builder. We should begin by asking the obvious question: what is form in music? If you’ve ever tried to write your own music you will know that coming up While it’s been de ned in numerous ways over the centuries, most de nitions with some ideas is relatively easy. It’s much harder to join them up and work are along the lines of it being the outcome of the arrangement of ideas in out what comes next! sound. ese ideas might be quite clear-cut, or they might be obscure and While we will look at some of the main categories of musical form, such abstract, or they might alternate between the two. Either way, to create a as binary and ternary, it’s important to acknowledge that form is not a xed coherent musical expression there must be some kind of underlying logic. element or something like a formula. Standard forms are not like moulds Opening the bonnet of the engine, to continue the mechanical analogy, into which composers simply pour their music. In a sense, every piece of rolling up our sleeves and getting our hands dirty with some spanners, is all music creates its own form. Erik Satie’s Trois morceaux en forme de poire about nding that logic and deepening our understanding of how it all works. ( ree Pieces in the Form of a Pear) serves as a wonderful reminder of this If you have entered the Pianist Composing Competition, you will want to principle. Satie claimed that he wrote this set of seven pieces (tongue rmly think carefully about form as you write your piece. Here are some pointers to in cheek given his title!) in response to a criticism from his friend Debussy help you on your way. who had complained that Satie paid too little attention to form. Satie responded to the conductor Vladimir Golschmann: ‘I brought them to Space becomes time Debussy who asked, “Why such a title?” “Why? Simply, my dear friend, When thinking about form in the relatively abstract context of music, because you cannot criticise my Pieces in the shape of a pear. If they are it can be useful to think about structures in the concrete or plastic domains en forme de poire they cannot be shapeless!”’ of sculpture or architecture. While a building has a physical shape and is made of certain materials which exist in space, the material of music is Motifs and phrases sound which exists in time. It is the arrangement of that sonic material We should start with the smallest formal unit of sound that can legitimately which gives us the form of the music. Whether composing a simple or be considered music. A single note makes little expressive e ect by itself; it’s complex piece, the composer has to plan the music with the same care as like a single letter in literature. Just as in literature we need words to make an architect designing a building. e elements of shape, proportion and sentences, in music we usually need at least two or three notes to create

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p70 Theory-FINAL.indd 70 12/09/2017 11:12 something intelligible, which might be compared to a word. is is a motif. e phrases are clearly de ned in this example, but phrase-structure is not A motif can be de ned as a small identi able musical idea, whether it be always so clear-cut. e composer may leave room for ambiguity in the rise comprised of some pitches, a rhythmic unit or more commonly a combination and fall of a phrase, or even in the matter of where it starts and ends, and of both. Motifs can be thought of as the cells that are developed in di erent into that space is where a performer brings his or her own ideas about ways during the course of a piece of music. e rhythmic identify is often the interpretation. e way di erent pianists understand and interpret the most easily identi able feature of a motif when it reappears in a piece, rather phrasing of a particular piece can make for a fascinating ‘compare and than its pitch content. Perhaps the most celebrated example of how a short contrast’ exercise. motif can be developed is the so-called ‘fate motif’ which opens the Fifth Mozart wrote the antecedent phrase opposite in two segments, with Symphony of Beethoven. An inventive use of motifs – building blocks into the second being a repetition of the rst a tone lower. When a motif monuments, or cells into creatures of sound – is one of the most or segment is immediately repeated at a higher or lower pitch it is called extraordinary aspects of Beethoven’s genius. a melodic sequence. ere may be several repetitions that continue in A phrase can be de ned as a complete musical idea, of varying length, the same direction and at the same interval distance. Often the repetitions which can be likened to a sentence. Just as sentences have di erent clauses, are not exact transpositions as the melodic intervals have to be adjusted phrases may be constructed from two or more distinct segments. Phrases are in order to t the underlying harmony. Melodic sequences are particularly often marked by the natural intake and exhalation of our breath as singers common in Baroque music but they are encountered in all periods of or instrumentalists and their ending often suggests a point for a cadence to music history. occur. e way in which pitches and rhythms are used during the course of e example opposite is the rst half of a piece which is in binary form. a phrase is called melodic shape or contour. is is structured in two mutually dependent sections, identi ed as A and B. e rst section sets out a musical statement which sounds incomplete by Question and answer itself. Our Mozart minuet began in G major and modulated to the dominant, e repetition of ideas and the balance between expectation and ful lment, D major. In the B section, Mozart modulates back to the home key: or tension and release, also form part of what makes musical sentences work. A questioning phrase wants a balancing answer, especially in music of the f4 2 1 f5 f f 4 f f f5 # ™ f f n f f f f f f Classical period. Such ‘question’ phrases are called the antecedent and & # f the ‘answer’ phrases are called the consequent. In this minuet by Mozart, the antecedent consists of a single two-bar idea which is repeated a tone lower. f f f f f f f f e consequent phrase balances it, being of the same four-bar length. ™ f f f f ?# ™ Œ Œ Notice how formal unity derives from the continuing use of the opening { 1 1 falling-third idea in the consequent phrase: 5

5 5 5 f f 1 2 f f 2 f f Fine f f 3 5 # 3 f f f f f f f f 5 2 1 2 2 f5 3 1 3 2 & 4 # f f f f f f f f f F U™ & f f f f f f 3 f f f f f f f f F f f ?# 3 Œ Œ Œ f f f f f F ™ { 4 3 2 3 2 ™ ?# { 1 2 1 2 2 3 u

2 A modulation to the dominant at the end of the A section is very common f1 f5 f 2 f5 3 2 1 2 5 3 2 3 # f f f f f f f Ÿ ™ in major-key binary form movements. If the music is in a minor key then & # # f f f F the modulation is likely to be to the relative major (which shares the same key signature). F f f is relationship between key signatures is known as functional tonality: f f f f ™ it’s a fundamental way of giving formal unity and cohesion to classical music. ?# # f f { 1 3 2 1 f But cohesion is also provided by the use of melodic patterning in order to 2 1 create a sense of narrative as the phrases head in a clear direction towards their cadential destination. Notice how the rate of harmonic change increases towards the cadence: this gives the music energy and a sense of momentum. In binary-form pieces, both sections usually share the same musical ideas. e tune which is heard at the start of the A section is likely to be repeated at the start of the B section – but now in a new key and presented in a new way, to introduce variety and interest. One of those new ways is to present the melody in inversion. An inverted melody is turned upside down: the rising intervals fall by the same degree, and vice versa. Another technique is to present the melody in the bass. Alternatively, a composer may build a melodic sequence in the B section. In the example above there is a harmonic twist at the start of the B section as the music touches on the key of A minor, with its leading note of G# To create a coherent musical appearing in bar 9 and the F# of the key signature becoming F§. expression there must be some kind ere is a kind of syllogism taking place in these initial discussions of phrase and form, which may be familiar to you from logic, or simply from of underlying logic the way that a verbal argument is constructed. As in so much music, an argument is set out by a main premise and a lesser premise followed by a logical conclusion. For example, the idea that a) all virtues are laudable; b) loyalty is a virtue; therefore c) loyalty is laudable. Unity is provided by the relationship between a) and b) and by the fact that the conclusion assimilates both premises. In both logical and musical terms, this is all very satisfying as there is a ne balance between both repetition and contrast. ese are two essential ingredients of musical form to which we will return in later articles. ■

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p70 Theory-FINAL.indd 71 12/09/2017 11:12 INSIGHT

rom what we know of Chopin, far from being the sweet and sensitive soul of popular renown, he was a prickly and complex man. MUSIC’S PET Among the many things he disliked were nicknames. Not personal Fones as in, say, Fred Schnozzola (although given the size of his nose he’s unlikely to NAMES have welcomed that, had he ever been called it) but nicknames given by others to his compositions. Names such as the ‘Raindrop’ Prélude, ‘Minute’ Waltz, the ‘Winter Wind’, ‘Ocean’ and ‘Butterfly’ etudes, and the ‘Heroic’ Polonaise. He may have made an exception for ‘L’adieu’, a name coined by a former fiancée called Maria Wodzínski for his Waltz Op 69 No 1, but to Chopin it was probably just his Waltz in Ab major, although his autographed manuscript does also say ‘Pour Mlle Marie’. Talking of female admirers, ‘Raindrop’, the popular name for Chopin’s Prélude Op 28 No 15, was partly the work of Chopin’s lover George Sand. She claimed in her diary that Chopin dreamt of water droplets falling on his chest as he played the piano – an experience that Sand put down to the rain falling on the monastery where they were lodging, in Valldemossa on Mallorca. For years people believed she was referring to the Prélude No 15, and the name stuck.

An eye on the tills Orchestral and vocal compositions have their nicknames, too, but what are the origins of the names bestowed on piano music, and what’s their point? One thing’s for sure: that until the 20th century they were rarely given by composers themselves. Claude Debussy was an early adopter of flowery titles such as ‘Le vent dans la plaine’ (No 3 from Book 1 of the Préludes) and ‘La terrasse des audiences du clair de lune’ (Book 2, No 7). Travelling further back in time, however, if you trace the origin of a musical nickname you’ll likely as not find an ambitious publisher with an ear for a catchy title and an eye on the tills. Johann Baptist Cramer, for example, who came up with ‘Emperor’ as the tagline for Beethoven’s admittedly heroic Piano Concerto No 5. In the case of Beethoven’s Piano Sonata No 23 in F minor, another publisher had gone on to produce an arrangement of the work for four hands after the composer’s death, and Would The Cat’s Fugue be as popular if Scarlatti had kept a dog ‘Appassionata’ perfectly captured the mood of the work. Yet another publisher instead? John Evans goes in search of the stories behind thought a good title for his client’s angst-ridden Piano Sonata No 8 in piano music’s most enduring nicknames C minor would be ‘Grande sonate pathétique’. Fortunately, Beethoven

agreed and the shortened version stuck. Illustration: Emma Thrussell

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• 73 It’s hard to credit that Beethoven’s that Beethoven’s to credit hard It’s Scarlatti’s mind eight men, Never the same time, a piece by Around given a title: ‘Les adieux’ (The farewell); farewell); (The adieux’ a title: ‘Les given retour’ le (The absence); ‘Et ‘L’absence’ easily the was ‘Les adieux’ return). (The became the name and most evocative is known. which the piece by Flights of fancy the nicknames, whether least At or not, servedto Beethoven by approved memorable more distinguish some of his and plant them in the minds of works perhaps, ‘Moonlight’, the public. Better Piano than the instantly forgettable 2, 27 No 14 in C# minor Op No Sonata had gone to the if Beethoven even of giving it a subtitle, ‘Sonata trouble Ludwig was It quasi una fantasia’. and critic), (poet, librettist Rellstab some who coined the title ‘Moonlight’ because death, after Beethoven’s years reminded him the first movement of moonlight on Lake Lucerne. would Haydn, Joseph friend and mentor, fallen for such nonsense. Never have he had grown to flights of fancy, given both the ways of the countryup knowing Vienna. and the wiles of city folk in of a rich source music became Folk inspiration, especially later in life. piece that displays his grasp of One rural in all its richness is a matters based on the folksong capriccio keyboard : roughly Sein Müssen Sauschneider Acht takes eight butchers to translated, ‘It The ‘Castration’ castrate a boar’. of a ring Capriccio certainly has more to it than the plain old Capriccio in G XVII:1. Hob. would no doubt pet cat, Pulcinella, army to catch her, needed an entire have although being a female cat, not for the the flighty feline day, One same reason. a video did what, given apparently account, today’s YouTube camera and a cats still do: she picked out a tune on her was so taken Scarlatti keyboard. master’s an ugly with the melody (though it’s notes sequence of largely unrelated been the on what would have played claws white keys; easier for Pulcinella’s to grip) that he turned it into a one- sonata for the harpsichord, movement forward of it. Fast then thought no more half a century the and the piece entered Fugue. Cat’s as The repertoire was contemporary, Scarlatti’s Handel, intended a title he never also accorded finale The air-and-variations it to have. suite is better of his E major harpsichord Blacksmith’ Harmonious as ‘The known spurious) (probably – but why? One story runs took shelter from that Handel a rain-storm in a smithy when he heard the blacksmith whistling a tune that had Handel However, caught his ear. written a veryalready similar tune 1704. , from in his opera Almira However, the musicologist Klaus However, 2014, another In yet. Case closed? Not 29 No Sonata Piano Why Beethoven’s one came close to giving Beethoven The ‘Waldstein’ (No 21 in C) is an 21 (No The ‘Waldstein’

Martin Kopitz claimed in 2010 that claimed in 2010 Kopitz Martin as dodgy handwriting wasn’t Beethoven’s soprano was a German as all that: Elise had been She Röckel. called Elisabeth since 1808, two a friend of Beethoven the composer is believed before years was the written the piece. She to have drama which rescue in the first Leonore became his only opera, and was known to at least one friend as Elise. suggested that musicologist, Rita Steblin, be the pet name of Juliane might Elise a gifted Barensfeld, (Katharine Elisabet) the known singer who may have keeping up?) you (are composer through Therese the corner from living around 24 No that the Sonata Given Malfatti. in some quarters as known is already the apocryphalElise is Thérèse’, ‘Für for a while yet. likely to hang around in Bb major was singled out as the simply It’s is not clear. ‘Hammerklavier’ for piano and word the German of his last insisted that each Beethoven on the sonatas must be played five instrument at a time when it was still of work, common to play a keyboard on the harpsichord. character, whatever opening bars hear the when you Still, with their strident, hammer-like chords, 29, understand why No to not hard it’s 28, 30, 31 and 32 with rather than Nos openings, was given reflective their more the nickname. of his sonatas a title when he wrote of his on the frontispiece (in French) the 26 in Eb: ‘On fair copy of No revered the Majesty of His departure when it However, Rudolph’. Archduke was published he was horrified to see that had been movements each of the three Nickname, or love letter? Nickname, or love 25 in A minor No Bagatelle Beethoven’s of all instances the most famous is surely became the title – the dedicatee where that given elusive, though also the most who was the still puzzling over are we . And indeed whether Elise of Für Elise that was her name at all. Late 20th- notorious century analysis of Beethoven’s handwriting suggests that he was either a Therese: wistfully addressing owned the Malfatti (who later Therese manuscript of the bagatelle) or Countess Brunswick, another of his von Thérèse infatuations. unrealistic example of a dedication, in this case to a dedication, in this example of von Gabriel Ernst Count Ferdinand service into being pressed as Waldstein, and titles don’t nicknames a title. But and Italy France always translate. In as ‘L’aurore’/’L’aurora’ also known it’s evokes movement for the way the third the dawn of a new day. Illustration: Emma Thrussell Emma Illustration: p72 Nicknames-FINALish.indd 73 98 Pianist

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The suite was apparently published in since been turned into no fewer than Ken Dodd (who didn’t sing ‘So deep 1720 by William Lintern, who had been three films: the best known of them was is the night, No frying tonight’, but a blacksmith’s apprentice before he directed by Bo Widerberg and released in perhaps he should have done) and turned to selling music. However, 1967, featuring the slow movement from the soprano Lesley Garrett. no copies of Lintern’s edition survive. the concerto. As a result, to some people Chopin’s Prélude Op 28 No 20 is SMALL GAINS of a certain generation, it’s known simply also known as the ‘Chord’ Prelude. Make your practice more efficient withMark Tanner’s Coronations and crooners as ‘Elvira Madigan’. It’s a piece which can sound plodding Given that he lavished the title Eine When it comes to nicknames, film, TV and funereal in the wrong hands – such suggestions for three pieces in this month’s Scores kleine Nachtmusik on his Serenade No 13 and pop music have a lot to answer for. as Barry Manilow’s, in the lead-in to in G K525, one might reasonably The worst victim here is Chopin’s Etude Can It Be Magic. It’s a pity that many suppose Mozart was also responsible for Op 10 No 3. The composer never gave listeners will never get beyond his artless rendition and know it only as the name of a pop song. Still, that’s lyricists for you. Mendelssohn gave them a tempting opportunity with his Songs without The ‘Castration’ Capriccio has more of a Words. A friend got the rough edge of his tongue when he supplied lyrics to a couple of them, but publishers gave ring to it than plain old Capriccio in G at least one of the songs, Op 67 No 4, two nicknames: ‘Spinning Song’ and ‘The Bee’s Wedding’. calling his Piano Concerto in D K537, his pieces titles and was certainly not If you can’t beat them, join them. the ‘Coronation’. Alas, not so. The name responsible for the work’s two Schubert, a keen songwriter himself, came about simply because he performed nicknames, ‘Tristesse’ and ‘L’Adieu’. based the opening bars of each of the it at the coronation in 1790 of Leopold The sentiments of both run counter four movements of his C major Fantasie II as Holy Roman Emperor. to Chopin’s markings but are probably D760 on a variation of the opening It would be tempting to imagine, why the piece has become a vehicle phrase of his song, Der Wanderer. It was too, that Mozart called his C major for sentimental arrangements such as as if he was inviting others to nickname Piano Concerto No 21 K467 ‘Elvira So Deep Is The Night. This includes the the piece the Wanderer Fantasy, which Madigan’ – except that the Danish immortal line, ‘So deep is the night, they duly did. Did Schubert object to tightrope walker wasn’t born for another No moon tonight’, recorded by the title? At any rate, his silence should 82 years (1867). Her tragic story has performers including the comic not be taken as approval. n

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p72 Nicknames-FINALish.indd 74 14/09/2017 11:23 PIANIST AT WORK Okiem Okiem is a pianist and composer whose music is described as ‘cinematic classical’. As the deadline for entries to our composing competition draws close, he shares his own advice for aspirant composers

wonderful Sally Goodworth and I had How did you start to compose? to give a performance every semester. I probably started with small pieces of music (not complete songs) when How did you get into the I was around 12 years old. My rst full contemporary side of things? composition came when I studied for my Even though I studied and trained Music GCSE. I had to compose a piece classically, I’ve always enjoyed listening of lm music and I remember creating a to many genres of music: from pop song I was extremely proud of. I scored to hip-hop to indie to electronica. 57/60 for this piece, but I thought it was When I graduated from Brunel, I had a uke and never really pushed myself the opportunity to move to Russia and further on the compositional side. work with Sergey Lazarev, who’s a pop sensation there. is was the experience Any tips on how to compose? that transformed me from a pianist into Find your own style! Both in how you a keyboardist. I got to learn rst-hand compose and what style you’re going for. about pop music and electronic music, Some people don’t start anywhere near music production, and synthesisers, a piano. You could start with a pen and and of course life as a touring musician. pad, writing out melodies, or you could I combined my classical training with try just to hear music in your mind. pop music, which I loved. I even got to Personally I like to sit at the piano and play a Rachmaninov solo half way through explore chords and harmonies. I then get the concerts! And this segued into one more into the feeling and emotion of the of Sergey’s big ballads, so we had about piece I’m trying to create. Sometimes I do a 12-minute section of the shows that hear an entire piece in my mind and then were either solo piano or piano and voice. I try to play it by ear! e rst song on Xiro is called ‘Rise Do you play with the score, Again’. e melody and the whole piece or does it hinder you? came to me out of nothing: it was When did you start playing? I use a score to learn classical pieces but suddenly there in my mind. I think when ankfully there was a piano in the I commit the music to memory as soon you get into a creative zone, music starts house from when I was four or ve years as possible. is helps me to get away to appear; you’ll hear the next phrase, the old. My parents noticed that I could pick from just reading and playing the dots next section, a counter-melody or in my out songs I heard on TV or the radio and to listening to my own interpretation case a particular sound or a speci c play them by ear on the piano. My dad of the music and actually performing instrument that will play a part in the would get me to perform for family and the music. I think this is important song I’m composing. friends and then they got me a little no matter what genre I’m playing. I stay completely open when keyboard for Christmas one year. I just Having toured some huge venues, composing, to let the ideas ow out. enjoyed playing what I heard and I knew I found I could harness the energy No thoughts of ‘is this good’, ‘is this bad’: that music really excited me from a very and the power of really going for it with I just let the music out and then I can young age. my performances and connecting with re ne it, analyze it and arrange it. I like the music. I can’t imagine standing on to have composing phases when I’ll stay Tell us about your training. a stage like that with my sheet music! in ‘creative mode’ for weeks or months Once my parents noticed I had a bit Of course it’s important to use the score and try to come up with ideas every of a talent for music they got me piano to learn the music accurately and as the single day. It takes work (and good lessons from age nine. I ended up composer intended, but I do think it’s co ee) but there’s no greater reward than training classically for 12 years through also important to internalise the music when the music is created and you can the school system – no specialist college so you can express it in your own way. share that with the world. ■ or conservatoire. I was lucky to have some of the best teachers right where Do you compose your own Okiem gives a concert at London’s Round I was already studying, including pieces? Chapel on 31 October. He also appears at a Richard Dunster-Sigtermans, who was a Yes, I have already recorded and released concert to fundraise for Cheryl’s Trust, in senior examiner for the ABRSM. my debut album, named Xiro. I’m now association with e Prince’s Trust, in I went on to study for a Business degree working on my second album as well as London on 28 November (venue tbc). For at Brunel University, but a music performing songs from Xiro live with my further details, see www.OkiemO cial.com. scholarship kept me going with my orchestra all around the UK this autumn Composer John Kember o ers further © BenjaminYoud.com

classical training. I was taught by the and next spring. advice about composing on page 76. Photo

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p75_Pianist at work-Oki-FINAL.indd 75 14/09/2017 10:25 EDUCATION

COMPOSING FOR THE PIANO Having written for every standard of pianist, John Kember shares his experience to help entrants to Pianist’s Composing Competition. Don’t be nervous: dive in!

PianistOct17.ai 1 11/09/2017 09:44:36 Peregrine’s Pianos he Pianist composing competition is underway, and entries Longer forms such as variations or rondo still contain the kind of repetition are already flowing in, but the deadline of 3 November still and patterning that will give your piece a distinct structure. For more gives you plenty of time to gather your thoughts and put advanced composers, sonata-form and counterpoint can be given a modern Peregrine's Pianos awarded them on paper. If you’re unsure how to start, if you haven’t twist and can be fun to play and to listen to. Purely abstract, atonal or modal written music before but would like to give it a try, perhaps tonalities and minimalist compositions can challenge both composer and "Best dealer worldwide" 2015 and 2016 by August Förster Pianos. the suggestions below will help in shaping your own ideas. performer alike. T Thinking in more granular terms, how will your piece move within your Choices, choices chosen form? Four-bar phrases are the building blocks of much classical What standard are you writing for? This will often be determined music; three-bar or irregular phrase lengths are more difficult to maintain by your own level of technical ability as a pianist. It need not be – through the course of a piece, but they can make for interesting results. many composers have written music they couldn’t possibly play themselves – but especially if you lack experience as a composer, it’s important Composing your thoughts C that you can try out ideas at the keyboard so that you know what works. Be ready for inspiration to strike. It won’t always happen at the M Perhaps1 you have someone in mind who will play it: yourself; a pupil; a piano. It’s often when doing unrelated activities – going for a walk friend. Take their abilities into account as you write. or having a shower – that the key to your creative mind is unlocked, Y What is your style? Do you prefer a good melody or do harmonies or a tricky harmony solved or a melody found. Try to keep pencil and paper CM rhythms give you more pleasure? You may like to consider dance styles as handy for such moments (also when going to sleep). If you can, it often helps a basis for your composition – both from the courtly dances of the past, to3 leave such ideas alone for a couple of days and see how you feel about them MY such as a sarabande or a gavotte are good starting points, or more recent when you return to them. Are they still as pleasing or as original as you first CY 19th- and 20th-century styles such as a waltz, polonaise, ragtime, polka thought? or a Latin tango, samba or bossa nova. Find a few quiet moments alone and use your imagination. Some call this CMY Using a dance style will lend your piece a rhythmic foundation and provide internalisation, and it can give you ideas about the overall shape, however K a ready-made structure. If you prefer a more descriptive or atmospheric vague this may be at the time. approach, then inspiration can come from a scene or picture, a story or event, Actually writing down your ideas can be difficult at first. We are far more or simply from a style or favourite composer whose music you like to perform. used to reading notation than writing it. But this will improve with practice. If composing is a new experience for you, begin by jotting down a few rhythms. The importance of form Believe it or not, it’s much harder to write down rhythms than notes. So, with What form will you use? This is paramount. Player and listeners writing as with reading a new piece, sort out the metrical structure, the alike should be able to feel, even if only by instinct, that your piece time-signature and rhythms first, and the notes are more likely to fall into has a structure, a distinct form or shape. Simple binary (A-B) and place. Then you can move on to short phrases – no more than a small group ternary (A-B-A) forms are fine for shorter pieces: Nigel Scaife’s theory article of notes – before building up to writing chords and so on. www.peregrines-pianos.com in this issue provides an excellent introduction to the basic elements of form Using a computer programme to write the piece for you using ‘cut and paste’ in2 composition. techniques is best avoided; so is ‘playing in’ from a digital keyboard linked to 76• Pianist 98 Peregrine’s Pianos, 137A Grays Inn Road,77• Pianist London 98 WC1X 8TU Tel: 020 7242 9865 your computer. This method lacks rigour or organisation, and is liable to produce impossible rhythms and musical nonsense. Better by far is to It’s often when doing unrelated try to ‘hear’ what you wish to write. Your ear is your most reliable guide. ‘Play what you hear’, say the jazz activities – going for a walk improvisers, not ‘Hear what you play’: this is excellent advice. A piece rarely ‘writes itself’ or comes to the composer in a self-contained entity, or having a shower – that the key whole and complete. More commonly an idea needs to be worked out, and then through, with small changes, edits and improvements until to your creative mind is unlocked you are entirely satisfied. The pace can be quite brisk when you’re in the throes of composing music. You’ll hear notes or chords in your head, and you’ll need to Finishing stages commit them to paper quickly. Grasp the moment as quickly as you Editing and presentation need careful attention. Once you are can – or you will lose it! fully satisfied by your composition, turn to the editing process. General tempo and expression markings are preferable to prescriptive Clarity and simplicity breed success metronome marks. Likewise, avoid littering your score with phrase and If you are writing by hand, try to inscribe the notes at a slightly dynamic markings: use them sparingly, and allow the performer space smaller size than you read them in print, for the sake of clarity. to5 interpret your piece for themselves while being clearly directed by Make sure that the note-heads are clearly lying between or written your intentions. through the ledger lines. A soft 2B pencil lead gives good results. Make sure, Clear, well-organised and neatly spaced manuscript is just as acceptable too, that treble and bass clefs are correctly lined up and equally spaced. as a software-notated piece. It’s worth reiterating that a well-presented Legibility4 is paramount. piece will invite and encourage performers rather than putting them off. Don’t overcomplicate things. If in doubt, stick to simple keys and Find a friend: ask them to read through your piece, to test that it is correctly straightforward rhythms. Accidental-heavy keys and complex rhythms notated and that your intentions are clear. are often unnecessary and will only deter your performers. The ultimate test is to justify every note, dot and mark on the paper. Your piece should feel pianistic. You want players to be drawn to the Ask yourself: Why did I choose that key? Did I really mean that note/chord? piece, not to run away from it! Your writing should lie comfortably Why did I mark forte there but not there? Have I made the right choice of under the hands, avoiding awkward stretches, leaps or fistfuls of notes. tempo? Do I need quite so many notes? Your composition should please you Remember about the required length, too: no more than 64 bars. before it pleases others. n If you are using a computer to write out your piece with software such as Sibelius or Finale, wait until you are entirely happy with the piece and are Turn to page 26 for further information on how to apply to the 2018 Composing ready to print out a final version. Competition. Or visit pianistm.ag/compose18 online. PianistOct17.ai 1 11/09/2017 09:44:36 Peregrine’s Pianos

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

CMY

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p92_pianist98.indd 92 15/09/2017 09:04 GREAT SCHOOLS

A new home for Birmingham Conservatoire Paradise is exciting pianists everywhere, says Warwick Lost/Regained Thompson he name never did quite fit. Madin effectively gave Birmingham Bradley studios, which has specialised Paradise Circus was a a facelift in the Brutalist style of clean, in educational buildings such as the seven-hectare site marking concrete lines and towers. Despite the Lakeside complex in the nearby Aston the western boundary of success of Brutalist icons such as Denys University. Along with state-of-the-art Birmingham’s fine civic Lasdun’s National Theatre and the Park performance spaces and teaching rooms, centre. As part of the city’s Hill estate in Sheffield, the aesthetic the new conservatoire accommodates Tpostwar regeneration, local architect never caught on in the UK as it did a huge increase in the number of practice John Madin designed a knot of civic (for example) in France. Birmingham rooms for pianists. Glory be! and cultural buildings which sprang Conservatoire, another stern Madin up during the 1960s and 70s on the creation, was slap bang in the middle Hard hats on site of the old Paradise Circus. of Paradise Circus. I went on a hard-hat tour of the new John Thwaites, who has been head building earlier in 2017 with Julian of Keyboard Studies at the conservatoire Lloyd Webber, the Conservatoire’s since 2010, puts a positive spin on its high-profile new principal. And although old home. ‘These concrete blocks… there’s there were towers of scaffolding in the something about the unpretentiousness lobby, bundles of electrical cable of them which I quite like,’ he says. Then dangling from holes in the ceiling, his half-full glass suddenly becomes and clouds of carpentry dust everywhere, half-empty. ‘Even if it is also deeply the effect was nevertheless breathtaking. substandard.’ The spacious split-level lobby which Substandard no longer. As part of connects the two major entrances to the a redevelopment project which has building is flooded with natural light and demolished Madin’s Paradise Circus, the has a welcome feeling of flow around the conservatoire has moved to a spanking foyer bar. The grand new 500-seat new £57m building in the nearby district concert hall, in which the BBC is already of Eastside. The design of the new expressing an interest for future concerts conservatoire is the work of the British and recordings, will be a significant architectural practice Feilden Clegg addition to the UK’s music scene.

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p80 Birmingham-FINAL.indd 80 15/09/2017 09:25 The other performance spaces are way Opposite: the split-level ahead of what most other conservatories lobby; Eastside Jazz Club. can offer: there’s a 150-seat recital hall, This page: Julian Lloyd a 100-seat organ studio, and a flexible Webber and pupils in front studio for experimental performance. of the new conservatoire The Eastside Jazz Club is the first space within a British conservatoire dedicated to such a purpose. The students and staff will move into the building later this year, and there will be a grand gala opening in March 2018. It’s all part of a huge effort to put Birmingham Conservatoire – which it’s fair to say has languished a little behind its peer institutions in recent years – more firmly on the musical map, and raise its profile as a go-to college for young musicians. One influential ranking currently places it third in the list of UK conservatoires, but Lloyd Birmingham Conservatoire Webber is aiming higher: ‘to make this the best conservatoire in the country, if not beyond,’ he says. ‘And now Report Card we’re moving into the new building we have a realistic chance of doing that. Quick History The facilities will really be better than Founded in 1886 as the Birmingham School of Music and built in the heart of anyone else’s. We have incredible staff. the Midlands city as an integral part of the city’s Victorian-era expansion and So now it’s up to us to do it.’ development. Adrian Boult Hall, opened in 1985, was demolished in summer John Thwaites is ready for the change. 2016 as part of the redevelopment of Paradise Circus, which replaces the He’s been steadily building and improving conservatoire and the city’s Central Library with a complex of buildings including the keyboard department since taking a hotel, offices and retail spaces to be known as Paradise. The conservatoire has over seven years ago, and is now raring moved to the Eastside district of Birmingham; the new site retains its place within to exploit the opportunities of the new Birmingham City University. A gala opening will take place in March 2018, with space. ‘The first thing I did was to a concert given by the conservatoire’s symphony orchestra. On the podium will increase the piano stock, which was in be the Lithuanian conductor Mirga Gražinytė-Tyla, who took charge at the a slightly alarming state. We bought City of Birmingham Symphony Orchestra last year at the age of 30. more Steinways and Yamahas, but also a couple of Faziolis and Kawai Shigerus. Head of Keyboard Studies I’ve always thought we should have as John Thwaites joined the conservatoire in 2010, having held posts at the Guildhall much variety as possible, and now it’s School of Music and Drama in London, and the Royal Conservatoire of Scotland, beginning to look quite sexy.’ based in Glasgow. He is also the course director for the Cadenza International Summer Music School, a piano-and-strings summer festival which is based at the Purcell School. As a performer he has formed several notable partnerships, with the cellist Alexander Baillie and as a member of the Primrose Piano Quartet, Pianists have to have which has made several recordings for the Meridian label. He is also working on a play which will revolve around dramatic tensions in the lives of two artists as priority. They have to they prepare to perform César Franck’s A major Sonata.

have their own space Some piano faculty Daniel Browell (Associate Head, Head of Collaborative Piano); Philip Martin Thwaites has also employed the (Senior Piano Professor); Robert Markham (Accompanist in Residence and Piano); services of Peter Salisbury as the principal Daniel Tong (Head of Piano in Chamber Music); Mark Bebbington, Margaret technician for the keyboard department. Fingerhut, Anthony Hewitt, Julian Jacobson, Håkon Austbø. Salisbury looks after the pianos at Southbank Centre in London and is Recent Masterclass artists ‘probably the finest technician in the Peter Donohoe, Hamish Milne, Iain Burnside, Piers Lane, Robert Levin, country – with the possible exception Christian Blackshaw. of Ulrich Gerhartz at Steinway & Sons’, adds Thwaites diplomatically. There will Some famous students be a hundred new practice rooms for Brian Ferneyhough, Albert Ketèlbey, Laura Mvula, Rhydian Roberts. members of the keyboard department. Thwaites is over the moon about it Nationalities (but players of portable instruments Students from more than 40 countries around the world in all departments. should probably avert their eyes from the next sentence): ‘When push comes to Additional activities shove, a bassoonist or an oboist can take The conservatoire is linked professionally to In Harmony, an educational project their instrument off to a toilet to practise. inspired by El Sistema and based in Telford and Stoke. The new building will host But pianists have to have priority. They the Eastside Jazz Club and concerts throughout the year. have to have their own space which will ▲ not be encroached upon.’ www.bcu.ac.uk/conservatoire

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p80 Birmingham-FINAL.indd 81 15/09/2017 09:25 GREAT SCHOOLS

Help in house Clockwise from top left: teaching to Birmingham from the Royal With justifiable pride, Thwaites In a remarkable stroke of good fortune, the 500-seat concert hall; Academy. His student Luigi Carroccia observes the success of the conservatoire the conservatoire’s associate principal detailed work for floor 2; was one of only three UK players in attracting Asian students. ‘Statistically Lamberto Coccioli happens also to be the new conservatoire’s accepted into the Van Cliburn we have more Chinese pianists in the a trained architect. He became the main exterior; a bird’s-eye view International Piano Competition this conservatoire than any other UK college. point of liaison between the staff and of the lobby year, and made it through to the We even have a full-time member of staff Feilden Clegg Bradley Studios, and was quarter-finals. Another one of his former based in China. We started making an able to feed in requests and suggestions students making a name for himself is effort to attract top students quite some so that the core of the conservatoire – its the Swiss pianist Louis Schwizgebel. time ago, and we’re a long way ahead people – had a hand in designing a home ‘It’s great to have someone of Pascal’s of our competitors there.’ for their work. One important reputation here,’ remarks Thwaites. As the second-largest city in England, consequence is that the corridors and ‘He’s building a much better class than Birmingham has other benefits of lifts are all wide enough to move huge he ever had at the Academy, despite its own. ‘What strikes me is how well Steinway Ds without the need to their enviable reputation.’ connected it is to the London music disassemble them or tip them on their The conservatoire also has strong links scene,’ he continues. ‘I had ten years in sides. Thwaites assures me that this with the Franz Liszt Academy in Scotland, and I’ve worked all over the seemingly obvious requirement is not Hungary through its well-endowed UK. Birmingham doesn’t feel provincial found in many other colleges. ‘Another at all, in the way that even Manchester thing that’s great about the new building can, to a degree. It’s an affordable city, is that they’ve been absolutely clear that The facilities will really be it’s a good size to live in, and it has a it has to be used only for students of superb orchestra.’ music. All the office space, for example, better than anyone else’s Thwaites carries on with the zeal of has to go elsewhere. With Lamberto’s an evangelist, as well he might. ‘For a help, the clarity on this has been Weingarten scholarship and exchange long time we’ve felt a bit neglected here incredible.’ programmes. One of the pianists on at the conservatoire. We’ve had many Of course, all these advantages would the programme is Domonkos Csabay, reports praising our work, but it be meaningless without a solid teaching who won the Brant International Piano somehow hasn’t been reflected in the core. Thwaites is particularly proud of Competition last year. Spurred on by wider world. But now we have Julian his staff, and of the successes they’ve had the success of this scheme, the college at the helm, and this incredible new so far. There is Pascal Nemirovski, one of has set up a similar Eastern European building to move into, I really hope the world’s foremost piano pedagogues. exchange programme with Bulgaria that will change. We have everything He’s currently the International Chair using money from the Denis Matthews here to help students develop their in Piano, and has moved all of his UK Memorial Trust. full potential.’ n

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p80 Birmingham-FINAL.indd 82 15/09/2017 09:25 The Sound of ClaSSiCal Louis Lortie plays Chopin NEW RELEASE CD release Date : 29 september 2017 CHAN 10943 Louis Lortie’s Chopin series is achieving landmark status, as confirmed by the increasingly enthusiastic reviews of progressive volumes. This fifth one sumptuously highlights the Polish influences in Chopin’s music, offering gems of some fascinating mazurkas and vigorous polonaises. alsO aVaIlable CHAN 10588 CHAN 10714 CHAN 10813 CHAN 10852

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Louisp83_pianist98.indd Lortie | Chopin 83Vol. 5 | Pianist.indd 1 13/09/201714/09/2017 19:5010:19 MAKERS

Chopin’sPLEYEL beloved instrument Two centuries of keyboard innovation and entrepreneurship produced one of the great French piano manufacturers. M A Shah tells the story of the unique Pleyel sound hat do Chopin, by Ignace Pleyel. Born in lower Austria Count Erdődy, who took on the younger Kalkbrenner, in 1757, Ignace became a pupil of composer as his own master of music: Gounod, Debussy, Haydn in the remote court of Eisenstadt. Pleyel’s own set of String Quartets Op 1 Massenet, Richard Haydn’s final complete set of string (1782-3) is dedicated to Count Erdődy Strauss, Poulenc, quartets was written for the Hungarian for his ‘generosity, paternal solicitude Rossini, Franck, and encouragement’. de Falla, Ambroise Thomas, Stravinsky, However, Pleyel travelled far and wide: GriegW and Granados have in common? certainly to Italy, then to Strasbourg, They favoured a particular piano. A piano where he succeeded Franz Xaver Richter called Pleyel. With a dark, silvery tone, (a pupil of Mozart) as Kapellmeister. silky bass and sparkling, translucent He produced music in every genre treble, it’s a piano that readily inspires and with untiring industry (89 string affection. The story of Pleyel spans more quartets survive, outstripping even than two centuries, encompassing some Haydn). The 19th-century musicologist extraordinary pianos, great composers, François-Joseph Fétis asked rhetorically: abundant entrepreneurship and ‘What composer ever created more of a Parisian concert hall. a craze than Pleyel? Who enjoyed a more universal reputation or a more A family concern absolute domination of the field of Although Pleyel is considered a instrumental music?’ distinctively French piano brand, In 1791 he found himself in London,

the firm was founded in Paris in 1807 giving concerts as a friendly rival to his page 86) © Cobbe Collection (Chopin's Pleyel,

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p84 Pleyel-FINALish.indd 84 14/09/2017 10:30 old teacher, but for our purposes his decisive move was to make his home described Pleyel pianos as ‘the last word in Paris early in 1795. There he in perfection’. What he identified as opened a music shop and founded a their ‘slightly veiled sonority’ suited publishing house which over the his style. One observer recalled course of the next 40 years would the composer saying that if he publish works by Beethoven, was not feeling on top form, Boccherini, Haydn and many he preferred to play on an others. Serious music-lovers Erard, for its bright and have cause to hold Pleyel ready-made tone. ‘But if dear to their hearts for I feel alert, ready to make one (literally) small but my fingers work without decisive contribution to fatigue, then I prefer a the study of music with Pleyel… My fingers feel in the invention in 1802 more immediate contact of the miniature score. with the hammers, which Pleyel’s son, Camille, was then translate precisely also a gifted pianist, having and faithfully the feeling studied in London with I want to produce, the Jan Ladislav Dussek. effect I want to obtain.’ He became a partner of The Chopin-era Pleyel the family firm on 1 January was notable for its graded 1815 and by 1824 had given timbre. The silvery, ethereal up his concert career to focus quality of the treble was the on the business. He brought result of an unusually high Frédéric Kalkbrenner into the strike-point ratio, which defines firm that same year: no less than the relationship between the Pleyel father and son, Kalkbrenner time the hammer touches the combined musical talents with string and the duration of the wave business acumen. The firm built travelling along the string from the a concert hall on the Rue Rochechouart strike-point to the bridge and back. in Paris to show off the capabilities of This ratio goes up to 14 in the extreme its instruments in the hands of the finest treble of the typical Pleyel grand piano of virtuosos of the day: Hummel, Chopin, the time; the use of the una corda pedal Liszt and the 10-year-old Saint-Saëns all increases the ratio still further. played there. Chopin’s appreciation for the design Thus like any good firm, Pleyel grew qualities and the sonority of Pleyel through innovation. In 1820 Pleyel Chopin and Pleyel pianos is written into the very fabric was among the first to build its Frédéric Chopin arrived in the French of his music. Take, for example, the instruments with iron-string plates capital in 1831. He was not well known following bars from the coda of the and tension bars which improved the to the local public at the time and was Nocturne Op 27 No 2: qualities of both stability and volume. in need of publicity. He brought with “dolciss.” A new method of soundboard him letters of recommendation from 2  f fj fj fj fj fj b >f >f n >f b >f n >f b construction was patented, and in patrons in Vienna which piqued the b bb ‰‰ f ‰ f ‰ b f ‰ f ‰ ∫ f & b 2 n b n b 1828 Ignace and Camille introduced curiosity of the Parisians. Kalkbrenner f f f f f b f f f f f f f f f f f f f f a new type of pinblock which further recognised in Chopin a rare talent and, f ff f f™ f ff™n f b f f™ b f ff™ f ∫ f ? b b n n b b n n b b { b f 2 b 2 4 enhanced sonority. Camille was with the support of Camille Pleyel, b 3 3 4 4 5 3 4 5 3 5 3 ø ø ø ø ø especially attuned to artistic trends and arranged for him to play at Pleyel’s salon ° sought to ensure that his instruments in February 1832. That concert marked matched the ever more demanding the start of an intimate association expectations of performers. One constant, between the composer and the firm of On the Pleyel instruments played by however, remained the tonal identity Pleyel. For the rest of his life, Chopin Chopin, the acciaccaturas fell in the of the Pleyel instrument – the sparkling, favoured Pleyel pianos above all others region in which the strike-point ratio vibrant treble smoothly integrated with and chose to teach and perform on them increased rapidly. This made a distinctive, a dark bass which was once compared whenever possible. transcendent effect which cannot readily by Franz Liszt to a ‘marriage of crystal Chopin and Camille Pleyel became be reproduced on other pianos. and water’. close friends, despite the odd blazing row. When the composer travelled to When a young Carl Bechstein wanted ‘There is only one man today,’ claimed Mallorca with George Sand in the winter to learn how to build the world’s best Chopin, ‘who knows how to play Mozart. of 1838, a Pleyel piano had to travel piano, he joined the Pleyel firm as an That’s Pleyel, and when he feels like with them. In those days, moving a apprentice, first in Paris and then at its playing a duet sonata with me, it’s a piano to an island in winter was no German-based atelier in Dresden. lesson for me.’ The relationship offered mean feat, particularly given the remote Bechstein went on to apply what he distinct mutual benefits. Chopin gained location of the monastery where Chopin had learnt in the work of his own firm, privileged access to his favoured pianos, took up residence. Sand owned a pianino which he founded in 1853. Golden-age while the firm basked in his reflected (a small upright piano) by Pleyel, but Bechsteins of the early 20th century glory, and indeed profited from his Above: Ignace Pleyel the composer had a Pleyel grand manifest the influence of the Pleyel recommendations: the Pleyel archives Opposite page, above: a delivered every summer, which atelier in design features such as plate disclose at least seven sales which were rebuilt Pleyel Modèle 3; remained until November. below, the maker's name

structure, the use of composite rims and instigated by Chopin. A Pleyel accompanied Chopin▲ when

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p84 Pleyel-FINALish.indd 85 14/09/2017 10:30 MAKERS

During this tour, for practising, Chopin had access to a Broadwood and an Erard in addition to his Pleyel. However, Chopin con ded in a letter that he had practised only on his beloved Pleyel. e particular Pleyel concerned was sold at the end of Chopin’s tour but remained in England. It can still be visited as part of the Cobbe Collection of historic pianos which is housed at Hatchlands Park in Surrey.

A new era Another pianist and graduate of the Paris Conservatoire, Auguste Wol , joined the rm in 1853 and assumed its leadership upon Camille’s death in 1855, when it became known as Pleyel, Wol et Cie. The bygone days of Salle He oversaw a period of development Pleyel: above, Marguerite in which Pleyel embraced modern Long gives the first construction technology, but again performance of Ravel's without compromising ‘le son Pleyel’. Concerto in G. His goal, said Wol , was ‘increasing the Right: Edvard Grieg and instrument ‘surpasses my expectations. born into a family of musicians, Lyon volume of tone without losing sweetness,’ friends on the stage. e sound is as full... as possible’. trained as a scientist and engineer with a in order to match the demands of Below: Chopin's Pleyel Other Wol -era innovations included specialism in acoustics which ideally composers for ever greater weight of at the Cobbe Collection di erent stringing techniques, string equipped him to lead the rm into the expression with their practical realisation, scales and hammer strike-points. In 1869 20th century. In 1889 Pleyel produced just as Camille had done before him. these became part of the rm’s new its rst model of harpsichord, which Among Wol ’s inventions were a overstrung concert grand, given its quickly became synonymous with the proprietary brand of pedal piano which rst public airing the following year instrument’s most tenacious and capitalised on the fashion for combining by no less than Camille Saint-Saëns. persuasive advocate, Wanda Landowska. the piano’s light touch with the strength Wol died in 1887 at the age of 65. In 1909 Albert Schweitzer could of an organ bass. Schumann had written His name was enrolled, according to the reasonably claim: ‘Whoever has once fugues and other pieces for such an obituarist of e Musical Times, ‘among heard Mme Landowska play the Italian instrument, Dresden-made, in the those of the men who have contributed Concerto on that marvellous Pleyel 1840s; Wol supplied a Pleyel pedal most fully to the present perfection of harpsichord that adorns her music room piano in 1858 to César Franck, who the household instrument.’ He was will hardly ever conceive again of its replied with delight that the new succeeded as head of the Pleyel rm by being interpreted on a modern piano.’ his son-in-law, Gustave Lyon. ough Lyon also played an instrumental part in the design of the new Salle Pleyel in Paris which became the city’s main concert-hall when it opened in 1927, and remained so until the opening of Jean Nouvel’s Philharmonie de Paris in 2015. Back to pianos: in 1893, Lyon patented a proprietary double-repetition action which was subsequently tted to all models of Pleyel grand piano: thus repeated notes could be played in rapid succession without the need for the key to return all the way to its resting position. In 1896 Lyon invented and led a patent for a double grand piano with a keyboard at either end of a single case containing a shared soundboard but two actions and two sets of strings. ese double pianos were known as ‘duoclaves’. With two pianos inside a single case, the shared soundboard and quantum of strings provided great resonance, particularly in the bass register. Pleyel manufactured 71 duoclaves between 1896 and 1943, and a few examples survive. One was recently sold at auction in London; a restored duoclave dating from the 1920s is also used for performances by the Nettle & Markham Piano Duo.

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p84 Pleyel-FINALish.indd 86 14/09/2017 10:30 A golden age Pleyel’s golden-age pianos The firm of Pleyel came of age under the successive leaderships of Wolff and Lyon at the turn of the last century. Spurred Model Form Length Remarks on by huge market competition, they continued to innovate in both piano 1 – full concert grand 9’1.5” The model owned by Granados design and manufacture. As editor 278cm and on which Goyescas was of the New York Musical Courier, probably composed. Used in Marc A. Blumenberg paid a visit to performance by Alfred Cortot the Pleyel factory in 1894. He observed and Raymond Trouart. there ‘a laboratory that would make the experimental mind wild with delight. Pianos by Bechstein, Schroeder, 1-bis – semi- 8’ Broadwood, Chickering, Knabe, concert grand 243cm Steinway and Weber, all being subjected to minute investigation.’ Lyon himself visited the firms of Bechstein, Grotrian, Schiedmayer and Blüthner in order to size up the competition and ensure 2 – salon grand 7’5” that the Pleyel firm retained its place 226cm as a market leader. By 1900 Pleyel was making 2,249 pianos per year, increasing to a peak output of 3,630 instruments in 1913. Pleyel’s pianos ranged from the concert 3 – medium grand 6’8” The model owned yb grand Modèle 1 (later rebadged as the 204cm Alfred Cortot. Model AL) to the domestic upright which incorporated a true una corda mechanism, very rare in upright models. Among the most popular models was the 164cm Pleyel baby grand known initially 6’4” Introduced in 1895 as the Modèle 3-bis, and then from D – boudoir grand 1926, with slight modifications, 195cm Four-piece composite rim; as the Modèle F. In total, there were a particularly lovely instrument 15,170 examples made of the Modèle for the home, with a diffuse, 3-bis and Modèle F. These remain ideal pellucid tone. pianos for the home, and can still be successfully restored for domestic use. They have a full, clear tone and excellent 3-bis – baby grand 5’6” Three-piece composite rim. bass, despite the modest cabinet length 164cm The model owned by Charles of 5’6”. The soundboard of the 3-bis Gounod which he affectionately grand is detached from the rim at the called ‘the toad’. rear left of the cabinet, allowing it to vibrate freely and enhancing the bass. A guide to Pleyel’s pianos of modern F – baby grand 5’6” Introduced in 1926. design is set out in the table opposite. 164cm Concealed pinblock Pleyel today The author’s choice for the The firm suffered a tragic sequence of finest baby grand ever made. mishaps from 1928 onwards. On 28 Fine, warm tone. June that year an electrical fire gutted the magnificent interior of the Salle Pleyel, just nine months after its The Lyon-era Pleyel grands from the criticism of modern piano building per opening. The firm was inadequately turn of the last century remain stunning se but as an observation that expectations covered by building insurance and instruments: amply powerful, but of piano sonority are now more had to bear the prohibitive cost of balanced, with a brilliant attack and standardised than ever. Playing older repair and restoration, thus depleting darkly coloured tone. Grand Passion pianos enriches a pianist’s understanding coffers which were further emptied Pianos recently provided Pleyel grand of composers. What I experienced on the following year by the arrival of pianos to Edition Peters to make this Pleyel [a Modèle 3, 6’8” grand] the Great Depression in Europe. recordings – alongside Steinway and was a malleable, enveloping tone The company eventually ceded Bösendorfer instruments – for a that responds beautifully to the touch. ownership of the Salle Pleyel to its streaming app. The timbre of the instrument changes principal creditor, the Crédit Lyonnais Daniel Grimwood was among the wonderfully as the volume of a note bank. However, this allowed Pleyel to performers for these recordings. increases and the bass response was continue piano manufacture; after several ‘Whenever I read accounts of pianos very impressive.’ n mergers and acquisitions, the Pleyel from the 19th and early 20th century,’ name is now owned by the firm of he remarked, ‘I’m left feeling that our www.grandpassionpiano.co.uk Rameau. The company’s atelier can be modern palette is sonically impoverished www.pleyel.fr www.leviaducdesarts.com/fr/ visited at the Viaduc des Arts in Paris. by comparison. This isn’t meant as a pleyel-international

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p84 Pleyel-FINALish.indd 87 14/09/2017 10:30 REVIEW Sheet music A new sight-reading app gets Michael McMillan playing quick-ﬁ re games on his tablet, as well as evaluating the latest scholarly editions of Beethoven and Schubert

AVAILABLE FROM THE PIANIST DIGITAL THE ENTERTAINER PLAY THE PIANO STORE pianistm.ag/digitalshop Selected and edited by 1 & 2 Hans-Günter Heumann Bryan Kelly Schott Spartan Press BEETHOVEN ISBN: 978-3-7957-1066-8 ISMN: 979-0-57998-361-3 Piano Sonatas: Op 10 Hans-Günter Heumann has (Book 1); -362-0 (Book 2) (Nos 1-3); Op 14 (Nos edited a series of anthologies Adding further choice to the 1 & 2); Op 49 (Nos 1 for Schott that are notable for saturated piano tutorial market & 2); Op 53 ‘Waldstein’ the quantity and quality of their content. e is this series from Bryan Kelly. e volumes have Bärenreiter latest one contains no fewer than a hundred solos a home-made feel to them, underlined by simple, ISMN: 979-0-006- arranged for Grades 1-3 pianists. Jazz, pop, musicals, no-frills presentation, original black-and-white 56191-9 (10); -56189-6 classical, blues, gospel and folk: there’s something drawings and written instructions for teenage (14); -56192-6 (49); for everyone. Heumann is a top-notch arranger; or older learners to digest. e repertoire includes -56190-2 (53) the pieces sound good while lying well under a few familiar tunes alongside Kelly’s original Bärenreiter began the hand. ere may be better arrangements pieces: ‘not so much an ego trip,’ he remarks, publishing their edition of individual pieces available, but this is hard to ‘as an attempt to lighten up the proceedings.’ of the complete Beethoven piano sonatas in 2012, beat as a whole, and I’d recommend it to pianists e progression is well thought out, with and their project has continued apace, moving past a level or two higher for sight-reading purposes. di culty reaching Grade 2 by the end of the its halfway point with the release of these four books. second book (a third volume is also available). e meticulous presentation of these eight sonatas EASY If you don’t mind the old-fashioned presentation re ects the scholarship of the renowned Beethoven CONTEMPORARY and are happy to play pieces you don’t recognise, scholar Jonathan Del Mar. If you prefer editorial PIECES these books are worth your consideration. ngering, look elsewhere, but these editions have Chester Music no equal otherwise. e volume of Op 10 sonatas ISBN: 978-1-78558-430-5 ABRSM is more costly due to its length and smyth-sewn Many students prefer the SIGHT-READING binding, but Bärenreiter has brought the pricing minimalist, easily assimilable TRAINER APP of the series within the reach of any serious music of composers such as abrsm.org student. ree more sonatas (Op 81a, Op 7 and Ludovico Einaudi and Philip Glass to 18th- and Candidates for ABRSM Op 26) are due to be released later in 2017 within 19th-century classics. Michael Nyman and Terry practical music exams tend this indispensable series. Riley are also features in this collection of 29 to score lower in sight-reading than any other contemporary pieces up to Grade 5. Easy-to-digest discipline. Yet the skill of learning to play music at JAZZIN’ harmonies and repetitive structures facilitate sight is an invaluable one, ‘making music so much AMERICANA 1-4 the learning process: e Dark Bank of Clouds more accessible and helping the learning process Wynn-Anne Rossi by Einaudi, for example, is ve pages long, but to be much faster.’ e ABRSM has accordingly Alfred Music you will have learnt the entire right-hand part produced a new sight-reading trainer app, which ISBN-13: 978-1-4706- once you’ve mastered the rst bar. Some of the is aimed at those preparing for Grades 1-5. 3680-7 (Bk 1); pieces strike me as rather banal, but the collection On iTunes the app costs £4.99 and comes with -3681-4 (2); -3682-1 (3); as a whole is recommendable. 31 pieces for each grade. Rather than presenting -3683-8 (4) the music straightaway, the app uses games to Wynn-Anne Rossi’s SCHUBERT improve reading skills and help students grasp the pieces are sympathetically Impromptus D899/Op 90; rhythmic notation of each piece and become more written for their Impromptus D935/Op 142 aware of its essential elements. In Rhythm Match, intended market, which Wiener Urtext Edition for example, the aim is to match the correct rhythm in this instance is pianists ISBN: 978-3-85055-773-3 of the piece with the one played by your device. around Grades 3-6 standard. Rossi has drawn on (D899); -776-4 (D935) In Pitch Patterns, the object is to memorise the the rich jazz history of the US to create 33 pieces Paul Badura-Skoda’s edition of notes in a highlighted section. Quick Fire Five inspired by ragtime, blues, boogie-woogie and Schubert’s Impromptus and gives you 30 seconds to inspect a piece of music bebop. A brief introduction to each work details Moments Musicaux lasted over 40 years in Wiener before you answer ve true-false statements such its musical roots, alongside a complementary Urtext’s catalogue before being replaced a couple as ‘ e highest note is an F.’ exercise to be practised ‘3x daily’ in order to get of years ago by a superb new edition prepared by Accuracy in each game is marked, and only to grips with the music’s rhythmic backbone. Ulrich Leisinger, with notes on interpretation after going through all the games can you play Most of the pieces are two or three pages long, by Robert Levin and ngering by Badura-Skoda. the complete piece. When one piece is completed, and there’s a limited use of chords which require e two sets of Impromptus have now been issued the next one is unlocked (even if you get every an octave stretch. ese volumes are certainly separately, and each is available for about two-thirds single answer wrong in the games). e app is worth exploring, and can be recommended to of the original book’s price. e only downside to compatible with smartphones, but it’s much easier jazz-leaning students alongside Martha Mier’s these excellent volumes is the binding, which is to view and use on tablets. Recommended to all Jazz, Rags and Blues series. saddle-stitched rather than smyth-sewn. pianists wanting to improve their sight-reading.

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p88_Sheet Review-FINAL.indd 88 12/09/2017 11:16 REVIEW CD reviews It’s a month for miniatures, with exquisite Scarlatti from Angela Hewitt and treasures galore from Schloss vor Husum. Reviews by Marius Dawn, Dave Jones, Warwick Thompson and Erica Worth Pianist star ratings: ★★★★★ Essential – go get it! ★★★★ Really great ★★★ A ﬁ ne release ★★ Disappointing ★ Poor

VLADIMIR ASHKENAZY EDITOR’S CHOICE Bach: Complete French Suites RARITIES OF PIANO MUSIC AT SCHLOSS Decca 483 2150 VOR HUSUM 2016 ★★ Danacord DACOCD789 To celebrate Vladimir Pianists include Johann Blanchard, Severin von Eckhardstein, Ashkenazy’s 80th year, Decca Martin Jones, Hubert Rutkowski, Florian Noack, is releasing one new recording Joseph Moog, Duo Grau Schumacher, Duo Mercier/Katsaris, by him, along with several Artem Yasynsky and Simon Callaghan older releases from his back ★★★★★ catalogue. After the success Every listener who is eager to discover new repertoire should get of his majestic Well-Tempered to know the Rarities of Piano Music series. Recorded live at the Clavier from 2005, and some subsequent o erings annual north-German summer festival where the focus is trained on a less exalted level (the Partitas and Italian on underestimated corners of piano literature, this 30th-anniversary, 22-track album does not disappoint. Concerto among them), Ashkenazy has turned e tone is set from the outset by Johann Blanchard in Chaminade’s wondrous Les Sylvians his attention to the French Suites. ey were ( e Fauns), played with tender, eet- ngered impishness. Severin von Eckardstein is hypnotizing in mostly written in 1722 for Bach’s second wife Robert Casadesus’s Prélude, tantalizing in Reubke’s D minor Scherzo (reminiscent of Chopin’s example Anna Magdalena, and display a delightfully in B minor) then dazzling in the Wagner/Brassin Magic Fire Music, without a trace of brash tone. youthful sense of vim and zz (she was 16 years After Wagner’s ames, Zlata Chochieva melds sonorous melody with a pianissimo four-part younger than her husband, and, judging from chorale in Liszt’s introverted and rarely heard Hymne de la nuit (originally written to be part of the pieces he composed for her, seems to have Harmonies du soir). Martin Jones plays two Earl Wild transcriptions of Rachmaninov, Oh, cease thy put a bit of lead in his pencil). e vim and zz singing and Midsummer Nights, with all the panache required, and Florian Noack creates nocturnal appear only intermittently in the Ashkenazy’s magic with a pair of eodor Kirchner’s Nachtbilder Op 25 (Night Pictures). reticent playing. ere are some lovely touches, en it’s on to Kirchner’s friend Brahms with the four-hand Hungarian Dance No 11, tenderly of course, but they are counterbalanced by some done by the Duo Mercier/Katsaris. Simon Callaghan closes the disc with a Scriabinesque Prelude by workaday playing which is not as accurate as Roger Sacheverell Coke followed by some irreverent fun in Stephen Hough’s transcription of ‘My it might be in terms of evenly articulated Favorite ings’ from e Sound of Music, which dances o the page and into the distance. With a passagework and ornamentation. WT top-notch Steinway and inspiring booklet notes, this release deserves to be heard by all readers. EW

FANNY AZZURO MARKO CHURNCHETZ ANGELA HEWITT 1905 Impressions Ravel: Miroirs; Debussy: Images Ruthenia – Retrospective of Russian Composers Scarlatti: Sonatas, Volume 2: Kk 491-2, 146, (Book 1); Albéniz: Iberia (Book 3) of the 20th Century 377, 24, 206, 428-9, 63-4, 426, 547, 474, 58, Paraty 116224 Fresh Sound New Talent FSNT-524 513, 82 & 481 ★★★★ ★★★★★ Hyperion CDA68184 Fanny Azzuro is a French In Ruthenia, Marko ★★★★★ pianist who made a well- Churnchetz has crafted a Recordings of Scarlatti’s received Russian album back contemporary jazz sound, sonatas can too often in 2014. She focuses here on patterned on the examples concentrate on the kind of the Impressionist movement of Brad Mehldau and Pat Spanish picture-postcard which arose at a time of intense Metheny, but with a touch of e ects, evoking splashy turbulence and creativity in all Michel Camilo-like drama. amenco, castanet and guitar, art forms. All three works were composed around e opening track’s orchestral nature (Ouverture) which the composer found 1905, but she sounds most at home in the dancing belies what follows in Cantabile and other new unerringly easy to replicate on the keyboard. rhythms of Iberia, bringing a rhapsodic touch and compositions here, which owe something to early But there’s so much more to Angela Hewitt’s ne sense of mischief to the irregular rhythms of 20th-century Russian composers such as a neat second disc of Scarlatti. e Iberian recracker ‘Lavapiès’. Her tone quality on a well-tuned quotation from Stravinsky’s Firebird. elements are naturally present and correct; the Yamaha is beautifully graded in Debussy’s Images, e 15-piece ensemble (predominantly strings dazzling K24 in A major, with its whizzing scales even if some listeners will crave more forward and rhythm section) plays beautifully, and and percussive repetitions, is full of Spanish verve. momentum in the concluding ‘Mouvement’. Churnchetz himself is an exquisite-sounding But she also nds melancholy and bittersweet She is up against sti competition in the alluring pianist whom I suspect would be quite something notes, sometimes in unexpected places (her sweet showstopper that is Alborada del gracioso, but she to hear live. e quality of the recording is playing of the Christmas carol in K513 is a lovely sensitively handles the gentler, more re ective certainly no disappointment either, in part example), and she does a wonderful job creating numbers of Miroirs such as ‘Oiseaux tristes’ and courtesy of the New York studio of Randy Ingram, concerto-ripieno e ects in some of the grander ‘La vallée des cloches’. e concept is strong, who is himself a jazz pianist of some note. sonatas. Her programme notes are illuminating and it’s matched by some impressive execution Strongly recommended to anyone intrigued by too, and wonderfully encouraging of amateurs on a nely recorded album. MD high-level fusions of jazz and classical. DJ to explore this repertoire. WT

8989• •Pianist Pianist 9798

p89_CD Review-FINALish.indd 89 14/09/2017 10:40 WHERE CAN I FIND...

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