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2 Pianist 77
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13/05/2014 11:48
Pianist 78
CONTENTS
June - July 2014
The next issue of Pianist goes on sale 25 July 2014
78
76
12
70
4
Editors Note
Competition Three lucky winners will

each receive a copy of this issues Editors
Choice CD, Piano Reflections from Ji Liu
Readers Letters
News Valentina Lisitsa plays Nyman,
John Ogdon biography reviewed, sign up

for a masterclass with Richard Goode,
Riverdancing on your piano and more
10 Expert Talk Tim Stein on raising your
accompanying game, and Cyprien Katsaris

on playing rare repertoire and arranging
Beethovens Emperor for solo piano
12 Chenyin Li talks to Jessica Duchen about

juggling a musical life between recording
the Pianist covermount CD, teaching
and preparing for her own performances
around the world
16 How to Play Masterclass 1 Mark

Tanner on the handy skill of improvising.
Hint: its not just for jazz pianists
18 How to Play Masterclass 2
Graham Fitch on practising quick pieces

slowly (and vice verse)
Dont miss Grahams online lessons!
20 How to Play 1 Melanie Spanswick

on the beginner level Stanford Minuet
(Scores page 30)
22 How to Play 2 Janet Newman on
Schumanns Child falling asleep from

Scenes from Childhood (Scores page 40)
24 How to Play 3 Lucy Parham on
Debussys shimmering Reflets dans leau

(Scores page 57)
27 The Scores A pullout section of 40

pages of sheet music for all levels.
Plus, read about our online lessons!
45 Beginner Keyboard Class
Hans-Gnter Heumanns sixth lesson:

Triplets and repeated notes
67 A Week in the Life Of Why do
we fear the critics, when some of them

are as charming, open and knowledgable
as Hugh Canning, Chief Classical Music
Critic for the Sunday Times?
68 Turkish Delight Erica Worth goes to
Istanbul to discover the young, dynamic

Borusan Istanbul Philharmonic Orchestra.
Theyll be at this years BBC Proms, too
68
78 Innovation & Tradition This year at
the Frankfurt Musikmesse, Pianist Editor
Erica Worth encountered glass pianos,
white pianos, advanced actions and more
82 Clean Machine Keeping your piano
spotless will pay off in the long run, says

Gez Kahan, who tells you how to whip (or
gently dust) your instrument into shape
85 Subscribe today for just 4.50 an issue

by Direct Debit and receive a FREE sheet
music book of Beethoven, Chopin or
Debussy worth 9.99
86 CD Review Editors Choice this issue
goes to the smashing young Jiu Liu, but

he had plenty of competition from Martha
Argerichs Mozart and Federico Collis latest
88 Sheet Music Review Three new
exciting duet albums, folk music, an

unknown Polish pianist-composer and new
Albniz volumes are in this issues round-up
89 Classifieds
70 Top Marks Love them or loathe them

exams are here to stay. But doing them
helps you focus and improve no end, as
restarter Ed Balls reveals to us
76 Jelly Roll Morton Who invented jazz?

The New Orleans-born pianist, free spirit
and composer Jelly Roll Morton is one
candidate, as Inge Kjemtrup learns
VISIT THE PIANIST WEBSITE

WWW.PIANISTMAGAZINE.COM
to sign up for our regular FREE e-newsletters
PLUS Watch our online piano tutorials
Cover photo: Hao LV/Limura Studios. Images this page: Hao LV/Limura Studios (Li); Amy Zielinski (Balls)
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_Contents78-FINALish.indd 3
15/05/2014 16:41
Editors note
his week I attended two piano recitals featuring some of the most
technically challenging repertoire there is. Both pianists played faultlessly
and I came away in awe. It all seem so easy and effortless for them. But it
dawned on me just one word: Dedication. Its so easy for us to brush
off the success of these players as being down to inborn natural talent or simple
facility, but the truth is that they work incredibly hard, day in and day out.
Its quite fitting then, to have the wonderful Chenyin Li on this issues cover. She
works with total dedication for Pianist, having to record, to perfection, the pieces
inside our Scores every issue. No easy task, when she has just three hours to record an
entire issues worth of music for our CD. Read her interview on page 12.
Dedication is also required when taking a piano exam. You cant just wake up one day and say, Oh, I
feel like taking an exam next week. You need months and months of focused, methodical practice before
you enter that exam room. But it does pay off: youll have a real goal to work towards, youre bound to
improve, and believe me when I say the piano exam experience is not as daunting as it used to be. Read
our in-depth feature on exams on page 70, plus find out what UK Shadow Chancellor Ed Balls has to say
about his own exam experiences on page 74.
Your own piano needs some tender dedicated care as well. Gez Kahan tells you how to clean, polish and
maintain it on page 82. More about pianos on page 78, where youll find me in Frankfurt walking around
the famous Musikmesse. Those piano makers are nothing if not 100 per cent dedicated to producing such
incredible designs and innovations year after year.
I too have spent many dedicated hours searching for, and playing through, the Scores for this issue. Ive
found some real gems (my top choice is the Merikanto Valse lente I cant stop playing it!) as well as some
firm favourites as Debussys Reflets dans leau, Schumanns Child falling asleep plus Jelly Roll Mortons
fabulously eccentric King Porter Stomp (read all about him on page 76).
Finally, I saw Dame Fanny Waterman recently at the London debut
recital of another dedicated pianist, last issues cover artist, Federico
Colli (thats me with Colli after the recital). I remember Dame Fanny
once saying in a Pianist article that if you find your mind wandering
onto other matters during a recital, such as tomorrows grocery
shopping list, then you arent involved at all. It
takes dedication to be a listener too!
ERICA WORTH, EDITOR
Make sure that you keep in touch with me what Ive been up to, which
pianists Ive spoken to, exclusive extra articles and interviews by registering for
our FREE e-newsletter. All you need to do is go to www.pianistmagazine.com
COMPETITION
ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM
WIN A COPY OF JI LIUS CD PIANO REFLECTIONS, THE EDITORS

CHOICE INSIDE THIS ISSUE
Answer the question below correctly, and you could be one of three winners to
receive Ji Lius new CD, which is Editors Choice on page 86
Debussys Reflets dans leau features inside this issues Scores. From what
volume does it come?
A: Images B: Prludes C: Estampes
ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM
Amy Zielinski
Postcard entries are also accepted. Please send to Erica Worth, Editor, COMP PIA0105, Pianist,
6 Warrington Crescent, London W9 1EL, UK. Competition closes 25 July 2014. Quote PIA0105 and
remember to put your name, address and telephone number on the postcard as well as your answer.
Answer to page 4 competition in Pianist No 76: B (Take over the family business). Congratulations to the
three lucky winners: Darren Fawcett (Leeds), Sarah Green (Warwickshire), Andrew Throssell (Sheffield)
4 Pianist 64
p04-editorial78-FINAL.indd 4
Pianist
www.pianistmagazine.com
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16/05/2014 10:28
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5 Pianist 78
13/05/2014 14:06
Readers
Letters
Get in touch
WRITE TO:The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK

OR EMAIL: editor@pianistmagazine.com
STAR LETTER wins a surprise CD. Letters may be edited.
STAR LETTER
Golf vs piano
I recently broke a metatarsal bone in my foot while playing golf, and was told to rest for six weeks.
After the initial despair, I realised that this was a great opportunity to dig out all the back copies of
Pianist magazine and practise some of the wonderful pieces. I am a lapsed Grade 8 pianist and have
found your help and advice on how to practise invaluable. I always eagerly anticipate the arrival
of the next instalment, and make sure that I am sitting down in a quiet spot with a cup of tea to
relish the grand opening of the outer cover and to discover both the new pieces and the interesting
articles. I am now seriously thinking of ditching the golf to spend more time on what has become
an utterly absorbing pastime.
Liz Walker, Suffolk
We are delighted that Pianist helped you through your convalescing period, and may your love of the
piano increase even after you are back on your feet again. We say ditch the golf ! But we might be a tad
biased. Thank you for your letter, and a surprise CD is on its way to you.
Buzzing ragtime festival
I would like to bring to your attention an

excellent ragtime and stride piano festival that
takes place in Sedalia, Missouri, USA. Sedalia
is where Scott Joplin wrote a lot of his music
and where publisher John Stark printed classic
ragtime music, including Joplins.
At the festival, in the centre of Sedalias
historic district there are three outdoor events
with two pianos playing music from 9am to
5pm, and all free! There are two paid concerts
every day, one at 2pm and the other at 8pm,
and an after-hours session starting at 10pm.
There are also seminars and ten dances, and
throughout town there are pianos in church
halls, hotels, pubs, etc that the public can play.
I have been the last two years and will be
returning this June.
Jim McPhee, Kirkcudbrightshire
Thanks for letting us know. If any of our readers are
in Sedalia in June, this years festival is 4-7 June.
See www.scottjoplin.org for details.
A lady to remember
Alice Herz-Sommer [Obituary, Pianist No 77]

was one of the most uplifting and inspirational
people whomI have ever had the good fortune
to meet. Thanks to a shared love of music,this
formidable lady kindly invited me over for tea,
when she was just getting into her stride at the
age of 103.
She talked about her past, as well as her
future,and gave much encouragement,
concerning my compositions. When I asked
how she managed to survive Theresienstadt
concentration camp, she looked at me steadfastly
in the eyes, and replied: Discipline. The music
world has lost a delightfully optimistic soul.
Gavin Littaur, London
Amplifying advice needed
I am a Pianist subscriber who is learning the

piano. I have a digital piano and find it useful
for practising with the earphones so as not
to annoy the rest of the household! However,
when I listen with the earphones off, I would
sometimes like to amplify the sound to make it
richer than the standard built-in speakers.
I am looking purely for use in the home but I
wonder if there would be just as much interest
for those wanting a more expensive option to
amplify sound, perhaps in a large hall. Solving
this problem seems to be a minefield, though,
and depending where you look, advice ranges
from buying an amp through to getting a PA
system and even just a good pair of speakers.
Any suggestions would be greatly appreciated.
Mark McGuire, Wiltshire
Gez Kahan, our Makers & Making writer,
replies: Interesting question! Youre right to say that
buying suitable amplification for a digital piano
can be a minefield. The problem is that there are so
many variables: musical genre, size of room/hall and
its reverberation, audience size, other instruments
involved in performance, characteristics and
technical specifications of the digital piano itself and,
of course, budget. One size definitely does not fit all.
For the average home, playing solo piano, a
good pair of hi-fi speakers should suffice (a pair
because the sound will be richer than through a
single speaker, and will allow you to experience
stereo effects such as tremolo and chorus if present).
If it has the appropriate input options, you may
even be able to play the piano through your hi-fi
system, but be careful not to overload the speakers
excessive volume, especially bass frequencies, could
blow a speaker cone. Powered (i.e. containing their
own internal amplifier) monitor speakers as used in
studios would be an ideal, if pricey, solution.
If youre looking for a typical backline box to

use either at home or on stage in small hall, dont
buy a guitar amp, because the pre-amp distortion
that guitarists crave will destroy the pianos tone.
Dedicated keyboard amps are good, as are bass
amps theyre clean and will handle plenty of
bottom end. The disadvantage is that unless youre
going to splash out and buy two to place left and
right of the piano, the sound will be directional
rather than rich and enveloping. And theyre often
heavy! Another option is powered (also known as
active) PA monitor speaker(s).
When it comes to larger spaces for public
performance, particularly when playing with other
musicians and vocalists, most keyboard players will
go through the PA. The main speakers will take
care of the front of house sound (which is what the
audience hears), while on-stage wedges will provide
monitoring for the player(s), perhaps supplemented
with a dedicated backline amp set-up.
You local music shop should be able to suggest
solutions to suit your particular requirements (and
to match your particular digital piano). There may
also be advice available from the manufacturers
website or online help desk. Happy hunting!
CPE or JS?
As soon as I saw the score of the CPE Bach

Polonaise on page 32 of Pianist No 77, I
immediately recognised it as a piece I played
for my Grade 4 Associated Board examination
as long ago as summer 1962! Your magazine
ascribes it to CPE Bach, but my exam piece was
said to be by his father JS Bach. Both refer to
the Anna Magdalena Notebook, so there appears
to be some confusion.Can you help?
Philip Browning, Norwich
Our pianist/teachers who specialise in
Baroque piano music respond: Its actually not
clear. There were two notebooks published in
1722 and 1725 respectively. The 1722 notebook
included pieces just by JS Bach himself, while
the 1725 notebook included pieces such as the
Polonaise and pieces by other composers, not
just JS. The Polonaise is often attributed to
CPE Bach, but we dont know for certain who
wrote it. For example, the beautiful song Bist
du bei mir is by Stolzel. The collection seems
to have been partly of things that were precious
to the Bachs akin to a kind of photo album.
Hence the inclusion of pieces by others, and of
pieces that crop up elsewhere in Bachs output.
There are some mysteries of attribution that will
never be solved. Thus we find the theme of the
Goldberg Variations here, some 20 years before
the Goldberg Variations themselves leading to
the oft-asked question whether the theme is by
Bach himself or someone else.
6 Pianist 78
p06_letters78-FINAL.indd 6
15/05/2014 09:32
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7 Pianist 78
p07 Ads.indd 7
13/05/2014 11:51
News
All the latest news from the world of the piano
READER OFFER:
HOT TICKETS
Risky repertoire from

thrill-seeking pianists
On the surface this issues highlighted concerts would seem to have little in
common, but the artists involved all share an unconventional approach to
repertoire and a refreshing willingness to try something different.
Take the Piano Brothers (above), who make their Kings Place, London,
debut on 25 June. Theyre actually not real brothers, but they are real pianists,
and theyve found a niche for themselves in the piano duo repertoire. From
UK and Indonesia respectively, Dominic Anthony Ferris and Elwin
Hendrijanto began playing duos as students at the Royal College of Music,
with Bernsteins finger-flying Symphonic Dances from West Side Story among
their showpieces. Look for that piece, and some unexpected delights as well,
in their Kings Place concert.
Though Steven Osborne, who graced the cover of
Pianist No 73, has played all the evergreens of the piano
repertoire, you can often find him doing something less
expected. Osborne (right) partners Alina Ibragimova at
the Wigmore Hall on 7 June to play Prokofievs two
violin sonatas, Debussys Violin Sonata and Prts Fratres.
On 29 June hell join the London Symphony Orchestra
to play Messiaens epic Turangalla-Symphonie.
Pierre-Laurent Aimard has been a champion of many
composers, including Messiaen. The Hungarian
composer Gyrgy Ligeti is his focus at this years
Aldeburgh Festival. Aimard made Ligetis etudes his own, and he includes a
selection of the etudes in his 23 June recital and oversees a performance of all
18 etudes from the young students he is teaching in masterclasses at the
Festival (24 June). Aimard is also the ringmaster of the
Aldeburgh Musicircus on 22 June. This Musicircus
a Musicircus is a kind of simultaneous performance
happening, devised by the avant-garde composer John
Cage (left) in the 1950s involves Aimard, local folk
musicians, bell-ringers, classical artists and the entire
town of Aldeburgh. Something different indeed!
For details and tickets, go to www.kingsplace.co.uk (Piano
Brothers), www.lso.co.uk (Osborne), www.wigmore-hall.
org.uk (Osborne) and www.aldeburgh.co.uk (Aimard)
Pianist magazine is delighted to join forces

with Piano Street in presenting a very
tempting offer one month free Gold
membership to pianostreet.com.
Piano Street is one of the largest online
resources for piano music enthusiasts
of all levels, providing sheet music
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articles and an incredible amount of information in the forum. With
this special offer, you can try all these features plus Piano Streets new
Audiovisual Study Tool (AST). The Piano Street team says that this unique
study tool will help you improve your interpretational skills, broaden your
repertoire knowledge, learn piano pieces faster, improve your sight-reading
and effortlessly enjoy the great art of classical piano music.
Pianist readers can take advantage of this special offer of one month free
Gold membership at pianostreet.com (see details below), but act quickly,
because the offer ends 25 July.
To activate your free membership, visit www.pianostreet.com/valuecode and
use the code: F698.
VALENTINA LISITSA
plays Michael Nymans music

Valentina Lisitsa, the exciting Ukrainian pianist
who was Pianist No 72s cover artist, has released
an album of the music of Michael Nyman. The
famous theme from The Piano The Heart Asks
Pleasure First is included in her new disc,
along with other music from The Piano, from the
Diary of Anne Frank film and more.
Lisitsa has never met Nyman although she
planned to present the new disc to him for his
recent 70th birthday but has always been a fan
of his music. In an interview with Erica Worth for the Pianist newsletter,
Lisitsa drew a parallel between Nymans career and her own, saying she felt
that he was unfairly dismissed by the classical
music establishment as not being a classical
pianist. I have this same issue myself with being
called a YouTube pianist. Its as if its some
kind of celebrity thing that will pass that its
not serious music.
Lisitsa recorded the disc in Wyastone Hall in
Monmouth, and says, Its not Beethoven, but
a different expression. I had to find a separate
style, and a separate sound.
Valentina Lisitsa Chasing Pianos: The Piano
Music of Michael Nyman (Decca 478 6421)
Ben Ealovega (Osborne); Susan Schwartzenberg/Peters Edition Ltd London (Cage); Decca/Gilbert Franois (Lisitsa); John Millar/BBC Music Magazine (Levit)
Try Piano Street for FREE!
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on your action, but is capable of recording the
complete movement of your keys and pedals.
PNOcloud when activated will

automatically record and store your
performances locally and then send them
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To nd out more, visit our website at www.qrsmusic.com

8. Pianist 77
or call us at 800-247-6557 for more information.
QRS-PianistQtr.indd
1
p08 news78-FINALish.indd
8
7/5/13 09:35:42
15/05/2014
10:30
BOOK REVIEW:
Ben Ealovega (Osborne); Susan Schwartzenberg/Peters Edition Ltd London (Cage); Decca/Gilbert Franois (Lisitsa); John Millar/BBC Music Magazine (Levit)
Piano Man John Ogdon
9:35:42
During his lifetime, John Ogdon was often known

as the gentle giant. Charles Beauclerks enormously
insightful and well-written new biography, the first
to tell the full story of the English pianist, looks
closely at the words gentle and giant. Tormented
by mental illness in the last part of his short life
and far from gentle towards his wife (who may
not have really been the companion he should
have had), Ogdon had social abilities that were a
mixture of spoiled and helpless. It is disturbing
reading, and Beauclerk does not blame any one
individual for what happened, however, he is hard on those
who failed to help Ogdon at the right time.
Sadly, even today, the story of Ogdons turbulent personal life
overshadows the fact that he was undoubtedly the greatest pianist ever to
come from the British Isles. His sight-reading abilities were such that he
could immediately play, faultlessly, an entire symphony from the score
on the piano. He was often asked by concert organisers to step in at the
very last minute for an indisposed pianist and play whatever was on the
programme, often having learned an entire piano concerto in just hours.
The world became Ogdons oyster after his sensational joint first prize
win (with Ashkenazy) at the Tchaikovsky Competition in 1962, and he
went on to make numerous fantastic recordings many of them, such as
his recording of the Busoni Piano Concerto, will remain forever in the
catalogue. His championing of contemporary composers was groundbreaking. A prolific composer himself, he was in his element sitting at the
piano surrounded by fellow composers such as Peter Maxwell Davies and
Ronald Stevenson. This is an absorbing read, and will come as a real eyeopener for those who knew little about the gentle giant.
Marius Dawn
Piano Man: A Life of John Ogdon by Charles Beauclerk; Simon & Schuster
(ISBN: 978-0-85720-011-2)
OBITUARY:
Marion Thorpe
Marion Thorpe, concert pianist,
co-founder of the Leeds International
Piano Competition and friend of
Benjamin Britten, died on 6 March
at the age of 87. Born Maria Donata
Nanetta Paulina Gustava Ermina
Wilhelmine Stein in Vienna before
World War II, she was a talented
pianist from a musical home where
Arnold Schoenberg and Alban Berg
were regular visitors. In 1938, the
family fled Vienna for London, where
Marion studied at the Royal College
of Music and later found work at the publisher Boosey & Hawkes,
where she first met Britten. She became a great friend of his and a major
champion of his music and the Aldeburgh Festival that he founded.
Unfortunately it was not her fine pianism (she played duets regularly
with Britten, a formidable pianist) and incisive musical ideas that
brought her into the national limelight, but rather her two marriages.
The first, to the Earl of Harewood in 1949, ended in a very public
divorce in 1967. This was followed by her marriage to Liberal Party
leader Jeremy Thorpe, who was acquitted in 1979 of having plotted to
murder a homosexual lover.
But if these relationships brought unwanted headlines, surely her key
role in establishing the Leeds Competition with Fanny Waterman (both
are pictured above) in 1963 is a more just memorial.
p08 news78-FINALish.indd 9
Igor Levits Beethoven

wins more accolades
What can a 27-year-old pianist bring to the monumental late Beethoven

piano sonatas? If that pianist is the Russian pianist Igor Levit, the
answer is plenty. In April, Levit won the Newcomer Award at the BBC
Music Magazine Awards, with the jury remarking that his recording of
the late Beethoven sonatas on Sony Classical stands comparison with
the greatest in the catalogue.
Levit is no stranger to prizes, having turned up at the 2005 Arthur
Rubinstein Competition as the youngest competitor and then walking
away with the second prize, the prize for best performer of chamber
music, the audience favourite prize and the prize for best performer of
contemporary music.
Pianist had spotted the young Russians talent early, making his
Beethoven CD Editors Choice in issue 75. Reviewer Marius Dawn
cited Levits ability to make us listen to Beethoven as if we had never
heard him before. Interviewed for Pianist at Work in issue 73, Levit
said of Beethoven, He is by far the most essential composer for me and
I do not have a single day without him.
JOIN A MASTERCLASS
with Richard Goode at Carnegie Hall

The American pianist Richard Goode is presenting a
masterclass on Debussys Prludes at Carnegie Hall
on 27 March 2015. Three pianists will be selected to
participate in the two-hour public masterclass, which
will be followed by a discussion.
To apply for the masterclass, you need to be
between the ages of 18 and 35. You will need to send
a biography, a current headshot, a one-page rsum
and an audio recording of your playing of a Debussy
prlude and a contrasting work. The application
deadline is 14 November 2014.
For full details and to apply, go to www.carnegiehall.org/goode-master-class
RIVER-DANCE ON YOUR PIANO

Fancy dancing on your keyboard? Well, if youre gripped by the rhythm
but want to spare the ivories, you can do the next best thing with Schott
Musics new keyboard arrangements of the best songs from Riverdance, the
Irish step-dancing show that became a worldwide phenomena. Its now
20 years since Riverdance first appeared as a seven-minute interval act
on the 1994 Eurovision Song Contest. That hugely popular act featured
music by Bill Whelan and dancers such as Michael Flatley, and was soon
transformed into a full-length show that has been seen by more than
22 million people. Schotts two new volumes, one of which is an easy piano
version, includes such Riverdance hits as Reel Around The Sun, American
Wake, Riverdance and Lift The Wings.
Music from Riverdance The Show, Schott Music (ISMN: 979-0-060-12782-3;
ISMN: 979-0-060-12784-7 [easy piano])
15/05/2014 10:30
EXPERT TALK
The pros share their views

Q&A
with Tim Stein
I have been asked

to accompany a
local choir. I am
not an experienced
accompanist, so I
dont know who
should be leading
whom and so on. Any suggestions?
A famous accompanist once said that there are
many accompanists who are very good pianists,
but there are not many pianists who are good
accompanists. Whether you are accompanying
a singer, an instrumentalist or a small choir, the
role of the accompanist can often be a difficult
one. Who leads? Who should be the dominant
one? Ideally, it should be a symbiotic
relationship, where both you and your partner
(or partners, in the case of your choir) have
formulated your ideas beforehand, but this is
not always the case. Some singers like to tell
you what to do, while some conductors can be
very dictatorial.
Whatever the situation you find yourself in,
the more time you have with whoever it is you
are partnering the better, as this gives you time
to go over such things as tempos, dynamics,
phrasing and so on. Having a solid technique,
being a good sight-reader and transposer
are essential, but pitch your skill set at the
appropriate level. Try to be as familiar with
both your music and the music of your fellow
musician as you can. Just as important is being
able to keep a steady beat, trying not to stop,
even if you keep only the left hand going. While
you dont want to drown out your partner
by playing too loudly, providing a strong
support always helps. Eventually you can tone
down your dynamics accordingly. If you are
accompanying a singer or instrumentalist, its
important to be aware of their breathing you
need to compensate for this by giving them time
to breathe between phrases.
For those readers who are also thinking about
doing some accompanying, a good place to
start is a local ballet school. Accompanying at
a ballet school might just mean vamping your
way through well-worn ballet scores, but it will
improve your overall sense of rhythm, your
improvisatory skills and your sight-reading no
end. You can then go on to accompany a
friendly singer, a student exam or a local choir.
Each will require a different level of skill. Do
as much preparation as possible beforehand if
the time is available before throwing yourself in
at the deep end.
The best practice is just to do it. Whatever
direction you choose to go in, accompanying at
any level can be a richly rewarding experience,
and it will certainly gain you newfound respect
and plenty of new friends.
Go to www.pianistmagazine.com to watch Tims
online lessons for beginners, and visit Tims own
website at www.pianowithtim.com
WRITE TO: The Editor, Pianist, 6 Warrington Crescent, London, W9 1EL, UK

OR EMAIL: editor@pianistmagazine.com
PIANIST AT WORK
Cyprien Katsaris
Erica Worth talks to Cyprien Katsaris,

a pianist with a love of improvising
and unusual repertoire, about his
Wigmore Hall recital and his new CD
Tell us about your Wigmore Hall programme.
I start almost all my recitals by improvising
on whatever comes through my head. It could
be original themes or themes from operas,
symphonies, songs, etc. There is an exciting risk
factor but I believe it is worth it!
You are also playing Schuberts Sonata D960.
It is one of the masterpieces I have played the
most, and if I were allowed to play only one
piece of music, this would be it. Schubert wrote
it shortly before he died. There is a mood of
resignation in the first movement together with
a questioning about life. The sublime second
movement transports us in a higher spiritual level.
The third movement represents for me a macabre
angel announcing to us the ineluctable. The smile
expressed in the last movement is tinged with a
tear, and right before the ending it seems that
Schubert says goodbye to us but suddenly we hear
a triumphal coda that symbolises, at least for me,
the victory of the spirit over the matter.
Your arrangement of Beethovens Emperor
Concerto for solo piano is also in the recital
what made you decide to arrange that?
From a very young age, listening to a vinyl
recording of the Emperor Concerto by Vladimir
Horowitz with the RCA Victor Symphony
Orchestra conducted by Fritz Reiner, I always felt
a degree of frustration regarding the magnificent
introductory tutti in the first movement, which
is the exclusive preserve of the orchestra. I was
appalled not to find it in the piano score, and so
I determined to appease my (avowedly selfish!)
longing by making this transcription.
Egyptian and Lebanese music. When I recorded

a CD of music of the three Mozarts, I found
that some compositions of Franz Xaver Mozart
remind one of Chopin and Schubert before
those two composers started writing music!
Any unknown gems for an amateur pianist?
Purcell Suite in D, Poulenc Nocturnes Nos 1 and
4, Paderewski Nocturne, Dodat de Svrac O
lon entend une vielle bote musique, Borodin
Nocturne from his Little Suite, Sergei Bortkiewicz
several Preludes, Rameau Tambourin, Lully
Courante and Manuel Ponce Intermezzo.
Whats your greatest technical challenge?
As I dont like to lie, Ill tell you the truth: sometimes
I have apprehension concerning the memory.
Whats your typical practice day like?
I practise continuously (my record was 16 hours
non-stop in San Francisco). I have my telephone
next to my piano, so I work continuously. I dont
care about weekends and holidays: life is too
short and I still have so much to do!
Tell us about your new Beethoven disc.

I wanted to link both versions of the Beethoven
concerto: the original with orchestra and my
solo piano arrangement, which I had already
recorded. Neville Marriner and I had the same
vision, and, as a result, a perfect communication.
We didnt even use the full allocated time. It is
a real treat to be able to collaborate with such
exceptional musicians as Sir Neville and the
Academy of St Martin in the Fields.
Tell me about your pianos.

For the Beethoven recording, I used the
same Steingraeber E-272 piano, an absolute
masterpiece. I own a concert grand Steinway D
Hamburg. I have no exclusivity with any brand
and there is nothing more pleasant for a pianist
than playing on a great instrument whether it
is a Steingraeber, a Yamaha CFX, a Steinway
or a Bsendorfer. How is it possible to choose
between a blond, a brunette and a red-haired
lady? I love them equally!
Its obvious that you enjoy performing more

unusual repertoire.
I have always tried to keep a balance between
famous repertoire and unknown works. I have
played or improvised on Chinese, Japanese,
Korean, Malaysian, Laotian, Turkish, Maltese,
Moroccan, Israeli, Palestinian, Algerian,
Cyprien Katsaris appears at the Wigmore Hall on

9 June, playing his own improvisations, Schubert
Sonata D960 and his Emperor Concerto solo
transcription. His CD of Beethoven Concerto No 5
Emperor original and solo piano versions with
Neville Marriner/Academy of St Martin in the Fields
(Piano 21 P21 051-N) is released the same day.
10 Pianist 78
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INTERVIEW
Blue sky
thinking
Chenyin Li is Pianists pianist but
also a well-regarded concert
pianist, teacher, and recording
artist. She talks to Jessica
Duchen about growing up in
China, studying in London and
giving advice to students
f youre a regular reader of Pianist, our

cover star this month will need no
introduction. Chenyin Li is the hardy
soul who for the last 20 issues of the
magazine has recorded most of the
pieces that appear in the sheet music
section for the cover CD. It is no small
job to prepare so much repertoire every two
months and to set it down for the delectation and
reference of the thousands of Pianist readers. A
good chunk of what Li records for the CD is
repertoire that she has not played before.
Li has been taking it all in her stride, as youd
expect from a pianist hailed by the Daily Telegraph
as gritty, fiery and athletic. Lis musical career
has developed from her first piano lessons in her
native China, through to studies with top teachers
in New Zealand and London, and victories
at major music competitions to todays busy
schedule of concerts, teaching and recordings.
In person a lively, breezy character with an
infectious charm and her feet firmly on the
ground, Li is one of those remarkable people
who manages to bring out the best not only in
every situation, but in every piece of music as
LISTEN LEARN PLAY
11LEARN
PIECES TO
ALL LEVELS AND ALL STYLES
3 BEGINNER PIECES
WITH BAR-BY-BAR
TECHNICAL HELP
HOW TO PLAY
Child falling asleep from

Schumanns Scenes from Childhood
BONUS TRACK
CHENYIN LI plays Debussys
exhilarating LISLE JOYEUSE
SCORES BY SCARLATTI BEETHOVEN STANFORD MERIKANTO
K REINECKE and more performed by Chenyin Li
BACH DVOR
23/04/2014 14:24
ON THIS ISSUES CD
As well as performing all the tracks on
our covermount CD, Chenyins bonus track
is Debussys Lisle joyeuse, which comes
from her Hommage Debussy CD on
GENUIN Classics (GEN 12228).
Hao LV, Limura Studio
pianist78_CDcover-FINALish.indd 2
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15/05/2014 10:33
well. Meeting for a well-earned cup of tea at the

end of a long Saturdays teaching at the junior
department at the Guildhall School of Music and
Drama in London, she does not seem remotely
tired. But perhaps teaching is a picnic compared
to making our cover disc, which now extends
beyond audio to include a video element for
Pianists YouTube channel.
Each recording represents the summit of a
mountains worth of planning. [Pianist Editor]
Erica Worth and I email each other constantly,
discussing which pieces to choose, Li says. Shell
often ask what I think about a pieces level of
difficulty, because sometimes youll come across
one that looks simple and straightforward, but is
actually incredibly hard. Also, she receives a lot of
feedback from readers about which works theyd
like included and that is always very welcome,
so she tries to take it into account. Then she has
to select the right balance of different levels for
each issue and make sure they all fit the pages. Its
a very precise operation and putting it together is
one big jigsaw puzzle.
At the beginning of their collaboration, the
workload seemed virtually impossible, she says.
It was all consuming! But these days, weve got
into a really good rhythm. Li contributes to the
a reader learning the pieces, you could follow it

through and suddenly find you have a substantial
work under your fingers.
Musical revolution
Lis story began in China, though many people,
she says, dont realise that she is Chinese
because she has extraordinarily curly hair. Its
really frizzy, she laughs. Its weird, because
nobody else in my family has this. Im from
northern China and my skin is a bit darker than
most southern Chinese. Im also relatively tall.
So, over the years, Ive been mistaken for being
Maori, southeast Asian and Jewish!
Today some 60 million youngsters in China
are said to be learning the piano, but when Li
was a child, Chairman Maos Cultural Revolution
had only just come to an end. People had not
been allowed to play any Western music, Li says.
You couldnt even sing a foreign tune. We had no
books to study from just a bit of basic Hanon
and Czerny and I only started learning the
piano due to a quirk of fate, which was that my
uncles piano had ended up in our house.
At her first school she was the only child having
music lessons: I felt a bit alienated and had quite
a hard time because of that; I never really fitted
My repertoire used to consist only of

huge, long concert works, but now I have
enough encores to last a lifetime!
Up close
CHENYIN LI
If you could play only one piece in the

whole repertoire from now on, what
would it be?
Bachs Goldberg Variations probably.
If you could play only one composer from
now on, which would it be?
I cant decide between Beethoven and
Schubert!
in and I was usually at home practising instead of

playing with friends. At the age of eight, though,
she was accepted into the Central Conservatory
of Music in Beijing: There I felt that I was
swimming in my type of water.
The usual timetable at the Central Conservatory
entry to which was extremely competitive, being
open to the entire country consisted of a half
day of academic lessons and a half day of music,
with four or five hours devoted to practising.
Leaving home at the age of eight was not easy,
says Li, and school holidays amounted to just
six weeks per year. Still, this intensive training
suited her. I dont think it was ever a conscious
decision that I would become a pianist, she says,
but it was certainly the thing I could do best
and while I know its a clich to say I cant live
without music, that was genuinely how I felt.
Soon her studies were to take her right around
the globe. Aged 17, she was lucky enough to find
a sponsor, who put her in touch with a remarkable
Romanian teacher at the University of Auckland
in New Zealand, Tamas Vesmas. Choosing a
teacher is so personal, she remarks. Its not like
choosing a university you have to go for a
particular person with whom you just click.
Vesmas had studied in Bucharest with Florica
Musicescu, Dinu Lipattis teacher, and in Paris
with Yvonne Lefbure, among others. Through
absorbing his European heritage, Li says, she came
to feel closer to a wide range of music, from the
Viennese classics through to Bartk and Debussy.
Li went on to win the New Zealand Young
Musician Award, which included in its top prize
One pianist, dead or alive, youd travel

long and far to hear?
Rachmaninov.
One concert hall you love to play in?
I love the Bridgewater Hall in Manchester.
Any technical struggles?
I dont feel entirely natural with
every technical challenge, but I enjoy
solving problems.
What would be your advice to an amateur
pianist about how to improve?
Practise very systematically and
analytically [see box, page 14].
If you werent a pianist, what would
you be?
Id try to be a writer.
One person youd love to play for?
My father.
One composer youre not quite ready
to tackle?
Scriabin. I just dont get it. I like music
that is more logical. Perhaps Im too down
to earth.
What other kind of music do you like
to listen to?
Thanks to my husband Ive started to hear
more world music and I love that its very
refreshing to hear different approaches.
printed material as well, suggesting fingering and

phrasing and researching the pieces background.
The recording sessions take place at the Royal
College of Musics studio. Li and her husband,
the Spanish pianist and teacher Iago Nez, are
closely involved in the editing process, with
Nez doing the lions share of the technical
work. Recording all that music might seem
intimidating, but Li remarks that it involves less
pressure than giving concerts: she can always stop
and do another take if she is not happy with her
initial results.
Occasionally, though, everything falls straight
into place. One day, she recorded a piece she had
not known before the transcription by Bach
of the adagio from a Marcello oboe concerto
[Pianist No 62] which rapidly became a great
favourite. On the day, I played it once through
and everything worked beautifully first go.
It is one of many unsuspected gems she has
discovered during her time as Pianists pianist.
My repertoire used to consist mainly of huge,
long concert works, but I was short of encores,
she remarks. Now I think I have enough encores
to last a lifetime! The pieces we pick are the
perfect length and usually very beautiful and
we always try to come up with something new.
I give them to my students a lot and they can be
a great reference for teachers.
Another idea she enjoyed was a serialisation
of Beethovens Moonlight Sonata opus 27 no 2
Pianist ran each of the three movements in
consecutive issues. It can be exciting to build up
a bigger work like that, she suggests. If youre
Up close
13 Pianist 78
15/05/2014 10:33
INTERVIEW
a round-the-world plane ticket. She used it to
travel to the US and Europe to audition for a
number of top international conservatories.
The teacher with whom she clicked this time
was, coincidentally, a New Zealander by origin:
Joan Havill, who has long been based at the
Guildhall School of Music and Drama. The
GSMD gave Li a full scholarship and in 2008 she
became the first student to gain a performance
doctorate from that institution in collaboration
with City University.
Joan is an incredibly dedicated teacher, Li
enthuses. Her life is all about music and her
students. She works so hard, and I think she has
passed on to us not only that understanding of
music, but also a particular spirit towards how
we work. You have to know how hard it is to
survive in this profession and you have to put
everything into it and make sacrifices, without
giving yourself any excuses. Its not only about
how to be a musician, but how to be a strong
person. Im still benefitting from this mentality.
That strength has helped to carry her through
a series of gruelling competitions her first
big breakthrough was first prize at the Scottish
International Piano Competition in 2001 and
debuts in a string of prestigious venues, including
the Royal Festival Hall and Wigmore Hall.
Meanwhile, she has recorded solo CDs of music
by Debussy and Rhian Samuel and published a
book on techniques for memorisation.
Music is life itself
One of the biggest challenges Li faced was
coming to terms with the death of her father
in 2002. She feels her playing changed at a
deep level as a result. When you experience
something human you also experience it in
music, she suggests. Its the human, growing
process; youre constantly developing, because
music is life itself. Whatever you receive from
life, your music reflects it. You cant lie through
your playing.
If a death in the family has changed her, so has

the birth of her son, Milo, who is now two years
old. I gave a concert literally a week before he was
due, she recounts, and I almost couldnt reach
the keys! We were very careful about checking
the local maternity wards beforehand... Since
then, she has had to rethink her schedule more
teaching and a little less travelling, for instance.
Not too much less, though: later this year she
will tour New Zealand and southeast China, both
performing and teaching.
The Asian tiger mom syndrome seems to be
passing her by. I think people regard me as quite
a strict teacher, she says, and I thought I would
be a strict mum as well, but Im not at all! Ive
become really soft.
Nevertheless, she has a gentle message
for British students about the necessity of
daily practice. I think theres a widespread
misunderstanding about learning the piano
here, she says. On the whole, parents treat
it as a subject. Many think its like a ballet
lesson, where you practise with your teacher. For
me, though, it couldnt be more the opposite.
A teacher can show you how to work, but the
bulk of the work has to be done at home. So for
young children its important that the parents
are involved when they are, you see a faster
development in the childs understanding. I
know its hard, especially as you have to start
very young, even before you know whether
you want to learn to play or not. But later, if
you find you do, but you havent started early
enough, then youll have missed your chance.
Lis recordings and videos are nevertheless
helping to guide plenty of keen piano learners
around the instrument and, indeed, back to the
instrument. If you missed your chance, youre in
the right place for another try. We hope you are
now suitably inspired to go and practise.
For more information about Chenyin Li, her
concert dates and recordings, go to chenyinli.com.
CHENYINS TOP PICKS
Chenyin picks out 3 of her favourite pieces to play from

this issues scores
Merikanto Valse lente [Scores page 42]: Bar 31 is so amazing. I think thats what sold the piece
to me! You can put all the emotion into it. At the same time, the voicing is hard. You have to make
the melody shine through. Throughout this piece you might have a tendency to accent the second RH
melody note by mistake (after the dotted crotchet first note of the bar), especially when its played by
the thumb. Resist! That note should feel like a continuation from the long note before.
Bach Bourre from French Suite No 5 [Scores page 50]: You need good finger articulation and
its great for practising your trills. Really know your fingering when it comes to the trills. Your
hand needs to be in preparation, a second earlier, over the note, before you trill. The LH poses some
challenges too, as its quite contrapuntal. You need to split half your brain to focus on the LH, especially
around bar 22 onwards. I love the harmony in bar 16 its quite crunchy! And I love the harmonic
resolution around bars 16-18.
Debussy Reflets dans leau [Scores page 57]: I had never learned this piece before, but had
always wanted to. I so admire it as a composition. What a perfectly written piece it is how the
opening comes back in a slightly varied format. When the opening returns at bar 35, it just feels so
right. It incorporates the golden ratio principle, so no wonder. Be careful at the end (from the Lent)
the rhythm is difficult to grasp. You have two beats, and a triplet within the two beats (bars 83, 87, 88,
etc.). I will definitely be programming this piece in my future recitals!
CHENYIN LI ON
GOING THE EXTRA MILE
WITH YOUR PLAYING
Often, as a pianist, you can find that you

come to know a piece well and it reaches
a level where you almost own it but not
quite. At this point you need a period of a
couple of weeks to go for it intensively.
You need to vary the amount you practise.
Sometimes a small and steady amount
per day is sensible, but there are stages of
preparation when you need to work at a piece
as hard as possible for a short period of time.
Then your playing of it can reach a new level.
I sometimes have to push my students
adults as well as children to persuade them
that to really go that extra mile you have to
practise very concentratedly for a little while.
Alter your habits of practising and
experiment with new approaches. If a
technical challenge seems impossible,
start with some simple but logical ways of
analysing the problem. For instance, if you
always miss a chord because of jumping, try
to work out very specifically what the difficulty
is: you should know exactly which notes you
are missing and exactly which finger needs to
go to them. Then taim like mad. As Joan Havill
always says, If you want it hard enough, you
will get it! Sometimes its not that you cant
do something; its that you havent directed
the focus to precisely where the problem is.
On the other hand, once you have solved a
technical problem you have to forget how you
do it, because your conscious mind can start
interfering. You have to let it go and allow
your body to do it because if you think too
much, thats not good for your playing either.
14 Pianist 78
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SS 2014 300x110:Layout 1 07/05/2014 22:38 Page 1
March 27, 2015
Richard Goode
Master Class
Chethams International
Summer School &
Festival for Pianists
Artistic Director: Murray McLachlan
Part One: 1420 August 2014

Part Two: 2026 August 2014
For Pianists
The Friendliest
Piano Summer
School in the
World!
Three young artists (ages 1835) will be selected

to participate in a two-hour public master class led
by renowned pianist Richard Goode that explores
Debussys preludes.
Application Deadline: November 14, 2014
Faculty includes:
Joseph Banowetz,
Mark Bebbington,
Jos Feghali,
Margaret Fingerhut,
Philip Fowke,
Peter Frankl,
Thomas Hecht,
Leslie Howard,
Eugen Indjic,
John Lenehan,
Leon McCawley,
Murray McLachlan,
Noriko Ogawa,
Daniel-Ben Pienaar,
Artur Pizarro,
Graham Scott,
Mark Tanner,
Nelita True,
Ashley Wass.
Apply now to participate in this

tuition-free master class.
Visit carnegiehall.org/workshops
or call 212-903-9741 to apply or for
more information.
Workshops and master classes are made possible, in part, by Mr. and Mrs. Nicola Bulgari
and The Gladys Krieble Delmas Foundation.
Photo by Steve Riskind.
With daily concerts,

lectures, jazz,
improvisation,
composition,
intensive one-to-one
coaching, duets, organ
and harpsichord.
For further information call +44 (0)1625 266899
or email info@pianosummerschool.com
Richard Goode
15 Pianist 78
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16/05/2014 10:35
play
HOW TO
Risk it all learn to

IMPROVISE
Improvising isnt just for jazz players and learning to extemporise will help your Schumann, Bach and
much more. Pianist and teacher Mark Tanner shows how to free up your fingers and mind
here can surely never

have been a time
when improvisation
did not play a pivotal
role in the creation
of music. Even the
most elaborately
structured works that form the backbone
of Western art music will likely have
been by triggered by instinctive impulses
somewhere along the line, quite probably
while doodling at a keyboard. An ability
to extemporise a prelude was a cherished
skill in Bachs time, while Handel, Mozart,
Beethoven, Clementi, Chopin and Liszt
were all highly revered improvisers.
Though these days the live improvisation
of a cadenza in a concerto is a rare
event indeed, the cadenzas written out
by composers from Mozart through to
Rachmaninov provide invaluable insights
into the musical imaginings of these
formidable musicians.
Today, improvisation for pianists
tends to be synonymous with jazz, and
not without some justification, for a
degree of on the hoof skill is nonnegotiable for jazz players. That said,
classical pianists who underestimate the
possibilities for improvisation overlook
a rich heritage in which such skills were
hard won and highly prized.
I believe that we can all gain a
great deal and build confidence and
competence by improvising in a variety
of styles with which we are already
thoroughly familiar. In doing so, a
more genuinely inventive artistic vision
becomes a realistic goal. The helpful
addition of rubato in Schumann for
example, or the thoughtful placement of
a vocally conceived nuance in Mozart,
relies upon an awareness of how one
might intervene beyond what has been
laid down by the composer. Above all, an
instinct for improvisation may awaken
in us the understanding that musical
performance is a creative, not merely
re-creative process, one that necessarily
involves a readiness for risk-taking.
Organists seem to have improvisation
hard-wired from early on in their studies,
and there is no reason for pianists to
shudder at the thought of going freestyle.
Lets take, by way of example, Bachs
Prelude in C major from The WellTempered Clavier Book I [in the scores
section of Pianist No 67], for there is

ample scope to use the first four bars as
the trigger for an improvisation a point
not lost on Gounod, whose Ave Maria
borrowed the harmonic scheme of the
entire piece to excellent effect. Youll
likely achieve the best results when the
left hand provides a little momentum
(slowly moving block chords formed out
of Bachs broken chords, aided by pedal),
while the right hand plays melody notes
using longer time values an octave or so
above. Nothing very inventive will come
from restricting your melodies to notes
taken solely from the chords, however,
so dont be afraid to experiment with
slightly dissonant effects as long as they
resolve nicely at the next chord change.
Be content to loop around this first
little sequence of these four bars for some
time before moving on to reworking the
next four bars. By this process you can
conceivably evolve your improvisation
into quite an epic-sounding piece! Add
some ornaments here and there, to
keep the playing anchored in a Baroque
style, but if this begins to lose its
flavour, try altering the rhythm of the
accompaniment make it jazzy perhaps
(as Jacques Loussier famously did).
Involve some dotted rhythms, or else
mutate it into an off-beat reggae and add
a few bass notes into the mix for good
measure the possibilities are endless!
From this exercise youll quickly
see that the standard piano repertoire
TOP
TIPS
FIVE TOP TIPS FOR

IMPROVING YOUR IMPROVISING
1
2
Risk-taking is imperative break your bond with overused

patterns once and for all.
Improvisation needs a lot of practice, regardless of which

genre(s) you are engaged with; dont think of it as an easy option
for reluctant readers.
4
5
Use stimuli from a variety of sources, such as paintings, novels

and poems.
Listen intently to the sounds your piano makes, and savour new
effects even if youre not sure how you achieved them.
Gauge success not so much by how your ideas turned out but by
the enjoyment you had while trying.
Concert pianist, teacher, writer

and festival adjudicator Mark
Tanner has also published over
30 volumes of compositions,
arrangements and editions
for Spartan Press, pitched
at Grades 1-8. He edited the
complete piano works of Peter
Wishart (Edition Peters) and
John McLeods epic Haflidis
Pictures (Europa Edition). Two
pieces from his 11-volume
piano series Eye-Tunes are on
the current London College
of Music syllabus. His new
Scapes series is an evocative
4-volume collection. Find out
more at www.marktanner.info
offers rich pickings for triggering

improvisation, and its all fair game.
Some other examples are Saties
Gymnopedie No 1, the Andante
sostenuto first movement of Beethovens
Moonlight Sonata and Chopins Prlude
in E minor [in Pianist No 77s scores].
Jazz-minded pianists can get a lot
out of improvising around well-known
melodies. Christmas carols are excellent
fodder, simply because their tunes and
harmonies may be thoroughly ingrained.
Theres a potential for colouring these
familiar chords with certain added
notes. Added major seconds (and
therefore ninths, when shoved up the
octave), major sixths and major sevenths
all have the effect of enhancing chords
with the bonus of not affecting their
directional impulse in the way that,
say, a dominant seventh, augmented or
diminished chord will tend to do. Hence,
a humble C major triad of CEG can
become CDEG (added second), CEGA
(added sixth), CEGB (added seventh).
Jazz pianists often dispense with
formalities when it comes to such matters
as chord inversions if configuring a
chord in a convenient and musically viable
way means inverting it so that it fits tidily
with the chord that follows it, then theyll
not hesitate to do so. Remember that the
snazzier the chord, the more important it
becomes to think about voicing, or else
we may be left with an unintelligible,
dissonant mush. Experiment with
configuring chords in lots of different
16 Pianist 78
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MASTERCLASS
voicings (while keeping the same notes)
and youll hear that some work far better
than others depending on the context.
Incidentally, this is why close-harmony
vocal groups tend to operate in the
middle to higher range of notes. In the
equivalent register of the piano you can
get away with virtually any configuration
of chords, together with added notes. As
soon as you delve deeper into the pianos
subterranean register youll notice that
the same configuration sounds muddy
and indistinct. One way around this is
to spread out the notes as far as possible
when working lower down the keyboard,
which may mean taking one or two
harmony notes in the right hand. An
example of a nicely voiced jazz C major
chord bulging with potential would be
CGC (in the left hand, with thumb on
middle C), and EAD (in the right hand).
Try it for yourself, even if you dont
regard yourself as particularly interested
in jazz, as you may well gain an extra
insight into the practices of composers
such as Ravel.
Improvising in a newly learned key,
with a tricky cross-rhythm or a recently
learned pedal effect, constitutes an
ideal inroad. After all, an instinct for
improvisation might get you out of
a hole one day, when a memory slip
occurs during a performance, when a
page-turner slips up or when faced with
a seemingly impossible sight-reading
task in which something semi-plausible
can be substituted to save the day. For
pianists who prefer to sense the music
in their fingers and are less comfortable
with learning by reading, a modest
amount of theoretical know-how coupled
with a little courage for improvising may
open the door to a magical world of
piano playing.
Uninhibited improvising
Important though knowledge of harmony,
style, theory and structure undoubtedly
are to high-level improvisation, we
should not overlook the possibility of
enjoying sound for its own sake. Nor is a
solid technique in itself a prerequisite to
meaningful improvising. Ironically, some
of the most attractive and uninhibited
improvisations Ive heard have come from
the fingers of people who have never
played the piano before, who seem able
to feed upon their own unquestioning
wonderment. Work with what you
have rather than to become hung up on
perceived shortcomings. Many pianists
can really begin to blossom in confidence
once they open the piano lid, turn the
lights down low and reach for the keys.
For inspiration, take a piece of poetry, an
image of an erupting volcano, a scene
from a novel you happen to be reading or
even a cat video clip, and try to turn it
into sound. Listen with new ears to TV
soundtracks and youll doubtless spot how
little actual music there often is usually
the priority is to underscore a haunting

scene such as a stark Scandinavian
landscape by means of a repeated
three-note motif or a rumbling bass.
Initially at least, success should not be
determined by the outcome, but by how
enjoyable the process felt. Improvisation
is not always a great spectator sport, and
although some people, such as cocktail
pianists, are paid to improvise, for most
of us its about coaxing out sounds from
our beloved instrument and forming a
lasting relationship with its idiosyncrasies.
Other ways into improvisation
Be subversive at every opportunity
shake things up!
Try playing melodic shapes in the LH
and accompaniments in the RH
Try pentatonic and whole-tone scales
alongside modes/jazz modes
Keep colour and atmosphere high on
your agenda
Experiment with register, pedal/
harmonics effects and so on
Keep a notepad or recorder handy to
log good ideas as future triggers
Improvising offers the blessed relief of
not having to be on your best behaviour.
The only rules you might break are the
ones you set yourself, so be open-minded
about your efforts and, as with any
learning process, be prepared for mixed
results in your pursuit of betterment.
I think it was Count Basie who
reflected that all the best improvisations
are well rehearsed, and this is actually
quite a sensible comment, not a
facetious one. In reality, most confident
improvisers start with clichs be
they blues or 12-bar sequences and
licks for jazzers, or more conventional
scale/arpeggio figurations for classical
players and from there proceed to
inch their way into a more genuinely
innovative domain. At first, improvising
may feel more like problem solving
than something genuinely creative as
you learn to move, note by note, in a
direction of your own choosing. Indeed
the very open-endedness of this process
can, for some, be the crux of the problem
how will I know whether what Im
doing actually works? Remember the
importance of cadences. A useful exercise
is to start improvising in one key and
aim to end up in a pre-decided unrelated
key (say, from G major to D flat major)
perhaps working backwards in intervals
of fifths, though sometimes a more
daring chromatic side-slip can do the
trick with rather fewer moves.
Pay close attention to the look and
feel of the keyboard: we pianists are
fortunate to have all the shapes in front
of us if only we care to look! Keep your
improvising fun, maybe inviting a duet
partner to indulge in call-and-response
games at first. Stepping outside ones
comfort zone is never easy, but a little
FREE WHEELING
Mark Tanners top tips for adding an element

of improvising to 3 of this issues scores
Merikanto Valse lente [Scores page 42]: Oskar Merikantos

Valse lente is a splendid little piece, with plenty of expressive
detail carefully marked in. Really, all those short-lived tempo changes
are rubato in disguise, and although you need to take note of the
musics natural ebb and flow, dont overlook the need to adopt an
experimental view. The LHs first four bars provide an excellent
starting point for an improvised melody; from here you can extend
your improvisation in four-bar chunks to great effect.
Dvork Little Pearl No 1 [Scores page 44]: Entitled In a Ring,

this certainly is a little gem. The music needs to be kept light and
dainty throughout, notwithstanding the shifts from staccato to legato
and the vivace tempo marking. As with the Merikanto above, you can
have great fun improvising your own melodies to the opening four-bar
sequence, while the walking-bass beginning at bar 25 simply oozes
with improvisational possibilities, especially in a jazz style.
Jelly Roll Morton King Porter Stomp [Scores page 52]: This
is a captivating stride piece in which the LH has to sustain a
regular supply of rhythmic notes (usually octaves) to support the
whimsical tune. Enjoy the little freedoms that are peppered about the
score, such as at bar 12, where you might ease off a little and gently
steer the listener back on course. The Trio section, which follows hot
on the heels of the RH octave section by means of an abrupt change
of key, is clearly a place to cool off a little, but the stomp section at
bar 57 is where you really need to get your hobnail boots on and give
it some pizzazz. The score overall might appear a little unremitting,
but take your time with it and mark in the places where a little fresh
air might be let in to good effect.
goes a long way in improvisation, so be

content to think in small, manageable
packets and become more ambitious
as you get braver at stringing these
together. Scribble little notes to yourself
to remind you of possible chord patterns
or other devices you can use if you
happen to dry up, and consider turning
your best creations into something
a little more concrete by means of a
notation program such as Sibelius or a
sequencing package like Garage Band.
Work with less familiar keys. One
downside of muscle memory is that it
tends to steer us towards familiar territory;
its as if the hands wilfully gravitate
towards what theyve become used to
doing, causing us to revisit the same old
patterns and tunes time and time again
with Groundhog Day predictability.
We wont get closer to what I call really
knowing your instrument without
considerable effort and a thoughtful
approach, for improvising is anything but
a cop-out. We tend to be good at what
we like and like what were good at, so
the positive cycle ought to start early on
before tension, self-consciousness and
embarrassment have a chance to wheedle
their way into our minds.
In the next issue, Mark Tanner will
talking about dynamics.
17 Pianist 78
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play
HOW TO
The importance of
SLOW PLAYING
Ever wonder why slow practice is so crucial? Teacher and performer Graham Fitch lists the
many reasons why you should practise slowly and when you really need to speed things up
low practice is both rudimentary and universal. Its an activity

shared by beginners and professionals, and we never outgrow
its usefulness. The vast majority of pianists and teachers across
the world swear by slow practice, but it would seem that many
have not learned to appreciate and enjoy doing it. In this article,
I would like to share my enthusiasm for slow practice, and to offer some
suggestions on how you might approach it. Ill also cover the value of
practising slow movements fast, something that might not seem so obvious.
There are a number of benefits to slow practice. You can use it for training
the ear as you actively listen to, feel and control each and every note. What
note comes next, and with which finger? What sort of sound do you want
to produce? Then, after you play each note, there is a tiny fraction of a
second where you can evaluate your result as right or wrong, good or not
quite there yet, easy or effortful, and then decide whether to go on or to go
back. Laying solid foundations like this is essential when you start learning
a new piece. You use slow practice to form muscular habits and to keep on
refining them until they are perfect and in the automatic stage (when you
no longer have to think consciously about your fingers). And lets not forget
that you can use slow practice to correct errors that have crept in: wrong
notes, sloppy fingering or smudgy pedalling. Even when you have learnt
a piece, slow practice is something you should return to regularly to make
sure you keep the piece in tip-top condition.
When learning a new piece, you will find that it takes discipline to
practise slowly and to do the slow work for long enough (over the course of
several days). Youll need to resist the temptation to go over the playing at
speed too soon do it slowly one day, and then again the next, and again
the day after that. Running through something at speed prematurely can
wipe out the effects of careful practising. The satisfaction at this stage has to
come from doing the work; you need to call upon your inner craftsman not
only to trust the process but also to enjoy it.
So how slow is slow? When students demonstrate their slow practice
speeds to me, I generally find that the speeds are never slow enough. For
a fast piece that needs a fair amount of dexterity and control, I recommend
using half and even quarter speeds. Lets take the Bourre from Bachs
Gmajor French Suite, which appears in this issues Scores page 50, as our
first example. Here are the first couple of bars:
&
#C
f f
2
? #C
&
#f
f f f
32
f
f
J
3 2 3
Mf
to the slow speed, but persevere and I guarantee you will feel enormous
benefits. Ensure that each finger articulates very clearly, and that there is no
rhythmical weakness or any lumps and bumps. Stop immediately for errors
of any kind and back up a bit. Remember to do this with each hand alone
too, especially the left hand.
I wouldnt want you to think that slow practice is purely mechanical
you can make it very musical with all the details of phrasing, pedalling and
colour. In this example from the first movement of Ravels Sonatine, lets
take a fast note value and use that as our measure for the slow practice:
f f
4
### 2 fj f f
f f
& 4 f f f f ff f f f f f f f f f f f f f f f f
### 2 fr
& 4 f
ff f ff f f ff ff f
J
f
Modr doux et expressif
f f
f f
f f f f f
J
?# f f f f
f f f f
1
3
1
Graham Fitch is a pianist, teacher, writer and adjudicator. He gives

masterclasses and workshops on piano playing internationally, and is in high
demand as a private teacher in London. A regular tutor at the Summer School
for Pianists in Walsall, Graham is also a tutor for the Piano Teachers Course
EPTA (UK). He writes a popular piano blog, www.practisingthepiano.com.
### f f f f f f fj f f
& f f f f f f f f f ff f f f f f f f f f f
3
## f f f
& # ff
f f
f f f f
f
f
f
J
f f
>
pp subito
f f f
3
f f f f f f
3
If my ideal performance speed is h = 88, then half speed will clock in

at q = 88 and quarter speed at e = 88. You can practise with or without a
metronome, of course, but be extremely strict about keeping precisely in
time. The first time you do this, you will probably find it difficult to stick
mf
f
##
f
f
f
& # f f f f
f
f f f f f f f
##
& # ff
ff
ff
ff
18 Pianist 78
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MASTERCLASS
Resist the temptation to go over

the playing at speed too soon
running through something at
speed prematurely can wipe out
the effects of careful practising
Aim to practise in sections at x = 60. This is extremely challenging and
will take a lot of control. Listen attentively to how every note fits into the
bigger picture, making sure of the correct tonal balance between the two
outer lines and the lighter accompaniment figurations. Also listen carefully
to how the pedal blends the lines. In this particular example you wont
want much rubato, but in other pieces that do require it you can also move
forwards and backwards within the slow tempo.
Imagine a painter involved in close-up work on a small corner of the
canvas. He will occasionally need to step back to see how what he has done
fits in with the overall picture. If slow practice enables us to concentrate on
every single detail, then its drawback is that we risk losing the overall sweep
of the music. Its a question of finding the right balance between slow and
up-to-speed practice. Keep in mind that too much playing of fast passages
at speed will adversely affect our motor control and we lose finesse this
is why we need to return to the slow work from time to time, to keep
everything in top form.
Because slow music often expresses grand, noble emotions it might feel like
sacrilege to trivialise it by skipping through it faster. I feel this is a big part
of why we dont play fast in our practice. As long as we keep in mind that
fast music practised slowly is just as distorted as slow music practised fast,
we will accept it because we appreciate its value.
Practising slow music twice as fast as intended effectively shrinks the
music, the benefits tangible after doing it just once. It is a bit like looking
at the piece from a birds eye view we are able to see the topography of the
whole in a single snapshot. I urge you to try it!
When practising slow music fast, focus on the main beats of the bar and
try not to get lost in all the surface detail (the shorter note values between
the beats). Think of the main beats as pillars or columnsthat hold up a
building, and the notes in between as drapery that adorns but made of
softer material. You can even omit some or all of the faster notes as you
practise like this, and just play the main events. Be selective, and above all
be creative. It may help to count the main beats out aloud, subdividing
where necessary (1-and-2-and, etc.). When you return to the intended
slow tempo after a bout of fast practice, youll sense the hierarchy between
the main events and the surface decoration everything will slot into place
and feel just right.
In my video demonstration on the Pianist TV channel, I show how
fast practice can shrink a phrase from the Adagio from Mozarts Fantasy
in D minor. I also show how it can help keep the opening of Beethovens
Pathtique Sonata rhythmical. If the dotted notes are not possible at this
speed, make a skeleton such as this, hearing inwardly what you have left
out. Try my skeleton below, playing it fast of course!:
b4
& b b4
Superfast motions played slowly

Slow practice prepares you for playing at speed. In the following example
from the opening of Mendelssohns Rondo Capriccioso, you can practise
slowly but use physical motions that are superfast:
f # f f f. ff.
f
Presto
#6
& 8
ff. f. f
f f #f ff ff. ff.
f
ff. f. f
f f #f
leggiero
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 fJ
f
f. f
#f f
#ff f . .
.
f.
pp
? #6
8
ff
ff
The instant you let a key go, move like lightning to the next position
(even if it close by) and stay there until you need to play. If you do this
well, the motions will actually be faster than performance tempo! Success
comes from concentrating the mind on these fast reflexes while playing at
a slow tempo. This process is especially useful in passages where the hands
move quickly from one position to another, where you need to build in
speed and precision in measuring these distances. It is only possible to
control such matters when the tempo is slow; at a faster tempo, automatic
pilot kicks in, allowing the fruits of your labour just to happen. (Try this
out with some of the quick, jumping pieces inside past issues of Pianist such
as the Gershwin Prelude No 1 in issue 70, and even the Dvok and Jelly
Roll Morton pieces inside this issue.)
FF
F
? bb 4 F
b 4 FF
F
b
& b b #nFFF
? bb
b
n fff
#f
j
n ff
f
J
n FFF
F
ff
f
f
fr nff f nff bfff f

ff
# f ff nff n f
f nf
f nf bff b ff
R
J f
f
ff
f
j
fff
f
J
j
f
j
f
f
So, I end where I began, with slow practice. When you practise slowly,
you need to be fully engaged not only in fine-tuning your physical
movements but also listening to every nuance of phrasing and tonal
balance. The quality and intensity of your practice determines the quality
and reliability of your performance, and practice can be truly enjoyable and
effective when you are engrossed in it.
I wrote about the value of slow practice in Pianist No 47 and returning to
the subject five years later, Im delighted to be able to demonstrate my points
more vividly on the Pianist TV channel (www.pianistmagazine.com/tv)
please be sure to have a look!
In the next issue, Graham talks about learning techniques that will help to
ensure that trouble spots within pieces are securely mastered.
WATCH GRAHAM ONLINE
Practising slow music fast

Sometimes our playing of a slow piece seems to get slower and slower as the
days go by, and we often do not realise we are doing this. The music loses its
shape and meaning as we struggle to relate one note to the next note, or one
phrase to the next phrase. The solution is to practise it deliberately faster.
Dont miss Graham Fitchs video

lessons, which youll find on
the Pianist website at
www.pianistmagazine.com.
Graham demonstrates everything
that he discusses on these pages
and more. His current lessons are
filmed at Steinway Hall, London, on
a Model D concert grand. Theres
nothing like watching the expert!
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play
Ingasas
T MISS
NIE
DON
MELA KS
SWIC
SPAN
PIECE
ON THIS E
HOW TO
Charles Villiers STANFORD (1852-1924)
N
LESSO
TRACK 3
FULL SCORE ON PAGE 30
Pedalling:There are no pedal markings.

We suggest no pedal at all except just a
dab at the end of phrases, if you are able.
Find a good lively
dance-like tempo.Try
the crotchet = 176
suggestion.
? b 43
Fingering: Ample fingering has been

added. This will help to ensure as
good legato playing as possible.
&b f
4
CHARLES VILLIERS STANFORD

Minuet, No 3 from Six Sketches
Phrasing: Make sure to study the phrase markings (the

arches). Some phrases are just one bar, some two bar,
others four bar, and so on.
p Little crescendo
Then diminuendo
back down again.
to the top F.
F
F
ff
f
f
?b F
Observe both
rests below.
3
5
nFF
1
4
1
4
Its worth counting out loud here, between bars

12-16, to keep the tempo and rhythm even.
12
&b f
?b f
#f
3
f
5
The piece has modulated into the key of

D minor. Note the C sharp in the previous bar.
f #f
nFF
f f f f
FF
4
5
... then diminuendo.
FF
3
5
Again, small crescendo...
FF
f f
J
most of the time in this piece, however, the LH shines from bar 17. Remember to
bring the LH out at this moment. The melody returns at bar 33. Most important is
to feel the phrasing and to round of phrases smoothly. This sweet piece has a pastoral
feel to it. And theres lots here to work on!
Take a look at the technical tips within the score and read Melanie Spanswicks
step-by-step lesson on this piece on page 20.
Allegretto q = 176
3
& b4 f
2
We are in the
key of F major.
BEGINNER
PAG
20
Though he is perhaps best known as a choral composer, Charles Villiers Stanford also
wrote fine keyboard pieces. Born in Dublin, educated at Cambridge and Trinity, and
a student of Reinecke, Stanford was a leading light in the revival of British music at
the turn of the century. Six Sketches dates from 1918; No 1 was presented in issue 72.
Count in the 3/4 time silently for a couple of bars before you begin: you need to
feel that lilting waltz-like time signature before you play. The RH has the melody
30 Pianist 78
f
5
f
1
f #f
J
f.
f.
Three LH notes to be
staccato (detached).
f.
2
f.
1
Even though it is not marked, a little crescendo towards the end of

this page will add some dramatic feel.
P30 Scores STANFORD-FINAL.indd 30
15/05/2014 16:33
For her first How to Play lesson, teacher and author Melanie Spanswick explains how being able
to summon up a rich, warm sound and a steady pulse will bring this beautiful dance to life
Ability rating Beginner/Elementary
Info
Key: F major
Tempo: Allegretto
Style: Late Romantic
3 Finger legato
3 Sense of rhythm
3 Articulation
Dublin-born composer Charles

Villiers Stanford (1852-1924) wrote
many works for the piano. By all
accounts he was an excellent pianist
who gave his first public recital aged
just seven and who once played for
Sigismond Thalberg. Though he
became a composition professor at both
Cambridge University and the Royal
College of Music, he remained an ardent
fan of the piano. His pieces are seldom
performed, yet they offer a wealth of
ingenuity and variety, with some having
treacherous technical demands.
This Minuet in F major is the third
piece in a charming group entitled
Six Sketches. Stanford, like many
composers of the post-war period,
realised the need for worthwhile
educational piano music and wrote
several sets of little pieces purely for
this purpose. [No 1 from Six Sketches
appeared in Pianist No 72.]
This beautiful little dance illustrates
Stanfords love of melody. Before
you start to learn it, listen to the
performance on this issues CD, so you
get an overview of the general tempo
and character. The general feel is light,
elegant and typical of a simple dance
movement. The key of F major is warm
and vibrant; a suitable tempo would
be a swift one-in-the-bar feel, which
will keep the dance character alive as
the Allegretto tempo marking suggests
(perhaps a crotchet pulse of around
176 beats per minute, as indicated).
When tackling any piece for the
first time, you should work hands
Fabrice Rizaato
Melanies Top Tips
Melanie Spanswick is a classical pianist, teacher, adjudicator, author

and presenter. She regularly conducts workshops and masterclasses
in the UK and Germany as well as for EPTA (European Piano Teachers
Association). Forthcoming events include lectures at Ulverston
Festival and performances of MELodramas at Steinway Hall in
Londonand the Radcliffe Centre at Buckingham University with
pianist Anthony Hewitt. Melanies book, So You Want To Play The
Piano?, has been critically acclaimed and featured in the News in
Pianist No 77. Find out more at www.melaniespanswick.com and
www.soyouwanttoplaythepiano.com
Will improve your
Warm up with an F major scale and arpeggio before you start

your practice session.
Always sink into the keybed in order to produce a really beautiful
singing tone.
When practising the LH chords make sure you use total legato,
and play them sotto voce (under the voice).
Silently count a full bar at the intended tempo before beginning
in order to establish a reliable pulse.
separately before playing together.

Experiment with different fingering
until you find the most comfortable,
and one that will allow for a completely
legato or smooth touch (I have
suggested some fingerings on the score).
Stanford is specific about phrasing,
often contrasting one- or two-bar
phrases with those of four bars.
While its necessary to be aware of these
markings, each musical line requires
a rich, warm sound and an unbroken
legato approach, which can be achieved
by keeping the sound going without any
short breaks or abrupt pauses, even at
the end of phrases. Keep a completely
fluid yet even tone, while marking the
climactic points within each phrase. In
the first four bars, for example, the notes
that will require the most sound in the
right hand (RH) melody are the third
note of bar 1 (the F, an octave and a
half above middle C) and a D at the end
of the third bar (an octave and a note
above middle C). Your sound level
should rise and fall away from these notes
(a crescendo followed by a decrescendo
in each case). This will add colour and
musical interest to your performance.
A notable swelling of sound (or
crescendo) occurs at the end of the
first page, where the music briefly
modulates to D minor (bar 16). This
adds a more sombre, reflective nuance.
The staccato markings are vital here,
acknowledging the change of mood, so
youll want to work on neat articulation.
The linear passagework, particularly
in the left hand (LH) (bars 12-16),
would benefit from slow rhythmic
practice, perhaps with a metronome.
Complete rhythmic accuracy is
paramount. Sub-divide the crotchet beats
into quavers (or even semiquavers) and
count every beat aloud while playing,
just to make sure the pulse is steady
and balanced at all times. This can be

very helpful in sections such as bars
17-22, where counterpoint becomes
a focal point. Always observe the rests
too, particularly at bar 8 where there
are two complete crotchet rests; its all
too easy to rush onto the next section,
rhythmically distorting the character.
The works climax (bars 22-24) can be
transformed by an exquisite singing
top line. The prevailing thirds in the RH
will require a careful layering of sound. If
you follow the suggested fingering, you
should be able to achieve a continuous
legato line; the fourth and fifth fingers
will need slightly more pressure, a
flexible wrist and some basic arm weight,
in order to create the essential expressive
singing tone in the top voice.
The climax could be even more
effective with a slight pause or
fermata before continuing. (Fermata
means hold or pause.) Contrast this
immediately with very soft playing,
weaving around the chromaticisms
before finally returning to the main
theme. Make sure the RH melodic
material is correctly balanced with the
LH accompaniment here (bars 25-29).
The melody should be predominant at
all times. The reprise could be played
fortissimo, with plenty of gusto and lan
before dying away completely at the
end, observing the short phrases and
staccato markings that close the work.
Stanford disliked the use of too much
pedal, possibly due to his love of the
organ. So pedal judiciously at the very
ends of phrases, if at all. Minimum
use of pedal will ensure you really
listen to your playing, free from any
muddy sustaining pedal distractions,
encouraging clean articulation and
fingerwork resulting in precise piano
playing. Your legato playing will
improve too.
20 Pianist 78
P20 HTP Melanie-FINALish.indd 20
15/05/2014 16:34
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92x136advert.indd 1
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21 Pianist 78
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play
Ingasas
TRACK 6
T MISS S
DONNEWMAN
JANET
PIECE
ON THIS E
Robert SCHUMANN (1810-1856)
N
LESSO
HOW TO
SCHUMANN
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section. In bars 9 and 10, play the bottom two notes of the second-beat RH chords
with the thumb (see fingering in the score). Its not as hard as youd think! But the
main technical challenge throughout is to play the chords pianissimo. Its a difficult
technique to master one needs to hear every note sound. Play bars 27-28 with
incredibly tenderness and then just die away at the end (the child has fallen asleep!).
For the pedal, Janet Newman suggests two pedal changes per bar, as marked.
Read Janet Newmans step-by-step lesson on this piece on page 22.
>>
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INTERMEDIATE
Child falling asleep, No 12 from Scenes from Childhood op 15
PAG
22
Robert Schumann wrote his Scenes from Childhood (Kinderszenen) in 1838. Even if
the 13 pieces in this volume are childrens pieces, in order to play them well, one needs
to have a mature vision and technique. Indeed, Schumann described Scenes from
Childhood to fellow composer Carl Reinecke (see page 36 for one of Reineckes pieces)
as reflections of an adult for other adults.
Playing and pedal tips: This is such a dreamy piece. Notice those accents in the RH
top notes? They should sound like soft ringing bells. Bar 9 sees a new, more hymn-like
1
1
1
1
1
1
1
1
1
&
&
&
f f f
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Child Falling Asleep, No 12 from Scenes from Childhood

4
4
4
40 Pianist 78
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The continual lulling rhythmic motif of this tender piece demands fine control of the instrument,
including subtle pedalling. Teacher and performer Janet Newman guides you through it
Ability rating Intermediate
Info
Key: E minor
Tempo: Moderato
Style: Romantic
Will improve your
3 Tone control
3 Dexterity of thumb
3 Piano and pianissimo control
Schumann builds the entire piece

upon the same rhythmic motif with
the exception of bar 20 and this
constant repetition gives an almost
meditative, lulling effect to the music.
It is such an imaginative and effective
device and makes picturing the almostbut-not-quite asleep child vividly real.
Robert Schumanns music has a

peculiar intensity and energy, and
the soundworld he created remains
unmistakably his. So much has been
written about Schumann and his
musical genius, his deep abiding love
for his wife Clara Wieck and his sad
death in the sanatorium of Endenich.
Scenes from Childhood (Kinderszenen,
to use the original German title),
written in 1838, contain some of the
most popular, famous shorter pieces
ever written, with Trumerei (No 7)
being amongst the most recognisable.
Schumann originally composed 30
pieces, but chose 13 from them to form
the Scenes from Childhood collection.
The other pieces eventually became part
of a different collection (Bunte Bltter).
The first four bars of the piece repeat

up to the double bar. However, in
bar5, the addition of the octave (B-B)
in the RH is an important musical high
point. Take a little time here to fully
express this moment. There is a heartfelt
quality throughout the piece, and for
me, a rather dark, sombre character as
well, which feels more in keeping with
the final falling asleep that at some
point, all of us will share in. Although
these pieces are conceived as an adult
view of a childs innocent world, I cant
help but feel that much of the darkness
of Schumanns own inner life spilled
into everything he composed, and
my own interpretation of the music is
influenced by that.
Arnie Scull
Much of the challenge of this

beautiful piece lies in tone control.
On the page, the music seems simple
and clear, and certainly, there are no
great demands made of the player
from the point of view of technical
obstacles. If you look at the score,
you will see that the dynamics remain
limited from p to pp, and by the end
after the ritardando, you will need
to play as quietly as you possibly can
without losing the sound. Controlling
the instrument becomes the main issue,
as essentially you need to work against
the percussive character of the piano to
create the most translucent, gentle tone
in which to express the musical picture
suggested by the title.
I would suggest that you start by
playing the chord structure on its
own. This amounts to playing the
first and second crotchet beats of the
LH. Use the pedal too, so that you
coordinate the hand and foot carefully.
Make sure that the chords are matched,
and that they are even and without any
sudden bumps in tone. This is also quite
a good way to help with memorising
should you choose to do so, as
understanding the harmonic structure
gives you a firmer grasp of the musical
direction, as well as aiding muscle
memory. Once you have done this, then

play the top part of the LH and the
answering voice of the RH, listening out
for the same kind of smooth line created
by your harmonic practice.
Janet Newman is Head

of Keyboard at the Royal
Grammar School in
Guildford. In addition to
her teaching, she is in
demand as a freelance
pianist and is an examiner
for the ABRSM.
Moving into the middle section, you

might choose to help the intimacy
of your tone by using the una corda
pedal. This is because the music needs
to be very hushed and introspective
at this point. The change of key into
E major is significant perhaps it
represents a happier moment in the
childs world? Relax into the chords
in the RH, trying to keep your arm
soft but the fingers a little gripped on
the key surface. Again, take time over
the phrase endings, especially when
the hands play at an octave apart in
bars 9, 10, 11 and the corresponding
bars further on. Let the tone die away
as the music moves into the lower
register, almost as if the child is finally
succumbing to sleep and just slightly
reawaken the tone when the music
repeats at bar 14. Employ the method of
practice that you used in the first section
here so that you understand where the
music is going to harmonically and that
your pedalling is nicely synchronised
with the hand at all times.
It is also important to take care not to

rush the foot when pedalling. Imagine
that you are squeezing the pedal and
avoid any quick, grabbed movements as
this will mean that you fail to catch the
bass notes this will guarantee a very
bumpy performance!
Learning Tip
Use the pedal as an extra aid for

legato fingerwork
At the next double bar, the key moves

to B minor and a beautiful series
of chord progressions signal the
emotional heart of the music. Voice
the top of the RH bars 17-20. I suggest
practising the RH separately to begin
with to check that you are really doing
what Schumann asks in terms of the
part playing. The suspensions created
by the ties must be observed, as they are
so expressive and magical. Let the LH
play very sensitively under the RH here,
being aware that the rhythmical motif
has moved solely into the bass part. At
bar 21, play out a little more now in the
LH as it possesses the theme until the
RH joins in at bar22. You can afford to
warm your tone somewhat until dying
away again before resuming the theme in
the original key at bar 25. The previous
bar can be as slow as you like so that you
can linger on the D, which leads you
back into the home key of E minor.
The last few bars are deeply tender,
especially with the answering
suspensions between the hands rising
and falling so sublimely. Give a little
more weight to the dotted quaver in the
RH part it starts at bar 27 as this
forms part of the five-note falling-scale
figure that was Roberts code to Clara
and which he wove into all of his music
for his adored wife.
More to explore
Other pieces from Scenes from

Childhood in Pianists scores: Trumerei
(No 7), in issue 28, has some hard
stretches, but great for legato and
bringing out the melody line. A Curious
Story (No 2) and At the Fireside (No 8),
both issue 55, need subtlety and control,
as Parham says in a lesson. For keeping
inner voices quiet, The Entreating Child
(No 4), issue 47, is an excellent exercise.
22 Pianist 78
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PianistJune14.ai 1 11/05/2014 13:57:27
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23 Pianist 78
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play
HOW TO
DEBUSSY
Reflets dans leau from Images Book I
Concert pianist and teacher Lucy Parham shows you how to swap a wishy-washy sound in favour
of tonal and rhythmic clarity in this most shimmering of Debussys Images
Ability rating
Advanced
Info
Key: D flat major
Tempo: Andantino molto
Style: Impressionist
Will improve your
3 Jeu perl playing

3 Tempo changes/rubato
3F
inger distribution
Of all Debussys piano music, this

piece is one of my favourites. While
technically very difficult, Reflects dans
leau is a wonderful enveloping and
comfortable piece to play. It lies well
under the hand but the virtuosic passages
are highly demanding and take a lot of
practice. The colours and sonorities that
you need to find from the piano also
represent a constant challenge.
Debussy hated being labelled an
Impressionist composer, even though
his soundworld is different from
anything that came before. But dont
imagine that Impressionist means this
music offers an excuse to put the pedal
on and paint in wishy-washy colours.
Everything must have clarity both
of thought and fingertip. Pedalling is
crucial. Dont think just because this
is Debussy, you can just put the pedal
down! You need subtlety of footwork
here. A lot of flutter pedalling is required
and be harmonically aware with your
foot, too. Similarly, with your left foot,
the una corda should be used sparingly.
Sven Arnstein
Although this piece is marked

Andantino molto, a certain flexibility
within the tempo should always be
in place. There is always a danger of
the piece becoming too foursquare. To
prevent this, always try to get over the
barline; fluidity and flexibility are two
of the key words here. There is a natural
rubato but not to the extent of losing
the basic framework of the piece.
Lucy Parham performs

Odyssey of Love with
Henry Goodman and
Harriet Walter at the
Winchester Festival
(13 July) and at the
Llandeilo Festival with
Henry Goodman and
Joanna David (15 July).
She performs Rverie
with Henry Goodman
at the Cambridge
International Festival (26
July) and at the Petworth
Festival (28 July).
The CD of Odyssey
of Love, with Juliet
Stevenson and Henry
Goodman, will be
released later this year
on the Deux-Elles label.
For other dates and
details, please visit
www.lucyparham.com.
that as the phrase repeats in bars 3 and 4,

there is a small crescendo.
Take a small breath on the semiquaver
rest at the beginning of bar 9. Each
of the phrases in bars 9-12 represents
a type of question and answer between
the ascending statement and the
descending single note. This descending
RH three-note phrase (the reply)can
also be played with just one finger I
like to use the third finger.
At bar 13, note the pi p indication
and try to create a completely
different colour. In bar 14, keep the
RH flexible in the wrist and make the
top line very expressive. The LH also is
very important for support here. The
chord you reach at bar 15 should have
a real quality of tension about it and
make sure that the B resolves to the A
(the second semiquaver in the RH).
A beautifully judged ritardando at the
end of bar 15 will take you into the
ethereal chords of bar 16. These chords
almost represent a very slow glissando,
so you must keep very close to the key
here, like a glove gliding over the piano.
Practise this first without your thumbs
and then without your fifth fingers. The
two quavers in the second half of bar 17
need to be plucked out of the piano.
The rhythm in bar 18 is crucial make
sure your triplets are exact.
When you reach bar 20 you have
begun a cadenza, which sweeps you
through into the next section. Follow
the LH diminished line here as it gives
At the start of the piece, aim to keep

your right hand (RH) wrist flexible at
all times. The RH chords, which must
be as legato as possible, provide a
beautiful counterpoint to the left hand
(LH) single notes which themselves
need to drawn out of the keyboard like
bells. Try using just one finger (the
third) on the LH crotchets in bars 1 and
2 and try to create the sound of a bell.
You can best achieve this with a long
slow upward movement. The RH must
keep close to the keyboard here
jumping about is not a good idea! Note
you something to hold on to. The RH

need to keep the same fingering of
1-3-5-4-2 and make sure you have a
Learning Tip
First learn the climax, which starts

at bar 56 where the piece goes into
E flat major
light touch. This is what the French call

jeu perl, where you literally scratch or
pluck each note in a small movement
as if you were almost flicking something
off the key towards you.
As you get higher and higher up the
keyboard, crescendo poco a poco
and keep moving the tempo forward
until you reach bar 24. In bar 22, the
LH crotchets must be brought out, as
you will see in the score they have a
weighted accent. Try to really sink into
these notes to follow the chromatic
descending line. In the second part of
bar 23 (where theres nothing written in
the LH), take some of the notes in the
LH. I would suggest the fifth to 11th
hemidemisemiquavers to be taken in the
LH i.e. B to B.
It is crucial to observe the mesur
marking at bar 24. Debussy is always
meticulous in his markings, so it is
most important to follow them. He
was a stickler for detail! Through this
measured (and rather difficult) RH
passage, the LH needs to cut through
like a beautiful muted horn solo. I
suggest using a flat fingertip here to
cultivate a warm and rounded sound.
At bar 27 try to find a new colour with
this beautiful change of harmony. It is
also important to make every note in
the RH speak almost like a little row
of pearls. It needs clarity of touch in a
Classical tradition. Think of Scarlatti or
Mozart, and avoiding making a vague
wash of sound.
In bar 30 take the last four
demisemiquavers of the second beat
with the LH ( i.e. D, B, A, G after you
have played the D LH octave), as you
are already in the right position to take
this over. Now crescendo through the
following triplet from mf to forte. The
effect of echo and pp at bar 31 should
be immediate and the first half of bar
24 Pianist 78
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Ingasas
T MISS
DONPRAHAMS
LUCY
PIECE
ON THIS E
Claude DEBUSSY (1862-1918)
N
LESSO
TRACK 11
ADVANCED
Reflets dans leau, No 1 from Images Book 1
PAG
24
Debussy wrote two books of Images; Reflets dans leau (Reflections in the water) is
the first piece (of three) in the first Images book, which was published in 1905. I love
pictures almost as much as music, Debussy once said, and his passion for creating
colour and visuals with sound is clearly manifested in this piece. It has been said that
he even had a specific image in mind for Reflets dans leau: a stone thrown into calm
water and rippling the waters before stillness returns.
Playing and pedal tips: When you listen to our house pianist and cover artist
Chenyin Li play this on the covermount CD, you will no doubt fall in love with the
piece and want to learn it, and you should! This piece is all about evoking colour
dappled reflections in the water of course. Pedalling is not marked into the score. This
was common practice for Debussy, who expected the performer to know how to use
the pedal. There are lots of notes, and it will take you a long time to learn, but its
worth the work. Learn in small sections that should help.
Read Lucy Parhams step-by-step lesson on this piece on page 24.
Andantino molto
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(Tempo rubato)
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57 Pianist 78
P57 Scores DEBUSSY-FINAL.indd 57
31 needs a really ethereal quality yet

it must still contain true clarity of
touch.
At bar 34 Debussy in effect writes
out his own ritardando by
doubling the length of the notes
from semiquavers to quavers. These
three notes at bar 34 should sound
like a muted horn and must be
perfectly in rhythm and weighted.
This leads us into a new section in
which the opening returns, but it is
now embellished. The RH makes an
arabesque around the LH, but you
are now playing note by note in
triplet form rather than one chord at
a time. Check that there is real clarity
at the end of bar 36 it is easy to
swallow up the end of these phrases,
which must be avoided at all costs!
Also, note that the crescendos in
these passages occur in every other
phrase. It is vital that bars 35-36 and
bars 39-40 do not have a crescendo,
and that you, as the performer, can
clearly show the difference. In those
bars the LH is again drawing the
sound out of the piano like a
beautiful bell. When you reach the
en animant at bar 43, this must
have a long, seamless line because
from here we are leading up to the
climax of the piece at bars 56-57.
There is a whole-tone ascending
scale in the LH in bars 43-48.
Start softly with these octaves (they
form the foundation of this passage)
and use them to build up to the big
chord at the beginning of bar 47.
From here on, the effect you are
trying to achieve is one of waves
it is almost swirling. In bars 48-49
I suggest taking the top note (B)
with the LH. It is more brilliant, and
lies much better under the hand.
At bar 50, the au mouvement sign
(which means a tempo) must be
strictly observed. Make sure you are
at the tempo with which you started
this piece. En dehors (outside) means
the RH needs to project over the
LH. I feel it is like sunlight cutting
through the cloud. Again, in these
two bars (50-51), the LH highest note
(i.e. the ninth demisemiquaver) can
be played in the RH.
At bar 54 you are pushing towards
the climax at bar 58. When you
arrive on this E flat major chord,
P24 HTP Lucy 78-FINALish.indd 25
15/05/2014 09:23
try to sink into the octave LH and

really get in to the bottom of the key
bed with both hands in the triplet
arpeggio, as this needs to be very
strong. At bar 57 you need your LH
for support it is vital not to neglect
it. Keep driving through the melodic
line until you reach bar 62, when
things begin to unwind little by little.
Take your time at bar 64 and
really melt into the next bar. You
are trying to create a totally different
soundworld and colour here. It is
easy to misread the rhythm in the
following few bars so really check
your counting is correct. At bar 71,
Debussy writes 1er tempo (which
means the tempo of the start) but
you must also remember that you
are winding down the tempo until
you reach the end. There is also no
crescendo here, so keep it very still
and gentle.
The LH triplets at the end of bar
78 must cut through like a muted
horn. Bar 81 needs to sound veiled
and distant, as it helps to sink into
the bass note (fifth) on the LH
to achieve a really warm sound in
the chord. The followingcrotchets
(which are broken in the RH) are a
throwback to the beginning, but now
just as a distant memory, as if heard
from afar. Play them on the beat
(RH thumb with LH note). Make
sure the rhythm is correct here and
also that you can distinguish between
a triplet and a duplet! It is a common
mistake to not make this distinction.
You must use the soft pedal in this
section as you need to achieve such
a level of pp. Gently break the rolled
chord at bar 93 and then let the final
octave fade away before releasing
your hands from the keys.
More to explore
If you have enjoyed learning this

piece,Lucy Parham suggests these
other Debussy masterpieces, which
are on the same technical level:
Poissons DOr (No 3 fromImages
Book 2), Pagodes (No 1 from
Estampes), La soire dans Granade
(No 2 fromEstampes) and Les
collines dAnacapri(Prludes Book
1). Also see Parhams lesson in issue
56 on Pagodes and issue 61 on
Debussys Jardins sous la pluie
(No 3 fromEstampes).
15/05/2014 16:31
Improve your playing with
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Piano Techniques advert.indd 14
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24
24 8
Track
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Scores
LEARN { MORE WITH OUR

{
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LESSONS
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p45-48_K
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54
54
LUCY PARHAM
65
INAL.indd
Contents
46 Pianist
65
46
p49-65 Scores2-F
INAL.indd
63
63
SCARLATTI
Minuet in C L217
29
HORK
Scherzino, No 112 from Childrens
Piano School
30
STANFORD
32
BEETHOVEN ARR.
HEUMANN
Allegretto from Symphony No 7
(Intermediate level)
36
REINECKE
Minuet in C
40
SCHUMANN
Child falling asleep, No 12 from
Scenes from Childhood op 15
42
MERIKANTO
Valse lente op 33
44
DVOK
In a Ring! No 1 from Two Little Pearls
B156
45
KEYBOARD CLASS
Triplets and repeated notes
50
JS BACH
Bourre from French Suite No 5
in G BWV 816
52
JELLY ROLL MORTON

King Porter Stomp
57
DEBUSSY
Reflets dans leau, No 1 from
Images Book 1
65
5/3/12 16:08:20
5/3/12 16:12:00
28
6/3/12 09:17:03
Typesetting by Spartan Press

Music Publishers Ltd
Quick guide to
UK/North American
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For a full list of Scores from past issues, go to www.pianistmagazine.com
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p27_Scores_Intro-FINAL.indd 23
w = semibreve/whole note
h = minim/half note
q = crotchet/quarter note
e = quaver/eighth note
x = semiquaver/16th note
y = demisemiquaver/32nd note
19/05/2014 11:55
Domenico SCARLATTI (1685-1757)
TRACK 1
BEGINNER
Minuet in C L217
This minuet, or minuetto, is the middle movement of three in a C minor sonata

composed by Domenico Scarlatti, and dates from the late 1730s when he was living
in Spain. Scarlatti was a virtuoso keyboard player as well as a composer, and his
catalogue includes some 500 keyboard sonatas, many very demanding to play.
This is a nice elegant piece for the beginner pianist and a good sight-reading exercise
for those more advanced. On the CD, our pianist doesnt repeat bars 13 to the end,
but the score suggests that (with the double bar lines and the dots).
Take a look at the technical tips within the score.
The notes should be very even, in both sound and articulation, with
no bumps. Theres no need for any crescendo or decrescendo.
Andantino
F
fF
F
3Andantino
f
f
F
f
f
f
ff
&4
ffF
fF
ffF
f
F
fF
The key is
Andantino
3
f
f
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fF
f
f
F
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f
f
f
F
mp
C major (no
4
&
f
f
f
f
F
f FfF f F
sharps or flats).
f FfF f F
Ff f F f
f FfF f
33Andantino
F
f
f
F
?
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f
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& 44 mp
f
f
f
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& 4 Keep
f
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the pulsefsteadyFin the left hand.
As the
accompaniment, f
f
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f
F
it has to keep the momentum going.
f
f
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f F
f F
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28 Pianist 78
P28 Scores SCARLATTI-FINAL.indd 28
16/05/2014 09:11
Eduard HORK (1838-1893)
TRACK 2
BEGINNER
Scherzino, Childrens Piano School No 112
Born in Bohemia, Eduard Hork was a pianist and teacher who moved to Vienna to
seek his fortune. The distinguished music school he founded there in 1867 is the
predecessor of todays Franz Schubert Conservatory. Hork wrote a number of works
for his students, including the Childrens Piano School (Kinder-klavierschule).
This tender piece covers many basic principles of piano playing such as phrasing,
producing different types of articulation (such as staccato, legato) and producing all
different levels of dynamics.
Take a look at the technical tips within the score.
The first four bars should be a question.Then the next four bars the answer.
Rasch
( Allegro, qq =
84 ))
Rasch
Rasch (( Allegro,
Allegro,44 q =
= 84
84 )
Key of C major.
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1
4
4
1
4
2
2
1
2
1
1
fff
f
ff
ffffff
ff
fff
f
fff
f
fff
f
1
1
1
fff
f
2
2
2
&
fff
f
2
2
4
2
4
4
1
1
3
1
3
5
3
5
5
2
4
Fine
Fine
Fine
2
2
4
2
4
4
1
1
1
2
2
2
fff
ff
fff
&
&
&
fff
f
fff
f
ff
fff
f
fff
f
ff
3
5
4
4
4
2
2
2
1
1
1
3
3
5
3
5
5
fff... ff... ff...

f f
f. f. f.
pp
pp
pp Suddenly play
fff very quietly.
pp
f
ff
4
4
1
4
1
1
2
2
2
f
f
f
f
###fff
f
#ff
1
2
1
1
2
1
2
2
3
5
1
5
fff
f
1
3
1
1
3
1
3
3
fff
JJJ
f
Jjj
fffj
fj
4
4
4
3
3
5
3
5
5
1
1
5
1
5
5
fff
f
fff
JJJ
ff
Jff
fJJ
Jf
f
J
Try to be exact with the rhythm of the dotted notes.

1
1
1
fff
f
fff
f
ff
fff
f
cresc.
cresc.
cresc.
fff
cresc.
f
ff
fff
JJJ
f
J
j
fffjj
fj
ff
5
5
5
3
3 be strong4and resolute!
These notes should
Start to crescendo in both hands.
2
2
2
fff
f
f
3
5
2
2
2
&
&
&
&
&
&
& ffffff ffffff
& ff ff
19
5
5
5
1
1
3
1
3
3
5
5
5
fff
mf
mf
ff
mf
fff
mf
f
f
? f
19
19
19
2
2
2
2
2
2
ff ff f
&
7&
& f... f... ff...
& f. f. f.
&
&
& fff... fff... fff..
.
&
f
f
RH and.LH notes. to be staccato.
f.
{{
{{
Diminuendo in bar 7 to the B in bar 8.
7
7
7
fff...
JJJ
f.Observe the rests.
J
... f...
f
.
f
f
f
.
f
3Rasch
f
. f ff
338 fff ( Allegro,
f
f
f
f
q = 84 )f
f
f
J
&
JJ
&
fJJ
& 88
J
f.
. notesfto. be staccato.
f
RH
f
3 mf
f
f
mf
ff
Jjj
& 8 mff
Jff f
ff
fffj ff
ff
fJJ
333 mff
?
f
f
ff
?
Jf f
? 888
j
ff
f f
f
ff
f
J
? 38
Keep the accompaniment quiet.We want to hear the RH melody.
2
2
2
2
1
3
3
3
fff
f
2
2
2
fff
f
fff
f
fff
f
fff fff ##ff ff

f f #ff ff
ff the LHffaccompaniment
#ff quiet.
ff
Keep
fff
f
ff
f
f
f
f
2
2
2
4
2
4
4
ffffff
ff
4
2
fff
f
2
2
2
2
Da
Fine
4 Capo al
Da
al
Da Capo
Capo
al Fine
Fine
3
jjj
f
###fff Da fffCapo
###fff alnnnfffFine
fj
#ff ff #f nf
?
?
?
fff ff
f
?
f f
Return to the beginning
4
4
2
4
2
2
3
3
3
3
3
1
1
1
2
2
2
1
1
1
4
4
4
and end at bar 16.
Bring out the LH melody here.

29 Pianist 78
P29 Scores HORAK-FINAL.indd 29
15/05/2014 16:34
S
MIS
NTANIE
DOM
L
E
KS
SWIC
SPAN
IECE
HIS P
ON TPAGE
ON
LESS
TRACK 3
20
Though he is perhaps best known as a choral composer, Charles Villiers Stanford also
wrote fine keyboard pieces. Born in Dublin, educated at Cambridge and Trinity, and
a student of Reinecke, Stanford was a leading light in the revival of British music at
the turn of the century. Six Sketches dates from 1918; No 1 was presented in issue 72.
Count in the 3/4 time silently for a couple of bars before you begin: you need to
feel that lilting waltz-like time signature before you play. The RH has the melody
Pedalling:There are no pedal markings.

We suggest no pedal at all except just a
dab at the end of phrases, if you are able.
Find a good lively
dance-like tempo.Try
the crotchet = 176
suggestion.
3
& b4 f
? b 43
Fingering: Ample fingering has been

added. This will help to ensure as
good legato playing as possible.
Phrasing: Make sure to study the phrase markings (the

arches). Some phrases are just one bar, some two bar,
others four bar, and so on.
p Little crescendo
&b f
4
?b F
3
F
F
ff
f
f
3
5
nFF
nFF
1
4
1
4
Its worth counting out loud here, between bars

12-16, to keep the tempo and rhythm even.
12
&b f
?b f
f
1
#f
3
f
5
The piece has modulated into the key of

D minor. Note the C sharp in the previous bar.
f
5
f
3
f #f
f
f
3
30 Pianist 78
f f f f
FF
4
5
Observe both
rests below.
... then diminuendo.
FF
3
5
Again, small crescendo...
FF
f f
J
Then diminuendo
back down again.
to the top F.
most of the time in this piece, however, the LH shines from bar 17. Remember to
bring the LH out at this moment. The melody returns at bar 33. Most important is
to feel the phrasing and to round of phrases smoothly. This sweet piece has a pastoral
feel to it. And theres lots here to work on!
Take a look at the technical tips within the score and read Melanie Spanswicks
step-by-step lesson on this piece on page 20.
Allegretto q = 176
2
We are in the
key of F major.
BEGINNER
f
5
f
1
f #f
J
f.
f.
Three LH notes to be
staccato (detached).
f.
2
f.
1
Even though it is not marked, a little crescendo towards the end of

this page will add some dramatic feel.
15/05/2014 16:33
TRACK 3
Remember to notice all the different dynamics,

decrescendos and phrase markings.
17
&b
BEGINNER
bF
mf
? f #f
b
3
Gradually play the notes softer, one after

the other, in this little descending scale.
2
f f f f
f
f f
J
f
nFF
bff
bf
2
1
3
1
mf
f nf f
&
Bars 23-24 are the climax of the piece. Remember to play forte, and
take time to pause on the chord with the curved/dotted fermata sign
(fermata means hold or pause).
23
bff
FF
b
&
5
1
&b F
bU
FF
5
3
4
2
b f f f bf f bf f
f
5
U
nF
f f bf f
f f f f
b FF
n FF
2
4
1
3
FF
ff
2
4
1
3
Notice the sudden dynamic change from

forte in bar 24 to to piano in bar 25.
See how long the phrase below is (four bars!). It is the longest phrase in the piece.
29
&b f
f f f f f
4
? b nFF
1
4
The melody returns, calmly, at bar 33.
f
3
&b f
j
f f
2
? b FF
4
5
f f f f f f f f
f f f
.
FF
f f f
f f f.
3
5
3
5
Observe the two staccato

(detached) notes below.
4
FF
35
3
f.
2
ff. U
3
5
Make a nicely tapered decrescendo to the end.

31 Pianist 78
15/05/2014 16:33
TRACK 4
Ludwig van BEETHOVEN arr. HEUMANN

Before you say, didnt I see an arrangement of this Beethoven symphony movement
in the last issue?, take note its not the same arrangement! Last issues arrangement
was for the beginner. This issue, Hans-Gnter Heumann offers up an intermediate
level piece, exclusively created for Pianist.
Playing tips: This arrangement offers a really good exercise in voicing your chords.
It starts off at an easy level, but soon gets more complicated as the inner voices start
INTERMEDIATE
appearing at bar 20. Lots of fingering has been offered to help you with keeping the
lines smooth and legato. You also need to build up the dynamics gradually over the
four pages. We think you will enjoy this arrangement!
Pedal tips: Heumann just has suggested pedalling for the opening chord. Little is
needed elsewhere. Bar 53 though, should definitely have some (two pedal changes
in the bar works well). Dabs here and there will make things sound more sonorous.
32 Pianist 78
P32 Scores BEETHOVEN-FINAL.indd 32
15/05/2014 09:08
TRACK 4

INTERMEDIATE
33 Pianist 78
15/05/2014 09:08
TRACK 4

INTERMEDIATE
34 Pianist 78
15/05/2014 09:08
TRACK 4

INTERMEDIATE
35 Pianist 78
15/05/2014 09:09
Carl REINECKE (1824-1910)
TRACK 5
BEGINNER/
INTERMEDIATE
Minuet in C
Carl Reinecke was a composer, pianist and conductor, as well as the teacher of Charles
Stanford (see page 30), Grieg, Albniz, Bruch and Janek, among others. The fact
that his students had such different compositional styles speaks volumes for his
teaching, but then he himself studied with Mendelssohn, Schumann and Liszt.
Unsurprisingly, Reinecke wrote many works for the keyboard at all different levels.
Playing tips: Heres something out of the ordinary: this piece starts out with the
LH having the melody and the RH with the accompaniment! In fact, the whole piece
is almost like a duet between the RH and LH the melody constantly shifting
between the hands. Remember to hold down the dotted minims at the start of the
bar in such places as bar 3, bar 4, bar 7 and so on. You have to hear it all the way
through the bar. Bar 25 is the start of a middle section, which is more recitative-like
here the RH has the entire melody. Melt back into bar 41, where the opening
returns. A truly gorgeous little piece.
Pedal tips: Look at the markings in the score.
Moderato q = 92 - 96
1
q = 92 - 96
3Moderato
3
& 4Moderato
f f f f f
3 f f f q =f92 - f96
& 4Moderato
f f f f f
3 mff f f q =f92 - f96
& 4 ff ff ff ff ff
f
3 mf
?
& 443 ff ff ff ff fff
f
f
? 43 mf
f
f
mf
f
? 43
f f f f
f
? 43
4
f
4
& f f
F
4
& f f F
4
& f ff f Fff ff ff ff
? fF f f Ff f f f
&
f f f f f
? fF f f f f f
f f f f f
? f F f f f f f
f f f f f
7 ? fF
f f f
7
& f f f f f
f f f f
7
& f f
f
7
& ff fff ff ff ff fff
f
?
& fF ff ff ff ff ff fff
? fF ff ff ff ff ff f
f
? f F ff ff ff ff ff f
f
F
11? f
11
& #ff ff ff ff ff
11
& p #ff ff ff ff ff
11
& pf #ff ff ff ff ff
? f f f f f
& pf #f f f f f
?
f f f f f
pf
?
f f f f f
f
?
{{{
{
{{{
{
{{
{{
{{{
{
3
1
3
1
3
1
2
2
2
2
1
2
1
2
1
2
1
2
5
5
1
3
1
3
4
2
1
3
4
2
1
3
4
2
4
2
ff
ff
ff
ff
f
f
3
2
ff
ff
ff
ff
f
f
f
f
ff
ff
ff
ff
ff
f
f
3
2
3
2
3
2
ff
ff
fff
fff
ff ff
ff ff
f#ff fFf
f#ff fFf
f # f F
f # f F
ff ff ff
ff ff ff
f f f
# ff #ff ff
f f f
# ff #ff ff
# f #f f
# f #f f
f f f
f f f
f
f f
f
fF ff
f
fF f
f
fF f
f
fF f
ff ff ff
ff ff ff
ff f fFf ff
ff f fFf ff
f F
f F
ff
ff
ff
ff
ff
ff
ff
ff
3
3
3
3
2
2
2
2
2
2
ff
ff
ff
fff
f
f
f
f
f
f
ff
ff
ff
ff
ff
ff
fff
fff
f
f
f f
f f
f f
ff ff
ff ff
ff ff
ff ff
ff
ff
ff
ff
ff
ff
ff
ff
f f f f
f f f f
f f ff ff
f f f f
f F f f ff ff
f f f f
fF f f f f
f f f f
f F f f f f
f f f f
f F
ff ff ff ff ff
ff ff ff ff ff
fff ff ffF ff ff
#f
fff ff ffF ff ff
#f
f # f F
f # f F
f >f f F
f >f f F
f >f f F
ff >f ff f ff ff ff
fF f Ff f f
ff
fF ff ff ff ff
ff
f F ff ff ff ff
ff
f F f f f f
f f f f
f f f f
mf
f f f f
mf
ff ff ff ff
f
F
mf
ff ff ff ff
f
F
mf
f f f f
f F ff ff ff ff
f F f f f f
ff
ff
ff
ff
1 2
2
1
2
1
2
1
2
3
1
3
1
3
1
3
1
f
f
f
ff
f
ff
ff
ff
ff
ff
ff
ff
1
1
2
2
2
1
3
1
3
1
3
1
3
ff
ff
ff
ff
f
f
f
ff
ff
ff
ff
36 Pianist 78
P36 Scores REINECKE-FINAL.indd 36
15/05/2014 09:12
TRACK 5
Minuet in C
>f
14
f f
& f
1
f f f f #f f
1
2
18
& ff ff
#f F
21
3
2
# f #f f f f
?
f
?# f
1
5
FF
F
?# F
3
#f
2
ff
fF
ff
ff
ff
ff
f
fF f
ff
1
4
f F
f f f
f f
ff ff ff ff ff
ff
f f f f f
f
FF
ff
FF
1
3
#f
nF
F
ff
1
2
4
ff
F
fff
ff
f f f f bff
FF
f f f f
f
2
ff
ff ff ff ff
#
#f
& f f f
f
29
1
3
fF
p dolce
2
5
f # f F
& f f f f f
25
ff
3
1
bf
& ff ff ff ff ff ff ff ff
f
f
f f f f f
f f f f f
ff ff ff ff
? f
F
? fF ff ff ff ff ff F
BEGINNER/
INTERMEDIATE
#
#
#f
FFF
nf F
f f f #f
1
ff
nf
37 Pianist 78
15/05/2014 09:12
TRACK 5
Minuet in C
#
&
f bf f bf f
33
pp
f f
nf f f
? # bff
#f f #f f f
3
5
f
f f f #f
nF
F
1
4
F
F
41
& ff
mf
44
&
ff
ff
ff
f F
ff
f
F
?
ff
47
&
? fF
f
ff
f
ff
ff
ff
ff
ff ff
#f F
ff
ff
ff
f
ff
f
ff
1
2
ff ff ff ff
ff
fF
ff
ff
ff
ff
ff
ff
ff
ff
f # f #f
#f F
ff
ff
nff ff ff
f
ff ff ff ff ff ff
ff
f
f
1
5
FF
1
4
nbff
FF
1
3
bf
nf
FF
bf nf f bf f bF
2
bff
FF
1
2
nf
bbff
F
F
1
4
&
bF
? # bbff
37
BEGINNER/
INTERMEDIATE
>f
f
fF f
ff
ff
ff
ff
f
f
ff
38 Pianist 78
15/05/2014 09:12
TRACK 5
Minuet in C
>f
50
&
f F
ff
f
F
?
ff
53
? fF ff
ff
&
BEGINNER/
INTERMEDIATE
ff
ff
ff
#ff
ff
ff
ff
ff
ff
f F
ff
ff
ff
f
fF f
mf
>f
f f
ff
f f
ff ff ff ff
F
F
ff
ff
ff
ff
#f
ff
56
bf
& F
? ff
60
&
ff
63
f f f f
f # f F
f f f f f
fF f f f f f
f F
ff
f
F
?
ff
ff
ff
fF
ff
f f
f #f f f
# f #f
F
? F
ff ff ff ff ff ff
f f f
f f
&
f
f
ff ff ff ff ff ff f f f f
ff ff ff ff ff
F
1
nf
ff
ff
#f F
f f f
f
f
f
f
ff
1
5
1
5
ff
ff
ff
p dolce
f
4
39 Pianist 78
1
2
15/05/2014 09:12
TRACK 6
ISS
T M NS
DONNEWMA
T
JANE
IECE
HIS P
ON T AGE
ON
LESS
P 2
2
Robert Schumann wrote his Scenes from Childhood (Kinderszenen) in 1838. Even if
the 13 pieces in this volume are childrens pieces, in order to play them well, one needs
to have a mature vision and technique. Indeed, Schumann described Scenes from
Childhood to fellow composer Carl Reinecke (see page 36 for one of Reineckes pieces)
as reflections of an adult for other adults.
Playing and pedal tips: This is such a dreamy piece. Notice those accents in the RH
top notes? They should sound like soft ringing bells. Bar 9 sees a new, more hymn-like
>
>f
ff
f
ff ff f
f
Moderato e = 92 (72)
Moderato
Moderato 1 ee =
= 492
92 1(72)
(72)
4
## 2
&
& 442
1
1
p
p
p
2
2
2
# f
f
# ff
&
&
######
&
&##
5
3
5
5
2
3
3
1
2
2
1
1
ff
ff
f
pp
pp
pp
ff f f f
fff f f f
fff
ff
3
3
3
ff
ff ff ff
##ff
>>
f
f
ff f ff ff f
ff f ff ff
f #f
#ff
ff
ff
f
section. In bars 9 and 10, play the bottom two notes of the second-beat RH chords
with the thumb (see fingering in the score). Its not as hard as youd think! But the
main technical challenge throughout is to play the chords pianissimo. Its a difficult
technique to master one needs to hear every note sound. Play bars 27-28 with
incredibly tenderness and then just die away at the end (the child has fallen asleep!).
For the pedal, Janet Newman suggests two pedal changes per bar, as marked.
Read Janet Newmans step-by-step lesson on this piece on page 22.
>
>
f
f
f f ff ff f
f
2
2
2
ff
ff
>>
f
f
f ff ff f
f
f
f
f
f
f
f
? # ff
f #ff f
?# f
#ff
9
9
9
1
1
2
2
2
ff
f
ff ff f
##ff
ff ff
2
?
#
? # 442 ff
5
5
5
f
f
ff ff
ff
sim.
sim.
sim.
>>
ff
ff f f
f
f
2
2
2
ff ff ff
nnff
ff
f
f
f
f
1
1
1
1
1
1
1
1
1
2
2
2
3
5
3
3
5
5
4
4
4
f
f ff ff ff
ff ff ff ff ff
ff
nnfff
f
2
2
2
f
ff ff ff ff f
##ff
ff
f
f
2
2
2
ff
4
4
4
1
1
1
1
1
1
ff
4
4
4
f
##
f ff ######
1
1
1
f
ff ff ff ff f
ff
##ffff
f
#
#######
4
4
4
5
5
5
1
1
1
ff f f
fff f f ff
fff
ff
?
?
?
ff f
f f f
ff f ff ##ffff f f fff
f
3
3
3
#
f
f
?
? ####### f ff f f f ff f ff f f f ff f ff f f f f f
f
f ff
f
f ff
f
f ff f f f
f
f
f
2
2
2
INTERMEDIATE
1
1
1
1
1
1
1
1
1
ff
ff
&
&
&
f
ff
f
4
4
4
ff
ff
40 Pianist 78
15/05/2014 09:20
TRACK 6
####
& # ##
13& #
13 ####
& ####
& #
? ## #
? ####
? ####
? ####
13
13
{{
INTERMEDIATE
ff
fff
ff
ff
fff
ff
f
f
f
f
2
f
f
f
f
ff f
fff f
fff
ff f
fff f
fff
f
ff f
f
f f
ff f
ff
f
f
f
f
f
f
f
f
ff
ff
f
ff
ff
f
ff
f
f
ff
ff
ff f
fff f
fff
ff f
fff f
fff f
ff f
f
f f
ff f
ff
f
f
f
ff
f
f
f
ff
f f #fff
f f #ff
ff
#fff
f
?f
f
f
? f f f #f
f
f ff f f f
f ff f f f
f ff f f f
f ff f f f
f
f
f
f
?f
?f
f
ff
ff
f
ff
ff
f
ff
f
ff
ff
f
f
f
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f f
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nf
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f
f
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& f
fff f #ffff f ff
f n f f nff nn ff f
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f
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41 Pianist 78
15/05/2014 09:20
WATCH THIS LESSON ONLINE AT WWW.PIANISTMAGAZINE.COM
Oskar MERIKANTO (1868-1924)
TRACK 7
INTERMEDIATE
Valse lente op 33
Oskar Merikanto is maybe less known than his son Aarre, who taught a generation
of Finnish composers, but he was the first to compose the first opera in Finnish,
Pohjan neiti. Oskar Merikanto studied in Leipzig and Berlin, returning to Finland to
make a career as a conductor, organist and composer. This waltz dates from 1898.
Playing tips: This is a romantic piece, full of sweetness and charm. The LH is the
accompaniment to a lyrical RH melody. Bar 17 sees a change in atmosphere keep
the RH wrist supple here, or it might become tight. Take note of the sudden pp at
bar 25. Its very dramatic. The main melody returns at bar 37. You will notice a lot
of changes in tempo throughout (rall, a tempo, poco rall etc), and yes, you need
to work on that ebb and flow, but dont even forget the underlying pulse.
Pedal tips: There are some helpful markings on the score. Our pianist Chenyin Li
advises that you should remove the pedal whenever you see a rest in the LH.
Tranquillamente
b3
&b 4
f f nf f
f
mp
ff
ff
? bb 43
a tempo
b
&b f
? bb
poco rall.
j
f f
f f f f
ff
f
f
f f
2
1
fff fff
f f nf f
rall.
f f f f
a tempo
ff
f-
F-
-
f f f F
4-1
ff ff
f f
fff fff
5
4
1
5
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f #f
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f f
f.
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1
5
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5
3
1
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1
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f f
5
4
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2
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? bb
sim.
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13
ff
-f f f
f
f
f
b
f
&b
f f f f f f fff
.
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ff
f
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f

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f
f
f
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5
1
2
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(quasi Adagio)
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f.
ff
5
3
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f
f.
42 Pianist 78
P42 Scores MERIKANTO-FINAL.indd 42
15/05/2014 09:20
WATCH THIS LESSON ONLINE AT WWW.PIANISTMAGAZINE.COM
Oskar MERIKANTO (1868-1924)
TRACK 7
INTERMEDIATE
Valse lente op 33
(Andante)
pp
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b f
3
1
f
n ff
4
2
5
3
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f
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1
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ff
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& b bff
47
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.
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f
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f.
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1
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f f
f.
ff
f f f ff f
f.
poco rall.
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.
f
f
f
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f
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ff f ff ff
.
.
.
.
f.
f.

2
1
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-
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f
f
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a tempo
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ff
ff
f
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poco a poco
ff
f
.
f. f f.
f. f.
f.
f f
f f
.
f. f f.
f. f.
f.
f. f. f.
f
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(quasi Adagio)
ten.
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&b
41
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b >ff f f
b
& f f f ff FF
fffff
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f F
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25
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f
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FF
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U
ff F
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rall.
43 Pianist 78
P42 Scores MERIKANTO-FINAL.indd 43
15/05/2014 09:20
Antonin DVOK (1841-1904)
TRACK 8
INTERMEDIATE
In a Ring!, No 1 from Two Little Pearls B156
In a Ring! is the first of two pieces Dvok composed in 1887 for a music school.
Theres a strong feeling of the dance, as is found in many of Dvoks keyboard works.
We featured the second of these two pieces Grandpa Dances with Grandma inside
issue 72.
Playing tips: This piece is clearly in A-B-A form (its easy to spot the different
sections). You can really feel that Dvok Slavonic feel to it. The opening should be
bold and rhythmic. Because of the tempo, you will need to keep the wrists supple, so
that you dont freeze up. Imagine a bouncing ball. The LH jumps around a lot too
and even if the wrist has to be supple, with this speed you need to keep the fingers
close to the keys. When you are practising slowly (which you must do only build
up the tempo gradually), still keep your fingers close to the keys. Note: What with
the quick tempo, we suggest you pull out the Keyboard Class in middle section of
the magazine (pages 45-48) so that you can see the second page.
Pedal tips: Look at the markings on the score. Section A has to sound dry, using
dabs of pedal on the accented notes. Section B, which starts at bar 25, allows for more
liberal use of pedal.
Vivace
2 f f >f
b
& 4
3
fff.
fff
fff
ff
3
1
ff
2
1
ff
#f
ff
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f
f.
f.
4
2
bf
ff
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ff
f.
f.
f.
f
ff. nff.
4
2
ff. nff.
ff
bf
>f
f
5
3
4
2
ff
f
>
44 Pianist 78
P44 Scores DVORAK-FINAL.indd 44
#f
>f
ff
ff
f.
3
1
ff. nff.
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f
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f.
ff. nff.
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2
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4 5
13
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f.
f.
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fff.
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f.
sempre staccato
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f.
f ben marcato
? b 42
f.
4
2
f
f
2
f
1
f
2
f
1
Continued on page 49
15/05/2014 09:21
A Z E R T Y
H A NS - G NTER HEUMA NN
B E Gzerty
INNERS
XXXX (XXXXX)
PLAGE
KEYBOARD CLASS
LESSON 6: REPETITIONS & TRIPLETS
Over the course of the year, Pianist will cover the most basic stages of learning the piano through a series of Keyboard Class lessons by
Hans-Gnter Heumann. This sixth lesson covers two different techniques: Repetitions and Triplets.
Repetitions
Repeated notes, or repetitions, should be played on the piano with a loose
wrist. The finger with which you play each note makes contact with the key
while depressing it, and is raised again along with the key.
William Tell Theme
D.S. al Fine = Dal Segno al Fine

When you see D.S. al Fine or Dal Segno (from the
sign) al Fine, that means you have to repeat a section
of a piece of music from the until the word Fine.
Gioachino Rossini (17921868) arr. Hans-Gnter Heumann

Theme from the overture of the opera
Turn to page 48 to try another piece with repeated notes.
45 Pianist 78
p45-48_Keyboard78-FINAL.indd 45
15/05/2014 16:26
HANS-GNTER HEUMANN KEYBOARD CLASS
PLAGE
Gioachino Rossini
(17921868)
A Z E R T Y
Gioachino Rossini, who was one of the most important opera composers of
the
19th century,
studied cello, piano and composition in Bologna, and was
XXXX
(XXXXX)
well regarded as a pianist.
Country: Italy
Rossini was a master of opera buffa Italian comic opera although he also
wrote serious operas opera seria. In 1829, William Tell, Rossinis last opera
du faux texte Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Externas gentes, quibus
Period:
Romantic
(of Romanorum
39), receivedsub
itssacramento
first performance
in Paris,
where
the composer
tuto ignosci
potuit, conservare quam excidere malui. Millia civium
meo fuerunt
circiter
quingenta.
Ex quibus lived
deduxifor
in colonias aut
many
years,
following
a
few
years
in
Venice,
where
hed
fled
after
the
political
remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae
dedi. Naves cepi
Over
200 minores quam triremes fuerunt.Bella terra et
upheavals
of externaque
1848. In histoto
later
life, Rossini
exclusively
to the petentibus
sescentasWorks:
praeter eas,
si quae
mari civilia
in orbe
terrarumdedicated
saepe gessi,himself
victorque
omnibus veniam
composition
of
sacred
music.
civibus peperci. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta.
Rossinis
best-known
works
theplura
operas
William
Tell,etThe
Barber ofagros
Seville,
La Cenerentola
Ex quibus deduxi in colonias aut remisi in municipia
sua stipendis
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quam
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aut pecuniam pro praemiis
andquam
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music,tot.
Stabat mater and Petite messe
militiae dedi. Naves cepi sescentas praeter eas,(Cinderella)
si quae minores
triremes fuerunt.Bella
terra
mari civilia
externaque
solennelle.
zerty
Triplets
A triplet is a group of three notes of equal
duration that is played within the time normally
taken by two notes of the same kind.
A triplet is indicated by the numeral 3 at the beam

or is written in a bracket.
The quaver (eighth-note) triplet, for example,

consists of three written quavers that have the
duration of two normal quavers or one crotchet
(quarter note).
Sonatina in C major
William Duncombe (ca. 1736-8-ca.1818-19)
46 Pianist 78
15/05/2014 16:26
A Z E R T Y
XXXX (XXXXX)
zerty
PLAGE
Playing Tip:
This Sonatina in C major by Duncombe is a very pleasant piece to perform. At the end of each phrase mark, lift the right hand, briefly, from
the keyboard. In bar 3, allow a short break in the LH part, to create time to reach the new hand position.
Play this piece very evenly and take care to make a precise distinction between the triplet eighth-notes and normal eighth notes. It may
behelpful to use the metronome to achieve this.
Hans-Gnter Heumann continues his beginner series in the next issue.

To find out more about Heumann, go to www.schott-music.com
47 Pianist 78
15/05/2014 16:26
PLAGE
A Z E R T Y
Fanfare Minuet
XXXX (XXXXX)
William Duncombe (ca. 1736-8-ca.1818-19)
zerty
Here is another piece that makes use of repeated notes in the RH. Remember to keep the wrist loose.
du faux texte 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 cepi
sescentas 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 cepi sescentas praeter eas, si quae minores quam triremes fuerunt.Bella terra et mari civilia externaque tot.
Playing Tip:
With repeated notes, it is usual to change fingers on the same key, as in bars 1-3 in the RH of Fanfare Minuet above.
William Duncombe
(ca. 1736-8-ca.1818-19)
Country: England
William Duncombe was an organist and a composer based in London. Little is known about
his life, and he is known today mainly for his little piano pieces such as the two pieces
presented here, Fanfare Minuet and the Sonatina in C major. Both come from Progressive
Lessons for the Harpsichord and Pianoforte, which Duncombe wrote in 1778.
Period: Classical
48 Pianist 78
15/05/2014 16:26
Antonin DVORAK (1841-1904)
TRACK 8
17
bf f f
&b
pp
f
f
f.
f.
ff
f.
f.
f
f
f
f
f
f
f. f
.
fz
fff f fff f
4
1
f
& b f ff
2
1
f. f f
. >
f
>
ff f ff f
f f f f
f
f
5
1
bf f
f f
legato sempre
4
1
5
2
5
1
f f f
f bf f bff ff
5
1
4
1
4
1
bff bff
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5
1
5
2
2
1
ff
5
2
j
f.
.
ff j
J
f.
Fine
f f
f f
bf
f
bf f
f f f f
f bf f f
f f
bf f
5
1
5
2
bf f
f bf
f ff
f bf f bff
4
1
ff
4
2
bff
bf
f
bf f
4
1
f
&b f
f
f
2.
ff.
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5
1
f
f
4
1
sim.
f
f
3
1
1-2
bf
b f bff
4
2
4
2
f
& b bf
41
f. f.
bf
f
bf f
5
2
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5
1
33
ff
.
f
.
f
f. f.
f.
1.
&b f f f
25
f.
21
#ff
?b
INTERMEDIATE
In a Ring!, No 1 from Two Little Pearls B156
4
2
ff
f
f
3
2
4
2
3
1
ff b ff
ff
ff
1
2
1
4
1
5
bff bnff bff #ff bff

f
bf
f
bf f
ff
4
1
5
3
1
3
ff
Da Capo al Fine
f f f f
f bf f f
? b f f f f bf f f f f f f f f f f f f f f f bf f f f f f f f f f f
3
sim.
49 Pianist 78
P44 Scores DVORAK-FINAL.indd 49
15/05/2014 09:21
Johann Sebastian BACH (1685-1750)
TRACK 9
Bach wrote six French Suites (though he himself did not call them that; the name was
added later and made popular by an early Bach biographer) from 1722 to 1725. This
lively boure is the sixth of eight movements in the Fifth Suite.
Playing tips: This piece is a great exercise for evenness of fingers and evenness of
sound, not to mention practising your trills! Regarding the trills, Chenyin Li says
that its very important to have the hand/fingers over the note, ready, before you play
the trill. Just a split second before (thats all the time youve got really!). We suggest
(
(
h = 88 )
h = 88 )
f
f
f
f ff
#C f M
M
f
f
J
f
f
& #C( hff= 88f )
J
&
#C f f Mf f f fJ f f f f
&
f f ff f f ff f
? #C
? #C
f
f
f f f f f
? #C
f
f
{
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4
#
&
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4
4
{
{
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#
&#
&
7
#
&
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?#
7
7
{
{
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INTERMEDIATE
Bourre from French Suite No 5 in G BWV 816
32 3
32
32 3
32
3
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
f
f
f
f
f
f
f
f
f
f f ff ff f f
f
f f
f
f f f f f
f
f ff ##ff f f ff ff
f
f
f
f f #f f f f
3
f
f
f ff f
f f
f f ff
f f
4
f f f f
f
f ff 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
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f
f
f ff ff
f Mff
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f
f
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f f Jf
f f f
f ff
f f
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f f
f
f
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f f f
f f
f f f f
f
f #f f f f f ff ff f f f
f #f f f f f
f f f
f #f f f f f f f f f f
f f ff f f f ff
f
f
#
f
f
f f f
f ff ff #f f f f f
f
f
f f f f f f f
f
f
#
f
f
f f f
32
32 3
slow practising at first, hands separately. The RH and the LH are their own entities
really, so you need to focus on them both on their own first before bringing them
together. See what Graham Fitch has to say about slow practice on this particular
piece in his Masterclass feature on page 18.
Pedal tips: There are no pedal markings in the score. Thats because we suggest you
deploy very little pedal, or none at all. There should be a really rhythmic, detached
quality to the sound.
1
1
4
4
f f
f f ff
f f
f f
f f
f f
f f ff f ff
f
f f
f f f
f f
f f
f f
f f
f ff f
f
f
f ff
f
2
2
f f f
f f
f f
f
f f f f ff f
f
f
f f
f f
f
f
f m
F
f m
F
f m
F
f f f
f f f f f
f f
f f f
f f
2
3 2 3
3 2 3
3 2 3
1
1
50 Pianist 78
P50 Scores BACH-FINAL.indd 50
15/05/2014 09:22
Johann Sebastian BACH (1685-1750)
TRACK 9
f
f f
11
# f f f
&
f f
f
?#
&
# F
#
& f
?#
#f
f f
f
f f
J
32
f #f
nf
ff f
f f
f f f f
nf #f f #f
#f
f
f f
1
f f f
f f f
f
f f
4
f #f
f f
f
4
f f f #f f
1
f f
f f f f f f nf
f
f
f f
f
f f
4
f
5
f f f
4
3
f f
1
f
f f
4
f f
5
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
1
#fffff
?#
f f
22
&
?# f f f
f f
26
f f
f f
n f f #f f f f f f f
f
f
#
f
n
f
f
f
f
f
#f
f f
nf #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
1
# f f #f #f f
&
18
f
f f
f f F
42 32
f f
f
? #
14
INTERMEDIATE
Bourre from French Suite No 5 in G BWV 816
ff f
f m
f
f f f F
ff f
32
fff
f
ff
ffffffff
f
fff fff
2
fff
fffff fff f
f
f
f
f f
1
f f
51 Pianist 78
P50 Scores BACH-FINAL.indd 51
15/05/2014 09:22
TRACK 10
D
REA E ON
L
C
I
T
AR
OLL
Jelly Roll MORTON (1890-1941)
YR
JELL RTON
MOPAGE
INTERMEDIATE
King Porter Stomp
76
It took Jelly Roll Morton three years to finish King Porter Stomp, but from its first
appearance in 1905, it became a jazz standard and Mortons calling card.
Playing tips: Listen to the CD and notice how Chenyin Li swings the quavers.
They should not be even or you completely lose that stride feeling. Dont force the
sound. There always needs to be a relaxed and easygoing quality to this piece. We
have placed some fingerings into the score, but not that many, because there wont
be many alternatives, and you should find the notes sit well under the five fingers.
Theres quite a bit of jumping around the in LH, so slow practising is required,
making sure its clean at all times. Only build up the speed when the notes are secure.
It might sound impossible, but try to play the LH without looking at your hand.
Search for the notes. Make the last page really come alive! We like the way that
Chenyin Li makes a roll on the last chord. Feel free to do the same.
Pedal tips: Play around with the pedalling. We have suggested one pedal per stomp.
That is, two pedals per bar. Pedal down on the first crotchet, up on the second, down
on the third, up on the fourth. See how that goes. Some pianists might prefer just
one pedal on the first crotchet only per bar.
Allegro q = 160
bbbC f f f nf f nff ff
b
&
fJ f
3
f
f
nFF
? bb bC ff
nF
b
f
f bf f nf f nff fff
J
3
{
4
f
n
b b ff ff
b
& b
b
& b bb ff
?f
ff
ff
f
ff
ff ff f ff f ff
mf
1
4
2
5
ff ff
ff
1
5
ff
ff ff
fJ f
ff f ff
f f f
f
f
ff f ff f ff
ff
ff
#ff
5
3
ff
f
f
f
j
#f f
b f
& b bb F nf bf nf fF bf f f ff ff f ff f f f
f nf
? bb b f
ff ff ff bf f
b fJ
bf f
ff
nff
f f f f
n ff ff
f
f
ff bf
bf
ff ff
f bf f f f bf f
f
f
f
f
f nf f f
3
1
12
&
1
5
3
1
bff
nFF
nF
ff ff
bbb nfj f ff ff f f f
b
&
f
f
#f fJ f
J
f f
f
ff f ff
? bb b f ff f ff
f f f
f
f
b
f
4
3
1
ff
1
2
4
ff
J
5
3
f fff
f
sim.
f f
f nf f ff nff
2
f
f
ff
f
f bf
f bf
f
f nf f f
f
f
ff
f
ff
J
f fff
f
52 Pianist 78
P52 Scores KING PORTER-FINAL.indd 52
15/05/2014 09:22
TRACK 10
INTERMEDIATE
King Porter Stomp
bbb j f ff ff f f f f f nff
b
nf f
& nf
J
16
f
? bb f
bb
ff
f
ff
f
f
f
ff
f
f
f
f
n ff
nf
nf
f ff f f f f f f f f
J
nf ff ff nbff f bff ff f fff
ff
f
f
f
F
F
f f
f f
f
f
f
f
f
f nf f nf ff ##ff f
ff nf f nf
1.
ff f ff ff
b
b
b
b
f
&
ff bf nf f
20
? bb b f nf
b f nf
f
f
2.
f ff
f
bb f f f f f
b
& b
f nf f f
23
bf
? bb b nf ff
b nf
b bff
& b bb fJ
27
? bb b fj f
b f
f
marcato
ff
f
f
f
fff
j
f f f f
f f
f
f
bf
bf
f
f
f
f
ff
ff
f
f
ff
f
f
f f
nf f f f f f
f nf
f nf
n ff
f
f
f
f
f
f f f f
f f fff fff f f f nff nff bff ff f f
nf
nf
f
f
f
f
ff
f
f
f
f
f f
f
f
b
b
f
f
f f
&b b
mf
31
? bb b f
b f
ff
f
f
f
f ff f f ff ff
f
f
f f f f
n
f
f f f f
f
f
f f f f f f
f f f f nf
f
f f
f f f f f nf f
fff
21
fff
f f f f f
f f f f f
J
nf
nf
f
f
f nfff
f
f
f ff
f
f f nf f f f
f
f f
n ff
f nf f
f nf
f
f
f
f
fff
fff f fff fff f fff

f
f
ff
f
f
f
f
f
53 Pianist 78
15/05/2014 09:22
TRACK 10
4
3
1
f
ff
bb f f f f f f
& b b ff ff ff ff
34
? b b ff
bb
f
ff
f
f
f nf f f f
b
f f
& b bb f nf f
f
f
f
f f f
? bb b f nf f f f
nf
b
f
f
Trio
ff f
b
b
& b b b f ff
ff
f
nF
nF
? bb b F
bb F
bbb fff ff fff

b
f
& b
45
bbb fff
b
& b
? bb b FF
bb
ff
f
ff
f
nF
nF
nf f
n fJ f
bf
bf
ff
f
nF
nF
? b b FF
bbb
49
ff
f
ff
f
nf
n
f ff
f
nf f
n fJ f
bf
bf
bbbbb
f f f
f f f
bbbbb
nf f
n fJ f
fj f
f f
f f f
f f f
f bf f f f f
f bf f f f f
f
f
ff
f
ff
f
f bf
f bf
f bf
f bf
fj f
f f
ff
f
>f
f
f
f
fj f
f f
nf
nf
f f f bf f f f f
f f f f f f f f
f
ff
f bf f f f f
f bf f f f f
f F
nf ff nff FF
n fJ
J
bf
bf
f f f f f f f f
f f f bf f f f f
Interlude
f
ff nff f ff
f f f f
f f f f f
f
f
f
38
41
INTERMEDIATE
King Porter Stomp
ff f
f ff
ff
f
F
F
nF
nF
ff
f
bf
bf
ff
f
ff
f
f bf
f bf
nff f ff bf ff
f
f
f
fj f fj f fff
nff ff bff ff
nf
nf
f
f
ff
f
ff
f
f bf
f bf
F
F
f
f
ff
f
ff
f
nF
nF
ff
f
nf f
n fJ f
bf
bf
f
f
f bf
f bf
fj f
f f
ff
f
ff
f
f bf
f bf
54 Pianist 78
15/05/2014 09:22
TRACK 10
bbb fff ff
b
& b
bf
f
ff
? b b FF
bbb
nF
nF
53
Stomp
b f
& b bbb ff
? bb b f
bb f
fff
nf
nf
57
INTERMEDIATE
King Porter Stomp
ff
f
f
nff
f F
nf ff nf F
f F
nf
J
J
bf
bf
nf
nf
j
nfff fff
ff
f
fff
f bfff
f
f
f
? bb b f ff nf ff
bb f
nf
f
f
b f
& b bbb ff
ff
f
? bb b f
bb f
fff
nf
nf
fff
f bfff
f
f
nff
b
& b bbb fff nfff
69
f
f
? bb b f ff nf ff
bb f
nf
ff
f
fff
fff
f
f
f
f
fff
nf
nf
j f f
f
f
ff
ff ff ff
b
& b bbb fff nfff
61
65
f bf
f bf
f f
f f
j
nfff fff
f
nff
nf
nf
ff
f f
f
f
f
fff
nf
nf
f f
f f
f
nff
f
f
f
f
f
f
j
nfff fff
ff
f
f
f
ff
f
fff
f bfff
f
f
f
f
f f
f
j
nfff fff
ff
f
fff
f bfff
f
f
nf nff f bff bfff
J
ff
f f
nf
f
f f
nf
fff
f
f
fj f fj f f
nff ff bff ff b ff
f
f
F
F
fff
ff
f
nff f ff f ff
f
f
f
ff
f
j f f
f
f
bff
ff ff ff
f
f
f
nf nff bf bff fff
J
ff
f f
nf
f
f f
nf
ff
f
ff
f f
f
nf f f f bf
ff nf f f f bf
f
f
f f f
f f
f
f
55 Pianist 78
15/05/2014 09:22
TRACK 10
f
b
b
&b b b f
? bb f
bbb f
ff nf
f
nf
73
f
b
& b bbb f
? bb b f
bb f
fff nf
nf
77
ff
f
fff
? bb b f
bb f
fff nf
nf
nf
b nf
& b bbb
85
nf f f f bf
nf f f f bf
f
f
f
f bfff
f
f
f
nf f
J
nf
b nf
& b bbb
81
nf
nf
f
f
f bf f f f
f bf f f f
fff
f
f
ffff
f bf
f bf
nf
nf
f
f bfff
f
ffff
f
f
nf
nf
f
b
& b bbb f
nf
nf
f bf
f bf
f
f
nf
nf
f bf
f bf
? bb b f
bb f
f
f
nf
nf
bf
bf
nf
nf
bf
bf
nf
nf
f
f
f
f
f
f
f
f
f
f
nf
nf
fff
f
f bfff
f
ffff
f
f
nf f
nf f
bf
bf
f
f
bf
bf
nF
nF
fff nf
nf
f
f
ffff
nf
j
j
f
nf
nff fff bff ff
f f
f bf f f f
f bf f f f
f
f
nf
nf
f
f
f
f bfff
f
ff
f
F
F
f bf f f nf f bf f f
f bf f f nf f bf f f
fff
ff nf
f
nf
nf
nf
fff
nf f f f bf
nf f f f bf
nff f fff f ff
f
f
f F
J
? bb b f
bb f
88
INTERMEDIATE
King Porter Stomp
f
f
f
f
f
f
nf f bf
nf f bf
bF
bF
FF
bU
F
U
F
F
Fine
56 Pianist 78
15/05/2014 09:23
ISS
T M
AMS
H
A
DON
PR
LUCY
IECE
HIS P
ON T GE
ON
LESS
TRACK 11
ADVANCED
PA 4
2
Debussy wrote two books of Images; Reflets dans leau (Reflections in the water) is
the first piece (of three) in the first Images book, which was published in 1905. I love
pictures almost as much as music, Debussy once said, and his passion for creating
colour and visuals with sound is clearly manifested in this piece. It has been said that
he even had a specific image in mind for Reflets dans leau: a stone thrown into calm
water and rippling the waters before stillness returns.
Playing and pedal tips: When you listen to our house pianist and cover artist
Chenyin Li play this on the covermount CD, you will no doubt fall in love with the
piece and want to learn it, and you should! This piece is all about evoking colour
dappled reflections in the water of course. Pedalling is not marked into the score. This
was common practice for Debussy, who expected the performer to know how to use
the pedal. There are lots of notes, and it will take you a long time to learn, but its
worth the work. Learn in small sections that should help.
Read Lucy Parhams step-by-step lesson on this piece on page 24.
Andantino molto
ff f
f
f ff f
ff ff
f
f
f
f
f
f
f
b
f
4
f f
f
b
f
f
f
f
f
f ff
f
f
& b b b 8 f ff ff ff
f
f
f
ff f ff
f fff f
ff f f
f
pp
f
fff
f
f
r
? bb b 48
&
f FF
b b FF
(Tempo rubato)
{
4
b
& b bbb
b f
& b bbb ff
ff fff fff fff ff f

f
f ff ff
f
fff
J
ff ff fff
fff f f
f
f
f
fff f ff
pp
f
f
f
f f
ff ff
f f ff
ff f
f
f fff f
ff f ff f ff
ff ff
ff f ff
f f
f
fff
f
r
&
f FF
.
. . .
.
pp
.r
ff ff f
f f . .. .
f
ff f f ff ff f
ff
ff
f
f ff ff
r
f
3
f
f f f f
ff f fff b f 48
f ff n f ff
f
8
f
f
f
f
f
f
f b ff
ff n ff n ff f
f b ff nb ff n ff f b f b f
pp
b
& b bbb
b f
& b bbb ff
pp
fff ?
f nf f bf
J
f nf f bf
pp
r
f bf nf f bf nf f
f bf nf f bf nf f
3 f
8
f
4
f 8
57 Pianist 78
15/05/2014 09:23
TRACK 11
ff
ff
f nff
bb4
f FF
& b b b 8 fFF f
n F f f
f nf f
r
pi p
f
f
?
? b b 48 F
F
b b b F &f f
& nf
nn FF f
12
a tempo
ff f f
16
ff f ff f ff f ff f f f f
b
f f ff f f ff f ff f f
b
&b b b
ffff
- f
n ff
ff
f n ff ff
f
fff
rit.
bff f f
b f fbff ffbbnfff n ff b ff b ff FF
nf ?
f nf
bf
bf
bf f
pp
f
b f f f bff ff
3
pp
fff
bFFFf
F
j
nnff- ff
&ff
p
3
ff ff
ffff
f
b f f f bff
pp
f ff fff ff ff ff nffff f f
? bb b
f
f
b b f f f f f f f ff f
f fff
ff
fff
pp -
j f
nf-f ff f
ff
f-
ff
ff b f
n
f
f
n
f
f
f
n
f
b
f
nf
nff bffffbf bfbf fbf nf#f #fnf nf
n
f
n
f
nf
nf#f #fnf nf
quasi cadenza
b
& b bbb b f ffff
20
ADVANCED
nf
-
#f
-
? bb b f
bb-
nf
&
pp poco a poco cresc. e stringendo
b
& b bbb
22
f
b ff
bbb f f
b
& b -
f ff
ff
ff
fb f
fff
nf
-
#f
-
f
-
ff fff
b fn f
f
nf
f f b ffff
f
f
f
bf
ffbf f
-
ff f f
-
ff f
nf
-
58 Pianist 78
15/05/2014 09:23
TRACK 11
ADVANCED
fff
b
& b bbb
bf f f f f f f f
bf
f f
f
b
f
f
f
ffff
f
f
f
f
f
f
f
ffff ffff
f
f
ff f f f f f
? bb b
bb
<>
f
f
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f
f
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24
bf f f f f ff
ff f f f f f b f f f f f f f
ff f f f f f
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4
b
bffff ffff
bffff ffff
& b b b8
bf
bf
mesur
ppp
13
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bb
F
-
13
13
& f
f
F
bf
pp doux et expressif
13
bf f
pp
<>
f
f
f
f
f
f
f
f
f
f
26
bf ff f f ff
nf
ff ff
fff fff
fff fff
f
f
b
b
bffff ffff
nffff ffff
&b b b
bf
nf
bb
&b b b f
F
13
13
14
bF
f
bf
14
f
-
<>
f f f f
fff fff
f ff
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28
f
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ff
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ff f f f ff f

& b bbb
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10
? bb b
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15
13
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f
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& f
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ffff
59 Pianist 78
15/05/2014 09:23
TRACK 11
ADVANCED
<>
fff fff fff

f
3
f
f
ff
nfnff
bbb
f
f
f
f
f
b
f
b
f
f
n
f
& b
fnnff bb ff n ff nbnfff
ff
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30
b
& b bbb
fffff
f
pp
&
ff
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b
& b bbb
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fnf ?
nff
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ff
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au mouvt
35
pp
f f f f
nnfff bbnfffnbfff nbnfff
f f
fnf ? f n3f bff nff
nff
f
f
-
rit.
f
bbb nfnff
b
& b
? bb b
bb
ff nff bff nff

?
f
f
32
mf
f
ff f
f
fff
f f
ffff
f
ff
ff
f nf
nff
&
f
ff
ff
f. f. f. f f f- f- f-
fnf
nff
ffff
3
pi p
fJ F
fffff f
f fff
r
f
ff ff f
f
ff
ffff f
ff ff ff
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b
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b
f
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b
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f
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b
& b
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3
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37
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&
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60 Pianist 78
15/05/2014 09:23
TRACK 11
bb
&b b b
39
ADVANCED
pp
fff
? bb
bbb f
ff
fff
ffff
- 3
f
ff
3
ffff
f
f
ff
ff
ffff
fffff
fffff
f
r
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61 Pianist 78
15/05/2014 09:23
TRACK 11
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62 Pianist 78
15/05/2014 09:23
TRACK 11
55
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63 Pianist 78
15/05/2014 09:24
TRACK 11
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64 Pianist 78
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TRACK 11
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65 Pianist 78
15/05/2014 09:24
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66 Pianist 77
13/05/2014 11:49
A WEEK IN THE LIFE OF
Hugh
MUS
C a n ni
IC C
RITI
C
ng
Once voted critic of the year, Hugh Canning, Chief Classical Music Critic on the
Sunday Times, spends his week concert-going, writing and dodging deadlines
Francesco Guidicini
always get a buzz out of opening the paper. Its the first
thing I read, to see what my writing looks like on the
page. Theres a huge difference how it looks on page to
how it looks on screen, what with the illustration and
how the editors have presented it. Sometimes I spot a mistake
Ive made, and I hate that! I have a tendency to overwrite and
my editor has to cut. I have a great editor, Adrienne Connors.
I usually get up between eight and nine, make myself
coffee, skim through the papers online, look at emails, peruse
a few music websites to see if theres any fascinating news.
My editor will ring me on a Monday at around 11am thats
the day my record review is due and ask if Ive started yet.
(I have work avoidance strategies.) Mondays and Tuesdays
are my big working days, so Ill get down to listening to my
reviews. I should have them in by 3pm, but its sometimes
nearer to 4pm, and I hope to get my main piece done by
no later than 4pm on a Tuesday. I never go out for lunch
on Monday and Tuesday! On the other days, I get emails
asking to review this or that record. Theres so much good
stuff coming out. I usually read about a performance that
Im going to later. I am more relaxed in the end of the week.
I am not the kind of person who is up at the crack of dawn,
working hard at their desk. I am a little more leisurely. I
always leave deadlines for the last minute. I do find that the
adrenaline of a deadline helps me!
I got into this job by accident. I had written about music,
particularly about opera, ever since I was a student. My best
friend at university said, You know so much about music
and opera, you ought to think about being a critic. And then
I started reviewing. I never thought this was going to be my
bread and butter; I thought it was just a sideline. Theres no
job training for a music critic really some say there should
be. Apart from when I went up to London to see Robert
Maycock and Richard Morrison (editors of Classical Music
at the time) and Keith Clarke (then editor of Music and
Musicians) to ask if I could write for them, Ive never actually
applied for a job! I was staggered when they asked me to join
the Sunday Times. In 1994 I won Critic of the Year I am
still the only classical music critic to have won it since 1994.
As a rule, I dont make notes when Im reviewing. I dont
remember everything, sure. But there are two reasons why
I dont make copious notes: one, I think its distraction for
other people and two, I dont want to be identified as a critic!
They know immediately, and I try to avoid being recognised.
The skills one needs to be a critic are good memory, and
being able to write in a communicative and entertaining
way. Im not a scholar. Some people think critics ought to be
scholars. My personal view is that you have to have strong
opinions, and you have to justify those opinions. You have
to communicate a sense of what the performance was like,
whether you liked it or not. Theres a lot of criticism thats

afraid to say that. Its finding a balance. On the one hand,
you dont want to ruin a persons career. But to be honest,
I dont think critics have ever ruined a career. Look at
Sinopoli, for example. I would say during the 13 years at the
Philharmonia, 80 per cent of his publicity was hostile. When
he had gone, I read the critics had driven him out. Thirteen
years is a long time to be driven out by the critics! I dont
think that critics are as influential as people think.
The spectrum of opinion that we have in London is very
desirable. Some think nothing of Brendel, while others
lionise him. Schiff has enjoyed huge acclaim, but
he sometimes feels that hes unfairly criticised in London.
People here can come away with good reviews as well as
bad. I dont go out of my way to review artists that I dont
particularly like. I dont see the point of doing that.
Ive heard some great piano recitals, including one of the last
by Richter it was a great event, even though by then he was
probably not at his peak. There was an aura of concentration
and a sort of power. Today we are living in an era of so many
wonderful pianists. Ive always loved Brendel. For me, he
always epitomises the kind of artist who puts the music first
and doesnt seek to impose his own ego on it. He represents
that Schnabel tradition. I am very fond of such players as
Imogen Cooper and Paul Lewis. Argerich, of course, is
wonderful, though Ive never heard a live recital from her.
This job is my social life. I still pinch myself that Im in a
job where I can take my friends to work! There arent many
jobs you can say that about. Unless you are out on the road,
a war correspondent or something, journalism is quite a
lonely profession. You are at home writing all day, and the
chance to go out in the evening, to see a show and to be able
to take someone with you, its one of the joys of my life. I
am usually out five or six nights a week. I have made a lot of
friends. I am blessed with some great colleagues, essentially
rivals, who have become great friends. I am doing what I love.
Music is so enriching and rewarding, and as Ive grown
older, I become more conscious of how little I know and how
vast the field is. I heard Schiff do the great Bach works at the
Wigmore Hall before Christmas, and to hear the Partitas and
the English Suites played by someone who has devoted his life
to that music, gives so much pleasure. Its fascinating to hear
different players tackling the same repertoire. Think of the
way Barenboim plays Bach, then Schiff, then Angela Hewitt.
I enjoy Angelas crispness she emulates the sound of the
harpsichord, plucking the strings. I adored Tatiana Nikolayevas
Bach too. I remain convinced, despite all the doomsayers, there
will always be an audience for this great music.
Hugh Canning spoke to Erica Worth.
67 Pianist 78
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15/05/2014 09:49
E D U C AT I O N
TURKISH
DELIGHT
at the BBC Proms
Erica Worth looks at an exciting young orchestra making its Proms debut this season the
Borusan Istanbul Philharmonic Orchestra and talks to its dynamic conductor, Sascha Goetzel
is coming to London. The orchestra

makes its Proms debut on 29 July with
an exotic programme that includes
Lyapunovs orchestral arrangement of
Balakirevs Islamey (inspired by folk
songs from across the Turkish border
in the Caucasus), as well as Mozarts
take on a Turkish harem in the overture
to Die Entfhrung am dem Serail. The
Queen of Sheba makes an appearance
in two other works: Handels (arranged
by Beecham) Solomon The Arrival of
the Queen of Sheba and Respighis Belkis,
Queen of Sheba. No pianist(s), alas,
this time, but violinist Daniel Hope
will play the world premiere of Gabriel
Prokofievs violin concerto.
So what can we expect from such
a young band, which started out as a
chamber orchestra and only gave its
first concert as the BIPO in 1999?
Photos, clockwise from

top: conductor Sascha
Goetzel leads the Borusan
Istanbul Philharmonic
Orchestra; Pianist Editor
Erica Worth with the
Pekinel sisters; the BIPO
on stage. The artwork
behind the headline is
195 Colours by Turkish
artist Ekrem Yalcindag
Who better to ask than the charismatic

Austrian conductor Sascha Goetzel,
who officially took charge of the BIPO
in January 2009. Speaking with him
the day after the opening concert, I ask
him why he decided to take the BIPO
position. They invited many people to
play with the orchestra before decided
who their conductor was going to be,
Goetzel replies. I was here to guestconduct Dvok Ninth. I thought to
myself, This is going to be the biggest
challenge of my life but the most
rewarding one. When they offered me
the job, I asked Daniel Barenboim for
his advice. He just said, Go!
What about the orchestras experience
with playing Western music? For 15
years we had been a chamber orchestra,
Goetzel tells me. Then we transformed
it. In 2010, when Istanbul became
Harald Hoffmann; Hadiye Cangokce
urkey has rarely

featured inside
the pages of
Pianist. Yes, there
have been cameo
appearances
by the Pekinel
sisters, the famous
identical twin piano duo, and Fazil
Say, the pianist and composer. Other
than these isolated artists, Pianist, like
so many others, hasnt been thinking
of this country as a major player in
the world of classical music but that
viewpoint is seriously out of date. Last
autumn, I sat in a concert hall in the
heart of Istanbul, watching the Pekinels
perform in the opening concert of
the Borusan Istanbul Philharmonic
Orchestras 201314 season, witnessing
the metamorphosis of Turkeys classical
music scene for myself.
Its 10 October 2013, and this
concert is a grand affair the 2,000-seat
Lufti Kirdar International Convention
and Exhibition Centre is full and the
atmosphere is quiet and expectant as
the Borusan Istanbul Philharmonic
Orchestras (BIPO) artistic director and
principal conductor Sascha Goetzel
walks on to the stage. The evenings
performance is an energetic mixture of
Mozart, Mendelssohn (the Concerto for
Two Pianos in E, featuring the Pekinels)
and Brahms, played to an incredibly
quiet audience. For my part, its great
to see the Pekinels in action. And as I
wrote in issue 75s News, its fascinating
how the sisters seat themselves on
stage one piano is positioned behind
the other. Even if they cant see each
other, they are well in synch and also
in synch with the conductor and the
orchestra. Its an impressive concert.
And now, this summer, as part of
the BBC Proms season, the BIPO
68 Pianist 78
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15/05/2014 09:49
the Cultural Capital of Europe, thats

when we really needed a new musical
direction to bridge the gap between
Turkey and Europe. The orchestra is
open to the Western repertoire, 100 per
cent. The players have had to learn our
traditions, of course, and I have brought
my Viennese traditions with me. But its
a step-by-step process. The musicians
are really open to this. Some have never
heard the music before its their first
time playing Mahler and so on. In fact,
Mahler Sixth and Third had never been
done in Turkey before. So when we did
Mahler Sixth, it was the first time for
the orchestra and the audience. Can
you imagine the experience of the music
and the orchestra together it was like
a world premiere! Then after we did it,
we noticed that other orchestras here
copied us two or three seasons later!
For Goetzel, it is imperative that the
BIPO has a real nationalistic identity.
Its important to have a real Turkish
orchestra the players are 95-97 per
cent Turkish and about 50 per cent are
women. Our team of administrators
makes us strong as well. We work
together, choosing the artists and so on.
Thats most likely why people admire
us and want to play with us. I should
mention here that the BIPO is lucky
to have strong backing behind it, with
the Turkish industrial conglomerate
Borusan Holdings supporting the
Borusan Centre for Culture and Arts
(of which the BIPO is a significant part)
with a $10 million yearly budget.
About the line-up of visiting pianists,
Goetzel adds, we get lots of pianists.
Just look at the line-up for 2013-14: the
season includes Perahia, Valery Sokolov,
the Pekinels and Rudolf Buchbinder.
Other pianists that have appeared with
the BIPO include Lang Lang, John Lill,
Freddy Kempf, Joanna MacGregor and
Alexander Melnikov. As I write this,
Buchbinder has also just performed the
full Beethoven sonatas as part of the
BIPO Beethoven celebration. Goetzel
10 PICKS OF
THE PROMS
Here are our top

choices for piano
concerts at the BBC
Proms this year
Barry Douglas Brahms Piano
Concerto No 1 with the London
Symphony Orchestra and Valery
Gergiev (29 July)
is proud to tell me, too, that in 2010

the orchestra performed at the opening
ceremony of the Salzburg Festival.
If you cant make it to hear this young
orchestra give its BBC Proms debut on
the 29 July or you cant get to Istanbul
to hear them in their home, theres
always the BIPO on disc. The orchestra
has released two discs so far on the
Onyx label (the first: music by Respighi,
Hindemith and Schmitt; the second:
Music from the Machine Age, works by
Prokofiev, Schulhoff, Bartk, Holst and
Ravel). A new release is coming out in
conjunction with the BIPOs Proms
debut (one day earlier, in fact, on 28
July) featuring some Orient and Middle
East delights in the form of RimskyKorsakovs Scheherazade, Balakirevs
Islamay, Two Caucasian Sketches by
Ippolitov-Ivanov and more. The playing
of this Turkish orchestra has lots to offer
the musical world, and its exciting to
see it take off.
The Borusan Istanbul Philharmonic
Orchestra appears at the BBC Proms on
29 July. To find out more about the BIPO,
go to www.borusansanat.com and for its
recordings, www.onyxclassics.com. For
details about this years BBC Proms, go to
www.bbc.co.uk/proms.
Ingrid Fliter Mozart Piano

Concerto in A K488 with the
BBC Symphony Orchestra and
Josep Pons (28 July)
Alexandre Tharaud Ravel Left
Hand Concerto with the BBC
Philharmonic and Juanjo Mena
(30 July)
Benjamin Grosvenor Chopin
Piano Concerto No 1 with
the BBC Philharmonic and
Giandandrea Noseda (8 Aug)
Louis Schwizgebel Prokofiev
Piano Concerto No 1 with
the National Youth Orchestra
of Great Britain and Edward
Gardner (25 Aug)
Francesco Piemontesi Mozart
Rondo in A for piano and
orchestra with the BBC National
Orchestra of Wales and Thomas
Sondergard (11 Aug)
Jonathan Biss Bernard Rands
Concerto for Piano and
Orchestra (UK premiere) with
the BBC Scottish Orchestra
and Markus Stenz (15 Aug);
Schumann Piano Concerto
Orchestra with the Iceland
Symphony Orchestra and Ilan
Volkov (22 Aug)
Alexander Toradze Scriabin
Prometheus: The Poem of Fire
with the London Philharmonic
Orchestra and Vladimir
Jurowski (28 Aug)
Harald Hoffmann; Hadiye Cangokce
Denis Matsuev Rachmaninov

Piano Concerto No 2 with the
Qatar Philharmonic Orchestra
and Han-Na Chang (7 Sept)
69 Pianist 78
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15/05/2014 09:49
E D U C AT I O N
Top
Marks
ts an experience that many of

us recall only in nightmares:
the thumping heart; the
sweaty palms; the apparent
disappearance of everything
we had painstakingly learned
about scales and their key
signatures from our mental filing
cabinets. Whether they made it as
far as Grade 8 or diploma level or
never got further than Grade 2 or 3,
many adults look back on the ritual
of taking practical music exams as a
kind of torture inflicted upon them by
sadistic parents and teachers. Part of
the pleasure of returning to playing or
singing in later life is the knowledge
that the dreaded exams do not have to
be part of the process.
Thats certainly how I felt, having left

school at somewhere around ABRSM
Grade 6 standard, and escaping an actual
assessment at that level by taking an
O-level practical test considered to be
more or less equivalent. But I do
sometimes find myself digging out those
old exam anthologies and wondering if
I should go back and take a couple more
grades. I know Im not alone in feeling
that without some sort of challenge my
playing will remain very rusty indeed.
For many adults who return to the piano
or take it up from scratch as a spare
time or retirement project, it can be
inspiring and stimulating to have their
efforts acknowledged by the award of
a certificate of achievement, even if it is
only Grade 1 or 2.
So what are the pros and cons of
taking exams?
Our graded exams provide
motivation and inspiration as you
work from a carefully structured
syllabus towards a definite goal, says
the ABRSMs Syllabus Director, Nigel
Scaife. Theyre a measure of personal
progress and attainment against
established, international benchmarks.
They provide a focus for your work
and an objective guide to improve
your musical skills. An exam is also a
valuable performance opportunity
not forgetting that pieces played in the
exam room are also wonderful concert

pieces that you can play to friends,
family, and perhaps the public.
Essex-based Fiona Lau is currently
teaching seven adults, who are at
varying stages from beginners to restarters and teachers wanting to update
their keyboard skills. Together they
make up 50 per cent of my home
teaching, she says. I like working
with adults because they decided for
themselves that they wanted to come for
lessons, rather than having someone else
decide for them as is usually the case
with children they are well motivated.
One is preparing for her Grade 1 exam,
one for Grade 8 and one is preparing to
take the ABRSMs diploma in teaching.
In general, Lau doesnt encourage
adults to take exams they get
extremely worried and there are better,
more enjoyable ways to motivate them
and help them achieve but she
admits that the discipline does focus the
students practising and provides some
sort of measurable and recognisable
achievement. The impetus to do it
comes from the students themselves,
for a variety of reasons: Teachers might
need to have a diploma, for example, to
get a job with a music service. Others
see it as a symbol of their achievement.
Frances Wilson, who blogs on music
and pianism as The Cross-Eyed Pianist,
Courtesy of Nationwide Music Exams (main image); ABRSM (page 71)
Can doing a graded music exam help you become

a better player? Clare Stevens talks to examiners,
teachers and adult students who have taken the leap.
Plus, Ed Balls shares his exam-taking experience
70 Pianist 78
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15/05/2014 09:50
also enjoys teaching adults, because

one can engage in more involved
communication than one enjoys with
a child. One can explain concepts and
technical issues in detail, and feel that
the student has understood what is
being asked of them.
Exams are not obligatory in my
studio for either adults or children
and I tend to let the student decide.
If an adult student wants to study for
an exam, I would always support their
decision, she says. If they do want to
go down that route, the advantages
are the personal challenge and setting
oneself a tangible goal, musical progress,
improved technique, increased musical
awareness, and exposure to new
repertoire and technical work. Wilson
currently has two adult pupils, one of
whom passed Grade 1 last year and the
other passed Grade 2 with a high merit,
but they are not working towards exams
at the moment.
Statistics about the numbers of adults
taking grade exams in piano are scarce,
but the ABRSM says that for the past
decade around 5 per cent of the total
number of candidates have been aged
over 18. The only countries where the
percentage of adult candidates seems
to be on the rise are Japan and Nigeria.
There are also quite a lot in Ghana,
often teachers taking exams just ahead
of their students or because they want
to be church organists a good piano
exam from ABRSM is a helpful way in,
says John Holmes, Chief Examiner for
the ABRSM.
Asked if the board encourages
teachers to enter adult students for
exams, Holmes is emphatic: We
certainly do! We are very proud of the
fact that grade exams are not agespecific unlike, say, GCSEs. Many
people have regrets later in life and wish
they had done better at school, but its
quite hard to go back and retake that
sort of exam. With music exams, you
can do them as many times as you like.
Holmes cites a recent radio interview
in which BBC political correspondent
Ben Geoghegan talked about taking up
TOP
TIPS
1
2
3
The right atmosphere

All that said, examiners these days are
trained to put candidates of all ages at
their ease and make the experience as
comfortable as possible. We pride
ourselves on creating a friendly yet
professional atmosphere in which students
can give the best possible performances,
says Peter Wild, Associate Chief Examiner
for Trinity College London. We
SUCCESSFUL EXAM PREPARATION

Plan ahead. Make a long-term plan for your lessons and practising.
Dont choose a level thats too high for you. Its best to go for a level below.
Choose repertoire that you like and enjoy playing. Use stimuli from a
variety of sources, such as paintings, biographies and poetry.
Work on your weak spots. If its sight-reading that you fear, for example,
then work on that doubly hard.
Perform in front of others before the exam give one or two mini-recital for
friends, ideally not on your own piano in your own surroundings.
understand how they are feeling, and we

know that those first 30 seconds of
meeting and greeting can mean
everything in terms of helping them to
relax and play as well as they can.
Asked about how teachers can best
support their pupils who want to take
exams, Wild suggests that it may be
helpful for them to take an exam at a
lower grade than the general level of their
playing, so that they can be absolutely
confident that they have a chance of
doing themselves justice. They should
also be given opportunities to play
to other people in a non-judgmental
situation a small recital for family and
friends, perhaps, or even more informally
to fellow pupils so that they get used to
playing to other people.
Frances Wilson adopts this approach.
All my students are thoroughly prepared
for their exams in terms of repertoire,
technical work, aural, sight-reading and
musical knowledge. I offer guidance and
support on dealing with performance
anxiety and arrange performance
opportunities and play-throughs to help
build confidence ahead of an exam.
Choosing the most appropriate
exam board and repertoire is also an
important factor. John Holmes says the
ABRSM syllabus is constantly evolving
to offer as much choice of style as
possible. One of the reasons the board
doesnt include graphics or images on
4
5
the flute as an adult, and deciding to

put himself through the exam experience
[see interview with UK Shadow
Chancellor and piano exam taker Ed
Balls, page 74]. Bens reasons for doing
it were fantastic, says Holmes. He said
he found that he made more progress
with the instrument when he had a
target in mind; he expressed his sense of
personal achievement very eloquently,
and summed up so many of the things
we feel about the learning process.
My own understanding was
enhanced when I ran in the London
Marathon and realised as I was
beginning to get very tired at around
18 or 20miles that the mile markers
were a lifeline. Theyre fixed points
you know if youve got to the next one
youve made a progression. They help
you to pace yourself, and its the same
with music exams. We do feel they are
very helpful.
Related to that is the objectivity of
the exam situation adult students can
develop very intense relationships with
their teachers and it is often helpful
to be assessed by someone who knows
nothing about you. On the other hand,
adults can be even more intimidated
than children by the whole experience
of walking into the exam room and
having to play on an unfamiliar
instrument to a complete stranger who
is also a highly qualified musician.As
John Holmes points out, children are
professional learners, used to being
tested in a variety of situations; for
adults the only comparable experience
theyve had since leaving school may be
taking a driving test which of course
can also be horribly stressful.
71 Pianist 78
15/05/2014 09:50
E D U C AT I O N
its anthologies is that they are deliberately
designed for students of any age to feel
comfortable using them and carrying
them around.
When making repertoire choices for
the grades we are always aware that we
are not just catering for children, says
Nigel Scaife. Even at Grade 1 there
about designing syllabuses is the need

to balance the diverse needs of our
many candidates, who live and learn
all over the world, span a wide age
range, and have very different cultural,
musical and educational backgrounds,
says Christopher Walters, head of
qualifications for Trinitys music
Many adults who take up the piano find it

inspiring to have their efforts acknowledged by
the award of a certificate of achievement, even if
it is only Grade 1 or 2
are pieces which are more adult than
others. For example in the current
syllabus (2013-14), there is a lovely
Prelude by Purcell which will certainly
be rewarding for any player and is well
suited to a full-sized hand due to the
quite wide arpeggiated patterns. Julian
Andersons Somewhere Near Cluj at
Grade 2 is a haunting, post-Bartk-style
folk-infused melody requiring quite a
sophisticated understanding of how to
create mood and atmosphere in a slowmoving piece, as well as how to shape
and sustain long melodic lines. While
technically quite easy, this demands
a mature musicianship, so probably a
good choice for someone who has spent
years listening to classical music. An
arrangement of the traditional Latvian
folksong The Warm and Pleasant Room
at Grade 4 is one of those pieces marked
simply con Ped at the outset, and
where a judicious amount of pedalling
would enhance the warm sonorities
an interpretation of this piece ideally
needs. So this choice would suit many
adult learners.
In recent years, the ABRSM has
introduced a jazz syllabus, in addition
to including arrangements of popular
music and jazz standards in the normal
syllabus. This can be very appealing for
adult students, especially those who are
returning to playing after a long gap and
welcome an opportunity that was not
available to them as children. We also
find that a lot of adults enjoy the jazz
syllabus because it is not so notation
based and allows improvisation tests
rather than sight-reading, says Scaife.
Frances Wilson favours Trinitys
syllabus for her adult students. I feel
it offers a more interesting range of
repertoire, with more mature or
sophisticated pieces that are likely to
appeal to adults. Also, its exams place
an emphasis on musicianship rather
than technical work, which allows the
student greater scope to develop as a
musician, which many adults will find
more interesting.
One of the interesting things
department. So creating syllabuses that

appeal to adult learners is just part of
the wider work we do to meet the needs
of our global community of learners.
One of Trinitys core philosophies is
to give candidates flexibility and choice
in how they demonstrate their skills,
both in terms of the different syllabuses
we offer and the different options
within each syllabus. On the classical
piano syllabus, as well as a broad range
of repertoire, adult students can find
an interesting choice of supporting
tests for example, they can choose to
present a creative improvisation if either
sight-reading or aural tests dont appeal
to them. Then there are our electronic
keyboard and rock and pop keyboard
syllabuses for learners whose interests
take them in those directions.
Our repertoire covers an enormous
range of styles, from the end of the
16th century to contemporary classical
and arrangements of orchestral works,
says Trinitys Peter Wild. Of course we
are very careful to ensure that they are
good arrangements and that they are
pedagogically sound, but it can be very
helpful for adults to play tunes they
already recognise.
In the early grades we also offer
opportunities for students to present
duets, so they can actually bring their
teacher into the room with them which
may help to put them at their ease,
as well as allowing them to play more
interesting repertoire than they would
be capable of on their own. I like that
very much.
Your own choice
Even more freedom and flexibility is
offered by Nationwide Music Exams,
which have been developed as a
result of the companys experience
in running music schools primarily
catering for adults this indicated that
people taking up an instrument later
in life tend to do so for pleasure and
relaxation, and do not necessarily want
to be challenged by the demands of
some traditional exams. Typically, sung
aural tests tend to make an adult musicmaker nervous, says Creative Director
Phil Brown. On top of this, the time
required to learn repetitious scales,
arpeggios, and so on can be a turn-off.
Our candidates and their teachers can
customise the learning requirements
to suit particular interests or needs
for example they can offer keyboard
harmony or playing from memory and
the candidate and teacher can elect to
choose all the pieces they wish to play
at one of our exams, providing these
meet the requirements of our Own
Choice Remit.
Nationwide also has a digital
piano syllabus, which, says Brown,
encourages the player to discover
and utilise the features of their own
instrument for example: types of reverb,
pedal functions, dual voice, variation of
touch, use of registration memories etc.
all of which enhances their enjoyment
and playing potential. In short: playing
the digital piano as an instrument in
its own right, not simply as a piano.
All the boards offer some form of
performance assessment to cater for
students for whom the judgmental
nature of a pass or fail exam is
inappropriate. So whatever your
temperament, musical interests or
level of skill, there should be a type of
assessment that will suit you.
Whichever type of examination
you choose, its important to remember
that, as Nigel Scaife points out,
success begins at the pass mark. The
result may be a little lower than is
expected, due to a number of factors
especially big day nerves but if
the exam is safely passed it is usually
much better to look with confidence
to the future, rather than agonise over
the few marks that might have been
achieved on a different day. A Pass for
one student may be a real triumph and
the result of just as much hard work as
for another, whose different talents will
achieve a Distinction.
The new 2015-16 ABRSM Piano Syllabus
is out on 3 July. The new 2015-17 Trinity
Piano Syllabus is also out in July. Pianist
will be featuring an ABRSM syllabus piece
in a forthcoming issue.
Turn overleaf to read about Ed Ballss
experiences taking keyboard exams.
CONTACTS
ABRSM
www.abrsm.org
Nationwide Music Exams
www.nationwidemusicexams.co.uk
Trinity
www.trinitycollege.co.uk
72 Pianist 78
15/05/2014 09:50
137 years of internationally

respected music exams
New Piano syllabus

20152017
Available in July
Our Piano syllabus offers the choice and flexibility to allow candidates to play to their strengths,
enabling them to gain recognition for their own unique skills as performers.
Brand new repertoire lists featuring a wide range of styles and genres, as well as new technical work
New graded repertoire books featuring all new pieces and exercises, including previously unpublished
works submitted in response to a worldwide call for repertoire
New scales and arpeggios books and a new book of teaching notes
High quality recordings of repertoire and exercises available on CD
Flexible exam structure offering unparalleled choice
Uniquely diagnostic mark scheme providing detailed musical feedback
Teacher support
At the heart of our activity in music education is teacher support. We hold events all over the world
and offer free teaching resources, articles, forums and more through our online learning platform. Find
out more at www.trinitycollege.co.uk/support
To find out more visit
www.trinitycollege.co.uk/music
/TrinityCollegeLondon
@TrinityC_L
73 Pianist 78
Pianist
magazine
p73 Ads.indd
73 advert May 2014 (230x300).indd 1
14/05/2014
13:27:03
15/05/2014
10:52
E D U C AT I O N
Pass or
no pass
Just before UK Shadow Chancellor Ed Balls took his Grade 3 exam, he spoke with ABRSM
Chief Examiner Nigel Scaife (his teacher Lola Perrin was there for moral support)
your practice, the tension in the room
can slightly get to you.
Ed Balls: My Grade 1 exam was

supposed to be in Finchley Town Hall,
and Lola Perrin, my piano teacher, had
said to me, normally my students all go
as a group are you happy to do that?
and I said, of course, that will be fine.
She said, the only thing you need to
know is that the other five are all aged
eight and under!. We had to change it
at the last minute because something
came up in Parliament, so thats why
I ended up doing my first exam here
[at the ABRSM building in central
London].
For that exam, Lola came with me,
and we sat together in the waiting
room, and opposite us was an 11-yearold boy and his mum. I was feeling
quite embarrassed about the fact that
there was me in my mid-forties with my
piano teacher. Then the mum leaned
over and said, Can I ask, are you doing
your exam today?, and I said I was, and
she said, So am I my sons come for
moral support! The 11-year-old had
come to support her, and she was even
more nervous than me!
I did my second exam at Schotts
Music in London, which was tough
because it was quite noisy. I practised
really hard on my three pieces but the
one I thought was my best piece was the
one I had to restart a couple of times.
However much you think youve done
NS: Well, perhaps there are important

lessons in life there. How do you deal
with your nerves and prepare for taking
the exam?
EB: Well, first of all, I took up piano
because our children were all learning
and they had a really good teacher. Id
always wanted to play the piano and I
never had when I was young. I wanted
to do the exams because I knew that the
discipline and the deadline of the exam
was really good for learning. If it hadnt
been for the exams, I wouldnt have
made the progress Id made.
When youre ten, whether you do well
in the exam or not really matters. For
me, whether I do well in the exam or
not is less important than having done
the work to get here. Although the huge
frustration for me is that in the last
exam, I got a Pass, and my 14-year-old
and 12-year-old did theirs a month
later and one got a Distinction, the
other a Merit. So I spurred them on to
greater achievement! They very much
enjoyed pointing out to me that I only
got a Pass.
In the job I do, familiarity makes a
huge difference. The very first time you
go on the Andrew Marr sofa, its so new
and so different, whereas now Ive done
it many times and I know exactly what
its going to feel like. The same is true
Ed Balls playing at
Kings Place, London,
in December 2013 he was
one of 13 celebrity
amateur pianists playing
Schumanns Kinderszenen
with the exams: the first one you do, its

so unfamiliar, whereas, Im doing my
Grade 3 today; I know what its going
to feel like. In exactly the same way
you stand up in front of the dispatch
box in the House of Commons and if
youve done the work, you know your
audience, youve been there before, its
just much, much easier. You always have
to remember what it feels like, and what
it feels like to do it well in order to do
it well the next time. Having said that,
things often go wrong, and thats the
nature of life.
NS: What advice would you give to
another adult learner like yourself,
who is preparing for an exam?
EB: The most important advice is to
get the syllabus book and listen to the
CD with your family members. Because
however much they like the pieces, by
the time you get to the day of your exam
(and as an adult, youre always catching
your practice before the school run, in the
evening), they will have to live through
them, unless youve got a soundproofed
room. If from the outset they cant stand
the pieces, thats really bad! In my first set,
there was one really annoying piece. With
the three Im doing now, theres a huge
variation. Your teachers will always be
telling you which piece is easier or which
has technique that is more deal-able,
but if you dont enjoy playing it, and the
rest of the family doesnt enjoy listening
Amy Zielinski
Nigel Scaife: Tell us a bit about the

exams youve taken.
74 Pianist 78
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to it, then in the end, it will drive you and

everybody mad.
NS: Thats great advice, and its my job
to choose the repertoire, and Lolas job
to choose the repertoire that suits you,
Ed, so were all kind of in this together!
EB: When I did my violin exams years
ago, I played pieces that were on the
main lists, because I just thought thats
what you did, whereas in all of the three
piano exams Ive done, Ive listened to
the CD and Ive gone off the main lists
for at least one piece that I chose.
NS: Thats good; youre in the minority
there in doing that.
EB: What you find on the second list
are some fabulous pieces, but youve got
to go looking for them. Im playing a
piece at Grade 4 already by [to Lola]
whats her name?
Lola Perrin: Valerie Caper dont
forget it!
NS: Whats the most challenging aspect
of all of this for you?
EB: The most challenging thing is to
have the discipline to practise the scales
rather than simply practise the pieces.

Its very easy to leave that too late, and
actually, its frustrating to rush on the
scales. The bit of the exam process I
dont really like is sight-reading not
because I dont think its important,
but your learning method is to want to
play your way through a piece, to get
to a point where youve mastered it,
and then it becomes more fluent and
quicker. Whereas, in the exam, they
dont want you to feel your way through
it, they want you to just do it, and thats
not how I would learn to play.
NS: What are the benefits for you of
making music?
EB: The most important thing about
it is that its the only thing that I ever do
where its totally impossible to think
about anything else. Im doing the
London Marathon in ten days time. I can
do my three-hour training run, and while
Im running, I can think about a speech
Ive got to make or a problem Ive got to
solve. Even if Im cooking the dinner, I
can be thinking about something else,
but if Im playing something that is hard,
with two hands, the moment I lose any
concentration, then I just lose it. Playing
is about focusing and in that sense, its
very relaxing.
When youre learning as a child, it

may be because you really want to, or it
may be because other people really want
you to. As an adult, if youve got a good
teacher and good pieces, the truth is,
unless you want to do it, you wont do
it, because you dont have to. As long as
youve got the right support and the right
pieces, the process is really enjoyable,
as well as being a big diversion. For me
its not a chore. I look forwarding to
practising as much as I can, because I
enjoy it. Lots of adults who dont take
up piano dont do so because they did
it when young and they didnt enjoy
it. If you dont enjoy it, youre going to
stop, but if you do enjoy it, youll keep
enjoying it in no sense is it a chore.
LP: Im going to interject here a lot
of adults think that if they didnt do
it as a child, its too late, and thats a
misconception.
NS: Its never too late!
EB: The one thing Lola said to me
from the beginning is, from the very
first week, well make sure you can play
with both hands something that sounds
okay. That is quite a big deal, because
Ive never had to play a pice that I didnt
like playing. n
Piano syllabus
2015 & 2016
Look out for a wide variety of new pieces

across Grades 1 8, available from 3 July.
Find out more at
www.abrsm.org/piano15
p74_Ed Balls-FINAL.indd 75
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POPULAR PIANO
PLAY
KING
PORTER
STOMP
TURN TO
PAGE 52
JELLY ROLL
MORTON
Difcult, decadent, proud, a brilliant pianist and a boundary-shifting composer: Jelly Roll
Morton was all these, but did he also invent jazz? Inge Kjemtrup weighs the evidence
ho invented jazz?
With its basis in the
blues and the music
of New Orleans,
and seasoned with
classical music,
Latin, ragtime, and so much more,
jazz can hardly be attributed to any
one individual. Yet if anyone could
conceivably lay claim to be the inventor
of jazz, it would have to be Ferdinand
Jelly Roll Morton, the New Orleansborn pianist and composer. In fact,
throughout his life, Morton made exactly
that claim to anyone who would listen:
I tell you the truth of course, any time
you hear anybody, anywhere playin jazz,
what they playin is Jelly Roll.
Ferdinand Joseph Lamothe was born
in New Orleans on 20 September 1885
(like so many details of Mortons life,
that date is disputed) into a middle-class
Creole family. Creoles were descendants
of the French, Spanish and Africans
who came to Louisiana and created their
own vibrant culture. Ferdinand spoke
only French for the first years of his life.
Not long after his birth, his mother,
Louise Monette, divorced his father, Ed
Lamothe, and married Willie Mouton.
Ferdinand, or Ferd, took his stepfathers
mix of cultures and music. It was there in

churches, concert halls, saloons, parades
and dance halls. Young Ferd banged
tin pans, learned the harmonica and
the Spanish-style guitar, sang in vocal
quartets on street corners, attended the
opera (Gounods Faust and Debussys
Pellas et Mlisande were among those he
saw) and began playing the piano.
His much-loved godmother funded
his piano lessons and turned a blind
eye as he studied with a blues pianist, a
disreputable activity. Soon the teenaged
Morton found that he could earn more
money playing piano in the brothels of
the Storyville district than by working
a late-night shift in a factory. Someone
who heard Morton play piano at one of
the sporting houses recalled, The music
was clear cut and very smooth, and of a
characteristic Spanish type, and like the
well-known brook, it just kept running
on The beat of the music made
an impression on me and kept going
through my head. Morton couldnt keep
his late-night musical activities secret
for long, and once he was found out, his
stern grandmother expelled him from the
family home. He was 16 or 17 years old.
If his formal musical education ended
at that time, his informal education
He was red hot. The place was on

fire! said future stride piano great
James P Johnson after hearing
Jelly Roll Morton play in 1911
surname. When Mouton proved tricky
for English speakers to get their tongues
around, Ferdinand anglicised it to
Morton. Changing his last name, and
then acquiring the nickname Jelly Roll,
was only the start of the way he would
reinvent himself throughout his life.
Music was all around Morton from his
earliest days, not only in the family home
but also in the city itself, a cacophonous
listening to and playing with other

musicians continued. Morton
perfected his playing and learned how to
look tough enough to stay out of trouble.
He was earning plenty of money and
even had a diamond installed in a gold
front tooth, a style popular among the
swells of the early 20th century.
Morton also started composing his
own tunes. In New Orleans Blues (1905),
A young Jelly Roll Morton
he takes the standard ragtime tune

and adds a New Orleans stomp and a
Spanish flair. That Spanish flair was even
more overt in tunes such as Mamanita.
King Porter Stomp (1905), which appears
in this issues scores, might make you
think of Joplin with its ragtime beat,
but if you listen to Morton play it in a
recording, youll hear its more up-tempo
than Joplin advised for rags and more
playful too. King Porter Stomp became,
in the words of his biographers Howard
Reich and Williams Gaines, the ace up
Mortons sleeve. Jelly Roll Blues (1915)
goes further yet, adding an insistent
bird-song-like trill and unexpected
breaks (the piece was promoted as the
hardest rag on the market).
76 Pianist 78
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Morton (third from left)

and fellow performers at
the Cadillac Caf In Los
Angeles, ca.1917
Flushed with success in the South,

Morton ventured northwards, first to
Chicago in 1910 and then to New York
in 1911. Future stride piano great James
P Johnson heard him in a Harlem club:
He was red hot. The place was on fire!
In Mortons day, many top pianists
were reluctant to publish their best tunes,
lest they would be stolen by rivals. As he
started arranging for bands, he finally
published but his relationship with
publishers would cause him endless grief.
By the time he published Jelly Roll
Blues in 1915, he was the leader of a
band and the successful manager of a
club in Chicago. Ever restless, he moved
in 1917 to Los Angeles for a job at the
wonderfully named Cadillac Caf. There
his irresistible new tune, The Crave, with
its syncopations, minor key mood, and
surprising key changes, took the city by
storm. In LA he restarted his relationship
with an old New Orleans flame, Anita
Gonzales, ne Bessie Johnson, but the
mercurial Anita liked to suddenly bolt
from whichever town theyd settled in.
Morton followed. He followed her from
San Francisco to Vancouver, Seattle,
Portland and New Orleans again.
Returning to Chicago in 1923,
he gathered his fellow New Orleans
musicians around him to record
Wolverine Blues, Mr Jelly Roll, London
Blues, Milenberg Joys and Kansas City
Stomp, among others. Morton was at
his peak in those years. Chicago South
Side clubs roared with the sound of
jazz, with top players like Earl Hines,
Bix Beiderbecke and Louis Armstrong,
who was achieving the kind of national
popularity Morton couldnt touch, but
as Reich and Gaines note, If Armstrong
was the latest sensation in jazz, in effect
the public face of a still youthful art
form, Morton was its master planner,
the man who put to paper the complex
arrangements that made urban America
dance. The virtuosity that Armstrong
poured through his horn Morton drew
from his pen, each musician codifying an
art form through distinct means but with
more long-lasting effects than either may
have imagined.
Red Hot in Chicago

Morton went back to the recording
studio in 1926-7, with his Red Hot
Peppers, a (nearly) all-New Orleans
line-up of players. One tune even quotes
a famous New Orleans funeral song.
Cannon Ball Blues, Black Bottom Stomp,
Billy Goat Stomp, Jungle Blues this was
music that could swing.
As a bandleader, Morton was
demanding. Trombonist Kid Ory
recalled, He knew what he wanted and
would not permit any variations from
the arrangements he had written. They
were tough to play the tempos were
difficult lots of key changes.
During this time, Morton agreed to
have his music published by Melrose
Bros Music, owned by two brothers
who well understood the appeal of
black music. They also understood the
handsome profits that would come their
way if they didnt pay the full royalties
due black composers. Walter Melrose
took the traditional publishers 50 per
cent of the royalties, plus 50 per cent
of the songwriter royalties, which he
took on the basis of adding his own,
often dreadful, lyrics to a song. Walter
Melrose never wrote a hit in his life, a
distraught Morton wrote later. Melrose
is my publisher, he inserted words
to some of my hit tunes without my
knowledge or permission & is receiving
[royalties]. Further exploitation came
More Jelly Roll Morton

SHEET MUSIC
Jelly Roll Morton: The Collected Piano Music (Piano Solo)
Schirmer (ISBN 978-0-874-74351-7)
The Best of Jelly Roll Morton Piano Solos
Hal Leonard (ISMN: 978-0-793-52063-3)
RECORDINGS
Jelly Roll Morton: Birth of the Hot
(The classic Chicago Red Hot Peppers sessions)
Bluebird/RCA
Jelly Roll Morton: The Library of Congress sessions
Rounder Records
in the form of Morton being denied

fees for radio broadcast rights
the newly formed ASCAP did not
welcome African-American composers.
Morton returned to New York City
in 1929, at the height of Prohibition,
when Harlem was in full swing. His
New Orleans sound looked hopelessly
old fashioned against the fast and
furious playing of Duke Ellington,
Eubie Blake and Fats Waller. You can
hear Morton trying to embrace the
new style in a 1929 recording that
includes Burnin the Iceberg and Tank
Town Bump. But he was getting fewer
engagements and more double-crossing
from Melrose and other publishers.
It must have been galling to see
clarinettist Benny Goodman have a
huge hit in 1935 with King Porter
Stomp, when Morton didnt receive a
penny of the songwriters royalties.
His decline through the 1930s was
long and painful. There were some who
recognised what a colossal figure he had
been, including music archivist Alan
Lomax, who recorded Morton talking
about his life. Another was Roy Carew,
who had heard Morton play in New
Orleans and did his best to battle for
him against the publishers and against
history, which seemed on the verge
of declaring WC Handy the founder
of jazz. Carew typed up Mortons
response: It is evidently known beyond
contradiction that New Orleans is the
cradle of jazz, and I myself happened
to be the creator, in the year of 1902,
many years before the Dixieland Band
[WC Handys band] organized. Jazz
music is a style, not compositions, any
kind of music may be played in jazz, if
one has the knowledge.
His final days were spent in New
York City, tended by his commonlaw wife Mabel, and occasionally
receiving an insultingly low royalty
check. There was a final, quixotic trip
to California when he was desperately
ill yet somehow he found the energy to
assemble a group of musicians to play
his amazing final orchestral works,
such as the multi-layered Ganjam.
These works werent heard again until
1998, and were only recently recorded.
Jelly Roll Morton died in Los
Angeles in 1941, and his reputation
as an obnoxious, womanising grifter
trying to take credit where none was
due might have endured, were it
not for a fanatical collector named
William Russell. He grabbed up every
letter, every score and every document
connected with Jelly Roll Morton
that he could get his hands on. When
Russell died in 1992 and gave it all to
the Historic New Orleans Collection,
he made it possible for a new
generation to decide for themselves if
Morton might just, in fact, have been
the spark that lit the jazz world.
77 Pianist 78
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MAKERS
&
Innovation
tradition
From the most traditional and the cutting edge, from

glass pianos to advanced new actions, the Frankfurt
Musikmesse had it all this year, as Erica Worth reports
t this years Frankfurt Musikmesse, there were the usual

hundreds of pianos of all sorts and sizes on display. But there
were some pianos at this enormous annual music fair that
stood out for me: see-through grands from Blthner and
Schimmel; mind-blowing innovations from Steingraeber,
Kawai and Yamaha; and design that points at the traditions
of the past from Bsendorfer and Schimmel. Here are just
some of the pianos that made me stop in my tracks.
THE EYE CATCHERS

The Schimmel glass grand, originally designed by Arno Schimmel in 1951,
was on display of course I had to give this see-through piano a try, even at
the risk of shattering some glass. In fact, theres no real risk of destruction
(except to a listeners ears), because the glass is actually Plexiglas, the
hardened plastic used in bulletproof glass. Schimmel glass grands have been
played by stars such as Ray Charles, Dame Edna Everage and Lenny Kravitz,
and I was even shown a photo of one of the grands on a fancy yacht. Yes,
when I played it, I felt like a rock star (or yacht owner) too.
Then there was another see-though attraction at the Musikmesse:
Blthners modern acrylic design Crystal Edition piano. This piano
transparent case opens up on an array of options, from LED lighting to
interior veneer placement and art designs. I was told that the customization
options are nearly unlimited because the case of the piano can be decorated
with the customers own design concept to create a unique work of art.
With both of these transparent pianos, it was refreshing to be able to see
the heart of the instrument exposed the strings, the action, everything.
There was an another visual standout that caught my eye: the brilliant
white finish of Yamahas baby grand model family, GB1, GB1 Silent and
GB1 Disklavier. White is clearly the new black.
Blthner
Crystal Edition
Schimmel glass grand
Yamaha GB1 grand
78 Pianist 78
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We are extremely proud to

be able to offer you a fine
selection of these beautiful
pianos! Bosendorfer are
bespoke pianos, created
by the true artisans of the
piano world, all of which
can be taylor-made to your
specification. A dream
piano to acquire!
Pianist Editor Erica Worth plays the Bsendorfer Opus 50,000
THE TRADITIONALISTS
The impressive Bsendorfer Limited Edition Beethoven model, which
I wrote about in last years Frankfurt reports in issue 72, was on show
again. This year, its available with chrome frame but not, this time,
with Valentina Lisitsa playing on it. If youre tempted to take a look at
this piano for yourself, head for Yamaha Music London on Wardour
Street. Standing near to the Beethoven model was Bsendorfers Opus
50,000 limited edition piano (see my full report on the Opus 50,000
inside issue 75).
Nikolaus Wilhelm Schimmel, who led Schimmel from 1954 to 2002,
used the occasion of his 80th birthday to create 80 limited edition
instruments (40 uprights in the C120 size, 40 grands in three sizes),
with deliveries commencing from October. Among the unique design
elements on this collection of instruments are double-chamfer legs;
lyre and lid propped together with a fretted music desk; a discreet gold
medal on the music desk and pilaster strips.
Interested in Yamaha pianos? We

are experts in all Yamaha pianos,
including the revolutionary new
silent, and disklavier edition models.
We recently had the pleasure of
attending two Yamaha training
courses to better understand this
amazing new technology. Come and
visit our store in
Sunningdale for
a demo!
We stock a wide
selection of new
Kemble pianos in
varying sizes and
finishes. These
solidly built pianos will stand the
test of time and serve as excellent
family pianos, no matter how
experienced you are!
We are now proud suppliers of Petrof pianos.

These stunning pianos are made exclusively in the
Czech Republic, giving them the right to use the
European Excellence trademark. These pianos
need to be seen and played to be fully appreciated!
Bsendorfer Limited Edition

Beethoven model in chrome
VERVE HOUSE, LONDON ROAD (A30),

SUNNINGDALE, SL5 0DJ
SALES@HANDELPIANOS.CO.UK
TEL 01344 873645
WWW.HANDELPIANOS.CO.UK
WWW.FACEBOOK.COM/HANDELPIANOSLTD
79 Pianist 78
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15/08/2013 09:12
16/05/2014 10:33
MAKERS
THE INNOVATORS
Last year, Yamaha showed me its brand-new TransAcoustic technology
concept, and this year they revealed some upgrades to it. At its most basic
level, TransAcoustic turns the soundboard into a loudspeaker. This means that
any sound can be delivered through this naturally resonant component. I was
able to test-drive a piano with the TransAcoustic technology before its official
introduction into several Yamaha instruments. When I played it, I found it
was like playing any normal acoustic, but when the button was switched to
TransAcoustic mode, thats when all the fun began: being able to turn up and
down the volume, create different sounds, etc (a full article on this next issue).
At Kawais stand, I was taken into the special Shigeru room to try out the
Millennium III Advanced Piano Action and the Extended Keysticks. Kawai
told me that Millennium III Advanced Piano Action was created because
concert pianists had expressed a need for three key things: as much power as
possible, superb control when playing pianissimo, and exceptional speed and
repetition. The Millennium III Advanced Piano Action was developed using
ABS carbon, the components of which are known to be exceptionally light
and rigid, which will provide faster repetition and more power with less effort.
Microscopic surface textures on selected action parts are meant to provide
superb response and control.
Kawai explained that the overall length of their new Extended Keysticks has
been extended (as the name suggests) to make playing easier and provide more
even touch and response from the front to the back of the playing surface. The
keysticks are also designed with a slightly taller profile for maximum rigidity to
deliver greater power.
At the Steingraeber stand, the charismatic Udo Steingraeber showed me
his two latest, separate innovations: the lightest-ever concert grand lid, and
the Sordino function. The former was created to produce bigger sound; the
reduced weight of the lid which is made up of aluminium, wood veneer and
the usual polyester finish increases the projection. It was installed into their
salon grand B-192 model (6ft 3in), and I have to say that when I played it, it
sounded like their concert grand (thats almost 9ft).
The Sordino function was created in order to emulate a muted type of sound
that pianists often try to create when playing such repertoire as Schubert. The
function is activated by a knee lever which is fitted under the keyboard (yes,
you hit it with your knee it took me quite a few attempts to get this right!),
but Ive been told it can be installed as a fourth pedal if the pianist prefers.
What happens is that the sordino (muted) sound is produced by means of a
very thin piece of felt that is inserted between the hammers and strings. Oh,
and nice to see yet another small creation: dampers coloured black and white,
just like the piano keys! As Pianist goes to press, it is not possible to find
a Steingraeber with either of these innovations in the UK shop, but a model
can be ordered through the manufacturer.
Kawais Millennium III Advanced Piano Action
Udo Steingraeber explaining the Sordino effect to Erica Worth
ACOUSTIC MEETS DIGITAL
Model from the Yamaha new

Clavinova CLP 500 series
Yamaha put on a glittering evenings showcase that

featured the all-new Clavinova CLP 500 series, which
comprises six models, available in slimline, upright and
grand designs and in a range of finishes. For this new
series, Yamaha has now combined sounds from its concert
grand CFX piano with the tone of the Bsendorfer
Imperial grand. The Clavinovas have been given a natural
wood keyboard with a new action and refined escapement
mechanism which means improved control over sound
and dynamics. When using the headphones, theres the
all-new stereophonic equalizer which allows real-time
adjustment of the separation of the sound, resulting in
a uniquely spacious sound image when playing silently
and in private. Also new is the new spatial ambience
feature, which delivers powerful and dramatic reverb.
What with the Bsendorfer sound being incorporated
into digital pianos, and acoustic grands searching for
sounds of the past in Steingraebers Sordino, it seems past
and present can peacefully co-exist in the piano world. n
CONTACTS
Blthner
www.bluthner.co.uk
www.bluthnerpiano.com
Bsendorfer
www.bosendorfer.com
Kawai
www.kawai.co.uk
www.jspianos.com (London)
www.kawaius.com
Schimmel
www.forsyths.co.uk (Manchester)
www.peregrines-pianos.com (London)
www.schimmel-piano.de
Steingraeber
www.steingraeber.de
Yamaha
www.uk.yamaha.com
www.usa.yamaha.com
80 Pianist 78
15/05/2014 09:56
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81 Pianist 78
13/05/2014 14:01
MAKERS
Pianos dont usually come with detailed cleaning instructions, but maybe they should keeping them
spotless will pay off in the long run, says Gez Kahan, who shows you how to tidy up safely
ets have a show of

hands from Pianists
readers. How many of
you wash your hands
without fail before
you play your piano?
If you do, youre
better than I, Gunga
Din. I could argue in my defence
that my hands, physically as well as
metaphorically, are pretty clean at the
worst of times. But how about the kids
who come in fresh from the after-school
playing fields, pull up a stool and start
getting stuck into Anna Magdalena
how clean do you imagine their hands
might be?
Even if your piano is played by
you and you alone, and even if you
scrupulously scrub up before laying
the merest finger on a key, youll find
the keys need cleaning from time to
time. The natural oils in your skin cant
help but leave minute secretions on the
keyboard, and even if you keep the lid
down whenever its not in use, some
dust will inevitably settle. Result: grime.
This is one of those things you shouldnt
leave for the piano tuner to deal with.
And that, ladies and gentlemen, is the
theme of this article. Yes, you may
diligently book a tuner/technician to
come in twice a year (you do do that,
dont you?) but what regular piano
maintenance tasks could or should you
be undertaking yourself? Think of it
as being analogous to owning a car.
Just because you have it regularly
serviced, that doesnt mean you dont
clean it, check the oil, water and tyre
pressure, and generally look after it

between times.
Well start gently, with a short
primer on cleaning the keys. If youve
had the piano from new, follow the
manufacturers recommended procedure
there will be instructions with the
original documentation. Otherwise,
get hold of two clean, lint-free cloths
one for cleaning, the other for wiping
dry. Whether you have plastic or ivory/
ebony keys, if they are relatively clean
you wont need special cleaning agents.

Slightly dampen one cloth, wringing it
out to remove almost all the moisture
you dont want water dripping into
the workings and work at the keys one
by one, wiping dry immediately. Start
with the white keys then go on to the
black. Be gentle, even if theres a bit of
sticky build-up persistence is better
than force, which could (especially on
old pianos) loosen the key-facing from
the wood its glued to.
82 Pianist 78
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better option may be to replace them

with plastic tops. Again, this is a job for
the professionals.
Case study
Now for the instruments case. Youll
already know that you should not
stand vases, coffee mugs and picture
frames on your piano. Youre probably
also be aware that anything that has to
stand on the case a piano light, for
instance must have protective felt
on the base to prevent scratches. And
youll want to be very wary of standing
rubber mats on varnished or lacquered
surfaces the rubber can interact with
the varnish and ruin the finish.
Super-clean you may be, but dust
will settle even in the best-regulated
households. Dont wipe the case with
an ordinary duster, which risks marking
the surface if there are any fine gritty
particles in the dust a feather duster
is the answer.
As for polishing, if its a modern
piano finished in polyurethane or
similar, then dont. Spray-on polishes
will simply smear. After feather dusting,
simply shine it with a soft cloth. If there
should be anything more stubborn
than dust, a slightly damp cloth should
remove it without affecting the surface.
Older pianos may have been French
polished, in which case use a suitable
Caster cups
Caster cups are often used on domestic pianos for

several reasons. While concert grands tend to have
large casters, with brakes to stop the instrument moving
during performance, smaller grands and many uprights
have much smaller, unlockable wheels. Caster cups
wooden or plastic saucer-like objects that sit beneath the
casters will keep the piano in position.
They will help protect carpets and wooden floorboards
from indentations too. Small wheels underneath a heavy
object will bite into fabric or soft wood. Caster cups,
especially wide ones, will minimise the effect. Theyll
also spread the load, and therefore reduce the risk of old
floorboards giving way. This is particularly recommended
for apartment-dwellers where, to paraphrase Paul Simon,
one mans floor is another mans ceiling. And nothing
quite spoils your next-floor neighbours evening like a
Model D crashing onto their dining room table.
If there is more serious dirt on your

keys, a smidgen of gentle washing-up
liquid (something mild and green)
should do the trick. Plastic shouldnt
discolour, but ivory might yellow with
age, especially if it never sees the light
of day. Exposing the keys to indirect
sunlight should help over time, though
it will also allow dust to collect. There
are specially developed solutions, such
as Key-Brite, which should help.
There is also a heap of old wives
tales, including meths, lemon juice and
toothpaste (ivory being what teeth are
made of ), which probably wont help.
Possibly the most bizarre suggestion
is to use milk. Dont do it it wont
improve your ivory, but it will make
your music room reek like an old cheese
factory. If your ivories are in such a state
that they require more drastic measures
hydrogen peroxide, UV lights and the
like consult a professional.
If an ivory top has come off a key,
it can be re-stuck, but choosing the
correct glue is a minefield. Most of the
best glues require clamping overnight,
and both the wood and the reverse of
the ivory will need preparation. Rather
than risk damaging what is now a scarce
resource (ivory being subject to severe
trade restrictions), keep the piece of
ivory safe and get a professional in to fix
it. If the ivories are badly damaged, the
168-170 Easterly Road (A58)

Leeds
LS8 3AD
www.thepianoman.ltd.uk
0113 240 8030

83 Pianist 78
15/05/2014 16:22
polish reviver. And dont expose your

piano to prolonged direct sunlight.
Heat can cause blooming on finishes,
and even worse you could wind up
with a craquelure finish. For pedals
and other metal fittings such as casters,
use an appropriate cleaning polish such
as Brasso.
Inside job
Many people never look inside their
upright, but if they did, theyd likely
get a shock: dust gets everywhere. So
in rare cases do mice! You should be
able to remove the bottom panel and
vacuum the base of the your upright,
taking care not to disturb the pedal
mechanism, to keep it relatively clean.
For the upper part, where the action
is, leave it to a professional there are
too many delicate parts involved, and
what good is a spotless piano that wont
play properly?
The same warning applies to grands.
Yes, you can carefully brush some dust
away using a paintbrush or similar, and
there are miniature vacuum cleaners that
can be used where there are no moving
parts. But you may do more harm than
good if you use a standard household
vacuum cleaner, and on the whole
blowing the dust out with compressed air
is better than sucking it up.
One thing you can do is to limit the
amount of dust that settles inside the
piano by not always having the lid up,
even though it looks impressive. And,
although admittedly it is very handy
to keep the half lid open stacked with
your favourite music and the music
desk up and loaded with the piece
youre currently working on, thats just
asking for dirt to accumulate in the
strings and the dampers.
If you can live with it, ask your tuner
(who will probably have specialist tools)
to clean the inside of your grand at your
six-monthly tuning. If youre too OCD
The digital dividend
The great news for those who own a digital piano is that while
digitals may not be exactly no maintenance, theyre certainly low
maintenance. Even better, youll have an owners manual with a
Taking Care of your New Digital Piano section and even if you
havent, you should be able to track one down online, or contact the
shop you bought it from or the manufacturer for advice.
The inner workings of digital pianos are inaccessible to all but
qualified maintenance engineers, so theres no awkward interior cleaning
to do; likewise, the pedal mechanism is an electronic switch rather than a
mechanical system, so theres no rod to slip out of place. So all you have to do is
a little cleaning of keys and case in line with the manufacturers recommendations.
Above all, before starting to clean your digital piano, switch off and unplug from the mains.
Electricity and water (even in the form of barely damp cloths) are not a good mix. And if you
inadvertently do get any liquid in your digital piano, switch off at the mains immediately and do
nothing (not even trying to dry up the moisture with a hair dryer, which may easily spread rather
than limit the damage) until youve taken qualified advice.
for that, ask your tuner to advise how

best to clean it in the interim.
Tinkering
While a technician is always the best
person to handle any mechanical
adjustment to your piano, there may be
one or two things that you can take care
of. Its quite common on older uprights
to get problems with the sustain pedal
failing to work. Very often that can be
because the rod that lifts the dampers
has popped out of position. Take off
the lower cabinet panel to check, and if
thats the cause, simply pop it back into
place. If the problem persists, you may
need to adjust the amount of play (tuner
Pete Summers has a useful explanation
of how to do this on his website
www.petesummers.com/pedals.html).
Dont overdo it, though, as that could
have the opposite effect. Its bad enough
having no sustain pedal, but having no
dampers is even worse.
The pedal principle is the same for
the grand piano, but the typical lyre
design means the rod should never pop
out of place. The amount of play may,
however, need to be regulated from time

to time, and most grands will have an
adjusting nut for the purpose.
When it comes to other problems,
such as keys that stick, those confident
in their mechanical engineering abilities
may be able to take some remedial action
(and youll find plenty of advice on the
Web). But proceed with caution. There
are plenty of unqualified people happily
contributing articles to how to websites,
but they arent the ones picking up the
tab if theyve given you bad advice.
Unless youre sure of both cause and
cure, its best to get an experts opinion to
avoid making a costly mistake.
Preventative measures
Prevention, as we all know, is better
than cure, and weve already looked
at some things that will help reduce
the amount of remedial maintenance
your piano needs. Possibly the most
important preventative measure is to
make sure your piano is in an ideal
environment. With so much wood
involved, its no surprise that problems
can arise if a piano is exposed to
extremes of temperature and humidity.
Wood is hygroscopic (moisture-seeking)
and will naturally expand and contract
as the relative humidity changes. That
can affect everything from how well the
pinblock holds the tuning pins to the
action, without even worrying about the
potential damage to the soundboard.
So if you really care about your piano
(and you must do, or you wouldnt
be reading this), invest in a humidity
controller such as the Piano Life Saver
system. This contains both a humidifier
to prevent the pianos environment
becoming too dry, and a de-humidifier
to prevent it becoming too moist, plus a
humidistat, which constantly monitors
the existing conditions and calls in
whichever element is require to keep
the humidity at the optimum level.
Thats it. Get your apron on, and get
cleaning. Or wash your hands and go
and do your practice.
84 Pianist 78
15/05/2014 16:22
91 Pianist 78
p91 Ads.indd 91
13/05/2014 14:05
REVIEW CD
Marius Dawn is bowled over by an elegant debut disc from Ji Liu, a nal
Argerich/Abbado match-up and Federico Collis ery new disc
Pianist star ratings: Essential go get it! Really great A ne release Average For specialists only
Buy these CDs from the Pianist website.Visit http://pianistm.ag/cdreviews
Edit o rs
JI LIU
Yet another new pianist on the scene. But wait this is different! Here is a
young pianist with a rare inborn musicality. London-based, Shanghai-born
Ji Liu has a technique to match any virtuoso, however, it is his sensitive
and unpretentious musicality that shines forth in this well-recorded debut
album. How rare to hear a pianist satisfied with presenting the music as
written and not forcing any personal idiosyncrasies into the music.
The voicing of the opening Mendelssohn/Rachmaninov is played with
great elegance, a Liu trademark also heard in the Liszt Liebestraum No 3.
His Moonlight Sonata offers a slightly slower middle movement than
usual, but that only emphasises the unforced way with which he approaches
this well-known work. The fast third movement shows fire and energy, also
evidenced in the Saint-Sans Danse macabre that closes the disc.
Its fun to hear a composition by Chinese composer Wencheng and the
elaborate Schubert Stndchen transcription, both played with charm and
finesse. Lius Debussy Suite Bergamasque could very well be one of the best
modern recordings, especially the Clair de lune, which is refreshingly free
of sentimentality and flows naturally into the final Passepied. Yes, there
are many new pianists these days, but very few of them are like Ji Liu.
LOUIS LORTIE
In the night. Includes

Beethoven:
Moonlight Sonata;
Schumann: Carnaval;
Hough: Sonata No 2;
Chopin, etc
Hyperion
CDA67996
FEDERICO COLLI
Sonatas by
Beethoven and
Scriabin;
Mussorgsky: Pictures
at an Exhibition
Champs Hill
Records
CHRCD079
Mozart: Concertos
No 25 K503 &
No 20 K466
Orchestra Mozart/
Claudio Abbado
Deutsche
Grammophon
479 1033
C HOI C E
Piano Reflections: Solo piano works by Beethoven,

Chopin, Debussy, Liszt, Mendelssohn arr.
Rachmaninov, Saint-Sans, Schubert arr. Liszt/
Horowitz, Tchaikovsky, Wencheng
Classic FM Debut CFMD33
STEPHEN HOUGH
MARTHA ARGERICH
How heart-breaking to think that this

is the last recording made by Claudio
Abbado, who died just a few months
ago. Argerichs first concerto recordings
for DG were also with Abbado, and
here they are in two of the finest
Mozart concertos. The disc opens with
one of the biggest of the concertos, the
C major, followed by the darker and
more introverted D minor. In the C
major, Argerich uses an idiomatic
cadenza by her teacher Friedrich
Gulda and that, together with the rest
of her performance, is in a class of its
own. She receives fine and seamless
accompaniment from Abbado and his
hand-picked Orchestra Mozart. There
cannot be a finer performance of these
concertos, and no better memorial to
the Abbado/Argerich partnership.
Beethovens Appassionata Sonata is

full of youthful fire in this disc from
the recent Leeds winner (and last
issues cover artist), Federico Colli. It
comprises the storm, the calm and the
fury; I can almost imagine Beethoven
would have played it like this. Colli
shows beautiful shades of colour
in the demanding Scriabin Tenth
Sonata, and trills and abrupt rhythms
are given their full due. Pianists often
overdo the drama in Mussorgskys
Pictures, but Colli is not out to score
cheap points. The Promenade binds
the sections together without coming
across as repetitive, and the big
chords on the final pages are never
harsh. This is an impressive recording
and proof that the Leeds judges made
the right choice.
YUJA WANG
JOYCE YANG
Rachmaninov:
Concerto No 3;
Prokofiev: Concerto
No 2
Simn Bolvar SO of
Venezuela/Dudamel
DG
479 1304
Louis Lortie Plays

Chopin Vol 3.
Selection of
nocturnes,
impromptus, plus
Sonata in B minor
Chandos
CHAN 10813
Wild Dreams.
Includes
Rachmaninov,
Hindemith, Bartk,
Schumann and
Rachmaninov/Wild
Avie Records
AV2261
Apart from Schumanns Carnaval, the

pieces in this disc are connected with
music of the night. My favourites are
the two Schumann works in which
Hough makes the music shine he is
especially in his element in Carnaval,
where he presents all the facets of
Schumanns complex personality in an
exquisite way. The Chopin nocturnes
are a little bland, and in Beethovens
Moonlight, he puts a very personal
stamp on a work that Ji Liu [above]
lets speak for itself. Houghs own
well-crafted and pianistic Sonata No
2 is a Rachmaninov-gone-astray mix
bearing the title notturno luminoso.
He convincingly brings across its
dark underlying feeling, a brooding
mood that borders on scary.
This is a five-star performance with a

four-star piano. Louis Lortie possesses
a phenomenal range of colours and
his Chopin is undoubtedly one of
the most beautiful today. I am not
convinced that the Fazioli gives him
all the possibilities he needs most
of the nocturnes sound slightly
thin in the right hand, and the
weightiness of the bass seems to be
missing. However, Lorties masterly
performance of the B minor Sonata is
so exemplary that all can be forgiven.
The lesser-known impromptus are
played with a Classical restraint
and tight rhythmic control, and its
nice to hear them inserted between
nocturnes performed with such
fantastic tonal control.
Aside from the Busoni Concerto,

Rachmaninovs Third and Prokofievs
Second are the two greatest leviathans
among piano concertos. Surely for a
delicate-looking pianist such as Yuja
Wang to take them on would be like
a butterfly taking on a whale. But
fear not theres nothing in these
scores that seems to scares her. This
is musically powerful playing, and
the monstrously difficult cadenza in
the Prokofiev seems like childs play
in her hands. Unfortunately, the
orchestra under Dudamel does not
match Wangs lyrical playing in the
Prokofiev, and orchestral solos in the
tricky Rachmaninov concerto are not
up to Wangs level. Get your hands
on this disc for the pianist alone!
Though many generations younger

than Rachmaninov, Joyce Yang has
the same suave way with the piano.
Rachmaninov never recorded the
1931 revised version of his Second
Sonata, but now we have Yangs version
and that is not the worst substitute.
Similarly, she can challenge Earl Wilds
performance of his transcriptions
of Rachmaninov songs. The discs
highlight is a magnetic performance
of Schumanns Fantasiestcke, where
Yang is in her element combining
Rachmaninovs power with Wilds
light-fingered elegance. The recording
is on the bright side, but it is clear with
a fine round sound, which only adds
to the picture of a pianist I would go a
long way to hear again.
86 Pianist 78
p86_CD Review-FINALish.indd 86
16/05/2014 10:27
Eight fresh interpretations of traditional British folk-tunes and

seven complementary folk-inspired original compositions
For the developing pianist with between 2 and 4 years experience
Including helpful practice notes for each piece
Each title includes a CD featuring Demonstration Tracks
as well as Separate Left & Right Hand Practice Tracks
(both normal speed and slowed-down)
Folk Roots for Solo Piano
12.99
Available from all good music shops. For more information please contact Schott Music Ltd:
T: 020 7534 0740 | marketing@schott-music.com | www.schott-music.com
Printed
by greenstret
Publisher.distributed by Schott Music
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87 Pianist 78
13/05/2014 14:04
REVIEW SHEET MUSIC

Charming pieces from an unknown Polish composer, folk roots, a new Heumann volume
and plenty of duos feature in Michael McMillans round-up this issue
FOLK ROOTS FOR PIANO
Hywel Davies
Boosey & Hawkes
ISMN 979-0-060
-12758-8
ISAAC ALBNIZ
LIGHT AND SHADE

Hans-Gnter Heumann
Schott
ISMN: 979-0-00119663-5
Asturias; Tango
Henle
ISMN: 979-0-2018
-0800-0 (Asturias);
-0753-9 (Tango)
PIANO DUETS
Edited by
Monika Twelsiek
Schott
ISMN: 979-0-00118763-3
Seven of the 16 pieces in Folk Roots

for Piano are original works by
Hywel Davies, and the remainder
are his arrangements of folk songs
originating from Somerset, Daviess
home county. Apart from O Waly
Waly, and When the boat comes
in (Dance ti thy Daddy), the folk
tunes may not be familiar, but
the accompanying CD helps by
providing demonstration tracks. The
CD contains two additional tracks for
each piece that features the left and
right hand parts played separately.
Difficulty increases through the book
from Grade 1 to Grade 3, and, as you
would expect from an experienced
arranger like Davies, all the music is
sympathetically written for pianists at
this level. Dip in, then, if you enjoy
folk music. A couple of the original
works Adieu and Milonga are
worth investigating too.
This album of piano solos by the

renowned German composer/editor/
pedagogue [and Pianist Keyboard
Class teacher] Hans-Gnter Heumann
contains 12 pieces at around Grades 3
to 6. They are written in a popularsounding, minimalist style similar to
that of Einaudi and Glass, but with
generally greater rhythmic variation,
and, in some places, more melodic
interest. Most pieces are six pages
long, but the repetitive nature of the
music makes it easy to learn. Those
with small hands should note that all
but one of the pieces feature octaves.
This is attractive and motivating
music, particularly for teenagers, and
if you want to hear samples, YouTube
has videos of the composer playing a
few of the pieces. If you like what you
hear, then you are likely to enjoy
Heumanns other solo piano album,
entitled Live Your Dream.
These single editions of Asturias

and Tango have been respectively
extracted from Henles publications
of the complete Suite Espagola
and Espaa, and are now available
for a fraction of the cost of those
collections. Asturias and Tango
are two quintessentially Spanish
piano solos by Albniz with starkly
contrasting characters. Asturias
(Grade 8) is a nine-page thriller
containing rapid-fire notes that
resemble the plucking of a guitar,
while the Tango (Grade 6) is a twopage slow, romantic piece that has
been described as the most famous
tango. Fingering and pedalling
indications from the sources (first
editions) have been retained, and
further editorial fingering has been
added to the Tango. If youre after
single-copy editions of these works,
look no further.
There are many piano duet collections

available today, but there are very few
I know of that contain as many pieces
as this one, and none that include so
many classics of the duet repertoire
(the books subtitle is 50 Original
Pieces from 3 Centuries). Fifty
pieces drawn from the 18th, 19th
and 20th centuries are contained in
this book, including such favourites
as Schuberts Military March, ten of
Brahmss waltzes, Faurs Berceuse,
Debussys En bteau, and several
pieces by Grieg as well as lesser-known
works such as Saties Cancan GrandMondain, a waltz by Hindemith
and an arrangement of Chopins A
minor waltz. Primo and Secondo
parts are printed on separate pages,
and difficulty ranges from Grade 4 to
Grade 7. At 260 pages long, the book
is quite large, but it easily lies flat on
the music stand. Four thumbs up!
PAULINA SZALIT
GRAND ONE-HAND
SOLOS, BOOKS 1, 2 & 3
A TREASURE CHEST OF
DUOS
CONTEST WINNERS
FOR TWO, BOOKS 1-5
In case you wondered, there is no

overlap of repertoire between this book
and the other duets volume edited by
Monika Twelsiek thats on this page.
This one has 40 pieces, most of which
are just one page long per part. The
easiest music is around Grade 1 and
the occasionally more complicated
Secondo parts stretch no higher than
Grade 5. Presented chronologically,
from Johann Baptist Vanhal (17391813) to Uwe Korn (b.1962), there
are several recognisable melodies (such
as a selection of Schumanns pieces
for children, arranged by Kirchner)
in an otherwise unfamiliar, but
approachable, selection. I made no
exciting discoveries, and despite one
of the pieces Mtys Seibers Blues
having the wrong clef printed all
the way down the Primo part, theres
plenty of fresh material for inquisitive
teachers and students to explore.
These five books of piano duets

contain between seven and ten pieces
each that are roughly the same level
in graded difficulty as their respective
book numbers (e.g. Book 2 = Grade 2).
The content of the five books
has been drawn from the most
effective and popular duet repertoire
published by three companies
Alfred, Belwin and Myklas that
have featured on contest and festival
lists in the US, and includes music
by well-known American educational
composers such as Robert Vandall,
David Karp, David Carr Glover
and Dennis Alexander. The duets
are all easy to listen to, but Big River
Barn Dance and Valse Sentimentale
(both in Book 4), and Kansas City Rag
(Book 5) are particular highlights.
Look out for a similar set of four
books for solo piano already available
from Alfred.
Selected pieces for

piano Vols 1 & 2
Eufonium
ISMN: 979-0-80154618-0 (Vol 1); -20-3
(Vol 2)
Paulina Szalit (ca.1886-1920) was

a Polish pianist and composer. As a
pianist, she studied with the famed
teacher Theodor Leschetizky and
such virtuosos as Eugen dAlbert and
Josef Hofmann. Schnabel believed
her to have been the greatest child
prodigy in history. As a composer,
she wrote several piano pieces, and
included them in her concerts. These
two volumes of piano solos contain
her eight Morceaux op 2 (Vol 1) and
four Clavierstcke op 3 (Vol 2). They
are short, charming pieces between
two and eight pages long, written in a
sentimental, Romantic style with few
unexpected harmonies or surprises.
The music lies well under the hand, is
friendly to smaller hands and can be
tackled by Grade 7-8 pianists. Readers
who enjoy Romantic miniatures will
appreciate the touching two-page
Intermezzo from Szalits op 3.
Edited by Monika
Twelsiek
Schott
ISMN: 979-0-001-19457-0
Melody Bober
Alfred
Publishing
ISBN: 978-0-7390
-8795-4 (Bk 1);
-8796-1 (Bk 2);
-8819-7 (Bk 3)
Melody Bobers Grand Piano series

includes solos, duets, trios (reviewed
in Pianist No 70), and the three books
reviewed here (the series goes up to
Book 6) that feature music written
for one hand only. Their goal is to
provide pieces for students who have
one hand out of action due to injury
a common enough occurrence, as
frustrated piano teachers will attest!
Book 1 contains three pieces for
each hand at pre-Grade 1 level, while
Books 2 and 3 (approximately Grade
1) contain four each. Almost all the
pieces in the first two books have
teacher accompaniments to spice up
the music, while Book 3 is largely
unaccompanied. When injury strikes,
these are ideal pieces to develop the
other hand, and they also help to
improve reading skills by reinforcing
the message that either hand can play
in either clef.
Various Composers
Alfred Publishing
ISBN: 0-7390-9967-4
(Bk 1); -9968-1 (Bk 2);
-9969-8 (Bk 3); -9970-4
(Bk 4); -9971-1 (Bk 5)
88
78
Pianist #13
88 Pianist
p88_Sheet Review-FINALish.indd 88
15/05/2014 10:37
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70 Top Marks Love them or loathe them

76 Jelly Roll Morton Who invented jazz?

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