Pianist - Special Great Piano Composers of The Classical Era

GREAT PIANO
COMPOSERS
OF THE CLASSICAL ERA
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Page 35
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A minor K511
K511
Page 36
Can you make the text box slightly bigger? Theres still quite a big gap between the text and the
score. I think I gave you lots of text right? Id just lower the text box slightly, maybe by just one or
two lines?
Page 38
Can you lower the text box a fraction? I think we can easily have one extra line without it looking
too squashed.
Page 43
That sure is tricky!!
What I suggest is put the poem quote totally next to the score so that its aligned with the
Andante Doloroso... opposite. Might it then work that the text above works better? We still need
two columns, or it looks odd. Even if its just two lines of text per column. See how that works. I
think it will fit.
Page 48
Well done for spotting that the piece begins on page 53!!!
-Erica Worth
Editor
Pianist Magazine
6 Warrington Crescent
London W9 1EL
Tel: 020 7266 0760
Fax: 020 7286 0748
E: editor@pianistmagazine.com
www.pianistmagazine.com Hi Mary
Just a few things that wont take long:
Page 32:
Delete the Boosey and Hawkes text there along the spine.
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3026
47
SHEET
MUSIC
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23/03/2015 10:32
7/9/11 09:21:18
09/06/2015
09:21
8/11/12 08:53:57
FROM THE PUBLISHERS OF
IMPROVE
YOUR
CLASSICAL
PLAYING
Lessons, tips, articles
& advice on Beethoven,
Mozart, Haydn and more
HOW TO PLAY
Beethovens Moonlight
Perfect CPE Bachs
Solfeggietto
IN-DEPTH LESSON ON
MOZART RONDO IN A MINOR
p01_pianistGC.indd 1
11LEARN
PIECES TO
BEGINNER TO ADVANCED
12/06/2015 09:23
15679 Steinway Pianist Magazine (Issue82)_Layout 1 12/01/2015 17:08 Page 1
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For information on Steinway & Sons pianos or to arrange a private appointment to visit our London showrooms,
please call 0207 487 3391 or email info@steinway.co.uk
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2 Great Composers
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11/06/2015 14:13
Pianist Great Piano Composers of the Classical Era
CONTENTS
The next issue of Pianist goes on sale 31 July 2015
75
67
10
82
4
Editors Note
Reader Competition Win the
complete Beethoven Sonatas from

Alfred Publishing
Expert Talk Tim Stein answers
questions about Alberti basses, trills

and scales, while the Pianoforte Tuners
Association advises a reader on making
a modern piano sound more Classical
How to Play Masterclass 1
Mark Tanner on getting to grips with the

Classical style
10 John Suchet The newsreader, author

and broadcaster speaks to Erica Worth
about his fascination with Beethoven
12 How to Play Masterclass 2
Graham Fitch on getting technical with

the Beethoven sonatas
Dont miss Grahams online lessons!
15 How to Play 1 Melanie Spanswick
on Haydns Andantino in E flat (Scores

page 30)
16 Interpretation Jessica Duchen talks to
four leading concert pianists about what it

takes to play the music of Haydn, Mozart,
Clementi and Beethoven
72
20 How to Play 2 Melanie Spanswick on
CPE Bachs Solfeggietto (Scores page 36)
21 How to Play 3 Janet Newman on
the last movement of Clementis Sonatina

op 36 no 3 (Scores page 42)
22 Subscribe today for just 4.50 an
issue by Direct Debit and receive Schott

Musics Piano Classics book worth 14
24 How to Play 4 Lucy Parham on

Mozarts Rondo in A minor K511
(Scores page 55)
26 How to Play 5 Janet Newman on the
first movement of Beethovens Moonlight

Sonata op 27 no 2 (Scores page 38)
27 The Scores A pullout section of 40
pages of Classical sheet music for all levels
67 Inside the 32 Tim Stein looks at
the historical background of Beethovens

keyboard masterpieces
really like? Sophisticated genius or

childlike prankster? Michael Quinn
reveals the reality behind the legend
75 The Classical Trail A whirlwind
tour of some of the places where Haydn,

Mozart and Beethoven lived, worked
and composed
79 The Known Unknowns The
greatness of Mozart and Beethoven is

familiar to all, but John Evans asks us
to spare a thought for Haydn, Dussek,
Clementi and Hummel
82 Keyboards of the Classical Era
Fortepianos, pianofortes, actions, knee

pedals and more are examined in detail by
Gez Kahan
86 Sheet Music Review A five-page
in-depth round-up of the best of Haydn,

Mozart and Beethoven scores for all levels
of players
70 Group Dynamic Playing chamber
music of the Classical era offers fantastic

musical rewards, says Samantha Ward,
who explains how to get started
Images this page, clockwise from top right: Tourismus Salzburg GmbH (Salzburg); Classic FM-Global (Suchet); Finchcocks (keyboard)
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_GC Contents-FINALish.indd 3
72 Mozart the man What was Mozart
Sign up for our FREE e-newsletter

Make sure you keep in touch with our
editorial team and receive exclusive extra
articles and interviews.
To register, visit:
www.pianistmagazine.com
11/06/2015 11:05
Editors note
elcome to this special issue of Pianist magazine! If theres one

musical time period that is surely a must for pianists to
explore, it has to be the Classical era. We can learn so much
about how to master the piano from the great Classical
composers. Just look at the top three: Mozart, Haydn and Beethoven. Their
output was incredible and their music has stood the test of time. Its still
heard all over the world today, from concert halls to cafes, football stadiums
to national anthems. Can you imagine a world without Beethovens
Moonlight? Or without Mozarts Piano Concerto No 21? Impossible!
Inside the issue, you will find page upon page crammed full of advice,
tips, history features, interviews, reviews all there to help you play your
Classical best. And as always with Pianist, the issue contains 40 pages of sheet
music, this time just from the Classical era. To whet your appetite: theres
the catchy CPE Bach Solfeggietto, the sublime slow movement of Beethovens
Moonlight Sonata, the heartfelt Mozart Rondo in A minor and a sparkling Clementi sonatina
movement. Youll notice that our cover CD features all the pieces presented in the Scores (there are some
enticing bonus tracks too, with the complete Moonlight and Pathtique sonatas to enjoy).
All of these pieces are challenging to play, and thats where our team of experts can help. Firstly, there
are step-by-step lessons on five of the pieces. Then theres Mark Tanners masterclass on playing in the
Classical style and Graham Fitchs technical and practical advice on learning the Beethoven sonatas.
Our special issue also contains interviews with top pianists, history features on the composers (including
some of the often-overlooked ones), an in-depth look at the keyboards of the time, five pages of book
reviews and even a travel guide follow in the footsteps of the great Classical composers.
Ill be keen to know what you think of Pianist, especially if this is your first encounter with the
magazine. Feel free to drop me a line at editor@pianistmagazine.com. Remember, you can get Pianist
in digital format as well very handy if youre on the move or use your tablet regularly. And, if youve
enjoyed these Scores, visit our unique website shop to purchase Scores from back issues of Pianist, at
prices as low as 1 each. All information can be found at www.pianistmagazine.com, so take a look, then
get down to the hard (but rewarding) work of playing the piano!
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 THE COMPLETE FOUR-VOLUME BEETHOVEN
SONATAS SET FROM ALFRED PUBLISHING,

WORTH OVER 79!
Answer the question below correctly, and you could be one of three
winners to receive a set of the Beethoven sonatas from Alfred Music.
(The set is reviewed in the Sheet Music Review on page 86.)
Which Beethoven sonata has the famous slow first movement?
A: Moonlight
B: Tempest
C: Appassionata
Benjamin Ealovega
ENTER ONLINE AT WWW.PIANISTMAGAZINE.COM

Postcard entries are also accepted. Please send to Erica Worth, Editor, COMP PIA0115, Pianist, 6
Warrington Crescent, London W9 1EL, UK. Competition closes 21 August. Quote PIA0115 and remember
to put your name, address and telephone number on the postcard as well as your answer.
4 Pianist 64
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11/06/2015 10:04
E X P E R T TA L K
ANSWERS
from the experts
Top teacher Tim Stein answers readers questions about essential Classical techniques,
while, opposite, two tuner-technicians from the Pianoforte Tuners Association
consider whether a piano can be successfully altered to have a lighter Classical sound
Q&A
WITH TIM STEIN
I find Alberti bass in many of my

Classical pieces. Can you suggest
how I can learn to play this figure
evenly and correctly? Also, sometimes
when I play it, my thumb jams!
The Alberti bass accompanimental

figure crops up so frequently in
much of the music we play, especially
in music of the Classical era, that
learning how to play it is a very
useful skill. A common problem is
the stiffening up of the thumb and
inflexible wrist. An excellent tip when
practising an Alberti bass is to hold
your wrist with your other hand, so
that you can feel how much tension is
in the wrist when you play. When I do
this exercise with my students, I find
that once they become aware of how
much tension they have in their hand,
as if by magic, any problem (especially
a wayward thumb), seems to go away.
But not always. This is when you need
to do some simple exercises.
One good exercise is to practise
your Alberti bass part in block chords.
(For students with very small hands,
who cannot stretch all the intervals
between the notes, this is difficult, and
so I advise playing the block chords
only with notes they can stretch.) This
is also an excellent way of learning the
chord progressions too. Try practising
the block chords very slowly, making
sure all the notes go down at the same
time, with firm fingers and a flexible
(i.e., loose) wrist.
When you feel secure with both the
notes and the fingering (again, another
essential for accurate practising), try
breaking the Alberti bass in to different
rhythms, disciplining your fingers to
accent different notes. For example,
if your Alberti bass uses the notes
C-G-E-G and is fingered 5-1-3-1,

practise going from 5-1, with an accent
on 1, then 1-3, with an accent on 3,
then 3-1, with an accent on 1, and so
on. Stop briefly each time in between
the change of fingers. As you do this,
aim to maintain a comfortable curved
hand position, with your thumb that is
as relaxed as possible and close to the
hand. Ensure it is really just the fingers
that are, so to speak, doing the walking.
You can impart a small degree of
rotation in the wrist to aid movement,
if this helps, particularly when you start
to play the bass a little faster. Remember
to do this very slowly first, building up
speed as you wish, bit by bit. Eventually,
the Alberti bass parts will get easier to
play, your thumb should cause less of a
problem and your fingers in general will
benefit from the exercise workout.
I have been noticing that I do

not play my scales as evenly as I
should. Do you have any practical tips
to help me with this?
Start slowly at first, listening carefully

to each hand, and build up the speed
from there. You can also clap or tap the
rhythm (without playing), as it helps
develop a steady and even pulse.
Double-dotting or just dotting the
basic beat is also useful, as is breaking
Practising scales is good for all

kinds of reasons. You learn the
geography of the keyboard, you learn
finger patterns that facilitate sightreading and you develop your basic
finger technique at the same time.
Its often difficult to know how to
make scales more even, but much
of it boils down to tone production.
Were often so obsessed with moving
our fingers faster and faster, that we
forget to listen to the actual sound we
produce. Get the sound right and the
chances are that your scales will soon
start to improve almost immediately.
Rhythmic practice is probably one of
the best ways of sorting out unevenness.
Take any basic scale you are confident
with and play a three-octave scale,
adding a distinct accent at the beginning
of each three-note group (1-2-3, 1-2-3,
1-2-3, etc). Then do the same over four
octaves, but this time emphasising each
group of 4 (1-2-3-4, 1-2-3-4, 1-2-3-4).
Try holding your wrist of the hand

playing the Alberti bass with your other
hand, so that you can feel how much
tension is in the wrist when you play
up the scale into beats as you would for
a technically difficult passage. Here you
would do something along the lines of
C-D, C-D-E, C-D-E-F, C-D-E-F-G,
making sure that the fingers are moving
and articulating correctly, and landing on
the last note of each group of notes with
an accent. There are many variations of
rhythmic practice, such as varying the
rhythm in each hand (as in twos against
6 Great Composers
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threes) or deliberately misplacing the

normal accents, but whatever exercises
you chose to concentrate on, always
make sure that the scale tempo is exact
(metronomes can help tidy this up), the
hands are well synchronised and that you
achieve as good a legato tone as possible.
I hate pieces with trills! I feel I

havent got the right technique, so
I avoid certain pieces. Can you help?
Erica Worth (Stein); Nina Large (hammers)
Dont avoid pieces with trills! The

pianists repertoire is rich with trills
both short and long (Chopins nocturnes
are full of them, as are Beethoven
sonatas, movements from Bach partitas
and Haydns F minor variations).
Playing trills requires the use of two
basic techniques: a straightforward finger
action and some kind of wrist rotation.
For extended or loud trills, you may
want to combine both techniques. Every
hand is different, so you will find playing
trills easier with some fingers than with
others. Its always useful to be able to
practise with different fingers. For a
simple trill, the most common fingering
is 2-3-2, but you should be able to play
the trill comfortably with any next door
fingers (1-2, 2-3, 3-4) and be able to use
varied fingering such as 2-3-1 or 1-3-2-3.
Playing trills successfully will be
determined by the correct fingering and
by making sure your hand and wrist
are as relaxed as possible. For a long
trill, its quite easy to build up lots of
tension, so concentrate on feeling as
free and as supple as possible, thinking
of the movements of the fingers and the
subsequent sound they make. Always
begin with the shortest trill possible and
work from that. Giving the first note a
slight accent will start the trill off, and
make it easier to keep up a good sense
of rhythm. If, say, you are playing a
trill of C-D-C, accent the Cs for every
group of three notes in a kind of triplet
fashion. The fingers should be raised
slowly after each note, making precise
movements, until you get a good sense
of flow. Once you can manage three
notes successfully, move onto four and
so on (C-D-C-D, then C-D-C-D-C,
etc), remembering to accent the first
note of every rhythmic group and
always thinking of relaxing.
Some pianos are more sensitive than
others. On your piano it may be possible
to play really beautiful, even trills without
the key going right down to the bottom.
Again, this takes practice, a keen ear and
subtle control. Practising on different
piano actions helps. For more exercise
regimes for trills, look at technical books
such as Hanon or Czerny.
Go to www.pianistmagazine.com to
watch Tim Steins online lessons for
beginners, and visit Tims own website at
www.pianowithtim.com
Under the lid

Is it possible for a tuner-technician to alter a piano so it has
a lighter, more Classical sound? Two members of the
Pianoforte Tuners Association (PTA) offer their views
I have a very nice grand piano, and I love to play the Classical repertoire, especially Mozart and
Haydn, but I think mine may be the kind of piano that works better for the more meaty, Romantic
repertoire. Would a piano technician be able to give it a lighter Classical touch/sound?
Yes. An experienced technician can fit lighter hammers to a piano, enabling the touch to be made lighter
(and shallower) too. Keep the old hammers in case you change your mind and wish to return to the
previous state. An extreme and more expensive solution would be to have a completely new, much
lighter, action made which you could exchange with the original whenever your mood changes. You
would need a secure place to keep the spare action, and organise someone responsible to do the
changeovers without breaking something.
Bill Kreis, MPTA
It should be possible to give your grand a lighter Classical sound, depending on the age and condition
of the instrument. If it is a relatively new model, it would be difficult to noticeably alter the makers
specifications of regulation and touch weight, but the tone could be voiced for a mellower sound more
suited to earlier keyboard repertoire as far as possible.
If the piano is an older model in good condition, a general service should lead to a lighter and more
responsive touch. Most importantly, the frictional points of contact within the action and keys should be
addressed. Some other aspects of a service will include:
1. Correcting the jack position to roller wood core to allow efficient, un-hindered escapement when
the key is fully depressed.
2. Ensuring that key bushing cloths are not loose or tight. The metal pins housing them should
bethoroughly polished and friction free.
3. Making sure that the dampers do not lift early or as soon as the key starts to be depressed, as this
causes an unnecessary addition of weight.
It is also possible to do more in-depth work to assess the current action down and up weight, with
a view to re-weighting the action. This is where additional lead is added to the front portion of the wooden
keys. There are technical restrictions to the scope of this work and how far it could go. Each piano requires
evaluation of condition and subsequent budget advice to what may or may not be possible.
Andrew Giller, MPTA
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play
HOW TO
Getting to grips with

CLASSICAL STYLE
Bringing the right character to Classical music requires an understanding of articulation, pedalling,
compositional style and keyboards of that era. Pianist and teacher Mark Tanner presents a tutorial
hen we talk
about the
Classical era,
we are
generally
referring the
period from
1750 to 1820. To do justice to the music
of Haydn, Mozart and Beethoven and
other composers of that era, a degree of
historical awareness is indispensable, in
terms of the instruments and the
compositional tools of the time.
The Classical era composers aligned
themselves in surprisingly informative
ways with either the Viennese fortepiano
(Stein was a prominent builder) or the
English pianoforte (Broadwood ranked
among the more revered makers). These
two instruments co-existed, and
although they displayed a number of
conspicuous differences, they were
essentially flip sides of the same coin.
The fortepiano possessed a slick,
immediate action and lent itself to a
crispness of articulation, which fed
perfectly into Mozarts fluid, elegant
style. The pianoforte, on the other hand,
boasted a richer, more sustained sound
and capitalised upon a slower attack and
decay. This rendered it far better suited
to the fulsome, majestic style of writing
with which Clementi and Beethoven
found themselves increasingly attracted.
Both were percussion instruments with
leather hammers, and were capable of
note-by-note dynamic flexibility, a
fundamental contrast to the harpsichords
plucking action. Yet there were striking
similarities (excuse the pun) between all
these instruments too. For example, they
initially had four or five octaves, with
wooden frames and a similar overall case
shape. Indeed, if you looked at them with
half-closed eyes, their physical appearances
rendered them barely distinguishable
from each other. Nevertheless, the subtly
contrasting priorities built into the
Viennese and English instruments gave
them strikingly different attributes. These
priorities remained steadfastly intact right
up until the point where the seven-octave,
iron-framed, overstrung modern
Romantic piano took over as the
keyboard instrument of preference in
the 1860s, prompting a major overhaul
of piano technique, which I discussed
in my article on Romantic playing in

Pianist No 82.
While the modern piano possesses far
greater projection and resonance, both
the fortepiano and pianoforte were
wonderfully adept at achieving subtle
nuances, and could achieve some
enterprising effects too. For example,
composers of the so-called Mannheim
School, which included Stamitz and
Mozart, enjoyed employing bold
dynamic swells, which was considered
daringly radical. Keyboard players would
need to step up to the mark to adapt
their technical resources to the added
muscularity of these instruments. That
said, a degree of interchangeability
prevailed. One anecdote has it that
Mozart turned up at a venue to perform
on a fortepiano, but on discovering a
harpsichord instead, he just shrugged his
shoulders and got on with it. By the early
1800s, however, it would have been
inconceivable to attempt, say, a
Beethoven sonata on a harpsichord, as
composers were now anticipating effects
only achievable on the new instrument.
Accompanimental figures
Although certain stylistic hallmarks
appear ubiquitously in the music of
Classical era composers, the thoughtful
pianist will wish to home in on the
features that distinguish them. We can
gain as much from looking at the
TOP
TIPS
2
3
4
5
ACHIEVING CLASSICAL STYLE

Keep in mind the instruments of the Classical period and their
lighter touch, smaller dynamic range and less effective pedal.
Emphasise clarity, symmetry, balance and elegance.
Cultivate smooth, unobtrusive accompaniments. Let the left hand
point up interesting harmonies while holding the momentum.
Articulation particularly slur-dot details is paramount, so target
evenness with controlled shaping, especially in Mozart.
Frame dynamics within the style. Look for idiomatic details, such
as Beethovens sf and subito p and Haydns cheeky effects.
The sonata form underpins the Classical piano repertoire. Mark in
the exposition (with subjects), development (noting important
modulations) and recapitulation (noting any differences). Finally,
think about how to bring all this to life!
Mark Tanner is a pianist,

composer, writer, ABRSM
examiner and teacher. In 2015
his performing and academic
work will take him to Australia,
USA, South Africa and
Caribbean. This August he will
teach piano, composition and
improvisation at the Chethams
Summer School and presents
his own popular piano summer
school at Jackdaws. A dozen of
his pieces feature on current
exam syllabuses, including five
on the new Trinity College
piano syllabus. Spartan Press
has published 50 books of his
compositions, arrangements
and transcriptions. Find out
more at www.marktanner.info
favourite accompanimental figurations of

these composers as from studying their
signature motivic shapes or harmonic
patterns. For example, the Alberti bass
often associated with Mozart and Kuhlau
was not nearly so commonplace in
Haydn, whose chugging left-hand
chords more usually found favour, nor in
Beethoven, whose denser chords and
tremolo octaves are a stylistic stamp.
Alberti bass patterns are rocking
broken-chord accompaniments, usually
though not always consigned to the left
hand, placed roughly in the middle of
the instruments register and
conventionally grouped in fours or sixes.
If youve ever wondered why the Alberti
bass is such an effective accompaniment,
try substituting it for block chords
youll immediately hear how horribly
turgid and static the music becomes.
When playing these patterns, hold down
the first note of each pattern and join it
to the next one of the following group.
Frequently this is best accomplished by
alternating the fourth and fifth fingers to
achieve a legato effect. Finger-pedalling,
as it has become known, will bring
welcome sonority without compromising
the all-important slur-dot articulation
detail in the right hands melodies and
brisker passagework. It is surprising how
lengthening a note, rather than striking it
more forcibly among its neighbours, will
have the effect of emphasising it long
is strong. If you can maintain a fairly
8 Great Composers
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MASTERCLASS
still wrist, resisting too much rotation,
you will help your even playing
immeasurably. Balance the two hands
so that the melody does not become
overpowered: a clearly differentiated
melody and accompaniment was a key
trademark of the Classical era. Do plenty
of hands-separate practice to allow the
accompaniment to flow along easily,
elegantly, yet discreetly.
Turning scores conceived for an
18th-century instrument into a
musically meaningful experience today
is a challenge. We have to work so much
harder to hold the momentum in, say,
Beethovens Pathtique or Moonlight
sonatas than the composer himself
would have had to on his Graf
instrument due to its comparatively
light action (roughly half the depth of a
modern piano). In Clementi and
Beethovens accompaniments, youll
want to use progressively more wrist
movement. Tremolo effects call for a
supple wrist and a supremely relaxed
upper body.
In Haydns music, one often comes
across a quasi-pizzicato effect in
accompaniments. Be on your guard
with these, as they will tend to draw
inordinate attention to themselves and
make it virtually impossible to realise
the marvellous lyrical features of the
composers writing. The pursuit of wit
is all well and good in Haydn, as is the
dramatic potential of his Sturm und
Drang sonatas, but on a modern
instrument we need to rein ourselves in
and admire the crystal chandelier detail
and symmetry of phrases.
Articulation
Although dynamics play an important
role in Classical keyboard music, on
balance I would proclaim articulation
the key ingredient in creating a
memorable performance on the modern
piano. I am a great fan of table-top
practising to cultivate evenness, clarity
and precision of fingerwork. The music
needs to sparkle and dance with
crystalline clarity. Never tickle the keys,
but follow through fully, even when
playing at a level of pp. Glance at a
typical score by Mozart and youll likely
find quite a lot more articulation
markings than dynamics.
Ironically, perhaps one of the best
ways of cultivating a feather-light
caressed effect, even when playing up
to tempo in an Allegro movement, is to
practise initially at a more leisurely pace
but with a really bright attack, keybedding decisively on every note,
avoiding any hint of tension in the
wrists. You can then gradually ease off
in attack once the runs sound welloiled, but when gauging the most
sensible speed for fast movements keep
in mind the heavier action of the
modern instrument in its middle and
lower registers. The opening movement

of Mozarts Sonata in B flat K570 is a
case in point: an overly enthusiastic
opening tempo will all too soon land
you in hot water as the virtuosic scale
and arpeggio runs begin to accumulate.
Pedal
Though Mozarts fortepiano sported a
knee-operated sustain lever, its function
can hardly be compared with what we
have on a modern piano; indeed its
capacity for adding sonority and legato
would seem minuscule by modern
standards. Hence we should be looking
to emphasise the directness of effect each
hand can muster and resist the
temptation to swamp with pedal. Today
we often play Classical music in far
grander environments than composers
envisaged. Bear in mind the pedal effect
the room itself may have on your
playing. The dampers on Beethovens
instruments achieved a comparatively
limited effect. The sustain pedal added
more of a colouristic glow than a decisive
method of buoying up the harmonies.
For this reason a pinch of salt is needed
when following Beethovens markings.
As with nearly all Classical repertoire, a
less-is-more philosophy with regard to
pedal will serve you best.
Sonata form
As a diploma examiner, I frequently
come across candidates who are able to
sketch out the sonata form in a work by
Haydn or Mozart, but are less aware of
how such knowledge might actually
inform their own performance. Space
does not permit a treatise on the formal
intricacies and key relationships of the
standard sonata form blueprint, suffice
it to say that it underpinned the vast
majority of keyboard music sonatas
and concertos in the Classical era.
This is particularly true in the first
movement, often an Allegro and the
longest of its three or four movements.
Performers need to strive for a sense of
unit when building their interpretation
the grander gesture, or what some
think of as an arch-shape. Each section
can be allowed to make itself plain to
the listener, but never at the expense of
the movements overall tautness and
sense of integration. Herein lies the
dilemma for interpreting the music: to
enjoy the here and now, but to retain a
sense of the unfolding sonata form.
In sonata form, the exposition is where
the composer first exposes the ideas out
of which the music will unfold; there will
usually be two themes or subjects in
related keys. From here we move logically
into a more turbulent, unsettled section
marked by a double bar in the score,
known as the development. This is where
the fun and games really take place, for
here the composer can feel free to be
more adventurous in harmonic, melodic
STYLE COUNCIL
Mark Tanners tips for nding the true

Classical style in 3 pieces in this issues Scores
CPE Bach Solfeggietto [Scores page 36]: In this work you

need to generate a stream of evenly flowing semiquavers so that
the listener cannot detect where the constant switches between
hands take place. There is a decisive symmetry to the phrases and
sequences, which you need to draw out confidently. Direct the lines
towards moments of harmonic interest, for example bars 7 and 22, and
enjoy the plentiful f to p dynamic markings, which serve to bind the
music together and keep the music moving along with momentum.
Clementi Sonatina op 36 no 3, third movement [Scores

page 42]: Consistency is the name of the game here. Aim to play
the accompanimental figures distinctly but discreetly while energising
the tunes vivaciously. Its up to you whether to play the LH quavers
legato or staccato, but an overly clipped attack will draw attention away
from the melody. Hold something in reserve for the dolce melody at
bar 49 and think hard about the overall dynamic scheme, too.
Beethoven Pathtique Sonata, Rondo [Scores page 46]: As

in all rondos, each recurrence of the melody needs to emerge
emphatically and with renewed vigour. Bear in mind the alla breve
direction when finding your tempo two beats in the bar, not four.
C minor is Beethovens special dramatic key, so honour his carefully
calculated dynamic and articulation markings for a lively, characterful
performance. The fp effects (such as in bars 18 and 22) are not
realisable on the modern piano with its slow decay, but you can drop
the dynamic in the following bars. From bar 189 to the end measure
your dynamic build-up to maximise the sf and brazen crescendo effects.
and rhythmic terms, frequently moving

through all kinds of unrelated keys and
taking the listener on something akin to
a magical mystery tour. All this turmoil
and enterprise, during which the
composer will have remoulded ideas
from the exposition, must of course
eventually be reconciled, so that by the
conclusion of the movement the
recapitulation the home key will have
become resoundingly reaffirmed, in some
cases aided by a coda to tidy up any
remaining loose ends.
Aim to treat the first and second
subjects as distinctive musical characters,
not in an overly emphatic way, but by
means of a consistent scheme of
articulation and dynamics. Be especially
mindful of their contrasting personalities
as they interact with each other,
sometimes sharing the limelight, at
others seemingly in conflict with each
other. Be at your most inventive and
dramatic in the development, where the
sense of storytelling increases. Emphasise
its quasi-improvisatory nature. In reality
of course, much of the potential for
spontaneity in this section will have been
carefully worked out by the composer.
If you intend to play the development
repeat, think hard about how you plan to
sell us material we have already heard,
and then gather your composure once
again for the recapitulation the final
architectural pillar.
9 Great Composers
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FIRST PERSON
LUDWIG
& ME
Newsreader, broadcaster and author John Suchet tells

Erica Worth about his Beethoven fascination and
what hes discovered in writing about him
Classic FM-Global
How did your fascination with

Beethoven begin?
Im a failed musician, really! I played
piano at school. I was the best in my
house, I played hymns and so on, and I
decided to make music as my career.
Fortunately for the world of music, it
never happened, and I went into
journalism but musics always been
there in the background. When I
became an ITN reporter in 1976, the
Sony Walkman had just come out and
suddenly you could take your music
with you. I remember having a battered
cassette tape of Beethovens Eroica with
me when I was covering war zones. At
school I was into Tchaikovsky more
than anything, I didnt go near
Beethoven. I thought he was just bash,
bash, bash. But later I discovered this
whole body of lyrical Beethoven and I
wanted to learn about it. I just got
deeper and deeper into it.
So you chose not to play Beethoven,
but to write about him instead?
If I could play a single Beethoven
sonata, Id be happier than writing 100
books on him! Because the piano is his
voice. I get my kicks out of writing and
talking about him. Being a journalist by
training, Im not a musicologist, so I
dont analyse the music. To me, the fact
that he tore up the dedication of the
Eroica to Napoleon is of far more
interest than its in E flat. I understand
the music, mind you, because Im music
trained, and in theory too. But when I
talk about Beethoven, you wont hear
me talk opus numbers or key signatures,
but you will hear whether he was drunk
when he wrote a piece, whether he was
in love when he wrote it. The fact is,
this was a man who was going deaf,
living in a city, at war. How did it all
happen? Thats what fascinates me. He
had to eat and drink; he had to pay his
rent; he had friends; he upset them.
Although he was a God-given genius, he
had to live among mortals.
When I was a TV journalist, we were

often accused of skimming over the
surface, giving a three-minute piece
about a war for the News at Ten. I
can speak for a minute and a half
for most things that are going on
in the world, but with
Beethoven, I decided on
the opposite. I
wanted to go
deeper. I know
what his
favourite food
was. I know
what he
could cook!
His friends
used to say
they dreaded
an invite to
dinner. One
recounted that he
opened the door in an apron
and a chef s hat. He dished up a
soup that was so oily that only the
joys of the grape got us through it, so
said this friend. Doesnt that tell you
more about the man?
You present on Classic FM radio.
How did that come about?
I had come to the end of my news
career and was phoned by the
then-managing director of Classic
FM, Darren Henley. He knew about
my books and asked me to join the
station. This is my fifth year with
Classic FM. My career is full on,
doing talks as well, all over the place.
My presenting is a joy.
Your book Beethoven The Man
Revealed is all about the
composers personality, then?
Its the first full-length biography
that Ive written about him (my
trilogy [Last Master] was a novel).
A lot of critics say there wasnt
enough about the music. But
I wanted it to be about the story
10 Great Composers
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turned more and more to the piano.

The sonatas say what are going on in his
life. Opus 110 means the most to me.
Because youve got that Klagender
Gesang, then that chord he keeps
repeating you want the tenth
repetition of the chord to be slammed
out. Then he goes into the inverted
fugue. Hes saying, Im deaf, but Ive
first full-length biography of
n. Before turning to classical music,
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he was still a man who had to live
does it for me.
among fellow mortals, eat and drink,
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fall in love, pay his rent.
This is the real Beethoven, and Suchet
What
about
Moonlight
brings him
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vividly to life.
and Pathtique sonatas?
Where does he fit in with
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The Pathtique changed the course of
Mozart and Haydn?
ooks.com
The great trilogy is Haydn, Mozart the piano sonata because it begins with
ed by Two Associates
and Beethoven. To think they were this massive opening chord. No one had
ever started a piano sonata like that
all alive at the same time! To me,
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before. Beethovenwww.ean
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young, the
Beethoven was the greatest.
deafness is beginning to take hold. Hes
Obviously, Mozart was a huge
influence on him and Haydn taught doing what he wants. The second
movement is one of the most lyrical
him for a while, though not very
movements (one of the few themes he
successfully. They fell out, but
didnt agonise over too), and then theres
Beethoven wrote his first set of
sonatas for him. If you ask me what it that final movement. He was friendly
with Nanette Streicher, the German
is about Beethoven, Id say its that he
piano maker, and he was known to have
broke the rules. I think of the opening
demanded a wider keyboard for this.
of the Eroica, in bar three or four, he
The Moonlight set a new standard in
goes down to a C sharp. And that
different ways. The slow movement
boom is the wrong note in the wrong
of the man. Thats why it has the title The

Man Revealed. I get to the music through
the man. I like to find out what he was
doing when he wrote his great works. I
UCHE T p
present
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flagshipthe musicology to the musicologists.
programme, from 9am every weekda
Barryy.withCooper, for example, is the finest
mative style of presentation, coupled
nowledge of classical music, has won
a wide
Beethoven
academic in this country, if
of new listeners to the station.
In particular
cognised as a leading authority on the
not
in the world. Ill leave that to him!
orks of Ludwig van Beethoven. He has
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ISBN 978-1-90-764279-1
T H E M A N R EV EA LE D
When I talk about Beethoven, you wont hear

me talk opus numbers or key signatures, but
you will hear whether he was drunk or in love
when he wrote a certain piece
key at the wrong time. He does that!
He doesnt care. He breaks the rules.
Beethoven was also the greatest virtuoso
Vienna had ever seen. Mozart was a
good pianist, but he wasnt in
Beethovens league. The aristocrats fell
over themselves to sponsor Beethoven.
Hed improvise and everything. Thats
what got him accepted. He never wore
a wig in his life, his clothes didnt fit
but he was in the best circles.
Tell me about the piano sonatas.
If theres one genre that I tend to lean
towards more than any other, its the
piano sonatas. Its the only genre he
wrote in, throughout his life, without
any significant break. They are his
voice. As he got profoundly deaf, he
comes first. Hes saying I dont have to

put the slow movement second! The
story is that hed fallen in love with one
of his students, Countess Giulietta
Guicciardi, and shed invited him to
write a sonata for her. Hed already
written a lot of it beforehand, so he
knocked it into shape. It was originally
called the Arbour (he wrote it under
some trees). It went on to be published
under the name Quasi una fantasia and
dedicated to the Countess.
How do you think Beethoven played?
My view is that Beethoven always
played fast. We have several eyewitness
accounts of him playing. He had
short, stubby fingers, with hairy
joints apparently, and he played with
flat fingers. I suspect he didnt play in

a very subtle way. I heard this story
once, and I hope its true: A young
pianist played for Beethoven and made
many mistakes, apologising over and
over. Beethoven said, Dont worry!
When I play, I play so many wrong
notes that I have to get down on my
knees and pick them all up again.
I like my Beethoven to be a little
rough-edged. My favourite recording
so far of the sonatas is Jen Jand on
Naxos. It was the first I ever bought,
in 1988 or 1989. And it was recorded
under Communism in Prague in a
crummy studio with a single microphone.
I quite like that. Sometimes the perfect
digital recording on the perfect concert
grand is just a little too refined. I like
the rough edges.
I think Beethoven knew that a lot of
his writing was almost impossible to play.
For example, the metronome marking for
the Hammerklavier Sonata is almost
physically impossible. If you listen to
Schnabels recording of it, its all over the
place! His fingers are splashing on the
keys. And in a way, I dont think
Beethoven would have disapproved. n
For more about John, his book Beethoven
The Man Revealed, and his book on Johann
Strauss, The Last Waltz (to be released in
September), go to www.johnsuchet.co.uk.
The Pathtique and Moonlight sonatas
are in Classic FMs Hall of Fame. Turn to
this issues scores to play the first movement
of the Moonlight and the third movement
of the Pathtique.
11 Great Composers
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HOW TO
Getting technical with
BEETHOVEN PIANO SONATAS

Teacher and performer Graham Fitch offers some vital technical and practical advice that
will help you be up to the challenge of studying and playing Beethovens 32 sonatas
eethoven wrote his 32 piano sonatas between the ages of

25 and 55, thus these works span the composers so-called
early, middle and late periods, and paint a rich picture
of his stylistic development. In approaching on this vast
subject from a very practical point of view, I realised there
is no way I could do any more than scratch the surface
in a single article. So before I sat down to write, I reached
out to other pianists through social media to find out what they really want
to know about playing and studying these sonatas. I received a wide and
varied series of questions in response, and I hope I have addressed some of
the important issues here.
Pedal
The types of piano Beethoven knew had very different tonal and resonance
properties from our own tone decayed quicker and the sound was more
transparent. Beethoven only had a foot pedal from about 1800; before
this he relied on knee levers (which were more cumbersome to operate).
Czerny and Hummel reported that Beethoven used excessive pedal in his
own playing. The pedal marks he left us in the sonatas all have to do with
creating an excess of resonance more than you would normally think to
do. Tempering our pedalling decisions with the knowledge that Beethovens
markings work better on the pianos of the time, we need to keep in mind
that he was after blurred effects and not squeaky-clean textures. So lets not
be squeamish.
Lets consider the Moonlight Sonata opus 27 no 2. It is easy to be
confused by the instruction in the first movement [in this issues Scores
page 38]. Si deve suonare tutto pezzo delicatissimamente e senza sordino
could mean one of two things: 1) Use the sustaining pedal throughout
WATCH GRAHAM ONLINE
and change it with each new harmony, or 2) Keep the sustaining pedal
down throughout without changing it. My solution to this perennial
problem is twofold: make late pedal changes and dont put the pedal all the
way down, just enough to barely lift the dampers from the strings. I also
find myself using finger pedal in the RH in certain places, holding onto the
triplets with my hand. This all combines to give an artistic realisation of the
blurred mistiness I feel Beethoven intends but without overdoing it. Czerny
tells us this movement describes a nocturnal scene, in which a mournful
ghostly voice sounds from the distance. [Readers might also like to refer to
Grahams Masterclass in Pianist No 84 (June/July), in which he discusses
pedalling in the music of Beethoven and other Classical composers.]
Adagio sostenuto
3 5
3
3
3
##
& # #C f f f f f f f f f f f f f f f f
f f f f
f f f f
? ####C w
w
sempre pp e senza sordino
w
w
####
&
? ####
5 4
3 5
2 4
f f
f f f f
f f f f f nf f f f # f f f f f #f f f
F
F
F
F
F
F
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1 2
5
Another Beethovenian pedalling challenge to make the long pedal work

in the last movement of the opus 53 Waldstein Sonata (below). You could
use the sostenuto pedal to hold the bass and then use the right pedal to
change on each new harmony (overlapping to create a bit of blurring), or
simply put the right pedal down just far enough to catch the bass note.
This will minimise the resonance in the higher registers, and you can
always tweak it by using flutter pedalling if you do so carefully (dont lose
that bass!). For this to work, voicing and balance have to be controlled
impeccably in the hands. This sonata is sometimes known as LAurore after
the last movement, which is said to describe the dawn of a new day.
Allegretto moderato
f
f
f
f
? 42 f f f f f f f f f f f f f f f f f f
Dont miss Graham Fitchs video lessons, which youll find on the Pianist
website at www.pianistmagazine.com. He demonstrates all different types of
techniques there are over 20 lessons to watch. His current lessons are
filmed at Steinway Hall, London, on a Model D concert grand. Graham is a
pianist, teacher, writer and adjudicator. He gives masterclasses and workshops
internationally and writes a popular piano blog, www.practisingthepiano.com.
.
? 42 j & f
f
sempre pianissimo
f
J
f
f
f
f
? fff fff fff fff fff fff
12 Great Composers
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? 42
f.
sempre pianissimo
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f
J
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MASTERCLASS
f
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? fff fff fff fff fff fff
f.
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The long pedals in the recitatives in the first movement of the opus 31
no 2 Tempest Sonata (below) are supposed to sound like a voice from the
crypt, and therefore should not be too clean. Again, try dropping the pedal
a millimetre or so down from the top and adjust it where necessary without
actually changing it. In a dry acoustic, I see nothing wrong with holding
the pedal about a quarter of the way down for the whole recitative. And
remember whatever blurring you perceive at the piano is reduced by the
time it reaches your audience.
&b
?b
&b
?b
F
#FFw
#w
w
f3 #F
# f. f.
f
f f f f f f f f f
2
con espressione e semplice
Largo
f5
j
f f
4
U
j
f f f
at the start of the opus 13 Pathtique to cut the resonance, but it is quite
dangerous. Most players dont bother with this. Rinforzando (or rf or rinf) is
a bit like playing in bold type not loud necessarily but somewhat firmer.
Peculiar to Beethoven is the undelivered crescendo a crescendo that
promises to arrive at a louder dynamic level but just at the point of arrival,
Beethoven places a piano marking. This is the musical equivalent of the old
schoolboy trick of pulling a chair from someone just as they are about to sit
down it needs to be set up so it is a total surprise:
#2
& 4 f f #f fJ
ff
#
& fJ
&
f
J
f f f
#f f
f f
In your practice room, you might try following through with the
crescendo to experience what the listener expects. Thus instead of the given
p in the above example, practise resolving the crescendo to mf or f. Having
done this, see the crescendo through to the very last semiquaver of the
bar before the p, being careful not to chicken out before the cut-off point.
You may well find you need a little extra time for the effect to register,
experiment with playing the p arrival a touch late. Then try without taking
any time and see which works better if you have made a big crescendo
you might need a millisecond for the resonance to dissipate or you risk
swallowing up the p. In the case of a subito piano, it is helpful to make a
small crescendo just beforehand since the natural tendency is to pre-empt
the piano by softening too soon. Sometimes Beethoven does the opposite
a subito forte after a diminuendo. In the example below, from the end of
the development section in the first movement of opus 10 no 1, I suggest
making sure the chord on the last beat before the f is as soft as possible to
maximise the surprise.
decresc. -
? bb
b
b
& b b ff
n f.
ff. bff.
f
f
? bb
b
ff ff nf f
f.
f. ff.
ff
.
f
ff.
f
ff.
?f
f
f
.
n fff
ff
f
f
f
f
ff
ff
Tempo
In his music, Beethoven stretched many things to their limits dynamics,
the capabilities of the pianos he had, and expressive power. Even in the early
sonatas tempos can range from the most spacious of adagios to whirlwind
prestissimos (he gives us both back to back with the last two movements of
opus 10 no 1). Be careful that lento and grave movements are not too slow.
Performance Directions
Beethoven was the most prescriptive composer of his time and even before
his time. The ultimate control freak, he left very little doubt about phrasing,
dynamics, articulation and other performance directions. He exploits a wide
range of different touches and the full dynamic range, and the opposite
ends of the spectrum pianissimo and fortissimo need to be special. Make
sure to really observe each ff and pp, and save your extra-loud and extra-soft
sounds for these places.
The directions sf, rinf and fp cause a lot of confusion when you play
Beethovens music. Remember that sf (or sfz) means sforzando a sudden
accent within the given dynamic level. It does not mean to play the note or
chord as loudly as possible. Thus in a piano context, the sf will not be that
loud, just sudden! Make sure the notes surrounding the sforzando are soft
and unaffected by the accent.
On the other hand, fp tells us to play the note or chord forte and
subsequent notes softly. This effect was much more easily achieved on the
types of piano Beethoven knew, where the tone decayed relatively quickly.
On the modern piano, the sound tends to bloom after the initial attack
and takes longer to decay and this can make fp effects tricky to manage.
Some artists use a trick with the pedal and re-depressing the keys silently
f
J
# f f f f f f f f f #f f f f
f
#f
.
bb nfff
b
&
f f
J
[cresc.]
? #2
4
&
f
J
13 Great Composers
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HOW TO
The opening of the Pathtique is often played way too slowly, with the
result that the feeling of the four main beats gets lost.
Watch out for adagios with an alla breve or cut time signature (such as the
first movement of the Moonlight) the tempo applies to the minim (half
note) main beats and not to crotchets (quarter notes).
We know that Beethoven was free with the tempo in his own playing and
not at all metronomic. It is hard to imagine the two completely contrasting
statements of the same idea in the opening of opus 90 being played at
exactly the same tempo. We can surely stretch out the piano (more relaxed
and spacious) answer to the forte (driven) statement a little bit here:
#3 j
j
& 4 ff fF fj fj ff ff ff
ff FF
f f
p
f
f ff
j
j
? # 3 fj F
f
f
4f F
f f
j
f ff. ff.
ff ff. ff.
J
Hand redistribution
When it comes to Beethoven, some pianists are dead set against the idea of
redistributing notes between the hands to make things more manageable.
The great pianist Rudolf Serkin played all the Beethoven sonatas except
one apparently he would not play opus 2 no 2 (bars 84-85 below) because
he couldnt manage one figure written for the RH that most pianists
dont think twice about dividing between the two hands, possibly because
Beethoven gave his own explicit fingering (shown here in italics):
f
5
5 1
### 2 f f f f 1 f
f
f
f
& 4
f f f f
f f
f
f
3
1
2
ff
3
ff
f ff f
? ### 2 f
4
1
There are passages in Beethovens piano writing that are not supposed
to sound safe and easy the treacherous LH leap in the opening of the
opus 106 Hammerklavier, the LH diminished seventh octaves at the start
of opus 111, for example. To redistribute these passages could destroy the
elements of heroism, danger and struggle integral to the gesture. We need to
take a risk here, its what the music is about.
Allegro
b
&b C
ff
f
fJ
f
? bbC j ff
f 4
ff
f
J
ff
ff.
ff
ff.
ff
ff.
ff
ff.
ff
ff.
ff
ff.
f
ff.
f
ff.
f
ff.
f
ff.
f
Kr
b
f
f
& b bc nfff fff
Maestoso
f
? bb c f #f
b R #f
f 5
fff
f
sf
f
ff
#f
f
f
2 5
j
ff nff nf f nff
J
sf
p
ff
ff
ff
J
4 35
1
Moderato cantabile molto espessivo
j
b b3
f
& b b 4 ff ff ff ff f FF
In his performing editions, Artur Schnabel suggests different metronome

markings from one section to another for all the sonatas. Subtle gradations
of speed are part of the style, but we should avoid exaggerating these.
Texture
Like Haydn and Mozart before him, Beethoven often thought about
instruments and terms other than the piano when writing for the piano. This
sounds contradictory, I know, but sometimes we hear the orchestra in
Beethovens piano writing, other times a more intimate ensemble such as the
string quartet. The opening of opus 110 is written in four distinct parts, as
though for a quartet. It would be inappropriate to solo out the top voice and
hide the lower ones instead find a tonal blend where all parts contribute:
f
f
. .
ff ff ff
p con amabilit
(sanft)
f f f
? b b 3 f ff ff ff ff FF ff f ff f f
b b 4 f J
. .
U
j
f
b
f
f
b nf bf f f f ff f f f f f
J
b
b
& f f
J
j
? bb b ff ff
& fff fff fff
b
J
ffffffffffff
u
In the last bar above, a long pedal would cause the figuration to swim and
lose articulation. Experiment with short pedals so that the LH mimics the
bowing of stringed instruments.
It is not appropriate to subdue Beethovens accompanimental figurations
when they contribute to the drama. The tremolo triplets in the first
movement of the opus 31 no 2 Tempest are more effective when brought
to the foreground dont hide them:
& f
f
p
fffffffffff w
f fffffffffff
f
f
F
.
.
Trills
Beethoven accepted CPE Bachs authority on ornamentation, so he probably
intended an upper note start to the trills in the early period sonatas. In
his middle and late period works, he tended to indicate when he wanted
an upper note start, implying that a main note start had become his default.
He was also quite fastidious in indicating the suffix (termination) when he
wanted one. In nearly all cases, the fingerings given by Czerny in his edition
of the sonatas (published in 1850) imply a start on the main note. I dont
think it is helpful to be dogmatic about this. Make your decision based
on the context. n
Resources
When I study a Beethoven sonata, I like to consult two or three different

editions but I work from the Henle Urtext. While I have a soft spot for the
commentary and fingerings in the old Craxton-Tovey ABRSM edition, the
latest version by Barry Cooper is more scholarly. Schnabels edition makes an
excellent supplement to a standard Urtext, and it is also worth looking at Hans
von Blows for fingerings and footnotes. There is a recent Henle edition with
excellent fingerings by Murray Perahia. [See also Michael McMillans sheet
music review round-up on page 86.]
4
14 Great Composers
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TRACK
Track
2 3
T MISS
NIE
DON
MELA KS
SWIC
SPAN
PIECE
ON THIS E
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LESSO
PAG
15
Joseph
HAYDN
(1732-1809)
Joseph
HAYDN
(1732-1809)
Andantino
in E in
flatE flat
Andantino
play
b e g i nBEGINNER/
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INTERMEDIATE
HOW TO
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15.
FULL SCORE ON PAGE 30
HAYDN
Andantino in E Flat
Pianist
47
3026
Great
Composers
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Portato and legato come to the fore in this piece, and theres some tricky passagework in thirds.
Start by looking at the underlying structure, advises teacher and author Melanie Spanswick
Ability rating Beginner
Melanie Spanswick is a classical pianist, teacher, adjudicator, author

and presenter. She regularly conducts workshops and masterclasses
in Germany as well as for EPTA (European Piano Teachers
Association). She adjudicates for the British and International
Federation of Festivals and curates theClassical Conversations
Series, where she interviews eminent classical pianists on camera.
These interviews are published on YouTube. Her book, So You Want
To Play The Piano? has been critically acclaimed.
Find out more about Melanie at www.melaniespanswick.com
andwww.soyouwanttoplaythepiano.com
Info
Will improve your
Key: E flat major
3 Legato and portato touches
Tempo: Andantino, un poco allegretto 3 Alberti bass
Style: Classical
3 Playing of thirds in the RH
The Classical style is among the
hardest of all to play convincingly.
While the notes in this beautiful, brief
Andantino appear fairly innocuous,
and could no doubt be played by most
pianists, to articulate them with the
necessary clarity, phrasing and dynamic
detail, takes some practice.
Examining the structure of a piece
helps put it in perspective and
provides food for thought regarding
interpretation. The structure of this
piece is quite clear. There are three
sections, starting with a first section
that goes from the opening to bar 8.
The second section takes up at the
end of bar 8 and continues through
the beginning of bar 22, after which a
third section, the coda, starts and goes
to the end. The theme is clearly stated,
in the first section, which provides all
the melodic material, and is developed
in the second section, while the third
section is a calm, serene coda.
Fabrice Rizaato
Choose a speed that allows movement

to satisfy the un poco allegretto yet is
slow enough to create an expressive,
tender Andantino. An appropriate speed
might be crotchet (quarter note) equals
80 beats per minute. To maintain a slow
and steady pulse, develop a way of
breaking the crotchet beat into subdivisions. There are no semiquavers (16th
notes) in this piece, but try to count or
feel them anyway. Doing so will help
avoid the tendency to rush. Resist the
temptation to tap feet or count
internally, instead count out loud at first
to ensure that the pulse remains stable.
Two techniques must be mastered to
play this piece well. The first is to to
integrate a portato touch and the
second is to assimilate a fluid, smooth
musical line (legato) in the right hand
(RH). Lets start with portato. The left
hand (LH) requires this touch for most
of the piece, with the exception of bars
8-13, where the LH has an Alberti bass
figure. The RH also uses portato,
particularly for the upbeats.
Portato means to separate notes gently.

This is different from a completely
staccato touch portato is sometimes
referred to as mezzo-staccato. At the
opening, which begins on the upbeat, the
RH has two crotchet Gs and the LH two
crotchet B flats . The notes are staccato
and slurred, thus requiring a slight gap
between each note, rather than a short
detached touch. One way of achieving
this with musically satisfying results is to
linger on the crotchets as if they were
dotted quavers (dotted eighth notes),
and coming off gently at the end using
a slight rotation in the wrist (a drop-roll
approach can be effective). This allows
a soft touch, which will produce a piano
sound, yet also have the desired,
separated effect. As this technique
appears countless times throughout, it
will need to be thoroughly mastered.
A good legato touch is vital for much of
the RH melodic material. It is especially
crucial in quaver passages such as those
in bar 1, 3, 5, 7, and 9. Many of the
quaver figurations are preceded by an
acciaccatura, which will need a light,
expressive touch. Practise by playing
heavily, then lighten and play on the beat.
The most challenging aspect of this
work is the RH passagework in thirds.
Youll find this passagework at bars 2, 16,
17, 19, 24, 25, 28, and 29. In bar 2, the
RH consists of an upward passage, and
fingering will be crucial. The suggested
fingering in the score should enable a
seamless musical line. Start by playing
the top note of each third alone, aiming
to produce a smooth note transition. In
bar 2, the tone should increase with each
beat. By the beginning of bar 3, the
chord will increase from a piano to a
mezzo piano. Once the top line is
smooth, repeat the same pattern with the
bottom of each third (in bar 2, a D, E, F
and G). When playing as written, work
at balancing the hand, so that the notes
sound simultaneously and the top note is

slightly more prominent tonally. Practise
by playing with a heavy tone, again using
a free wrist and playing on the fingertips;
then lighten the sound to reveal even
thirds. Make sure the weight of the hand
is balanced towards the weaker fingers.
Learning Tip
Resist the urge to play staccato.

A soft but deep approach right
in to the bottom of the key bed
is more in keeping with the
expressive character.
The LH Alberti bass in bars 8-13 must

be light and expressive, complementing
the melodic material. The lower notes
are the most important, requiring a
deeper sound. Practise the LH separately
and play the passage fortissimo, building
in a rotational wrist motion. This is vital
when working slowly, so when played at
the correct speed, the movement will feel
natural and comfortable. After practising
using a full tone, lighten and gently
accentuate the first and third beat of each
quaver group.
The awkward jump in the melody
in bars 11-12 will benefit from slow
RH practice. Accent the last note of
bar 11 (G), and then the first chord of
bar 12 (F and A flat) moving rapidly
between the two, so the hand becomes
accustomed to the movement and the
sound, which must be legato.
Explore as many tonal colours as
possible, especially in the coda. A
repeated E flat major chords dies away
at the end. A soft arm and hand
movement will suffice here, and flatter
fingers can help all notes to sound
together. Use the right or sustaining
pedal sparingly, with just a dab at
cadential points, adding to the sonority
of this attractive work.
15 Great Composers
P15 GC-HTP Melanie-Haydn-FINALish.indd 15
09/06/2015 09:31
Classical
STYLE
I N T E R P R E TAT I O N
Jessica Duchen talks to four leading concert pianists about whats similar and whats
different about playing the music of Haydn, Mozart, Clementi and Beethoven
usic composed
in the middle
and latter half
of the 18th
century is,
broadly
speaking,
music written in the Classical style.
If only it were really that simple.
Classicism did not end on 31 December
1799 any more than Romanticism
began one minute later on 1 January
1800. Such categories are there for our
convenience more than that of the
composers encompassed by them.
When it comes to the piano music
of what Ill continue to call Classicism,
three prime figures stand out in vivid
focus or, by rights, four, if we include
Muzio Clementi. Clementi is often
omitted from this canon, being
overshadowed by three contemporaries
who happened to be top of the tree in
that age, and any age: Haydn, Mozart
and Beethoven. While some concerns
in playing and interpreting their music
are common to all four composers,
others are particular to each individuals
remarkable and ever-rewarding music.
Ive spoken to four leading interpreters
of Classical-era music to get their
views about performing this music on
the modern piano.
Haydns sparkle and soul
Jean-Efflam Bavouzet has made a
fine series of recordings of keyboard
sonatas of Joseph Haydn in which he
shows great affinity for the composers
distinctive sparkle, wit, soulfulness
and sheer inventive flair. He has also
thought through in detail the challenges
with which Haydn presents the
modern-day pianist starting with the
question of the instrument itself.
This is a problem if you play Haydn
on a modern concert grand, which I
do, he says. The texture is rather thin;
you rarely have chords of more than
five notes, and most of the time only
In Haydn, if you decide

to add ornamentation, the
possibilities are limitless
and your only limit should
be your taste
-Jean-Efflam Bavouzet
two voices. Therefore matters of

resonance, pedalling and dynamic range
can be problematic.
Haydns lifespan took in a rapid
period of development in keyboard
instruments, from the harpsichord
through to the pianos that Beethoven
would have used for his middle-period
sonatas. Haydn was impressed by the
piano made by Broadwood, the brand
he played so much for its dynamic
range, says Bavouzet. His indications
in his scores evolve according to the
possibilities of the instrument. In
sonatas from the early period with
few dynamic indications, the first
challenge is to adapt this writing to the
modern piano. Then there is the pedal,
which is used really as an effect. He
sometimes asks for some spectacular
pedal effects, e.g. in the Fantasia in
C major Hob.XVII:4 or the E flat
Sonata Hob.XVI:49. At one point in

the C major Fantasia, Haydn asks for
the bass to be played fortissimo, with
octaves to be held until the sound
disappears. But if you do that on the
modern piano it takes two and a half
minutes! So you have to adapt.
Ornamentation is a vital question,
both in terms of when to apply it
varying repeats, filling in fermatas and
so forth and how. It would be
inconceivable today to add any
ornamentation in a Beethoven sonata,
Bavouzet points out. But apparently it
was a very common practice, because
even Czerny, who knew Beethoven very
well, did this up to the point at which
Beethoven wrote to him to tell him not
to. In Haydn, if you decide to add
ornamentation, the possibilities are
limitless and your only limit should
be your taste. One highly regarded
16 Great Composers
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Mozarts profundity and

perfection
The very finest keyboard writing
of Haydns friend and younger
contemporary, a certain Wolfgang
Amadeus Mozart, is quite another
matter. It can be found, according to
the pianist Imogen Cooper, not so
much in the sonatas as in the concertos;
but in both, he poses distinct and very
personal challenges for the performer.
Theres a kind of perfection to him,
Cooper says. Theres not one note
thats superfluous or irrelevant. For the
instrumentalist its incredibly exposed,
and thats a big challenge especially
to a recitalist if youre foolish enough
to start a concert with a Mozart
sonata! But in the concertos, too, its
just as exposed for the wind players
and the strings, who have to phrase
extraordinarily delicately and in style,
but also with red blood it should
never be like Dresden china. As the
pianist you have to have the sound in
your head and a lot of colour in your
imagination, and be prepared to be
orchestral or even operatic, since he
puts all these elements into a concerto
and even into a sonata.
What he expresses emotionally
and psychologically is so profound,
complex, personal, and is such a
complete story told, that in your
heart and mind you are pushing the
boundaries out, she adds. But if
you do that too much and it starts
sounding like Brahms, youre in deep
trouble. One has to have inner freedom,
playfulness, and also humour this
quality helps one to be a bit liberated:
its completely wacky, and different
What Mozart
expresses emotionally
and psychologically is
so profound, complex,
personal, and is such
a complete story told,
that in your heart and
mind you are pushing
the boundaries out
-Imogen Cooper
from Haydns wit, but enough to make

you smile like a Cheshire cat!
Bavouzet declares that he avoids
playing Mozart sonatas, because in
Haydn and Beethoven the shared
importance of contrast is more
straightforward to manage: With both
of them, the more you contrast the
dynamics, the better it sounds, he
remarks. With Mozart, do too much
and it sounds brutal; do too little and it
goes pale. It is very hard to strike the
right balance.
Cooper agrees: I can absolutely
understand that. The perfection about
Mozart means that you cant break the
envelope open completely, whereas with
Haydn and Beethoven you can and
with them, too, you can better imagine
how shocking the music would have
been on the old instruments of the
EDITOR ERICA WORTH ON HER TOP
CLASSICAL CHOICES INSIDE THE SCORES
CPE Bach Solfeggietto (page 36)
A joy to play and great for the fingers. Theres something
very Baroque about it, which I love. Listeners love it too!
Beethoven Moonlight Sonata, first movement
(page 38)
No matter how many times one plays and listens to this
wonderful movement, it still casts a spell from the first bar
to the last. Its not easy to play though you need incredible
finger control and a totally even, calm pulse.
Mozart Rondo in A minor (page 55)
Find a good tempo never rush. You really need to make the
melody sing. Its absolutely heartbreaking.
time. Thats why its interesting, at least

academically, to go and see what these
pieces sound like on the fortepianos
of the day.
For her, performing Mozart on
historical instruments in modern halls
can sometimes feel like more trouble
than it is worth: We have to work in
modern halls; were not in a Viennese
palace and what we do has to be relevant
for the ears of nowadays, she says.
But I like spending a couple of hours
on a fortepiano by myself to see what
attack one would use. You have to
change your touch; with a fortepiano
you have to play not down into the
keys, but up from them. And its
fascinating to see what effect that can
have on a phrase with which you might
have struggled on a concert grand,
wondering if this is really what he
would have heard. I do try to keep that
in mind. Ultimately Ive got to play on
a modern concert grand in a modern
hall for modern ears, and thats no
problem but sometimes its interesting
to think what effect it must have had in
his day under those circumstances, and
how shocking it would have been.
If you are starting to learn a new piece
by Mozart, Coopers advice is to find
first-class fingerings when it comes to
runs. Its worth getting the fingering
right from the beginning. Keep in mind
what you want the musical phrase to
be and dont just replicate the fingering
of the scale. You might need to do a
slightly different fingering according to
where the necessary impulse falls in
the middle of the run, or the beginning,
or the end of it. Technically, therefore,
Paul Mitchell (Bavouzet); Sussie Ahlburg (Cooper); Benjamin Ealovega (Worth)
Baroque specialist has said that we

should have as much knowledge as
possible in order to be as free as
possible something with which I
agree completely.
Bavouzet is much in favour of doing
the repeats whenever indicated, but he
has also been rethinking how these
repeats bind the sonatas together. In
most Haydn sonata form movements,
both the exposition and then the
development and recapitulation are
repeated. Often, though, Haydn ends a
movement with a short coda. To me,
this coda says this is the end, says
Bavouzet, but you cant say this is the
end twice. He often begins the second
half s repeat at a point before the coda is
reached, then plays the latter only once.
For those starting to explore Haydns
sonatas for the first time, Bavouzet
suggests the first movement of the
B minor Sonata Hob.XVI:32, the
slow movement of the A flat major
Hob.XVI:46 and the very joyful finale
of the D major Hob.XVI:37 as three
examples of the composers piano
writing at its very finest.
17 Great Composers
09/06/2015 10:17
I N T E R P R E TAT I O N
predictable theyre full of wonderful
surprises. Theyre warmer than the
Haydn sonatas and more dramatic than
Mozarts. I found an endless wealth of
invention and inspiration in them. Id
had no idea, before Hyperion asked me
to record them, that there were nearly
70 of them, he adds.
Too many of us are put off Clementi,
perhaps, by sonatinas we are fed as
children, possibly for as exam pieces.
The grown-up sonatas offer not only
exciting music to explore, but some
hefty technical challenges too. He
writes almost impossible running
double thirds, Shelley remarks, and
dramatic passages in octaves.
If I was on a desert island and
only allowed to take a book of piano
sonatas, he adds, it would be Clementi
rather than Haydn and, as something
that always gives one pleasure, maybe
even rather than Beethoven, who
became more and more demanding
he pushed his writing to such
extremes that in some of the sonatas
it is practically impossible. Clementi
instead pushed ideas. I would never
claim that he plumbed the same depths
as Beethoven, but his virtuosity, while
demanding, was always within reach.
Theres some radiance

and explosively
demonic energy that
Beethoven has only
in his third period.
Playing it beautifully
is not enough
-Stephen Kovacevich
good articulation is very important,

possibly the most important thing.
We have to use the pedal very
judiciously, Cooper adds. You need
the pedal in a big hall, otherwise the
sound wont have enough body to it,
but there should not be too much, so
your foots got to be going up and down
like the clappers. [See Pianist No 84 for
Graham Fitchs article on pedalling in
Classical repertoire.]
Chiefly the problem is about control
versus an inner openness to the huge
wealth of story, psychology and emotion
thats going on inside the music. You
have to balance those two things in
order to do the music justice.
Clementi, the forgotten
Classical master
Many similar issues apply to Muzio
Clementi (1752-1832), but there is one
more: the fact that this vital linchpin
of Classical style is largely overlooked
today. Born in Rome, he was spotted as
a gifted child by an English aristocrat
who brought him to London to receive
a fine musical education. He became a
brilliant virtuoso and prolific composer
of sonatas, but after a love affair went
tragically wrong apparently his
beloveds father refused permission
for marriage, considering a musician
unsuitable husband material he
withdrew from performing and went
on to make a name, and a profound
influence on the music world, as a
publisher, teacher and piano maker.
But what really put the kibosh on the

unfortunate composers reputation was
a singularly catty remark by none other
than Mozart, who wrote to his father,
saying: Clementi plays well, as far as
execution with the right hand goes. His
greatest strength lies in his passages in
thirds. Apart from that, he has not a
kreuzers worth of taste or feeling in
short, he is a mere mechanicus.
Howard Shelley, the British pianist
who has recorded Clementis complete
sonatas for Hyperion, is infuriated by
the lingering effects of Mozarts
meanness. It was complete nonsense,
he declares, a totally fatuous remark. It
is not inconceivable that Mozart was
jealous, perhaps because of Clementis
success at the time, because he was
heavily published in his lifetime, and
perhaps because the sonatas were
slightly too close to Mozarts own
inspiration for comfort: it certainly has
all of that extraordinary freshness.
At Christmas 1781 the two composers
carried out a competitive stunt in
Vienna for Emperor Joseph II, who
tactfully declared the result a draw.
A theme from one work of his own
that Clementi played on this occasion,
Shelley recounts, was later lifted almost
note for note by Mozart for the
overture to The Magic Flute.
Clementi has this lightness, freshness
and naturalness that Mozart had too,
Shelley suggests. Theres a feeling
of utter logic about each movement
he wrote, but theyre by no means
Beethoven, pushing the

Classical style boundaries
Beethovens piano music goes far
beyond the Classical style. Yet that
is where its roots remain. Haydn in
particular was a formative influence.
Beethoven studied with him in
Vienna and although he was reluctant
to credit Haydn for the lessons he
absorbed from him, the bridge between
them is palpable in the younger
composers early sonatas.
One of todays greatest Beethovenians
is Stephen Kovacevich, who has strong
views on Beethovens musical personality
and his transformation of the Classical
style into something utterly new. What
qualities does he feel a pianist needs in
order to bring this to life?
I think the main thing is to not run
away from the explosive part of
Beethovens nature, Kovacevich says.
The early sonatas are delightful; in
terms of their sonority Id call them
Classical without feeling too
uncomfortable. By the middle period
hes redefining what Classical is, and
in the late period its a different world
altogether. Its important to respond
differently, in emotional and musical
terms, to each of the three periods.
He was obviously an extremely
gifted pianist, he goes on. You can
see by his writing that the coordination
implied is of a high order and also
theres an element of a show-off.
He was not only famous for being
extremely expressive and demanding
of his listeners, but the technical aspect
18 Great Composers
09/06/2015 10:17
Clementi has this

lightness, freshness
and naturalness
that Mozart had
too... Clementis
music is full of
wonderful surprises
-Howard Shelley
LISTEN
Jean-Efflam Bavouzet
Haydn Piano Sonatas,
Vols 1-5
Chandos CHAN 10586,
CHAN 10668, CHAN
10689, CHAN 10736,
CHAN 10763
Haydn Piano
Concertos Hob.XVII:3,
Hob.XVII:4, Hob.XVII:11
With Manchester Camerata/Gbor
Takcs-Nagy
Chandos CHAN 10808
Imogen Cooper
Sophie Wright (Kovacevich); Eric Richmond (Shelley)
Mozart Piano
Concertos Nos 24 &
25; Fantasia in
D minor
Northern Sinfonia/
Bradley Creswick
Avie AV2175
of playing the piano was not separate

from his nature.
High Art is a very dangerous
concept, Kovacevich adds. It can take
away the joie de vivre. And Beethoven
broke the rules he made tons of
mistakes when he performed, he was a
very explosive pianist. Being expressive is
generally acceptable, but what is not
politically correct is the wilder part of
him, which he shows in the second
period and absolutely in the third. What
Ive always found inspiring but
disturbing in the third period is how
subversive he was to his own muse. There
would be sublime passages followed by
mocking passages. And that was him. He
was not the boy next door.
A lot of the time in his later years,
Beethoven was suffering intense physical
pain, Kovacevich points out, referring
us to Jan Swaffords new biography
Beethoven: Anguish and Triumph for the
gory details of the great mans lengthy
illness. His last words apparently, were
a quote from Dante: My friends, the
comedy is over: a cri de coeur of a man
whos had enough and acknowledges
everything hes been through.
But in the music of this third period,
what is so special is an incredible
tenderness, almost an abstract
tenderness, which has to be captured.
Theres some radiance and explosively
demonic energy that he has only in
his third period the mystical quality
in the second movement of opus 111,
or opus 109s theme and variations.
Playing it beautifully is not enough.
Theres a kind of inwardness to it; its

expressive, it talks to the listener, but its
not for sale.
For Kovacevich, Beethovens ultimate
achievement is the Sonata opus 110
notably the last part of the work, in
which two expressive arioso sections
are succeeded and transcended by two
giant and triumphant fugues. The
second arioso reprises the first, but a
semitone lower, the melody fragmented
and exhausted.
The second aria is written in such a
precise way, and you play it the best you
can but its impossible, says
Kovacevich. The rests are extremely
difficult to do these are like someone
almost unable to breathe. The voice
is breaking up, the breath is breaking
up and he is trying to notate this.
The only way to grasp it, he says, is long
acquaintance and deep identification:
You live with it and you have to
need it. You have to need that inner
consolation, that depth of confession.
For me its the most extreme end in
all Beethoven.
Stephen Kovacevich has a point. What
Beethoven did goes beyond Clementi,
Haydn or even Mozart would have
dreamed, and yet these composers paved
the way for an explosion of artistic
development in the century ahead, and
it was Beethoven, largely, who formed
the bridge thereto. Happily, there is such
a wealth of great music to explore in
these four composers piano outputs that
they could keep any pianist in artistic
clover for many satisfying years.
Mozart Piano Concertos Nos 23 & 9

Jeunehomme
Northern Sinfonia/Thomas Zehetmair
Avie AV2100
Mozart Piano Concertos Nos 22 & 18
Northern Sinfonia
Avie AV2200
Wigmore Hall Recital: Beethoven,
Mozart, Ravel
Wigmore Hall Live WHLIVE0018
Stephen
Kovacevich
Favourite Beethoven
Sonatas (including
opp 110 & 111)
Warner Classics
5099921531422
(3 CDs)
Beethoven Diabelli Variations (plus
Bach Partita No 4)
Onyx Records ONYX4035
Howard Shelley
Clementi Piano
Sonatas, Vols 1-6
Hyperion CDA67632,
CDA67717, CDA67729,
CDA67738,
CDA67814, CDA67819
(each volume
comprises 2 discs)
19 Great Composers
09/06/2015 10:17
play
pianist37p24-47scores
2/7/07
10:07 AM
Page 34
Carl Philipp Emanuel BACH (1714-1788)

Solfeggietto
CPE
BACH (1714-1788)
SON
T MISS
NIE
DON
MELA KS
SWIC
SPAN
PIECE
TRACK 8
TRACK 6
I N T E R M E D I AT E
INTERMEDIATE
LES
ON THIS E
CPE Bach, the second PAG
son
20of the great JS, wrote this Solfeggietto in the runs. In those first 13 or so bars, one should not be able to hear the
style of a prelude. Its originality comes from the systematic alternating of interchange between left and right hand. Practise slowly and try to detach
the Bach,
two hands.
Theres
a certain
to the piece:
barsof1-4
each noteruns.
by lifting
each finger
up,tostrongly
and separately.
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you
CPE
the second
son of
the greatthematic
JS, wroteelement
this Solfeggietto
in the style
a semiquaver
One shouldnt
be able
hear the interchange
between
left and
are repeated
four times
different
minor alternating
keys and of
always
four-bar right
thenhand.
comePractise
to play
the and
piece
quickly,
andbythe
fingers
dont up,
need
to be
prelude.
Its originality
comesin
from
the systematic
the twoinhands.
slowly
detach
each note
lifting
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chunks,
aside
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repeat, element:
where itbars
lengthens
into six four
bars.times
The and
picked
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that they
over the
Playing tips:
Theres
certain
1-4 are repeated
separately.
When you
end up
it allfly
quickly,
and keyboard!
the fingers dont need
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toalways
maintain
precision
withaside
the from
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intechnical
different minor
keys is
and
in four-bar
chunks,
last repeat, to be picked up anymore, youll find they fly over the keyboard! Pedal not required.
where it lengthens into six bars. The difficulty is to maintain precision in the rapid
Read Melanie Spanswicks step-by-step lesson on this piece on page 20.
HOW TO
Solfeggietto in C minor
1 3 1
2 4
4 2 1
1 4 2 1 4
4 2 1 2 4
4 2 1
1 3 2 1 4
5 2 1 3
5 2 1 3
1 2 4
1 2 4
1 2 3
5 4 2 1
4 2
CPE BACH
3 2
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1 3
1 3
1 4
1
2
10
1 2 4
13
2 1 2 3
1 5 1
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1
4
1
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34 Pianist
37
36 Great
Composers
p36_scoresBACH_pianistGC-FINAL.indd 36
09/06/2015 09:15
In this short but brilliant piece, your hands will be like skilled trapeze artists, gracefully handing off to
each other. Finessing that transition is vital, says teacher and author Melanie Spanswick
Ability rating Intermediate
Info
Key: C minor
Tempo: Prestissimo
Style: Classical
Will improve your
3 Articulation
3 Finger strength
3 Keyboard geography
The Solfeggietto in C minor is one

of the most popular keyboard works
by CPE Bach, the second son of the
great JS Bach. Played stylishly, its an
extremely exciting, energetic little work.
Crotchet (quarter note) equals 120
beats per minute would be a fine tempo
to choose, but for the brave, a faster
prestissimo pulse will guarantee a
virtuoso, flamboyant rendition.
Throughout this piece, theres a
constant use of alternating hands.
This creates a dramatic quality,
making the piece akin to a perpetuum
mobile (a steady, unstopping stream
of notes). When playing music with
such continuous movement, careful
preparation, especially slow practice,
will help you obtain the best results.
Secure fingering is vital. Mark your
fingering in the score before you start
learning the piece, and be quite sure
your fingering allows for quick hand
changes and total rhythmic precision.
You will see there are some fingerings
written in to the score, but if these dont
suit your hand, feel free to change them.
Fabrice Rizaato
After youve chosen the fingering,

youll want to find comfortable and
flexible hand positions. Good hand
positions will encourage and enable
quick movement, and will help legato
playing (keeping the musical line), and
equal tone production on every note.
Rapid keyboard geography can only
be successfully negotiated with a very
free, relaxed body position. One youve
looked carefully at the piece hands
separately, then immediately combine
the hands and learn section by section
(its very easy to sectionalise).
In the first four bars, passages wind
their way around C minor, using
snippets of both the arpeggio and
scale. This requires a strong rhythmic
pulse, so think about dividing each
crotchet into four semiquaver (16th
note) beats, ensuring every semiquaver
has equal tone and note length.
Melanie Spanswick is a
classical pianist, teacher,
adjudicator, author and
presenter. She regularly
conducts workshops and
masterclasses in
Germany as well as for
EPTA (European Piano
Teachers Association).
She adjudicates for the
British and International
Federation of Festivals
and curates theClassical
Conversations Series,
where she interviews
eminent classical pianists
on camera. These
interviews are published
on YouTube. Her book,
So You Want To Play The
Piano? has been critically
acclaimed.
Find out more about
Melanie at www.
melaniespanswick.com
Rhythmic accuracy is challenging here,

and instilling insistent pulse-keeping
is the most effective tool to improve
this. Try counting aloud, as well as
using a metronome. Choose a very slow
speed, setting the metronome to either
quaver (quarter note) beats, or possibly
semiquaver beats. As you start to
assimilate the pulse, it will become firm,
steady and immovable.
There is lots of twisting passagework
that is passed between the hands.
Plenty of wrist motion will allow the
fingers to flow freely with lots of arm
weight behind them, hence producing
a full, velvety tone. While the fingers
must remain near the keys, the wrists
can move rotationally, providing depth
and colour, even on the weaker fingers.
Try to make the interchange between
hands imperceptible to the human
ear. You can improve the evenness by
practising with very firm, strong fingers,
using every finger joint actively, playing
deep into the keys. Practise with full
force, then lighten the touch for real
evenness. Dont forget to pick fingers up
cleanly after every note.
New patterns arrive in bars 5-8. The
patterns in bars 5-6 are essentially
variations on arpeggios, and the hand
splits (sometimes on the semiquavers
in between crotchet beats) demand
perfect articulation. Bringing excellent
clarity and crispness to the copious
semiquavers is a major challenge of this
piece, and will determine how well you
are able to bring it off.
Always use your ear make listening
paramount. Focus your attention
on the ends of notes as well as the
beginnings. How you play the notes,
i.e. aggressively or softly, will help to
refine articulation. Try practising using
different touches: staccato, semistaccato, martellato (which means
strongly accented). Follow this with lots
of dotted rhythm practice; using many
types of rhythmic patterns (triplets for
example). These practice tools will also
be beneficial at bars 7 and 8, where the
left hand (LH) answers the right hand
(RH), in what appears to be a musical
conversation.
Bars 9-12 are a repeat of bars 1-4,
only in G minor. Then the composer
adds some new material: G minor
broken chords with LH octaves in

bar 13, followed by a bar of LH
crotchet sixths with wide RH oscillating
interval patterns (almost like tremolos)
in bar 14. The LH octaves in the bar 13
must not last a moment longer than a
crotchet, and need a full rich sound to
support the RH figurations. The same
applies to the sixths (in the LH) in bar
14, which work well if played slightly
detached. The RH patterns in bar 15
need a small hand rotation motion.
Bars 15 and 16 repeat this new material
but in C minor, giving rise to sequential
movement and heightening expressive
qualities here.
Learning Tip
Dividing this piece into sections

will define the structure, create a
thoughtful interpretation and can
help with memorisation too.
Material from the opening bars,

this time in F minor, returns in
bars 17-21. Theres an added bar of
cascading broken chords at bar 22,
which propels the work into a brief
respite from all the continuous
semiquaver movement. Bars 22-25
contain a built-in pause: semibreve
(whole notes) single notes in the LH
(with minim [half note] rests in the RH),
with intermittent passagework in the
RH. The mordent, which appears in the
musical line at bar 25, must be light and
played on the beat and it should be
played as D-E-D (or even D-C-D, even
though theres no line through it). Bars
26 and 30 are the climax of the piece;
change the sound using the fingers only
(keeping the foot off the pedal see my
comment in the final paragraph about
pedalling). Bars 31-34 are a repeat of the
opening, taking a slightly different turn
in the final bar, bringing the piece to an
abrupt, yet declamatory conclusion.
Once youve thoroughly absorbed
the piece, work at changing finger
power rapidly (from light to heavy,
or vice versa) between bars in order
to achieve echoes. Echo effects are
a recurring feature (bars 14-17, for
example) and they provide contours,
contrast and musical definition. If you
use the sustaining pedal, you must use
it to add occasional texture to bass lines
(such as in bar 13 and 15), but a deft
foot is necessary!
20 Great Composers
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pianist39p24-40 45-47scores
TRACK
TRACK 58
23/10/07
12:46 AM
play
Page 28
T MISS S
DONNEWMAN
JANET
PIECE
ON THIS E
CLEMENTI
(1752-1832)
CLEMENTI
(1752-1832)
N Muzio Muzio
LESSO Sonatina op
36 no op
3 (third
Sonatina
36 no movement)
3, third movement
I N T E RINTERMEDIATE
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The strings
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CLEMENTI
Sonatina op 36 no 3, third movement
28 Pianist 39
42 Great Composers
p42_scoresCLEMENTI_pianistGC-FINAL.indd 42
09/06/2015 09:17
Teacher and performer Janet Newman helps you find a fresh quality for this lively piece the first
task is to make the left-hand part into a harmonic cushion for the right-hand melody
Info
Key: C major
Tempo: Spiritoso
Style: Classical
Clementi was a Classical-era
composer rated very highly by
luminaries such as Beethoven. He
composed many beautiful sonatas for
the keyboard. Although not all have
stood the test of time, this particular
piece has a fresh and appealing quality
and has enough of the fundamental
characteristics of Classical playing to
keep the player engaged throughout.
There is something very cleansing and
direct about this style and it can help
immensely with finger technique and
clarity of approach generally.
The left hand (LH) needs to act as a
harmonic cushion. It is very important
to practise the quaver pattern alone so
that you are able to control the balance.
Dont let the quavers overwhelm the
right hand (RH). Make sure that the
quavers are exactly coordinated with the
melody line. In Classical playing, its
possible to hear every small blemish and
misalignment this is, after all, what
makes this style so challenging. Be on
high alert for any uneven control.
The dynamic level is unclear at the
start. I would suggest beginning quite
brightly and let the exuberance of the
music shine through. At the end of
the first bar in the main theme, it is
quite a good idea to change fingers on
the repeated G so that each note has
an impetus and direction. If you just
stick to the thumb, it can be somewhat
leaden. Try 1-2-1 instead if you feel
your approach would benefit from this.
Another fingering alternative to those in
the score comes at bar 5 and 6: instead
of using 2/1 on the final third in both
bars, try 4/2. Again, it might help you
not to overuse the thumb and keep the
musical line buoyant.
Throughout the Sonatina, Clementi
uses plenty of scalic passages. These
make their own specific demands on the
player. Evenness of touch is paramount,
and in performance this is where little
slips can occur, which can spoil the
brilliance of the line. When practising
Will improve your
3 Analysis of a sonata
3 Even runs
3 Gradation of dynamics
the runs, I would suggest holding up

beats so that you (and your fingers!)
become completely at ease with every
note and can control the shape and
direction at will. For example, in bar 7,
make the first and third beat twice as
long (i.e. quavers) as the second and
fourth beats and as you do so, really
play into the keys and pick up your
fingers very clearly in the slower beats.
Once this feels secure, hold up the
second and fourth beats and play first
and third as normal. This helps with
articulation and control and makes you
completely aware of each note as part of
the whole line. Also listen to how you
start each phrase and check that you
dont begin with an unintended accent.
In Classical pieces, its possible to hear

every small blemish and misalignment
thats why this style is challenging!
If this is happening, it could be because
you arent relaxing into the phrase,
keeping your wrist low and flexible.
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.
At bar 13, Clementi moves the music

into G major. It is clear that there is
a different quality to this phrase. It is
marked dolce and I would suggest
that you think of it as having a more
cantabile, warmer tone. Keep listening
for balance between the hands but make
enough of a defined LH accompaniment
for it to fully support the RH melody.
Another small fingering suggestion is
for the semiquaver passage in bar 15:
instead of using the fourth finger on
the top C, try the fifth finger. It helps
to balance the hand beautifully, and
3-5 can make for a better distribution
of finger weight and evenness than 3-4,
especially in smaller hands. One small
word about the trills: I think that the
ending of the trill in bar 20 can be left
unfinished because the music doesnt
have a first-beat resolution. This is
different from bar 23, where the trill
does finish on the G, in which case you
can use a 1-3-2 Classical turn fingering
to complete the phrase. Also, start the
trill above the note begin on a B in
both cases.
At the double bar, we move into a
small development section. Here
Clementi turns the main theme upside

down and explores different keys using
this motif until he arrives back at the
recap in bar 36. Before you get the
recap, take a little time in bars 33-36,
because the use of chromaticism
Learning Tip
When it comes to the Classical

style here, think in terms of
miniature or smaller scale in such
things as dynamics/shading, subtle
rubato and steady pulse.
implies a more expressive quality. As

a consequence, it is perfectly fine to
use a small ritardando to ease your way
back into the bright C major theme.
Much of the musical material is then
repeated. However, harmonic changes
at bar 42 onwards lead us into the
second theme (first heard in G major)
at bar 49, but now in the tonic key of
C major. I find that by analysing key
structures when studying a piece, I have
a much greater idea of the work as a
whole, and certainly, playing from
memory has a greater security as a
result. It acts like a general road map,
pinpointing the overall direction even
if you find yourself using a few
unexpected side roads along the way!
It is wise to remember that in this
period, a forte dynamic would not
have the density of a contemporary
forte. You will want to keep all of the
changes graded and within context.
If you suddenly launch into a full,
Brahmsian tone, the music could end
up very distorted and rather comical as
an unintended consequence. Give the
phrases shape and direction through the
use of gradation of tonal colour rather
than any sudden explosion of fortissimo!
The trills at this point should be
treated the same as before, in order to
keep the ornamentation consistent.
Begin on the E in both bar 56 and
bar 61, and finish neatly using the 1-3-2
fingering. Also, the use of pedal while
not banned is mostly unnecessary in
this style. You should certainly never use
the pedal over runs and through passage
work, and only consider little dabs on
chords, such as the final three octaves,
which bring this movement to a
confident conclusion.
21 Great Composers
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play
HOW TO
MOZART
Rondo in A minor K511
Teacher and concert pianist Lucy Parham provides enlightenment about the coloration and style
that you will need in order to play this compelling and flowing piece from Mozarts final years
Ability rating
Advanced
Info
Key: A minor
Tempo: Andante
Style: Classical
This sublime and singular work
represents Mozart at the height of his
creative powers. Elusive and tragic,
it presents an ever-challenging task
to the performer. When you read it
through, at first you may be misled into
thinking its quite simple. In fact, this
is one of those pieces that the more you
study it and the more you look behind
the notes, the harder it becomes. The
famous quote that Mozart is too easy
for children and too hard for adults
has never been more apt than with this
Rondo. The longer you spend looking
behind the notes, the more the depth
of the piece will be revealed to you.
Begin by looking at the structure. It
follows an A-B-A-C-A pattern and each
time the theme returns, its decorated in
a different, more elaborate way.
Sven Arnstein
Its important to capture the lilting

feeling of the 6/8 time signature. This
piece needs to sway and flow almost
like a slow waltz. Practise the first few
bars of the left hand (LH). Stay on the
key and distinguish between the dotted
crotchet and the lighter quavers. Notice
how the thumb rises bar by bar, matching
the right hand (RH). Although Mozart
marks this piece Andante, it needs to
keep a sense of direction and line
throughout. When you start the RH, try
to connect the first upbeat E to the first
phrase. The RH tone should always be
focused and projected. Play the grace
notes on the beat (i.e., with the first note
of the LH) and keep them fluid and
decorative at all times, otherwise they
will interfere with the line of the piece.
Feel the change of colour into

C major at bar 9. Thats where a light
touch in the RH demisemiquavers (on
the last beat) is helpful. At bar 10, begin
the turn after the second quaver in the
LH and start the trill that follows on
the upper note (F), noting the staccato
arpeggio in the RH (bar 11) followed
by the portamento answer in bar 12.
The repeated Gs in bar 15 can either
crescendo or decrescendo. Try to play
the demisemiquavers of bar 18 evenly.
Bars 27 to 29 are a good example of the
extemporising on the main theme that
is so much a part of the rondo style.
Imagine that you are improvising and
feel the tension through the crescendo
and the rising melody, again with a
sudden p at bar 30.
Will improve your

3 Finger articulation
3 Sense of structure
3 Rhythmic stability
Lucy Parham performs

her composer portrait
concert Beloved Clara on
11 July at Wiltshire Music
Centre (with Joanna
David and Edward Fox)
and at Llandeilo Festival
on 17 July (with Joanna
David and Henry
Goodman). She performs
Nocturne at the
Cambridge International
Festival on 26 July (with
Patricia Hodge and
Henry Goodman).
For other dates and
details, please visit
www.lucyparham.com
A complete change of colour happens

at bar 31 when it modulates into
F major (notice the B). A sense
of optimism pervades here after the
darkness of the opening. In this bar, the
RH semiquavers should be very melodic
each one needs to speak. Grip the LH
quavers at the p in bar 32. The bass line
here is crucial as it is almost orchestral
in its writing especially in bars 35
and 36. In these two bars also try to
voice the right top notes the quavers.
Imagine your fifth finger is made of steel!
Crescendo all the way to the top G in
bar 36 and then grade your decrescendo
accordingly. Point (another word for
this term is articulate) the LH slurs at
bar 37 and feel the vocal nature of the
duet between the outer parts in bar 40.
In bar 42 you need the RH grace notes
on the beat, which can be tricky with
The dotted rhythm in the RH at the

start is very melodic. For this reason,
dont clip the D semiquaver. Give it
its full length and weight its an
integral part of the melody. The first
three bars should grow organically until
the sudden p at the last beat of bar 3. At
bar 4, the descending slurs must be
properly defined. Keep your wrist low
and fingers gripped for this.
this travelling LH. Try not to stop the

flow, however. This section develops the
ideas Mozart has set out in the previous
lines and it becomes very discursive.
Learning Tip
This is a long piece! So work out the

structure and the different sections
and practise in sections.
Theres an element of surprise with the

key change into far-flung D major in
bar 46. Pace the crescendo here. Both
the discursive duet and the slurs are of
equal importance in bars 49 to 54. Feel
the direction through bar 58 and use
your LH to help you here too.
Be aware of the progression of the
climbing phrase from bars 64 to 67.
Find a special colour for the first
G in the LH in bar 67. The RH in
bars 69 to 71 is plaintive, with the
four dotted crotchets forming a written
out turn and becoming a chromatic
descent in bars 71 to 74. These
semitones are also hauntingly present in
the descending semiquavers, which are
not an accompaniment and need to be
given due melodic importance. The
lilting LH returns in bar 74 and again,
the melody is based around chromatic
semitone slurs.
The theme returns briefly. This time
its with a syncopated RH in bar 86 and
a delicate RH run in bar 87.
The change of key into the relative
major at bar 89 heralds the start of
a new section. It should be elegant
with gentle accents rather than staccato.
Carefully differentiate between staccato
and legato in bars 93 and 94. You
will see little sharp black wedge
marks above and below the notes in
bars 89-91. These wedges carry the
connotation of accentuation. Theyre
not staccatissimo but instead they are
sharply focused staccatos of definite
length. Bars 98 to 100 should again
have the feeling of dialogue and the
colour of woodwind.
The transition in bar 100-101 is full
of tension. Feel the chromatic
progression as it becomes much lighter
when we arrive in D major (bar 101).
24 Great Composers
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Wolfgang Amadeus MOZART (1756-1791)
T MISS
DON PARHAMS
N
SO
PIECE
LESTHIS
Track 12
LUCY
ON
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ADVANCED
pag
Dating from 1787 (the year of Don Giovanni), this Rondo is something of a one-off in
Mozarts output, yet in many ways it embodies the essential nature of his music.
Playing tips: This is such a fantastic piece and theres so much to learn in it. It contains
a huge range of emotions, but the one thing that stands out above everything else is all
the different types of articulation that Mozart asks for. So, as well as studying Lucy
Parhams lesson on page 24, we suggest that you turn to Graham Fitchs Masterclass on
Andante
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Ebb away into the return of the

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think about the direction and line of
the RH melody. The trills at bar 134
can present a problem. Id suggest
trying to get a fluid trill travelling
through the melody notes and not
stopping on them. Again, its crucial
to keep the wrist supple, as there will
be a tendency to tighten up. This is
one of the hardest moments of this
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p55 Scores - Mozart-FINAL.indd 55
The tension in this section is all

directed to the E major arpeggio
in bar 124. You will need to assert
the arrival of this key. Bring out
the ascending chromatic nuances
of bar 127 (the second and third
semiquavers within each triplet
semiquaver figure), and try to keep
the wrist supple.
4 2 n 3
Characterise the slurs at this

point, as stylistically this is most
important. When I say characterise,
I mean that one should aim to make
these slurs lilting and lyrical. The
second half of bar 104 needs a
feeling of fantasy the climb from
the A to the C is very expressive.
Again the slurs (imagine a violin
bow playing this) in bar 106 should
be light and articulated. Observe
the p in bar 110 and use vitality
and energy in the staccato LH
semiquavers at bar 112. Try also to
voice the RH chord (highlighting the
top notes) in bars 112-114 and at
116 point the fifth finger (C to B)
of the RH melody in the triplets. The
LH is crucial here it almost moans
from bars 116 to 120.
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page 20 where he talks about different touches. Grahams lesson in the last issue 68 also
touched on legato and staccato definitely worth revisiting. This piece is worth spending
time on. The more you study it, the more you will love to play it. Trust us!
Pedal tips: When it comes to pedalling in this piece, do your utmost to avoid overpedalling one should be able to hear all the different articulations and nuances.
Turn to Lucy Parhams in-depth lesson on page 24.
55 Pianist 69
8/11/12 08:53:57
piece you definitely need to take

this bar out of context and practise
on its own. When you reach bar 156,
note the importance of the ascending
chromatic line in the RH thumb
and crescendo throughout this bar
until you get to the second half of
bar 157. Then, welcome the arrival
and climax of the phrase with these
demisemiquavers and really aim for
a warm forte tone.
The discursive duet returns at
bar 163. Remember that the LH
plays an important melodic role. Play
right into the key bed and imagine
you have a cello solo! This is reversed
in bar 169 (though p here) where you
need to continue to feel the
harmonic tension (shown in intervals
such as the augmented fourth) while
getting over the bar line without
stopping. Observe the p in bar 173
followed immediately by the f in bar
174. This is then repeated. At bar
177 the LH needs to sink into the
thumb when it plays the crotchet A
and B. Again, feel the difference
between the p and f here and ebb
away in the final two bars.
Grip the last two chords of the
piece and observe the rests. Dont
make a ritardando here, however.
Let it quietly disappear in the
manner that the whole piece started:
understated and sublime.
Lucy Parham suggests that if you like
this piece, then you might like to try
Haydns F minor Variations. They share
a lot in common, both stylistically and
interpretively.
The Rondo
One good return deserves another
The sheer obviousness of the rondo idea refrain, episode, refrain, episode,
refrain, ad infinitum makes it hard to trace its origin, although the similarly styled
roundeau (from round) was used by French Baroque composers such as Lully
and Couperin. As the Grove Dictionary of Music notes, The very simplicity of
the rondo concept, and its consequent wide usage, makes it difficult to give a
precise account of its origins. What is clear is that theres something irresistable
about hearing the same theme again and again, like the pop song chorus thats so
catchy that the audience cant help but join in every time.
JS Bach had a rondeau as the penultimate movement in his Partita No 2 BWV
826, but the form was more popular with Classical era composers. Theres a
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scores), for instance. Mozart wrote three standalone rondos for the keyboard,
including K511 discussed here, while his famous Rondo alla turca is the last
movement of his Sonata in A major K331. Jazz pianist Dave Brubeck had fun
with the rondo form in his Blue Rondo la Turk not based on Mozart, though!
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P24 GC HTP Lucy Mozart-FINALish.indd 25
09/06/2015 11:19
play
TRACK
Track 74
T MISS S
DONNEWMAN
JANET
PIECE
ON THIS E
Ludwig
van BEETHOVEN
(1770-1827)
Ludwig
van BEETHOVEN
(1770-1827)
N
LESSO Moonlight
Sonata Sonata
No 14 op 27 no 22,Moonlight,
first movement
first movement
INTERMEDIATE
INTERMEDIATE
PAG
26
HOW TO
MISS
The T
first movement
ofOver
this sonata,
composed
in 1801,
a pleasure
to play.
Find out allalso
avoidswhat
slowing
downisor
up. tempo.
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ANs
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DON
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Graham
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the calmerand
oneshe
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thisgive
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the more
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it will sound.
JANET
movements
of thisinfamous
sonata.
doesnt
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down
or speeding
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SONthe all-important
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many are
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of this movement,
and on our
CD,issues CD
Pedal tips:
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is necessary.
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on intense
the score.
many interpretations
of this movement
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oN ThIs
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at some
recent
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38 Great
Composers
34 Pianist
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09:16
Teacher and performer Janet Newman shows you how to bring delicate layers of subtlety to this
appealing and timeless piece thats sure to become a centrepiece of your repertoire
Info
Key: C minor
Tempo: Adagio sostenuto
Style: Classical
Will improve your
3 pp tone control
3 Evenness of touch
3 Strength of fifth finger
This movement is immensely popular

among musicians and non-musicians
alike. Almost everyone recognises it
no matter what their age or musical
education and almost everybody
with an interest in playing the piano
will have tried to learn it at one point.
Although this sonata was written well
over 200 years ago, it surprises us still
with a sense of improvisatory musical
exploration that feels remarkably
contemporary, and the heart-breaking
simplicity of the main theme (described
by Berlioz as a lamentation) appeals
to the listener and player alike with a
direct, emotional voice.
In Urtext editions of this piece,
theres a pedalling instruction under
the movement heading. It states, Si
deve suonare tutto questo pezzo
delicatissimamente e senza sordino. This
phrase essentially means that the whole
movement should be played very
delicately and without dampers, i.e. with
the right sustain pedal (tre corde)
depressed. The piano as an instrument
has changed a great deal since
Beethovens time. Our modern piano has
a greater ability to sustain sound, so if
you kept the pedal on as suggested by the
direction, the harmonies would soon
blur and clash badly, ruining the ethereal
nature of the music. So for those of us
without a period instrument at our
disposal, the solution is to pedal when
the harmonies change, which avoids
excessive dissonance but maintains the
essential character effectively.
Much could be said about pedalling
here. Those with a deeper interest
should refer to Beethovens Piano Sonatas
by Charles Rosen and The Pianists
Guide to Pedaling by Joseph Banowetz.
Pianissimo is the most used dynamic
in this piece. At the most, the dynamic
reaches mezzo forte. This means that you
will need to be able to control your tone
with the utmost subtlety and evenness.
This piece is well known for being one
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.
of the hardest to play from this point

of view, as it is extremely difficult to
sustain this dynamic quality throughout
the movement and play without any
interruptions to the melodic line. First
of all, I would suggest that you divide
the movement into sections in order to
help with the note learning: bars 1-9,
bars 9-15, bars 15-23, bars 23-28 and
bars 28-42, at which point you will have
reached the recapitulation of the main
theme. Continue with sectional work
from bars 42-51 (this passage contains
material from the exposition, so you will
have already learnt many of the notes).
From bar 51, go to bar 60. Treat bar 60
to the end as one practice section.
that piano teachers use frequently, Im

suggesting that the fifth finger should
be strong, slightly curled and ready to
strike the key. Perhaps it is the hushed
and muted quality that led to the poet
and critic Ludwig Rellstab to give this
sonata its nickname, Moonlight, as
he felt it was a wonderful depiction of
moonlight reflecting on Lake Lucerne.
If you think of the light of a full moon,
it has an extraordinary clarity and
lucidity but with no warmth or colour
whatsoever within it. It is this rather
bleak soundscape that I try to achieve
when I play or indeed, teach this sonata.
This piece has three distinct layers.

The LH has octaves, the middle line
is in triplet arpeggio figures and the
top line contains the melodic interest.
In order to get the notes under your
fingers, practise by combining the three
elements in differing ways: LH octaves
plus RH triplets, RH triplets plus
melody and LH octaves plus melody.
In this way, you learn how each of the
parts interweave and support the others,
and it also helps you gain control over
your sound.
You can also apply the block
practising method to help you absorb
the notes quickly, which is to say play
the triplet figure as a chord so that
fingers assume the shape of the arpeggio
with greater familiarity.
Practise finger substitution, by

playing a scale in any key and
substituting a different finger on
each note: 1, 21, 21, and so on;
then 1, 31, 31, and so on, moving
through all five fingers. Play the
hands separately and without
sounding bumpy!
A major technical challenge of this

movement is having to voice melody
against accompaniment from bar 5
onwards with balance and projection.
Never project so loudly that you break
through the sound barrier of pp! A
technique that might help you is wrist
leverage. What this means is that as
you play the dotted quaver/semiquaver
figure of the melody, you relax down into
the first note with your wrist and then
come up slightly on the semiquaver
before pulling down again on the first
beat resolution note. This is so much
easier to demonstrate rather than explain,
but try visualising this movement as a
fluid, almost circular shape.
Also, brace your fifth finger and
colour the top line with a distinctive,
carrying tone it should pierce to
the core, even though the dynamic is
hushed and muted. By brace, a term
Learning Tip
The LH has the easiest job of all

three parts, or so it would seem.
After all, what difficulties could slowly
moving octaves present? However, if
you really want to play this movement
as faithfully as the composition
demands, then I would encourage you
to consider joining each octave as much
as possible, which means practising your
finger substitution. Start with 1 and 4
on the first octave (bar 1) and which
will move to 1 and 5 on the second bar.
Then substitute the fourth onto the fifth
so that you move to the next position
(octave A) with a 1 and 5 and so on.
Cling to each octave, because in reality,
this is the only way to truly learn how
to grade your tone from one note to
the next and to be able to (eventually!)
guarantee a completely even and
consistent pp. Still, there are doubtless
differing opinions on this (for example,
if your hands are small, it will be easier
for you to play all the octaves with
thumb and fifth finger) so of course,
choose the fingering that you feel will
best suit your hands.
Enjoy this timelessly beautiful piece.
You should savour taking the time to
discover it, as it will doubtless become
one of the most popular works you will
probably ever play!
26 Great Composers
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Pianist
Great Piano Composers of the Classical Era
Scores
LEARN MORE WITH OUR

VIDEO LESSONS
Go to the Pianist website to nd an array of video lessons
from the basics of playing to more demanding technical issues.
All you need to do is go to www.pianistmagazine.com/tv
to get started with the complete piano learning experience!
Contents
28
HAYDN
Minuet No 3 in B flat Hob.IX:3
29
HUMMEL
30
HAYDN
Andantino in E flat
32
MOZART
Minuet II in F K6
33
CIMAROSA
Minuet in A R15
36
CPE BACH
38
BEETHOVEN
Sonata No 14 op 27 no 2
Moonlight, first movement
42
CLEMENTI
Sonatina op 36 no 3,
third movement
46
BEETHOVEN
Sonata No 8 op 13 Pathtique,
third movement (Rondo)
54
BEETHOVEN
Bagatelle in A minor op 119 no 9
55
MOZART
Our videos include:

Tim Stein and John Maul have made some
30 plus lessons for Pianist, all devoted to the
basics of learning the piano. Perfect for the
beginner pianist! Tims most recent lessons have
been on slurs, rhythm and using the thumb.
Past video lessons include the basics of chord
playing, sight-reading, fingering for beginners,
how to sit, geography of the keyboard
and more. These beginner-level lessons are
demonstrated on a Roland.
Graham Fitch gives his lessons for the more
intermediate/advanced player. There are over
20 of his masterclasses on the Pianist channel,
and more continue to be added. Grahams
subjects include pedalling, chords, passagework,
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p27_GC-Scores_Intro-FINAL.indd 23
Quick guide to
UK/North American
note value terminology
w = semibreve/whole note
h = minim/half note
q = crotchet/quarter note
e = quaver/eighth note
x = semiquaver/16th note
y = demisemiquaver/32nd note
10/06/2015 12:45
Franz Joseph
(1732-1809)
Joseph HAYDN
HAYDN (1732-1809)
TRACK2 1
Track
Minuet
No 3No
in 3B in
flatB Hob.IX:3
Minuet
flat Hob.IX:3
This
piecefrom
comes
from a collection
of minuets
ininstrumental
1767 for instrumental
This
comes
a collection
of minuets
writtencomposed
in 1767 for
ensemble.
ensemble;
the
music
survives
only
in
piano
arrangements
made
the composer
The music survives only in keyboard arrangements made by Haydnbyhimself.
himself.
The Shape
wide-ranging
theelegantly.
right hand
you with
plenty
Playing tips:
the RHmelody
melody in
line
Thepresents
appoggiatura
grace
note
of
opportunities
for
elegant
shaping
of
the
line.
The
appoggiatura
grace
notes
at
crotchets leading to a minim at bars 4 and 12 should be played as two equal crotchets,
bars
4 and
12 should
played
asequal
quavers.
There(listen
are notophrase
markings
for theif
and
those
at bars
11 andbe15
as two
quavers
the CD
performance
left hand,
butthe
tryLH
to play
the crotchets
portato,
forearm
as you
make
unsure).
Play
crotchets
portato,
raisingraising
your your
forearm
as you
make
the
the
transition
from
tonext.
the next.
Ensure
that
this vertical
movement
transition
from
oneone
notenote
to the
Ensure
that this
vertical
movement
is identical
iseach
identical
each
time
and
keep
your
fingers
firm
and
your
wrist
relaxed.
Where
time, and keep your fingers firm and your wrist relaxed. Where there
are pairs
there
are pairs
notes
thecomplete
left hand,
aim for complete
ofpart
attack.
of notes
in theofLH,
aiminfor
unanimity
of attack.unanimity
The hardest
of this
The
hardest
part of
the trill
at the
focusing
on thisthen
piece
will likely
bethis
thepiece
trill atwill
thelikely
end. be
Focus
on this
trillend.
as aTry
separate
exercise,
asjoin
a separate
thenand
jointhe
it tonote
the after.
note before
andcould
the note
A teacher
it to theexercise,
note before
A teacher
helpafter.
you with
this.
could
helpa look
you with
this.
Take
at the
technical tips within the score.
Play the crotchet E flat and the
minim D as two equal crotchets.
Prepare from the upbeat for the B flat octave stretch in bar 1.
Key of B flat
major (two
flats).
Take a
relaxed
tempo
this is a
stately
dance.
b e g i nBEGINNER
ner
Start off at
mezzo piano.
Play these two-part chords

evenly and lightly.
Using the fingering below for the
repeated F will keep your wrist relaxed.
Use a detached (portato) touch in

the LH chords.
Keep these four notes below
nice and smooth (legato).
Go back and repeat

the first eight bars.
Lift both hands off

gracefully here.
Start off quietly
maybe piano.
Prepare for the big leap

between the 2nd and 3rd beat.
Play the F and the E flat

as two equal quavers.
Make the RH notes nice and smooth.

Shape the line.
Two equal crotchets for the

E flat and the D, as in bar 4
Work on the trill on its own. If you

find it tricky, you dont need to play it.
Repeat bar 9
to the end.
Tail off elegantly,

but dont slow down.
26 Pianist
43
28 Great
Composers
pianist43p24-40FINAL.indd 26
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ht eve-
Even articulation is needed in

the RH. Practise slowly!
q = 160-164
Fingering is suggested here (and elsewhere), but if it

doesnt suit your hand, feel free to change.
2
3
1
4 4

2
&4

? 24
RH fingers
p Have
ready over the keys.
2
3
&
2
.
?
Put more emphasis

on the minum.
LH to remain light and crisp

and in strict time.
nd the
one or
h the
l need
orks. I
BEGINNER
BEGINNER
A pupil of both Mozart and Clementi, a rival of Beethoven, and a friend of for piano often reflect this virtuosity, but, as the author of works on piano
Goethe
andofSchiller,
Johannand
Nepomuk
Hummel
was
a piano prodigy
who of pedagogy,
he often
also wrote
pieces
less advanced
players,
such as
Ecossaise.
A pupil
both Mozart
Clementi,
a rival of
Beethoven,
and a friend
for piano
reflect
this for
virtuosity,
but, as
the author
ofthis
works
on piano
became
one and
of theSchiller,
leading Johann
virtuososNepomuk
of his era. Hummel
Not surprisingly,
his many
pieceswho Take
a lookheatalso
thewrote
technical
tips
the score.
Goethe
was a piano
prodigy
pedagogy,
pieces
forwithin
less advanced
players, such as this Ecossaise.
became one of the leading virtuosos of his era. Not surprisingly, his many pieces Take a look at the technical tips within the score.
umn.
oking
Johann Nepomuk HUMMEL (1778-1837)

Johann Nepomuk
HUMMEL
Ecossaise
op 52 no 5(1778-1837)
TRACK 2
TRACK 1
The crotchet rest is

important to hear!
Make sure both hands

are lifted for the rests.
&
&

the next 8 bars.
Appoggiatura E should
be very quick and light.
fi
3 2
j
&
&
.
?

2
5
Bs to be held here too.
And again.
Repeat the first 8 bars.Try to make

the second time a bit different.
Do the same when you repeat the
second section.
The LH should never drown out

the RH melody.
19
Think in two long
Feel the down-up in these two bars. Put weight

13 on the first note, and be lighter on the second.
ff 4-bar phrases for
Hold down the C for the

duration of the bar.
Note:These next four bars are a straight repeat.Try

to make them sound different. Softer, maybe?
The use of pedal is not necessary in

this piece.
3
5
From bar 9, you need to sing

more in the RH. Notice the slurs.
2 4

2
3
Lift your hands off

exactly together!
Even though its not marked, make a tiny rit at

the end. We have to know the piece is ending.
29Great Composers
32 Pianist 62
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TRACK
Track
2 3
S
MIS
NTANIE
DOM
L
E
KS
SWIC
SPAN
IECE
HIS P
ON TPAGE
ON
LESS
15
Joseph
HAYDN
(1732-1809)
Joseph
HAYDN
(1732-1809)
Andantino
in E in
flatE flat
Andantino
In this
the pairs of
of the
slurred
dotted
notes should
be played
portato;No
separate
This
is anpiece,
arrangement
second
movement
of Haydns
Symphony
85.
them
by tips:
raising
wrist.
Make dotted
a slight notes
emphasis
on be
theplayed
first ofportato,
the two.with
The a
Playing
Theyour
pairs
of slurred
should
hardest
aspect on
of this
is theThe
sequences
thirds is
inthe
thesequences
right handof(for
example
slight
emphasis
the piece
first note.
hardestofhurdle
thirds
in the
bar(e.g.
3 and
16-17).
PractisePractise
them bybyplaying
first the
RH
barbars
3 and
bars 16-17).
first playing
thehigher
highernote,
note,then
thenthe
the
lowernote
noteand
andthen
then moving
thethe
next
pair.pair.
When
playing
themas
lower
movingimmediately
immediatelyonontoto
next
When
playing
b e g i nBEGINNER/
ner
INTERMEDIATE
aswritten,
written,the
the two
two fingers
fingers should
higher
should strike
strikethe
thekeys
keyssimultaneously,
simultaneously,though
makingthe
the
top note
note
should
more
prominently.
legato
the upper
linewrist
sound
outsound
more. out
Think
about
the legatoThink
in theabout
upperthe
line,
andindont
let your
tense
you wont
be able
to achieve
true legato
in bothAtlines
once an
andAlberti
dont let
your
up. Give
crotchet
restsa their
full length.
bar at
9 theres
bass
in the
wrist
up.
Give
crotchet
restsfor
their
full length.
At bar 9 accompaniment.
theres an Alberti bass in
LH.tense
Make
this
even
and light,
a calm
but rhythmic
the left
hand.
Make this
even and light
to be
calmpiece
but rhythmic
Read
Melanie
Spanswicks
lesson
onathis
on page accompaniment.
15.
Pianist
47
3026
Great
Composers

4/3/09 11:35:53
09/06/2015 09:12
Track
TRACK2 3
Joseph
HAYDN
(1732-1809)
Joseph
HAYDN
(1732-1809)
Andantino
in E in
flatE flat
Andantino
BEGINNER/
BEGINNER
INTERMEDIATE
Pianist 47
3127
Great
Composers

4/3/09 11:36:06
09/06/2015 09:12
TRACK 4
Track 3
Wolfgang
Amadeus
MOZART
(1756-1791)
Wolfgang
Amadeus
MOZART
(1756-1791)
Minuet
Minuet
II inIIF in
K6F K6
Mozart was about six years old when he wrote the Sonata in C for violin and
This little piece was composed by Mozart when he was just six years old. As
keyboard, from which this charming Minuet comes.
you alternate the left and right hands in the opening bars, maintain rhythmic
Playing tips: Keep rhythmic stability between the hands, using an upward movement
stability, using an upward movement of your forearm to end each note crisply.
of your forearm to end each note crisply. Aim for a slight wrist movement between
The staccato repeated notes at bars 6, 8, 16 and 18 can be achieved with a slight
each staccato repeated note at bars 6, 8, 16 and 18. This will stop the wrist tensing. In
wrist movement between each note. If you dont relax the wrist, the notes wont
bars 5-8, keep the thumb light in the LH; it should feel relaxed. At bars 9, 19 and 21
repeat! The rotating quavers in the right hand from bar 11 can be played legato.
Key of F major
(one flat).
Start at a
mezzo forte
dynamic.
BEGINNER/
BEGINNER
INTERMEDIATE
the RH plays a sequence of fluid running semiquavers, which should be lyrical and
At bars 5-8, keep the thumb light in the left hand; there is no need to use wrist
legato. Start each beat with the wrist down and gradually raise it through the four
movement here. But the thumb should feel loose and relaxed. At bars 9, 19 and
descending semiquavers. Always stress the first of the four semiquavers. Heres how to
21 the right hand is required to play a sequence of fluid running semiquavers,
play the RH acciaccatura at bar 10: the B should have the value of a minim, and the
which should be lyrical and legato. Start each beat with the wrist down and
C, the value of a crotchet (listen to the CD performance if unsure). Pedal not needed.
gradually raise it through the four descending semiquavers.
Take a look at the technical tips within the score to guide you.
Lift the RH for the rests. Make sure to create a musical line for these 4 bars.
Make a small crescendo to bar 3....
... and decrescendo from here to the end of the first 4 bars.
Lift the LH hands for the rests.

Keep repeated notes light.
Keep the thumb light in the LH above.The lower notes carry a descending melody.
Light, even fingerwork in the RH below. Emphasise the first semiquaver.
Repeat first 10 bars.
Shape the RH melody below. Make this section more legato.
Keep the thumb very

light in the RH.
In bars 16 & 18, emphasise the first note and then play the repeated notes lightly.
Keep the LH thumb light above and bring out the descending melody in the lower notes.
Same as bar 9.
Repeat bar 11 to the end.
32 Great Composers
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Domenico
CIMAROSA
(1749-1801)
Domenico
CIMAROSA
(1749-1801)
TRACK 5
Track 8
INTERMEDIATE
Minuet
A R15
Sonata
in A in
R15
Known mainly for his operas, of which he composed more than 60, the Italian
Known mainly
forwas
his admired
operas, ofbywhich
he composed
more
than 60,by
theHaydn
Italian
composer
Cimarosa
Goethe,
had his music
conducted
composer
admiredbybyMozart.
Goethe,Theres
had his amusic
conducted
by Haydn,
and
had hisCimarosa
melodieswas
borrowed
sparkle
to this piece
that
and hadone
hisofmelodies
byfun
Mozart.
Theres a sparkle to this piece that
reminds
Mozart, borrowed
and its great
to play.
reminds
one Play
of Mozart.
Play
this with
rhythmic
precision,
keeping
it light
and
Playing tips:
this with
rhythmic
precision,
keeping
it light
and bright.
Note
bright,
with
very
little
use
of
pedal.
Note
all
the
articulation
markings
such
all the articulation markings such as marcato, non legato, staccato, tenuto, theas
marcato,
staccato,
tenuto, the
smallfollow
slurs,all
plus
dynamic
markings.
small
slurs,non
pluslegato,
the dynamic
markings.
If you
ofthe
these
in detail,
youre
INTERMEDIATE
halfway there. Many bars have semiquavers throughout and you need to know
If you
all of
theseE.g.,
in detail,
halfway
there.
have
semiquavers
how
to follow
grade the
notes.
in baryoure
6, bring
out the
topMany
notesbars
in the
RH
namely,
#BD#EF
and#, you
howrepeated
to gradenotes
the notes.
in bar
6,
Dthroughout
andneed
so on.toInknow
the LH
at barsFor
27,example,
28 and 30,
keep
#
#
#
BD
EF
...
etc.
With
the
LH
bring
out
the
top
notes
in
the
RH
namely
D
the wrist relaxed or your hand will freeze. The same applies to the RH with the
repeated notes
27,thirds.
28 andThis
30,iskeep
theexercise
wrist relaxed
or your
hand will
descending
scaleat
ofbars
double
a great
for finger
articulation.
freeze.
The
same
applies
to
the
RH
with
the
descending
scale
of
double
Pedal tips: Very little use of pedal needed, if at all, as it needs to sound light.thirds.
That
This
is a chosen
great exercise
for finger
articulation.
is whypiece
we have
to go without
pedal
markings.
Allegro
.
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4
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33Great Composers
34 Pianist 61
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DomenicoCIMAROSA
CIMAROSA(1749-1801)
(1749-1801)
Domenico
TRACK
Track5 8
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INTERMEDIATE
INTERMEDIATE
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A R15
Sonata
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A R15
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34 Great Composers
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Domenico
CIMAROSA
(1749-1801)
Domenico
CIMAROSA
(1749-1801)
TRACK
Track
8 5
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INTERMEDIATE
INTERMEDIATE
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in A R15
Sonata
in A R15
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35Great Composers
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Carl Philipp Emanuel BACH (1714-1788)

Solfeggietto
CPE
BACH (1714-1788)
N
SO
S
MIS
NTANIE
DOM
L
E
KS
SWIC
SPAN
IECE
HIS P
ON TPAGE
TRACK 8
LES
TRACK 6
INTERMEDIATE
CPE Bach, the second son

20of the great JS, wrote this Solfeggietto in the
style of a prelude. Its originality comes from the systematic alternating of
the Bach,
two hands.
Theres
a certain
to the piece:
barsof1-4
CPE
the second
son of
the greatthematic
JS, wroteelement
this Solfeggietto
in the style
a
are
repeated
four
times
in
different
minor
keys
and
always
in
four-bar
prelude. Its originality comes from the systematic alternating of the two hands.
chunks,
aside
fromathe
lastthematic
repeat, element:
where itbars
lengthens
into six four
bars.times
The
Playing tips:
Theres
certain
1-4 are repeated
technical
difficulty
is
to
maintain
precision
with
the
rapid
semiquaver
in different minor keys and always in four-bar chunks, aside from the last repeat,
where it lengthens into six bars. The difficulty is to maintain precision in the rapid
runs. In those first 13 or so bars, one should not be able to hear the
interchange between left and right hand. Practise slowly and try to detach
each noteruns.
by lifting
each finger
up,tostrongly
and separately.
When
you
semiquaver
One shouldnt
be able
hear the interchange
between
left and
then
come
to
play
the
piece
quickly,
and
the
fingers
dont
need
to
be
right hand. Practise slowly and detach each note by lifting each finger up, strongly
picked
up anymore,
youll
findplaying
that they
over the
and
separately.
When you
end up
it allfly
quickly,
and keyboard!
the fingers dont need
to be picked up anymore, youll find they fly over the keyboard! Pedal not required.
Read Melanie Spanswicks step-by-step lesson on this piece on page 20.
1 3 1
2 4
4 2 1
1 4 2 1 4
4 2 1 2 4
4 2 1
1 3 2 1 4
5 2 1 3
5 2 1 3
1 2 4
1 2 4
1 2 3
5 4 2 1
4 2
3 2
4 1
1 3
1 3
1 4
1
2
10
1 2 4
13
2 1 2 3
1 5 1
5
1
4
1
5
34 Pianist
37
36 Great
Composers
09/06/2015 09:15
Carl PhilippCPE
Emanuel
(1714-1788)
BACHBACH
(1714-1788)
TRACK 8 6
TRACK
I N T EINTERMEDIATE
R M E D I AT E
Solfeggietto
Solfeggietto
in C minor
16
1 3
1
4
1
5
1 4
19
5 3 1
4 2 1
5 2 1
2
4
22
4 2
5
1
3 2
1
2 1
1 3
2 5
26
1
4
1
2
29
1
2
5 3
5 4
1
4
4
1
5
2
32
1 3
37 Great Composers
35 Pianist 37
09/06/2015 09:15
TRACK
Track 74
S
MIS
NTWMANS
DOT
NE
JANE
IECE
HIS PE
T
N
O PAG
Ludwig
van BEETHOVEN
(1770-1827)
Ludwig
van BEETHOVEN
(1770-1827)
ON
S
S
E
L
Sonata No 14 op 27 no 2 Moonlight, first movement
Moonlight Sonata op 27 no 2, first movement
26
INTERMEDIATE
INTERMEDIATE
ISS
T Mmovement
s
ofOver
this sonata,
composed
in 1801,
a pleasure
to play.
Find out allalso
avoidswhat
slowing
downisor
up. tempo.
It mightShe
sound
likeaacalm
contradicction,
ONfirst
MAN
the course
of the next
threeis issues
we will
be presenting
three
we think
anspeeding
appropriate
creates
atmosphere,but
DThe
NEw
ET aboutN
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the all-important
pedalling
Graham
Fitchs article on page 12.
the calmerand
oneshe
plays
thisgive
movement,
the more
intense
it will sound.
JAN
movements
of thisinfamous
sonata.
doesnt
way to slowing
down
or speeding
up. It might sound
SSO
IEcE
le
Playing
many are
interpretations
of this movement,
and on our
CD,issues CD
Pedal tips:
Ample pedalbut
is necessary.
See
suggested
markings
on intense
the score.
hIs p tips: There areThere
many
interpretations
of
this
movement
this
contradictory,
the
calmer
one
plays
this,
the
more
it will
T
N
o
22
Chenyin
tempo,
creating
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evenOn
atmosphere,
and she Li takes
Read Janet
Newmans
lesson
on this
pieceon
onpage
page22.
26.
Reviews looks
at some
recent
versions.
our CD, Chenyin
sound.
See Janetin-depth
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38 Great
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34 Pianist
65
7/3/12 09:03:27
09/06/2015
09:16
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7/3/12 09:03:58
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Ludwig
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INTERMEDIATE
Ludwig
van van
BEETHOVEN
(1770-1827)
INTERMEDIATE
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No
14
op
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p38_scoresBEETHOVEN_pianistGC-FINAL.indd 41
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09/06/2015 09:16
7/3/12 09:04:24
TRACK
TRACK 58
S
MIS
NTWMANS
DOT
E
N
JANE
IECE
HIS P
ON T AGE
Muzio Muzio
CLEMENTI
(1752-1832)
CLEMENTI
(1752-1832)
ON
LESS
P 1
2
Sonatina op
36 no op
3 (third
Sonatina
36 no movement)
3, third movement
of six
Clementi
composed
1797, which
became
ThisOf
is the
one set
of the
bestsonatinas
known ofthat
the set
of six sonatinas
thatinClementi
composed
in
a
staple
for
student
pianists,
this
is
one
of
the
best
known.
1797 and which quickly became a staple for student pianists.
The strings
of semiquavers
should
never become
mechanical:
strike each
Playing
and pedal
tips: The strings
of semiquavers
shouldnt
sound mechanical:
note
distinctly
and
give
a
shape
to
the
phrases
with
subtle
use
of
strike each note distinctly and give shape to the phrases with subtle use of dynamics.
dynamics.
I N T E RINTERMEDIATE
M E D I AT E
Inthe
theLH,
left keep
hand,
theeven,
quavers
even,
without
unnecessary
onor
In
thekeep
quavers
without
accents
on notes
played byaccents
the thumb
notes
played
by
the
thumb
or
little
finger.
little finger. Rhythmic precision is a must, as are the dynamic markings and contrasts,
Rhythmic
precision
essence
throughout
piece,
are pedal.
the
which
will help
bring itistoof
life.the
Read
what Janet
Newman the
has to
say onasusing
dynamic
markings
and
contrasts,
which
will
help
bring
it
to
life.
Read Janet Newmans lesson on this piece on page 21.
28 Pianist 39
42 Great Composers
09/06/2015 09:17
TRACK
5 8
TRACK
Muzio
CLEMENTI
(1752-1832)
Muzio
CLEMENTI
(1752-1832)
Sonatina op 36 no 3 (third movement)
INTERMEDIATE
29 Pianist 39
43 Great Composers
09/06/2015 09:17
TRACK 5
TRACK 8
Muzio CLEMENTI (1752-1832)

Muzio
(1752-1832)
Sonatina
opCLEMENTI
36 no 3 (third movement)
INTERMEDIATE
44 Great Composers
30 Pianist 39
09/06/2015 09:17
TRACK 5
TRACK 8
Muzio CLEMENTI (1752-1832)

Muzio
(1752-1832)
Sonatina
op CLEMENTI
36 no 3 (third movement)
INTERMEDIATE
45 Great Composers
31 Pianist 39
09/06/2015 09:17
18-20
Rondo from
No 8 op 13 (1770-1827)
Pathtique
Ludwig
van Sonata
BEETHOVEN
Rondo from Sonata No 8 op 13 Pathtique
Ludwig
van BEETHOVEN (1770-1827)
The Pathtique Sonata is a landmark in Beethovens piano oeuvre. The thumb, is not unduly prominent. Let the thumb lift lightly off the key.
A D VA
NCED
TRACKS himself made this evident by publishing it on its own, rather In the contrasting episodes, whether the notes are longer
composer
or shorter,
The
Pathtique
Sonata
is
a
landmark
in
Beethovens
piano
oeuvre.
The
thumb,
is
not
unduly
prominent.
Let
the
thumb
lift
lightly
off
the
key.
18-20
than in a collection with other sonatas.
maintain the momentum and precision of rhythm.
composer
himself
made
evident
by
publishing
it piano
on
its oeuvre.
own,
rather
contrasting
whether
notes
longer
orfull
shorter,
The
Pathtique
Sonata
isthis
a be
landmark
in
Beethovens
The In
thumb,
is not
prominent.
Let thethe
thumb
lift are
lightly
the
key.
This
Allegro
finale
should
played
at
two
beats
in
a
bar.
Keep
your
CDthe
info:
Onunduly
our episodes,
CD,
pianist
Franois
Dumont
plays
the
Aoff
D
VA
Nthree
CED
TRACKS
than
in
a
collection
with
other
sonatas.
maintain
the
momentum
and
precision
of
rhythm.
composer
himself
made
this
evident
by
publishing
it
on
its
own,
rather
In
the
contrasting
episodes,
whether
the
notes
are
longer
or
shorter,
fingers
close
to
the
keyboard
as
you
play
the
melody
in
the
right
hand
and
movements
from
the
Sonata.
The
Rondo
appears
on
Track
20
(with
the
18-20
This
Allegro
finale
should
be
played
at
two
beats Where
inpiano
a bar.
Keep
your
CD
info:
Onmomentum
our CD,
pianist
Franois
Dumont
playsoff
the
full
three
than
in
a collection
with
other
sonatas.
maintain
the
and precision
ofthumb
rhythm.
The Pathtique
Sonata
is
a
landmark
in
Beethovens
oeuvre.
The
thumb,
is
not
unduly
prominent.
Let
the
lift
lightly
the
key.
integrate
the
grace
notes
into
the
line
and
rhythm.
the
left
hand
first
two
movements
on
Tracks
18
and
19).
TRACK
9 keyboard as you play the melody in the right hand and movements from the Sonata. The Rondo appears on Track
ADVANCED
fingers
close
to
the
20orfull
(with
the
This
Allegro
finale
should
beevident
played
at publishing
two
beats
a played
bar.
Keep
your
info:
On our episodes,
CD, pianist
Franois
plays
the
three
composer
himself
made
this
by
itop
on
its own,
rather
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contrasting
whether
theDumont
notes are
longer
shorter,
plays
four
rising
quavers,
make
sure
that
theNo
top 8
note,
with
the CD
Sonata
13
Pathtique,
final
movement
(Rondo)
integrate
the
grace
notes
into
the
line
and
rhythm.
Where
the
left
hand
first
two
movements
on
Tracks
18
and
19).
fingers
close
to
the
keyboard
as
you
play
the
melody
in
the
right
hand
and
movements
from
the
Sonata.
The
Rondo
appears
on
Track
20
(with
the
than in a collection with other sonatas.
maintain the momentum and precision of rhythm.
The
Pathtique
Sonata
is into
amake
landmark
in
Beethovens
piano
oeuvre.
The
thumb,
ismovements
not undulyon
prominent.
Let
the
thumb lift lightly off the key.
plays
four
rising
quavers,
sure
that
the
top
note,
played
with
the
integrate
the
grace
notes
the
line
and
rhythm.
Where
the
left
hand
first
two
Tracks
18
and
19).
This Allegro finale should be played at two beats in a bar. Keep your CD info: On our CD, pianist Franois Dumont plays the full three
composer
himself
made this
evident
by
publishing
it onplayed
its own,
rather
In the contrasting episodes, whether the notes are longer or shorter,
plays
rising
make
sure
that
top note,
with
the movements
fingersfour
close
to thequavers,
keyboard
aslandmark
you
play
thethe
melody
in the
right hand
and
from
the Sonata. with
Thethe
Rondo
appears
on Track 20 (with the
Pathtique
Sonata
is a sonatas.
in Beethovens piano oeuvre. The composer maintain
make sure the
that momentum
the top note, played
thumb,
is not unduly prominent. Let
than in aThe
collection
with
other
and precision
of rhythm.
integratehimself
the grace
notes
into
the
line
and
rhythm.
Where
the
left
hand
first
two
movements
on
Tracks
18
and
19).
made this
evident
publishing
on its
own,in
rather
thanKeep
in a collection
the thumb
lightly
the key.
In the contrasting
whether
thethe
notesfull
are three
This Allegro finale
should
bebyplayed
at ittwo
beats
a bar.
your CD
info: lift
On
ouroffCD,
pianist
Franois episodes,
Dumont
plays
plays four
quavers, make sure that the top note, played with the
withrising
other
sonatas.
longer or shorter,
maintain
the momentum
and precision
of rhythm.
Note: On
our
fingers close
to the
keyboard as you play the melody in the right hand and movements
from
the Sonata.
The Rondo
appears
on Track
20 (with
the
Playing tips: This Allegro finale should be played with two beats in a bar. Keep CD, you will be also able to hear the first two movements from this great sonata.
integrate the grace notes into the line and rhythm. Where the left hand first two movements on Tracks 18 and 19).
your fingers close to the keyboard as you play the melody in the RH, and integrate
Pedal tips: Pedal will be required, and due to the advanced level of this work, we
plays four
quavers,
thatWhere
the top
played
with
the
the rising
grace notes
into themake
line andsure
rhythm.
the note,
LH plays
four rising
quavers,
suggest you work on it. Dabs here and there will be required. Do not over-pedal.
Rondo from Sonata No 8 op 13 Pathtique
Ludwig van BEETHOVEN (1770-1827)
51 Pianist 39
46 Great Composers
51 Pianist 39
51 Pianist 39
p46_scoresBEETHOVENpath_pianistGC-FINAL.indd 46
09/06/2015 09:18
TRACK 9
TRACKS
18-20
Ludwig
BEETHOVEN
(1770-1827)
Ludwig
van van
BEETHOVEN
(1770-1827)
Sonatafrom
No 8Sonata
op 13 Pathtique,
finalPathtique
movement (Rondo)
Rondo
No 8 op 13
A D VA NADVANCED
CED
52 Pianist
39
47 Great
Composers
09/06/2015 09:18
TRACK
TRACKS 9
18-20
Ludwig
vanvan
BEETHOVEN
Ludwig
BEETHOVEN(1770-1827)
(1770-1827)
Rondo
from
Sonata
No 8 opfinal
13 movement
Pathtique
Sonata No
8 op
13 Pathtique,
(Rondo)
A D VAADVANCED
NCED
53 Pianist
39
48 Great
Composers
09/06/2015 09:18
TRACK 9
TRACKS
18-20
Ludwig
vanvan
BEETHOVEN
(1770-1827)
Ludwig
BEETHOVEN
(1770-1827)
Rondo
No 8 op final
13 Pathtique
Sonatafrom
No 8 Sonata
op 13 Pathtique,
movement (Rondo)
A D VA N
CED
ADVANCED
54 Pianist
39
49 Great
Composers
09/06/2015 09:18
TRACK
TRACKS 9
18-20
Ludwig
vanvan
BEETHOVEN
Ludwig
(1770-1827)
Rondo
from
Sonata
No 8 opfinal
13 movement
Pathtique
Sonata No
8 op
13 Pathtique,
(Rondo)
A D VAADVANCED
NCED
55 Pianist
39
50 Great
Composers
09/06/2015 09:18
TRACK 9
TRACKS
18-20
Ludwig
vanvan
BEETHOVEN
(1770-1827)
Ludwig
BEETHOVEN
(1770-1827)
Rondo
No 8 op final
13 Pathtique
Sonatafrom
No 8 Sonata
op 13 Pathtique,
movement (Rondo)
A D VA NADVANCED
CED
56 Pianist
38
51 Great
Composers
09/06/2015 09:18
TRACK
TRACKS 9
18-20
Ludwig
vanvan
BEETHOVEN
Ludwig
(1770-1827)
Rondo
from
Sonata
No 8 opfinal
13 movement
Pathtique
Sonata No
8 op
13 Pathtique,
(Rondo)
A D VAADVANCED
NCED
57 Pianist
39
52 Great
Composers
09/06/2015 09:18
TRACK 9
TRACKS
18-20
Ludwig
vanvan
BEETHOVEN
(1770-1827)
Ludwig
BEETHOVEN
(1770-1827)
Rondo
No 8 op final
13 Pathtique
Sonatafrom
No 8 Sonata
op 13 Pathtique,
movement (Rondo)
A D VA NADVANCED
CED
58 Pianist
39
53 Great
Composers
09/06/2015 09:19
Track
4 10
TRACK
Ludwig
van van
BEETHOVEN
(1770-1827)
Ludwig
BEETHOVEN
(1770-1827)
BagatelleinopA 119
no op
9 119 no 9
Bagatelle
minor
Beethovencomposed
composed three
op opus
33, which
Beethoven
threesets
setsofofbagatelles:
bagatelles:
33 (7comprises
pieces), seven
opus pieces;
119 (11
op
119,
which
has
11;
and
op
126,
with
six.
At
the
request
of
the
composers
friendthe
pieces) and opus 126 (6 pieces). At the request of his friend Friedrich Starke,
Friedrich
pieces now
known
as numbers
7-11
of for
op 119
were used
for
pieces
nowStarke,
knownthe
as numbers
7-11
of opus
119 were
used
a teaching
method.
a
teaching
method.
They
were
published
later
as
op
119
by
Clementi,
along
with
They were published later as opus 119 by Clementi, along with six other bagatelles.
six
other bagatelles.
This waltz-like
piece must
must be
be lively,
lively, but
but never
not rushed.
Practise
Playing
tips: This waltz-like
short piece
rushed.
Practise
the LH slowly to get used to making the leaps accurate between the bass notes and
INTERMEDIATE
INTERMEDIATE
thethe
lefttwo-part
hand slowly
to getThe
usedbroken
to making
the leaps
between
bass with
notesyour
chords.
arpeggios
in accurately
the RH should
be the
played
and
the
two-part
chords.
The
broken
arpeggios
in
the
right
hand
should
be
played
hand comfortably cupped, avoiding any emphasis on notes played with the thumb.
with
your15
hand
cupped
and the
avoiding
anyand
undue
emphasis
At bars
andcomfortably
16 make sure
to sustain
minims
dotted
minimson
fornotes
their full
played
with
the
thumb.
At
bars
15
and
16
make
sure
to
sustain
the
minims
anda very
length so that the right harmonic effects are achieved. Dynamic contrasts are
dotted
minims
for their
full piece.
length as written, so that the right harmonic effects are
important
feature
of the
achieved.
contrasts
aredown
a veryon
important
feature
of the
PedalThe
tips:dynamic
We suggested
pedal
beat 1, off
on beat
2. piece.
Pianist 47
5431
Great Composers

p54_scoresBEETHOVENbaga_pianistGC-FINAL.indd 54
4/3/09 11:36:57
09/06/2015 09:19
ISS
S
T M
HAMMISS
R
DON
A
P
LUCDYONT RHAMS
PA IECE
LUCY
HIS P
ON T AGE CE
Wolfgang
Amadeus MOZART
MOZART(1756-1791)
(1756-1791)
Wolfgang Amadeus
ON
LESS SON
P SH
PIE
LE
T4IS
N2
TRACK 11
Track 12
ADVANCED
ADVANCED
RondoininAAminor
minorK511
K511
Rondo
E2
pag
Dating from 1787 (the year of Don Giovanni), this Rondo is something of a one-off Rondo is worth spending time on. The more you study it, the more you will love to
in Mozarts output, yet in many ways it embodies the essential nature of his music. play it. Trust us! And even if we have classified it as Advanced (due to all the various
Dating from 1787 (the year of Don Giovanni), this Rondo is something of a one-off in page 20 where he talks about different touches. Grahams lesson in the last issue 68 also
Playing tips: This is such a fantastic piece and theres so much to learn in it. It subtleties required), we believe that its still within the grasp of readers who are of
Mozarts output, yet in many ways it embodies the essential nature of his music.
touched on legato and staccato definitely worth revisiting. This piece is worth spending
contains a huge range of emotions, but the one thing that stands out above everything an intermediate level as well.
Playing tips: This is such a fantastic piece and theres so much to learn in it. It contains time on. The more you study it, the more you will love to play it. Trust us!
else is all the different types of articulation that Mozart asks for. As well as reading
Pedal tips: When it comes to pedalling in this piece, do your utmost to avoid
a huge range of emotions, but the one thing that stands out above everything else is all
Pedal tips: When it comes to pedalling in this piece, do your utmost to avoid overLucy Parhams lesson on this piece on page 24, we also suggest that you read Mark overpedalling one should be able to hear all the different articulations and nuances.
the different types of articulation that Mozart asks for. So, as well as studying Lucy pedalling one should be able to hear all the different articulations and nuances.
Tanners Masterclass on page 8 where he talks about playing in a Classical style. This
Parhams lesson on page 24, we suggest that you turn to Graham Fitchs Masterclass on
Andante
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09/06/2015
8/11/12 09:21
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09/06/2015 09:20
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8/11/12 08:55:13
09/06/2015 09:20
{{
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MOZART
(1756-1791)
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8/11/12 08:55:41
09/06/2015 13:36
{
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Amadeus
MOZART
(1756-1791)
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Amadeus
MOZART
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8/11/12
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MOZART
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8/11/12
08:56:18
09/06/2015
09:21
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MEET THE COMPOSER
Inside
the
Beethovens 32 sonatas are the heart of the

Classical repertoire. Tim Stein looks at
their historical background, and advises how
to tackle this challenging and profound music
t all began with a letter. A love

story. Doesnt it always? In
July 1812, Ludwig van
Beethoven wrote a letter
(found among his papers after
his death) addressed to The
Immortal Beloved. Ever since,
scholars have been painstakingly sifting
through mountains of correspondence
in the hope of revealing the great
composers secret beloved. In Bernard
Roses controversial 1994 film, The
Immortal Beloved, Gary Oldmans
Beethoven (portrayed as a gruff,
arrogant womaniser) is played off
against three possible objects of his
desire: Johanna Reiss (Beethovens
sister-in-law, and Roses intimated
target), Anna Marie Erddy and
Giulietta Guicciardi. Whether the film
sometimes been claimed

that great men had the
good fortune to have
been born at the right
time. Although this
seems like wisdom
after the event, it is
reasonable to suggest
that potential greatness
may be nurtured
or thwarted by
circumstance, and that
talent and character
may owe as much to
environment and
opportunity as to heredity. In the game
of conjecture can we imagine the way
Beethoven might have developed if he
had arrived on the musical scene a
century earlier or later than he did? In
Beethoven
around 1804, detail from
painting by W J Mhler
Beethovens music is difficult but there is an

unswerving logic to it each note that follows has
to be that note somehow, it cant be anything else
-Teacher and pianist Raymond Banning
fact, he surmises, it is impossible to

separate Beethoven from his time.
The urbane Portuguese pianist Artur
Pizarro, who has played all 32 sonatas
in concert, echoes these sentiments:
Maybe there is something to do with
this 150- to 200-year gap, between the
composition of a work, the writing of
a work or the painting of a work and
the ability for it to be absorbed by
mainstream culture. Beethoven came
into that by the beginning of the 20th
century, so I suppose its riding a kind
of high right now.
was accurate or not, it didnt hurt

Beethovens popularity.
What is it that makes this composer
of such overly played classics as Fr Elise
and the Moonlight Sonata and with
his scowl and locks of unkempt,
steel-grey hair (so perfectly captured in
Stielers famous portrait of 1819) so
popular? Why do his masterful 32 piano
sonatas command such admiration from
modern-day concert pianists?
In his wonderful book on Beethoven,
Denis Matthews, the late pianist and
Beethoven specialist, writes: It has
Beethoven was born in Bonn in 1770.

His father, Johann, was a court tenor
who gave his son lessons on the violin
and piano. Ludwig gave his first public
concert at the age of seven and Johann,
realising his own limitations as a teacher
(contemporary reports indicate that the
young Ludwig was forced to play
against paternal threats of being locked
in a darkened cellar) sent his son to
Christian Gottlob Neefe, who became
his first real teacher. Through Neefe,
Beethoven was introduced to the
preludes and fugues of Bach which, at
that time, were still unpublished and
only available in manuscript form.
Neefe published an account of
Beethovens progress in Cramers
Magazin der Musik, mentioning his
pupils excellent sight-reading ability, his
studies in thorough-bass and
composition and his playing of Bachs
48, before ending with the following
comments: This youthful genius is
deserving of help to enable him to
travel. He would surely become a
second Wolfgang Amadeus Mozart were
he to continue as he has begun.
67 Great Composers
p67_GC-Beethoven-FINALish.indd 67
10/06/2015 13:22
MEET THE COMPOSER

Beethovens first visit to Vienna in
1787, made with the intention of
studying with Mozart, came to nothing,
though he did get a fleeting opportunity
to play to the great man himself.
Mozart is said to have reacted rather
aloofly until he heard the young man
improvise: Keep an eye on him:
someday he will give the world
something to talk about, he said. Barely
had Beethoven set foot in Vienna when
he was summoned back to Bonn to
attend to his dying mother. But on a
second visit to Vienna in 1792, he came
into contact with Haydn who,
propitiously, had stopped off in Bonn
on his way to and from London and
who agreed to take him on as his pupil.
Watershed works
Musicologists, perhaps for the sake of
clarity if nothing else, have broken
Beethovens compositions into three
clearly defined periods. In the first
period, covering the works up until
about 1802, and including about ten of
his sonatas, the first two symphonies,
the ballet Creatures of Prometheus, the
six opus 18 string quartets and the first
three piano concertos, you can find the
influences of composers like Haydn,
More Beethoven in this issue

Interpretation Stephen Kovacevich talks about playing
Beethoven in an article on the Classical style on page 16
Technique See Graham Fitchs Masterclass on page 12
Interview Broadcaster and author John Suchet considers
Beethoven the man on page 10
How to Play Janet Newmans step-by-step lesson on the first
movement of the Moonlight, page 26
Beethoven sonatas inside the Scores Moonight Sonata,
first movement (page 38); Pathtique Sonata, Rondo (page 46)
with its unprecedented time scale (on its
first performance, one audience member
famously shouted, Ill give another
kreuzer if only the thing will stop) and
incredible architectural unity. This
middle period produced many of
Beethovens best-loved works, among
them the Razumovsky quartets, the
opera Fidelio, and the Waldstein and
Appassionata sonatas.
His final period, from about 1816
onwards, includes the last six piano
Clockwise from top:

Pencil drawing of
Beethoven, 1818, by
August von Klber;
Beethoven on his daily
walk, around 1820, pencil
drawing by Josef Daniel
Bhn; City of Bonn, by
J Ziegler after a painting
by L Janscha
Beethovens difficulties seem to be more

psychological and organisational than the act of
just getting your fingers to fit on to the right keys
-Concert pianist Artur Pizarro
Mozart, CPE Bach and Clementi.

Beethoven, great improviser that he
was, pushes the boundaries of piano
technique even further, putting ever
greater demands on the performer,
using bold key modulations and
replacing the commonly used minuet
with the scherzo.
Two signifiers of Beethovens middle
period are the so-called Heiligenstadt
Testament (1802), an unsent letter
to his two brothers in which
Beethoven writes of his despair
over his increasing deafness, and
the Eroica Symphony (1803),
sonatas (with their widely spaced parts,

profusion of trills and silences and an
increase in contrapuntal textures), the
Ninth Symphony and the last five string
quartets. Here, Beethoven seems to
have abandoned the traditional Classical
three-movement form, with some works
(the opus 111 piano sonata) having two
movements or, in the case of the opus
131 string quartet, as many as seven.
Exploring the sonatas
While its not uncommon for musicians
to refer to Bachs 48 as the Old
Testament and Beethovens 32 sonatas
as the New, its certainly true to say that,

in the words of Scottish pianist Murray
McLachlan, it would take more than a
lifetime to begin to unravel all of their
mysteries. Many pianists, from Liszt to
Chopin, from Charles Hall (who was
the first pianist to perform the complete
32 sonatas in his celebrated London
cycle in 1861) to Eugen dAlbert, and
from Artur Schnabel to Alfred Brendel,
have influenced generations of musicians
through their editions, recordings and
interpretations as, no doubt, future
pianists will go on doing so.
From a performance practice
standpoint, as McLachlan has said, the
sonatas are watershed works, for in
their entirety their compositional
development parallels to a striking
extent the complex development of the
fortepiano. Over the 28-year period
in which the sonatas were written,
Beethoven would have seen the typical
five-octave Viennese pianoforte of the
1790s, witnessed the introduction of
the sustaining and una corda pedals,
through to the six-octave Broadwood
he was given in 1828. Yet in typically
Beethovenian fashion, the German
composer was ahead of his game.
His Hammerklavier Sonata opus 106,
for example, was completed
in 1818, seven years before
he had a piano that could
even cope with its demands
of register.
Several years ago, I spoke
with the highly regarded
pianist and teacher
Raymond Banning (who has
10/06/2015 13:22
since passed on) about why and how

pianists should explore the Beethoven
sonatas. Anyone who likes a fullblooded, passionate, romantic sound
can really get stuck in with Beethoven,
he said, pointing up the opening of the
Appassionata (opus 57) as a classic
example. There is a meatiness about it,
with these big themes and powerful
emotions. On an emotional level, thats
fine, but are the sonatas, for an amateur
musician at least, possible to play? The
music is difficult, he said, but despite
this there is an unswerving logic to it,
which makes him an easy composer to
memorise. Each note that follows has to
be that note somehow, it cant be
anything else. Certainly, if youre
sight-reading your way through some of
the sonatas, with all the blemishes and
so on, you can still find an underlying
rhetoric, the logical phrasing and so on.
Whereas with some other composers,
this can be a little more challenging.
Assume youre coming to Beethoven
for the first time, where might you start?
Here again, Banning offered up some
practical suggestions: The so-called
two easy sonatas, the Gminor and
G major (opus 49 nos 1 and 2), which
were supposedly written by Beethoven
for his own teaching purposes between
1795 and 1797, are excellent pieces
to begin with and certainly if youre a
pianist of modest ability. They lie quite
well under the hands and the logic is
quite straightforward. [The second
movement of the G major Sonata opus
49 no 2 appeared in Pianist No 20.]
Beethovens other early sonatas (and
dont be misled by the term early), like
opus 2 no 3 in C, for instance, with its
tricky opening thirds, can be extremely
awkward unless you get the fingering
right, advised Banning. Even the
Haydnesque first sonata in F minor
(opus 2 no 1), with its awkward turns
and ornaments, and prestissimo final
movement can be very tricky even for
the Grade 7-8 pianist.
Banning favoured the famous C minor
Pathtique (opus 13), which was
composed in 1797-8 and dedicated to
one of Beethovens benefactors, Prince
Lichnowsky. The sonata shows a strong
influence of Dussek and Cramer.
Responding to the claim that Beethoven
can be unpianistic, Banning cited the
gorgeous, lyrical slow movement of the
Pathtique, which fits the hands very
well. Pianists who are not
desperately advanced,
should be able to make a
fairly decent job of this.
[The slow movement
of the Pathtique
appeared in Pianist
No 20, while the finale
is featured inside this
issue.] Banning,
however, did add a
caveat: In Beethoven, you get what I

call a kind of strong rhythmic
progression, especially evident in
something like the opening of the
Pathtique. In some hands the thick
opening chords can sound incredibly
slow and plodding. People have to make
the most of the long notes and the rests,
something which is so important in
Beethoven. You have to feel the
semiquavers and the sense of moving
forward all the time, he says, counting
aloud and demonstrating. People so
often just drop on to those opening
chords and then it just goes dead.
Banning agreed that Beethoven can
be uncompromising, especially in the
later sonatas, where the intellectual
challenges are paramount, but he
nevertheless felt that the sonatas do
work under the hands if you just go
about it in the right way.
Ergonomically correct
Artur Pizarro seems to take the
technical difficulties of Beethoven in his
stride. My teacher and I just worked
through the repertoire from Bach
through to Mozart and Haydn, which
meant that by the time we got around
to Beethoven, my physical and
emotional development seemed to go in
sync with the chronological progression
of the music. Beethovens music had,
therefore, a strong impact on the
overall shape of my hand. Pizarro
finds that Beethovens music is written
so beautifully for the instrument,
ergonomically correct, as he puts it,
though this doesnt mean that he
doesnt put in one hurdle after another.
Beethovens difficulties seem to be more
psychological and organisational than
the act of just getting your fingers to
fit on to the right keys. Technically, his
music is almost like physiotherapy for
the hands, because when you go back
to Bach and Mozart, its as if all your
muscles and your tendons and your
knuckles have been realigned in the
right way.
Despite having recorded the last three
sonatas plus the Moonlight, Tempest,
Pathtique and Appassionata sonatas
for Linn Records, Pizarros Beethoven
interpretations keep changing. No
sooner have I played or recorded a
piece, and as soon as I listen to it, Ive
already changed my conception. Its
terrifying, he laughs. Though its also
wonderful, because this is exactly what
you want to have happen. It means
your mind is never at rest and my
conception can change for a whole host
of reasons: 1) the performance was
good, 2) I wasnt properly prepared, or
3) Im exploring avenues I havent
explored before and probably really
shouldnt. Its a bit akin to riding a wild
horse. You have to hang on for dear life
or you will be kicked right off.
Beethoven resources
DISCOGRAPHY
There have been some classic recordings made of Beethovens
sonatas over the years (Backhaus, Schnabel, Kempff,
Barenboim, Brendel, Kovacevich, to name but few), and it
would be a hard task indeed to pick one above all else. Yet
Schnabels cycle from the 1930 has, perhaps, come closest than
most and is the litmus test by which all other performances
have been judged. Individual performances of sonatas also stand
out (Richter, Gilels, Horowitz, Arrau, Rubinstein), as have
notable performances on period instruments from the likes of
Malcolm Binns and Melvyn Tan. The following comprises just
a few highly regarded performances of different eras. -Tim Stein
COMPLETE PIANO SONATAS
Alfred Brendel
Philips 412 575-2 (11 CDs)
Wilhelm Kempff
Deutsche Grammophon 453 724-2 (8 CDs)
Daniel Barenboim
Deutsche Grammophon 463 127-2 (9 CDs)
Paul Lewis
Harmonia Mundi HMX 2901902.11 (10 CDs)
INDIVIDUAL SONATAS
Piano Works Vol 4: Sonatas Nos 11-13; Vol 7:
Sonatas Nos 22-26
Artur Schnabel
Naxos Historical 8.110756; 8.110761
Sonatas Nos 7, 8, 13 & 14; Sonatas Nos 23,
28, 30 & 31
Solomon
Testament SBT 1189; SBT 1192
Sonatas Nos 8, 14, 17 & 23
Artur Pizarro
Linn CKD 244
The Late Piano Sonatas
(opps 101, 106, 109, 110, 111)
Igor Levit
Sony Classical 8883703872
BIBLIOGRAPHY
Beethoven
Barry Cooper
(Oxford University Press, 2001)
Beethoven
Denis Matthews
(Dent, 1987)
Beethoven
Maynard Solomon
(Schirmer, 2002)
Beethoven The Man Revealed
John Suchet
(Classic FM, 2012)
69 Great Composers
10/06/2015 13:22
R E P E R TO I R E
GROUP
DYNAMIC
Chamber music of the Classical era offers fantastic musical treasures for any pianist.
Concert pianist and workshop organiser Samantha Ward explains how to get started
ianists are renowned

for leading lonely
existences. For a
professional concert
pianist, life can be
especially isolated: hours
of practising alone for
the next performance, and, when away
on tour, lots of travelling, staying in
hotels and eating alone in restaurants.
As a pianist, I went through those years
of disciplined practising, trying to learn
as many solo works as possible in my
teens and early twenties, while always
having that one-track mind-set of
wanting to be a soloist first and
foremost. Yet today, while I still love
playing solo recitals, my other love
lies in the making of music with other
musicians. Working with other
musicians and creating something
together on stage is truly thrilling.
My first encounter with the
collaborative side of piano playing was
at music school when I was put in a
piano quintet. Chamber music was all
very new to me, but I really loved it,
and I continued working with the piano
quintet for a long time, exploring

fantastic repertoire. Playing with others
added a whole new dimension to music,
and opened my eyes to a new way of
making music.
Before that experience, I had a
prejudice against musical collaboration.
As a pianist, I had always felt that I
wanted to strive to be a soloist only, not
a chamber musician. It was almost as if I
missed if we dont delve into the great

chamber works of Schubert, Beethoven
and Mozart, to name but a few. We
pianists are fortunate in playing one of
the most versatile musical instruments,
and thats one reason why I continue to
explore as many areas of composition for
our wonderful instrument as possible.
Playing chamber music has vastly
improved my solo playing, making me
Playing chamber music has vastly improved my solo

playing, making me home in on harmony, texture and
the different voices within the music
feared that I would have to sacrifice
some part of my solo-playing career if I
wanted to play collaboratively too. As I
have grown older, I found this is
definitely not the case and if anything,
chamber music contributes highly to my
solo playing. So much of the brilliant
repertoire out there written for the piano
is not solo and many great works are
home in on harmony, texture and the

different voices within the music. It also
makes me much more aware of space
and timing, because I am no longer
playing alone and the other musicians
may need me to take more or less time
for a particular phrase to work for them.
I find myself becoming more aware of
the need for harmonic support when it
70 Great Composers
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is not always the piano projecting the

melody line as one would in a solo
performance. Instead, a bass line might
be the only thing I need to bring out
for a passage while I accompany other
instruments playing the melody.
Chamber music has made me more
free in performance in other ways. As
both a soloist and as a chamber
musician, I find that rehearsals and
concerts very often turn out completely
differently, which keeps performances
very much alive. No two performances
are ever the same, which makes it much
more exciting for the performers and
audiences alike. In collaboration, the
excitement comes as the adrenaline
kicks in during performance and the
fact that two or more people working
together bring different things to the
performance on different days. This is
what music making is all about!
First encounters
If you are under the impression that
chamber music is something only for the
professional pianist, please be assured
that there is plenty of repertoire for the
amateur pianist to explore, especially the
repertoire of the Classical period. There
is much to uncover, right up to very
demanding works such as Beethovens
Archduke and Ghost piano trios.
The early Mozart and Haydn trios are
a wonderful place to start Mozarts
G major Trio K496 is one of my
particular favourites and, coincidentally,
the first one I ever learned. The very
first Beethoven Trio, opus 1 no 1 in
E flat major, is another real gem. I had
the pleasure of playing two wonderful
Classical piano trios last summer in
a concert with violinist Fenella
Humphreys and cellist Brian OKane:
the Haydn piano trio in E flat major
No 45 (Hob.XV:29) and the rarely played
Dussek trio in F major op 21 no 3.
But Classical chamber music is not
just about piano trios (the usual term for
a piece for piano, violin and cello)
there are other Classical works to explore
for other combinations of instruments,

particularly winds and strings. Hummel
and Weber, for instance, wrote delightful
little trios for piano, flute and cello (op 78
and op 63 respectively). Then there is the
Mozart trio for piano, viola and clarinet
K498, the Kegelstatt Trio, which is a joy
to listen to and not so frequently played.
Mozart also wrote two lovely piano
quartets and a wind quintet. Also worth
exploring is the monumental Schubert
Trout Quintet, for piano, violin, viola,
cello and double bass.
We mustnt forget about duos, which
are also very much part of chamber
music. Pianists are once again blessed
with plentiful repertoire, as other
instrumentalists need to play most of
their duos with a pianist. The cello,
violin, horn, clarinet and flute sonatas
(among many others) by eminent
Classical composers are yet more
examples of amazing piano parts and
repertoire. Beethovens Spring Sonata
op 24 for violin and piano is one of my
particular favourites. I also adore his
cello and piano Sonata No 3 in A major
op 69. I listened to Jacqueline du Pr
and Daniel Barenboim play this when
I was a child and I knew I really had to
play it one day.
As I mentioned earlier, in recent
years I have further developed the
chamber music side of my career. I
have been lucky enough to forge some
partnerships with some wonderful
instrumentalists. I also run a festival,
Piano Week, which I hold each summer
in North Wales, and this year I am
introducing chamber music at the
festival. I feel a piano festival is not
complete without the inclusion of
chamber music.
At this years Piano Week, I will be
joining forces with members of the
Berkeley Ensemble (John Slack,
clarinet, and Gemma Wareham, cello),
as well as with violinist Fenella
Humphreys, cellist Brian OKane and
pianist Warren Mailley-Smith. We will
play the Beethoven trio for piano,
TOP
TIPS
2
3
4
5
GETTING STARTED WITH CHAMBER MUSIC

To start off with, listen to a selection of any of the Mozart,
Schubert, Beethoven or Haydn trios, quartets or quintets (or
watch them on YouTube to get an idea of the way it all looks
and feels on stage).
Try to attend a chamber music concert. The buzz of the live
performance will really get you going with collaborative repertoire.
Talk to your musician friends and ask them whether theyd like
to get together to play some chamber music. Maybe you could
all choose a slow movement of a Mozart or Haydn trio to start
with. Then everyone should learn their parts separately, listening
to recordings along the way to get a feel for the full texture of
the piece and how it all fits together.
Once youve learned a piece or a movement, organise a jam
session where you all get together to play through the piece
youve each worked on separately at home. This is a lot of fun
and a real eye-opener, particularly if this is a first for you in terms
of chamber music collaboration.
Try to play with as many different instrumentalists and in as many
different combinations and numbers of instruments as you can.
This way, youll delve into lots of exciting and very different
repertoire and youll see what combination suits you the best.
Different personalities working together is also something that
needs to be considered. It is this, combined with a musical
compatibility, which will make chamber music really work. You will
all know almost straight away when an ensemble works well
together and when it does, go for it!
On-stage chamber music

making: a piano quintet
featuring pianist AnneMarie McDermott at the
Music@Menlo festival in
California (opposite page)
and a piano trio at the
Verbier Festival in
Switzerland (below)
clarinet and cello, and with Fenella and

Brian, we will perform the Schubert
Notturno (D897) for piano trio.
We also plan to programme the
aforementioned Beethoven Trio in E flat
major op 1 no 1 as well as Haydns
Gypsy piano trio (Hob.XV:26).
It is such a wonderful feeling to have
played a successful concert with fellow
musicians and to be able to celebrate
that together. The social aspects of
playing chamber music are another
reason to become involved in it the
joy of having dinner with friends and
colleagues you have just worked with,
discussing your performance and what
youre going to play next. The time
spent travelling together too is a bonus
and many a friendship has begun in
such a way. I thrive from this interaction
with other musicians, not only in a
musical way but also in the extramusical time we spend together.
I urge all pianists to explore the
chamber music repertoire written for
the piano, in any combination of
instruments. It is a vast and wonderful
world and one that I feel can still be
discovered more by pianists out there
who want to explore the full richness of
the glorious piano repertoire, not only
from the Classical period but spanning
many centuries and musical genres. n
For more about Samantha Ward and her
Piano Week, go to www.pianoweek.com
and to www.samanthaward.org
71 Great Composers
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11/06/2015 10:58
MEET THE COMPOSER
Mozart
THE MAN AND HIS MUSIC

Weve all heard about Mozarts prodigious talents,
ground-breaking compositions and ippant personality.
But what was this great Classical master actually like?
Michael Quinn reveals the reality behind the legend
ith enough
time and
a little
effort, it is
possible to
map out
the course
of Mozarts life to an astonishing degree
of accuracy. Often, in fact, it is possible
to pinpoint both the location and the
precise hour of the day for most of the
more significant moments in his life.
Thus, we know when and where
Wolfgang Amadeus Mozart was born
on 27 January 1756 in Salzburg at 8pm
and where and when he died in
Vienna, at five minutes before one on
the morning of 5 December 1791. And
in between we can plot the development
of a composer whose dominance of
the repertoire has never been matched,
whose music continues to fill the
catalogue and whose popularity has
never been greater, but one whose true
identity that of Mozart the man as
distinct from Mozart the composer
remains as tantalisingly elusive as his
music is gloriously accessible.
Chronologies, however detailed and
well constructed, can only tell us so
much about a life. We know, for
example, that Wolfgang Amadeus
Mozart was born to the respected
pedagogue and composer Leopold, who
was at the time in the service of the
Prince Archbishop of Salzburg. And
that he was the seventh and last of
Leopolds children, of whom only one
other (Mozarts sister, Maria Anna,
Nannerl, five years his elder) survived,
outliving her brother by 38 years. We
also know that he learned his first

piece of music, a Scherzo by GC
Wagenseil, on the piano three
days before his fifth birthday
between 9pm and 9.30pm, and
that around the same period
and even more precociously he
first composed his own original
music, an Andante and an
Allegro, for piano, both in the
key of C major.
We know, too, that on
1 September that same year,
1761, Wolfgang gave his first
public performance at Salzburg
University, albeit as a dancer
in a musical play. Within the
year, both he and his sister
were travelling to Munich the
first of his many childhood
traversals of European courts
in the company of their
father (whose ambitions for
the siblings had increased on
discovering their musical abilities)
to play before Emperor Maximilian
Joseph II. And after that auspicious
concert, we know well, we know
the names and dates and catalogue
numbers. And, mixed in along with
all of that, we know the many myths
that coiled tightly around Mozart as
he grew from promising prodigy to
full-blown phenomenon, to what today
we might call a brand.
Yet despite the wealth of documented
evidence and the voluminous analysis
of it can there be a composer who
has been more discussed, written about
and argued over than Mozart? our
sense of who the man was remains, on
the whole, something comparable to

a join-the-dots puzzle. The outline is
there for all to see, but what does the
shape it depicts contain?
A phenomenon like Mozart, the
poet Goethe would later remark,
remains an inexplicable thing.
The Salzburg miracle
Perhaps the problem lies not with the
mysterious nature of what appears to
have been Mozarts all-encompassing
personality, but with those who
struggled to accommodate his
unique musicality. Even his father,
an otherwise worldly, educated and
disciplined man, seemed unable to
explain his sons musical gift except as
the product of something other-worldly
and divine, declaring him The miracle
which God let be born in Salzburg.
Despite the secular supremacy of
Enlightenment mores, Leopold often
found himself compelled to protest his
sons abilities by reaching for
supernatural explanations.
If it is ever to be my duty to convince
the world of this miracle, it is so now,
he vowed in a letter dated 30 July 1768,
when people are ridiculing whatever
is called a miracle and
denying all miracles.
Therefore
they must be
convinced.
We can
only guess
at how the
young Mozart
accommodated the claims his
father made for him. But the
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bitter irony remains that he was never

able to attain a position in the world
that seemed appropriate to Leopolds
ambition for him. The discrepancy
would result in schism in later life:
father and fted son alienated one
from the other.
Throughout his life, Mozart himself
remained sensitive to the suspicion
of others that his musical facility was
in some way easy, glib or unearned.
People make a mistake who think that
my art has come easily to me, he
pointedly complained. Nobody has
devoted so much time and thought to
composition as I. There is not a famous
master whose music I have not studied
over and over.
One thing we can say with certainty
about Mozart is that he was intensely
inquisitive. Coupled to an intellect as
nimble and fleet as any exhilarating
phrase he would set to a stave, Mozarts
capacity for learning and his voracious
appetite for the new made him a true
creature of his enlightened age, even,
it seems, as a child.
In 1766, aged ten, Mozart had visited
Paris with his father and sister, and
come to the attention of the author
Baron Friedrich Melchior Grimm,
who enthused that one could talk
interminably about this singular
phenomenon. He is, moreover, one
of the most loveable of creatures
imaginable, who puts wit and spirit into
everything he says and does, with all the
grace and sweetness of his age. Added
the then much-respected composer
Johann Adolph Hasse, Knowing him,
it is difficult to avoid loving him.
MOZART IN THIS ISSUE

Interpretation Imogen Cooper
on playing Mozart in the article on
Classical style, page 16
Masterclass Mark Tanner on
learning the Classical repertoire,
page 8
How to Play Lucy Parhams
step-by-step lesson on the Rondo
in A minor K511, page 24
Mozart scores Minuet II in F K6
(page 32); Rondo in A minor K511
(page 55)
In early adulthood Mozart had

developed another, more acute
sensitivity to how he felt others,
especially his social superiors, treated
him, the result of his having felt
snubbed by the Prince Archbishop
in Salzburg in his early twenties. His
default response ever after was a prickly
defensiveness and a distaste for
snobbishness. Yet when he felt relaxed
in company, he would occasionally
relax a little too much, injecting into
Opposite page, bottom:

Papagenos costume for
the Berlin performance of
The Magic Flute in 1816
This page, from above:
Portrait of Mozart,
age 14, by Louis-Gabriel
Blanchet; manuscript
of the Piano Sonata in
A minor K310
The vulgar genius

One of the most remarkable aspects of
Mozarts all-too-short adult life was how
relatively unscathed he seems to have
been by the attention and fuss accorded
him in his heady, celebrity-anointed
childhood. But where the mature
Mozart was lacking, it seems, was in
a worrying lack of organisation (the
want of which must have vexed his
methodical father enormously). To
make his fortune, I wish he had but
half of his talent and twice as much
shrewdness, an exasperated Baron
Grimm exclaimed, and then I should
not worry about him.
There were other things to worry
about, too. The adult Mozart was
a remarkably small man, very thin
and pale, recalled the Irish tenor
Michael Kelly, who had sung the
roles of Basilio and Don Curzio in the
first production of Le nozze di Figaro.
Others would frequently remark on
his generally unhealthy appearance
a legacy, some said, of a childhood case
of smallpox.
public situations some of the crude,

scatological humour that was
commonplace within the Mozart family.
But if Mozart himself appeared vulgar,
there was little he said or wrote in his
letters that compared, astonishingly,
with those by his mother, many of
whose choicest letters are unfit still for
publications such as this!
Fellow composer, and the closest of
Mozarts friends, Joseph Haydn who
had declared to Leopold, Before God,
and as an honest man, I tell you that
your son is the greatest composer
known to me was also tarred with
the disapproving brush of the Viennese
intelligentsia, whose grasp of intellectual
concepts clearly exceeded their
understanding of the creative
temperament. Both were sniffily
dismissed by one self-regarding civil
servant as persons who displayed in
their contacts with others no kind of
intellectual training Silly jokes, and
in the case of Mozart an irrepressible
way of life were all that they displayed
to their fellow men.
Such dismissive judgements would
dog Mozart throughout his life.
Few would see, because few could
comprehend, the toll that a talent such
as Mozarts might take on its possessor.
One who did, was the composers
brother-in-law Joseph Lange, who noted
that often when Mozart was occupied
with a new work he would speak
confusedly and disconnectedly, but
occasionally made jests of a nature
which one did not expect... indeed he
even deliberately forgot himself in his
behaviour [and] intentionally concealed
his inner tensions behind superficial
73 Great Composers
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frivolity taking delight in throwing

into sharp contrast the divine ideas of
his music and these sudden outbursts
of vulgar platitudes, and in giving
himself pleasure by seeming to make
fun of himself.
Rather pointedly, that great
Fabian leveller, George Bernard Shaw,
would approvingly (and somewhat
enviously) remark on the centenary of
Mozarts death in 1891 that he had
lived the life of a very great man in
a very small world.
Vivid talent
But if Mozarts personality was
occasionally too big, brash and bold for
some of his contemporaries, how much
greater and vivid and incomprehensible
must his talent have appeared, perhaps
even to Mozart himself.
When I am, as it were, completely
myself, entirely alone and of good cheer
say travelling in a carriage, or walking
after a good meal, or during the night
when I cannot sleep, he once noted,
it is on such occasions that my ideas
flow best, and most abundantly.
Whence and how they come, I know
not, nor can I force them.
Only JS Bach before him had
displayed abilities that were as prolix
and protean, but even a titan such as
Bach did not reshape the entire musical
repertoire as profoundly as Mozart
did. In every area he excelled. And in
every area he innovated. Although he
was extremely ambivalent about the
piano I would rather neglect the
piano than composition, he wrote to
his father as late as February 1778, for
with me the piano is only a sideline,
though, thank God, a very good one
it was the one instrument that
accompanied him through life from
those first miniatures at the age of four
to the fateful sketches for his Requiem
some three decades later.
Think of the 27 piano concertos
that Mozart wrote throughout his life
(the first in 1767 at the age of 11, the
MORE ON MOZART
The Cambridge Mozart Encyclopaedia
Ed. Cliff Eisen and Simon P Keefe
Cambridge University Press;
ISBN: 978-0-521-71237-8
The Faber Pocket Guide to Mozart
Nicholas Kenyon
Faber & Faber; ISBN: 978-0-571-27372-0
Mozart: Letters & Manuscripts
Gilles Cantagrel
Abrams; ISBN: 978-0-810-95975-0
In Search of Mozart
A film by Phil Grabsky
Seventh Art Productions
This page, from above:
Mozart by Domenico
Saverio dalla Rossa,
c.1770; a Romantic era
view of Mozart composing
his Requiem on his
deathbed, by William
James Grant, 1854
last completed just 11 months before

his death in January 1791) as musical
stepping-stones and it becomes possible
to chart a trajectory that moves from
the end of the Baroque through the
Classical and towards the first faint
glimmers of the Romantic eras. More
vividly and valuably, however, they
offer vital snapshots of Mozart himself,
each revealing how he had matured from
one to the other, from the cut-andpaste homages of the first juvenile
concertos to the transfigured farewell
of the last, and each demonstrating an
imagination whose inventiveness could
not be contained.
The same could be said of his 18
sonatas, 17 sets of variations and some
65 other pieces for solo piano. They
contain, as, arguably, does all of Mozarts
music, that most wondrous of miracles:
They combine, as Andrs Schiff once
observed, the purity of childhood with
the wisdom of experience.
Sublime and serene
Its this very notion of Mozarts music
as some kind of elemental crucible that
troubles as much as it transfixes.
How could someone as earthy and
unsophisticated as Mozart (to judge
by some of his own correspondence)
produce such sublime and sirenic music?
In the most moving scene in Milos
Formans freely inventive film portrait,
Amadeus, the jealous Salieri struggles
with that same oil-and-water
conundrum, his moment of epiphany, of
surrender to the superior abilities of his
younger peer, triggered by the irresistibly
pure, lark-like rise of the crystal-clear,
gravity-free oboe line in the Adagio of
the Gran Partita.
Mozart himself knew how to square
this particular circle. Neither a lofty
degree of intelligence nor imagination
nor both together go to the making
of genius. Love, love, love, that is the
soul of genius!
If that makes him sound conceited or

self-aggrandising, it is to misrepresent
him. Certainly he knew the worth of his
music, and he was not averse to arguing
for and vehemently defending it. But a
saving grace not to be underestimated
was his own capacity to not take himself
too seriously. The divine child as
self-deprecating adult.
Today, over two and a half centuries
after his birth, Mozart remains a
compelling figure, whose music continues
to haunt and hypnotise the heart as well
as the imagination. Trying to reconcile
what we know of the man with what we
hear in his music is the most pleasurable
of puzzles, and one that generations of
composers have worried away at just as
distractedly as the rest of us.
Where Dvok put things as
succinctly and simply as anyone when he
declared that Mozart is sunshine, Grieg
offered a more profound complement
by declaring that he creates like God
without pain. Half a century later, a
more poetically subdued Aaron Copland
concluded that Mozart in his music was
probably the most reasonable of the
worlds great composers. It is the happy
balance between flight and control,
between sensibility and self-discipline,
simplicity and sophistication of style
that is his particular province... [He]
tapped the source from which all music
flows, expressing himself with a
spontaneity and refinement and
breathtaking rightness that has never
since been duplicated.
But if Mozarts head, as some of his
peers complained, was always in the
clouds and his mouth, too often, said
others, in the gutter, his feet seemed
always to have been planted squarely
on the ground. I pay no attention
whatsoever, he wrote to his father in
1781, to anyones praise or blame...
I simply follow my own feelings. And
therein, perhaps, lies the simple secret
truth of his abiding appeal.
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T R AV E L
The Classical trail

Michael Quinn takes us on a whirlwind tour of the places where
Haydn, Mozart and Beethoven lived, worked and composed
and explains how you can follow in their footsteps
The lives of that troika of Classical

masters spanned almost a century, from
Haydns birth in 1732 to Beethovens
death in 1827. It traversed all points
of the European compass, from London
in the West to St Petersburg in the East,
and from the northern climes of the
Hague to Milan in the South.
substantial is the Haydn-Haus museum

in Eisenstadt (also in Austria), where
Haydn lived for more than a decade while
Kapellmeister to the Esterhzy court.
Seven well-stocked rooms offer a potted
life of the composer, with its fascinating
collection of autograph scores, period
illustrations and portraits and a piano
Salzburg teems with associations with Mozart

hardly surprising given he composed an
astonishing 150 works while living there
But it is in central Europe, in the
village of Rohrau, just a skip and a hop
from the Austrian capital Vienna, that
our own whistle-stop tour begins in the
house in which Joseph Haydn was born
and spent the first six years of his life.
The three-room, single-storey thatched
cottage is perhaps the most modest of all
the many memorials to Papa Joe, but its
uncluttered simplicity surely marks it
out as one of the most moving. More
(found at Liszts birthplace) that is

believed to have been Haydns own.
Its in Eisenstadt where youll find the
imposing marble tomb built in tribute in
1932 by an Esterhzy descendant for
Haydns body to rest. Somewhat
ghoulishly, the tomb contains two heads:
Haydns own, stolen from his original
grave, and another head, put there by
two notorious phrenologists who stole
Haydns head (they were eager to
inished reading your

back issues of Pianist,
exhausted your CD
collection, read every
historical biography you
could find, left frustrated
by stuttering videos on
YouTube, and still eager to get closer
to your favourite Classical composer?
Whats stopping you? Despite the ravages
of time, the upheavals of war and
thoughtlessness of neglect, much of the
world inhabited by the holy triumvirate
of the Classical era Mozart, Haydn and
Beethoven remains intact. And in an
era of budget-price airlines, cheaper fuel
and affordable hotel chains, that world is
more accessible than ever.
Get into your car, board a train or a
plane, and within a matter of hours you
could be walking in the footsteps of the
great composers, standing beside the bed
in which they were born, sitting in the
concert hall or opera house where they
experienced some of their greatest
triumphs, or sipping coffee in a caf
where they relaxed after exhausting
labours or topped up on caffeine before
returning to the compositional fray.
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T R AV E L
examine the bump of music on the

composers head). It wasnt until 1953
before body and skull were reunited.
For a glimpse of the elevated world
that Haydn at his height found himself
in, a visit to Eisenstadts Esterhzy Palace
the scene of some of his most
memorable triumphs and one of the
most beautiful Baroque buildings in
Austria is a must. Besides access to the
lavishly decorated rooms and rolling
royal park, the palace hosts a regular
programme of concerts featuring
Haydns music in the splendid
surroundings for which it was composed.
The patronage of the Esterhzy princes
went far beyond music and in the nearby
Restaurant Henrici you can treat yourself
to famous gourmet dishes like the
Esterhzy-Rostbraten (a rich, peppery,
cognac-and-cream sirloin steak) and the
almond-meringue and butter cream
temptation of an Esterhzy torte. In a
less formal setting, the pretty 2 Beans
Kaffee is a coffee connoisseurs delight,
its homemade cakes and delicious waffle
specials an irresistible accompaniment.
London figured prominently in Haydns
career. During two extended visits to the
capital, 1791-92 and 1794-95, he
composed a dozen symphonies,
including the Surprise, Military and
Drumroll symphonies, as well the
Gypsy Rondo piano trio. Although the
Hanover Square Rooms in which some
of has music was first performed was
demolished in 1900, the house in Great
Pulteney Street in which Haydn lived
during his first visit still stands. An
official blue plaque commemorating his
stay was unveiled in March this year.
When Haydn departed London in
1795, it was to return to Gumpendorf
(now a suburb of Vienna) where he had
bought a house and was to live for 12
years until his death in 1809. Happily,
you can still see this house, where he
wrote the majority of his late great works
including The Creation and The Four
Seasons, as it is now home to Viennas
Haydnhaus museum. With its rooms
still arranged as Haydn used them, the
Haydnhaus has many memorable items,
among them the composers clavichord

and fortepiano and his death mask.
The Michaelerhaus where Haydn
lived from 1750 to 1755 while studying
with the famous conductor Nicola
Porpora is a few steps away from the
Michaelerkirche, where the 17-year-old
Haydn played the organ.
Another church of interest to
Haydnophiles is the glistening Maria
Treu Baroque Basilica, where the Missa
in Tempore Belli was first heard on 26
December 1796. The church later
attracted Anton Bruckner, who took
exams on its organ and premiered several
of his own works there.
On your Vienna visit, look out, too,
for the resplendent Art Nouveau Anker
Clock in Hoher Markt, which features a
dozen historical figures moving
hourly across the clock face, the
last of whom is Haydn. Catch
it as it strikes noon when all
12 figures appear to a tune
by Haydn.
Previous page: Salzburg

This page, above: A room
in the Haydn-Haus
Eisenstadt; manuscript
of Haydns sonatas
Hob. XVI:40-42 at the
Haydn-Haus Eisenstadt
Opposite, from top, all in
Salzburg: Bust of Mozart;
Mozarts Geburtshaus;
Salzburg Festival at night;
View of Salzburg
Austrian
antecedents
At the very heart of the
Hapsburg Empire, Viennas
pre-eminence as a city of
music means you wont have
to travel far before you
encounter something of historic
importance or musical interest. It was
a crucial arena for Mozart and
Beethoven, too, and well return to it
in due course.
Few composers in the 18th
century were as well travelled as
Wolfgang Amadeus Mozart.
As a pianistic child prodigy
and later as a jobbing
composer in adulthood, he
regularly traversed Europe.
The experience of travelling
was clearly beneficial to him,
prompting him to write to his
father in 1778 that without
the many chance discoveries
found in travel, those of a superior
talent (which without impiety
I cannot deny that I possess) will go
to seed if [they] always remain in the

same place.
Salzburg, Mozarts birthplace has
changed surprisingly little since he lived
there. The home where he spent his first
17 years is now a museum Mozarts
Geburtshaus and one of the most
visited places in Austria. While its
authentically restored rooms offer a
glimpse of family living in the early 19th
century, Mozarts own life is revealed in a
number of bespoke exhibitions examining
the wunderkinds childhood and various
aspects of his career and music. Besides
containing a number of original portraits
painted during his lifetime (including the
last, unfinished scene of the composer
at his piano by his brother-in-law Joseph
Lange in 1789) letters, assorted
mementos belonging to the Mozart
family and the composers own
childhood violin, his clavichord and
original manuscripts make this an
altogether essential port of call.
A short distance away in
Salzburg, on the other side
of the River Salzach, youll find
the more spacious house on
Markartplatz (complete with
a floor dedicated to displays
and exhibitions) that the Mozarts
moved to in 1773. His father,
Leopold, remained in this house
until his death in 1787. Originally
occupied by a dancing teacher, the house
boasts its own ballroom in which regular
concerts are given.
Salzburg teems with associations with
Mozart; hardly surprising given he
composed an astonishing 150 works
while living there. Its there youll
find the imposingly grand
headquarters of the International
Mozarteum Foundation.
Founded in 1842, it plays a key
role in keeping Mozarts legacy
alive through concerts, research
and support for museums
worldwide. It holds a treasure trove
of material and a vast repository of
recordings in every format, including
historic concerts and rare film footage
dating back to the silent film era.
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Tourismus Salzburg GmbH (p75; p77 [all]); Wolfgang Simlinger/Haydn-Haus Eisenstadt (p76, top left); Landesmuseum Burgenland/Haydn-Haus Eisenstadt (p76, top right)
The Foundation also programmes

concerts throughout the year, the
highlight of which is the annual Mozart
Week Festival (Mozartwoche). Held
every January, it hosts around 30
concerts in a 10-day jamboree featuring
an A-list array of soloists, ensembles
and orchestras.
The prestigious Salzburg Festival is
another essential experience that regularly
stages operas and concerts by Mozart.
This years season (18 July-30 August)
includes Le nozze di Figaro, his first and
last symphonies (the mighty Jupiter),
the C minor Mass, Rudolf Buchbinder
playing the Piano Concerto No 25 and
the three last piano sonatas (Nos 16-18)
performed by Andrs Schiff.
No less appealing are the many
concerts featuring Mozarts music in
countless venues around the city. For
sheer contrast alone, pay a visit to
Festung Hohensalzburg, the formidable
mediaeval fortress that overlooks the city,
and the enchanting Marionette Theatre,
where youll find regular performances of
Die Zauberflte throughout the year.
Theres disappointingly little to mark
Mozarts 15-month stay in London,
arriving in 1764 as a prodigious
eight-year-old who found time when not
performing to write his first two
symphonies. Ranelagh Gardens (site of
todays Chelsea Flower Show) where
Mozart gave a concert on harpsichord
and organ still retains its 18th-century
charm, while blue plaques mark family
residences at 180 Ebury Square in
Belgravia and 20 Frith Street in Soho.
Happily, London has other
compensations in a profusion of
concerts and opera throughout the
year. Unmissable for Mozartians is
Wigmore Halls The Mozart Odyssey,
an ambitious project spanning two
seasons with the emphasis on the
composers vast and varied output for
chamber music. Opera buffs will need
no persuading to beat a path to the
Royal Opera House, Covent Garden,
in June and July when Christopher
Maltman plays the libidinous Don
Giovanni, sharing the stage with
Rolando Villazn as Don Ottavio, Alex
Espositos Leporello and the Donna
Elvira of Dorothea Rschmann.
Ludwig van Beethoven was born in
1770 in one of Germanys oldest cities,
Bonn. First port of call is the impressive
Beethoven-Haus on Bonngasse where
the composer spent his early years. Now
a museum claiming the worlds largest
collection of Beethoven memorabilia and
artefacts, its unique items include the
original manuscript of the Moonlight
Sonata and the composers last
pianoforte. Opened in 1989, its elegant
Chamber Music Hall hosts concerts
throughout the year. Walk over to
Mnsterplatz to see Ernst Julius Hhnels
famous bronze statue of a decidedly
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T R AV E L
PLAN YOUR VISIT

BONN
Bonn visitor essentials
bonn.de
Beethoven-Haus Bonn
beethoven-haus-bonn.de
Beethoven Festival Bonn
en.beethovenfest.de
EISENSTADT
Michael Sondermann, Stadt Bonn
stern-looking Beethoven scowling from

his lofty vantage point.
Bonns annual month-long Beethoven
Festival is an unmissable pilgrimage. This
years programme (4 Sept-4 October)
features Andrs Schiff performing the
Diabelli Variations, Ivn Fischers
Budapest Festival Orchestra promising a
feast of High and Late Romanticism,
and appearances by cellist Sol Gabetta,
the Zubin Mehta-led Israel Philharmonic
and Anima Eterna Brugge conducted by
Jos van Immerseel.
Vienna waits for you
Our three composers collide (almost) in
Vienna, here Beethoven travelled briefly
in 1787 hoping to study with Mozart.
Tantalisingly, no evidence exists of any
meeting between the two. He returned to
the city in 1792, just months after
Mozarts untimely death, on this occasion
to study with Haydn, with whom he also
lodged. Then the centre of European
music making, Vienna was to witness
Beethovens first triumphs and his rise to
fame and the great composer lived at
more than 70 addresses in the city.
When the city played host to the
Congress of Vienna in 1815, the
Congress danced in the Redoutensaal
ballroom of the Hofburg Palace, which
had earlier rung to the sounds of
performances of Beethovens Seventh and
Eighth Symphonies, and the so-called
Wellingtons Victory Symphony.
On a less grand scale in Vienna is the
two-room apartment at Probusgasse 6
in Heiligenstadt, to where Beethoven
fled to escape city clamour and tumult
exacerbated by his growing deafness.
The village (now a suburb of Vienna)
famously gave its name to the
despairing and deeply moving testament
Beethoven wrote (but did not send) to
his brothers in 1802 as his hearing began
to fail. Now a small museum, it remains

as the composer would have known it
and houses a collection of personal
items, manuscripts and paintings.
The Theater an der Wien would also
be recognisable to Beethoven (and
Mozart, for that matter). It was his home
for almost a year and the venue for many
important first performances, including
his only opera, Fidelio, just as Napoleons
armies occupied the city in 1805, and
the Fourth Piano Concerto and the Fifth
and Sixth symphonies in 1808.
Unchanged, too, are the former homes
of Count Lobkowitz at Lobkowitzplatz 2
in whose music room Beethoven first
performed his Third Symphony and
Johann von Pasqualati (Mlker Bastei 8).
On the top floor of this latter building,
Beethoven (much to his landlords
chagrin) knocked through a wall so he
could see nearby woods while
composing! He lived there for eight years
and pride of place in its small but
fascinating collection is the piano at
which he composed his agenda-changing
Fifth Symphony.
A brief walk away is Zum Schwarzen
Kameel (Bognergasse 5), the inn where
Beethoven regularly drank or ordered
deliveries when work could not be
interrupted. One hand-written note from
1820 requested two and a half litres of
Austrian white wine, fine and regular
sugar and the very best coffee
stimulants aplenty for a thirsty composer.
At his death in 1827, Beethoven was
buried in the cemetery at Whring but
his remains and those of Schuberts
were moved to Viennas Zentralfriedhof
in 1888 and laid beside each other in an
imposing memorial, its tapered white
obelisk ornamented with a golden lyre.
Framed by mature trees, its a solemn but
serene place to conclude a tour of the
three icons of the Classical era.
Beethoven statue in
Bonn; Exterior of
Beethoven-Haus, Bonn
Eisenstadt visitor essentials

eisenstadt-tourismus.at
Haydn-Haus Eisenstadt
haydn-haus.at
Haydn Festival Eisenstadt
(3-13 Sep 2015)
haydnfestival.at
LONDON
London visitor essentials
visitlondon.com
Haydn Society of Great Britain
haydnsocietyofgb.co.uk
Wigmore Hall
wigmore-hall.org.uk
SALZBURG
Salzburg visitor essentials
Salzburg.info
Mozart houses and Mozart Week
Festival (22-31 Jan 2016)
mozarteum.at
VIENNA
Vienna visitor essentials
wien.info
Haydnhaus Museum Vienna
wienmuseum.at
Mozart Haus Vienna
mozarthausvienna.at
Looking for a tour led by
knowledgeable musical experts?
Try Kirker Music Holidays at
www.kirkerholidays.com
78 Great Composers
10/06/2015 13:00
MEET THE COMPOSERS
The Known
Unknowns
The genius of Mozart and Beethoven can make us

forget that there are other wonderful composers
of the Classical era. John Evans asks us to spare
a thought for Haydn, Dussek, Clementi and Hummel
his Sonata in A No 26 (Grade 8). Not

bad, considering Mozart is represented
by five pieces and Beethoven by just two.
All credit to the ABRSM for widening
its musical net.
Nevertheless, despite ABRSMs
laudable efforts, Haydn does seem to
be the forgotten man of piano music.
He once said that his years at Esterhzy
when he was shut off largely from the
influences and pressures of the outside
world had forced him to be original,
which is exactly why his piano music,
forever bubbling over with wit and
invention, needs to be played and
enjoyed more. Fortunately, he was
blessed with a patron who loved music
and gave his resident composer the
resources he needed to create music
as he pleased.
The Baroque style of Bach and
Handel was falling out of fashion, and
Haydn was among those composers
trying to blaze a new trail. He got
on very well with his masters, being
unfailingly good humoured (no
troubled soul, him; he loved a laugh
and a practical joke) and producing
exactly what they wanted. As a
result, Haydns music of this period
(1761-1790) is largely upbeat, only
interrupted around the 1770s when,
influenced by the cultural movement
called Sturm und
Clockwise from top:

Joseph Haydn, Carl Czerny,
Muzio Clementi
Drang, it became more intense. He soon

reverted to a lighter touch.
Haydns jocular, uncomplicated
personality was all the more remarkable
given the challenges he faced prior to his
arrival at Esterhzy. He was born in 1732
to a humble wheelwright and his wife, a
cook. He might have taken up the family
business had not his father, who was a
keen musician, spotted signs of a musical
heart beating in his young son. His father
promptly packed him off to a relative, a
schoolmaster and enthusiastic chorister;
the boy was later head-hunted by the
director of music at St Stephens
Cathedral in Vienna where for nine years
he sang in the choir. Inevitably, nature
took her course and by the time he was
17, in 1749, he was no longer of use to
the church. He was out on his ear, and
using both of them, he scraped a living as
a music teacher, court musician and
street entertainer. All the while, Haydn
taught himself theory and counterpoint
and began composing. His music, which
included an opera and some string
quartets, eventually caught the attention
of the ruling classes and, following a
series of court appointments, finally
netted Haydn the jackpot as head of
music at Esterhzy, in 1761.
With his own court orchestra to play
with, Haydns musical imagination
reached fever pitch. There wasnt a
musical form or an instrument he did
not write in or for. Easy-going and
God-fearing he might have been, but
Haydn was also financially astute, too.
When, in 1779, he was able to negotiate
fresh terms with the Esterhzy family, he
made sure to include his right to take
commissions from outside, and to be
paid accordingly. Immediately, he
very high achiever needs

the stimulus of a
thriving ocean of
competitive talent.
Would Beethoven,
Mozart and Haydn
shine so brilliantly had
it not been for less celebrated composers
such as (in order of their birth) CPE
Bach, Muzio Clementi, Jan Ladislav
Dussek, Johann Nepomuk Hummel and
Carl Czerny? Mozart and Beethoven
were possessed of astonishing gifts that
even they laboured long and hard to
develop, spurred on by a world
brimming with equally ambitious
composers desperate to be heard.
Joseph Haydn is perhaps the exception
who proves the rule, having spent the
first part of his career isolated from the
musical developments of the day while
locked away in a far-flung corner of
Hungary in the service of the Esterhzy
court. In fact, to this day, the composer
of over 60 keyboard sonatas and
numerous other works for the
instrument still seems a bit of an
outsider, at least to pianists. Inevitably,
its the keyboard music of Beethoven
and Mozart that commands the most
attention. Its easy to see why, of course:
who has never heard Beethovens
Moonlight Sonata or Fr Elise, or
Mozarts Alla Turca from Sonata
No 11 in A major or the Fantasy in
D minor? Theyre all familiar and
well-loved pieces that encourage
us to explore both composers
repertoire further. But Haydns
Sonata in C major No 50, or E flat
major No 62 or, indeed, his
Variations in A major?
ABRSM, the body that oversees
the majority of instrumental
examinations in the UK and beyond,
is at least doing its bit. It publishes
four volumes of Haydns piano
sonatas, while this years piano
syllabus features no less than five
pieces by the composer including his
Minuet in G (Grade 1), Allegro in F
(Grade 4) and the first movement of
79 Great Composers
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MEET THE COMPOSERS

turned his hand to the popular, moneyspinning forms of the day; namely,
quartets and symphonies, including the
so-called Paris symphonies of 1785.
The Classical period was in full swing
and Haydn, always a man with an eye
on a florin or two, wasted no time in
embracing its forms and devices. These
works were his passport to wider success.
Within a few years Haydn was the toast
of the musical world, rubbing shoulders
with rising stars including Mozart, who
was sufficiently impressed by his older,
backwoods friend to dedicate some of
his quartets to him.
Incredibly, Haydn had served almost
30 years at Esterhzy when the new
prince called time on the relationship to
let Haydn go travelling; fortunately, for
the commercially minded composer, still
on a retainer. He went to London, then
the centre of piano making, to give
concerts, notably piano recitals.
(Broadwood was a huge supporter of
Haydn and eventually shipped one of its
advanced pianos to him in Vienna.)
Haydn frequently returned to England,
on one occasion travelling to Oxford to
be awarded an honorary degree.
Eventually, Haydn began to divide his
time between Vienna, where he taught
Beethoven (though the great pupil later
claimed hed learned nothing from him)
and Esterhzy. Inevitably, as he grew
older so his light-hearted manner gave
way to bouts of introspection, at times,
even depression. His music became
deeper, more spiritual and more intense.
Where once the young Haydn might
have rattled off a brace of pieces in an
afternoon, the older man was content
to spend as much as a year on a single
work such as The Creation. He died in
1809 aged 77.
CPE Bach liberates keyboard
playing
By the time of Haydns death, the piano
had almost taken on the form we are
familiar with today [see article on the
keyboards of the Classical era, page 82].
Thanks to its greater reliability, range
and resonance, this new instrument was
the perfect means of expression for
progressive composers such as Haydns
former pupil, Beethoven. How things
had changed since Carl Philipp Emanuel
Bachs day. When this fifth child of the
great JS Bach was born in 1714, the
ancestor of the piano, sometimes referred
to as the fortepiano, had been in
existence for only 15 years or so. It was,
apparently, a pretty unimpressive thing
whose existence was no threat to the
clavier, the keyboard of choice at that
time. Still, it couldnt be uninvented, and
by the latter years of the 18th century
when Mozart was composing, it was
considerably improved and on the brink
of acquiring radical improvements such
as an iron frame and a larger case.
However, without the efforts of

CPE Bach (1714-1788), this wonderful
new instrument might never have come
about for it was he who liberated pianists
from the age-old no thumbs rule, in
turn inspiring them to demand much
greater responsiveness and power from
their soft-toned pianos. Imagine trying
to play without using your thumbs its
so restrictive! CPE knew this, and in
1753, while living and working in Berlin
and on the cusp of composing what
would eventually be over 200 works for
the clavier, his favourite instrument, he
wrote and had published his Essay on the
True Art of Playing Keyboard Instruments.
Among its many radical ideas, his
volume encouraged the use of the thumb
then largely banned from the keyboard
and, crucially with the Classical period
getting into its stride, a more expressive
style of playing.
As an example of the sort of music
best suited to this new, more emotional
approach, he composed the Fantasia in
C minor, a work full of sharp contrasts
and bold harmonic shifts. His books
proposals and music would influence
future generations of pianists,
pedagogues and composers, and inspired
From left to right:

Jan Ladislav Dussek,
Johann Nepomuk
Hummel, CPE Bach
INSIDE THIS ISSUE

The Scores
CPE Bach
Solfeggietto in C minor (page 36, with How to Play on page 20)
Clementi
Sonatina op 36 no 3, third movement (page 42, with How to
Play lesson on page 21)
Haydn
Minuet No 3 in B flat Hob.IX:3 (page 28)
Andantino in E flat (page 30, with How to Play lesson on page 15)
Hummel
Ecossaise op 52 no 5 (page 29)
Interpretation
Read what Jean-Efflam Bavouzet and Howard Shelley have to say
about playing Haydn and Clementi on page 16
no less a person than Mozart to say of

him: Bach is the father. We are the
children! His musical ideas, with their
emphasis on personal expression, shaped
existing and future composers, including
Haydn, Beethoven, Chopin and Brahms.
It was an impressive achievement for
this son of a superstar, who might have
followed his original career path into
the law or piggybacked his fathers fame
and basked in the vast circle of musical
giants it attracted. Instead, by his early
twenties, CPE was a successful clavier
player who had already composed
over 30 sonatas and other keyboard
works. He soon gained a position in
Frederick the Greats court orchestra in
Berlin. The music-loving royal inspired
a series of dedications including two
sets of sonatas which, almost overnight,
made CPEs name.
Years later, in 1768, he upped sticks to
Hamburg to be composer to Fredericks
sister, Princess Anna Amalia. His
attention shifted to choral writing.
Between 1768 and 1788 he composed
over 70 cantatas and 21 settings of the
Passion. Nevertheless, at least for pianists,
it is his bold, inventive and expressive
works, including the Solfeggietto [in this
issues Scores, page 36] and La Caroline,
not to mention his scores of sonatas and
concertos, some of them dashed off for
courtly consumption, others laboured
over lovingly, that he will be best
remembered and appreciated for.
Clementi duels with Mozart
While CPE was enjoying the musical
high life in Berlin, a 14-year-old Italian
boy, born in Rome, was contemplating
living out the rest of his childhood in
Dorset, England. Muzio Clementi
(1752-1832) was a musical lad, picked
out for greatness by a wealthy
Englishman called Sir Peter Beckford
who, on a visit to Rome, heard him play
the organ. Beckford persuaded
Clementis father to let him take the boy
to his estate at Blandford Forum,
between Poole and Salisbury, to continue
his musical education. In reality, young
Clementi seems to have done little but
practise the harpsichord for hours on end
each day until in 1770, aged 18, he was
released from Beckfords control and
went to London to perform and conduct.
Pianists who have endured his volumes
of over 100 studies called Gradus ad
Parnassum and occasionally mindnumbing sonatinas might wish hed
remained doing just that. However, in
1780 he embarked on a three-year tour
of Europe during which he made his
name duelling with Mozart at the
harpsichord for Emperor Joseph II in
Vienna, who was keen to see which of
them was the best. He declared it a tie
but later, Mozart rather uncharitably
rubbished Clementis playing, saying it
was technical and unmusical.
80 Great Composers
10/06/2015 13:24
Regardless, buoyed by his

success and encouraged by the
great composers and performers
he encountered, Clementi
returned to England in 1783 and
remained there in demand as a
teacher and performer, for 20
years. His pupils included John
Field, whose style of playing would
influence Chopin.
During this time, Clementi
composed some orchestral and
chamber pieces but his heart lay
with the piano. He wrote a practical
guide to playing the piano, and
composed over 50 piano sonatas and
additional sonatinas, which set pianists
all manner of technical challenges (who
hasnt played the Sonatina op 36 no 1?).
[The first movement of Clementis
Sonatina op 36 no 3 appears on page
42]. Mozarts antipathy towards
Clementi extended to advising his sister,
Nannerl, not to play them for fear theyd
ruin her touch. Erik Satie would later
lampoon them in his piece, Sonatine
bureaucratique.
Others, including Beethoven, were
kinder. He admired their pianistic style,
pleasing melodies and sheer energy, and
even recommended his nephew Carl play
them. Years later, none other than the
great virtuoso Vladimir Horowitz
championed them when he added some
of them to his repertoire.
But Clementi wasnt only a great
teacher and performer in his day,
only Mozart was better known he
was a successful piano maker, too,
and even co-founded the Royal
Philharmonic Society, which would go
on to commission Beethovens Ninth
Symphony. He eventually retired to
Evesham and was buried at Westminster
Abbey where the inscription on his
tomb reads: Muzio Clementi the
father of the pianoforte.
Dussek, Hummel, Czerny
virtuosos, teachers and more
Its a tribute that wouldnt look out of
place on Jan Ladislav Dusseks tomb.
The Czech-born composer and pianist
(1760-1812) was one of the first
touring virtuosos, the first to play
side-on to his audience, and, thanks to
his contacts with the manufacturer
Broadwood, the inspiration for todays
large concert grand pianos. Where
Clementi focused on the technical in
his music, Dussek anticipated the
Romantic era with much more daring
and expressive compositions.
He had a conventional musical
training but was a little lazy.
Nevertheless, he won a succession of
court appointments, partly due to his
handsome looks and virtuosic playing,
that saw him employed by Catherine the
Great in St Petersburg (before a scandal
involving a suspected assassination plot
forced his swift departure) and even

Marie Antoinette in Paris.
He eventually settled in London,
then the home of piano making
thanks to the pioneering work of the
manufacturer John Broadwood.
British keyboard player Richard Egarr
is one of those who credits Dussek
with helping to push Broadwood to
extend the range of his pianos and
make them stronger, and more
resonant in the 1790s. It was what
Dusseks music, which was more
Romantic than Classical,
demanded. It was one of this new
generation of more muscular pianos that
Broadwood sent Beethoven, and the rest
is history.
Dussek composed some of his many
piano sonatas and concertos during this
time, works which would themselves also
influence Beethoven. Scandal was never
very far away, however, and in the midst
of one of these, Dussek fled England for
Germany where he resumed his restless,
touring life, eventually dying in Paris, his
handsome looks long faded.
Handsome is not how youd have
described the Austrian-born composer
and virtuoso pianist, Johann Nepomuk
Hummel (1778-1837). However, with
Mozart as his teacher, looks were never
going to be that crucial to his career. The
young lad was taught by the master for
two years, free of charge; he was that
impressed with the boys playing. Haydn
composed a sonata for him when they
met later in London, and Beethoven
became a friend and fellow student when
the pair studied in Vienna. He would go
on to play at his friends funeral, an event
that inspired Schubert to dedicate his last
three piano sonatas to him.
So what was Hummels appeal? His
virtuosic abilities, certainly, and his web
of influential connections (he was also
employed at the same Esterhzy court as
Haydn), but also his teaching talents and
his music. He wrote largely for the piano
and composed eight well-regarded piano
concertos and 10 piano sonatas that are
beautifully crafted and, satisfyingly, full
of tension and resolution. Composed
very much in the prevailing Classical
style, his sonatas were, unfortunately,
quickly pushed aside and forgotten by
the emerging Romantic movement as,
indeed, was Hummel.
This was not to be the case with Carl
Czerny (1791-1857). Widely considered
the father of modern piano technique,
his methods and philosophy were passed
down the generations from teacher to
teacher, so that even the likes of Sergei
Prokofiev, Arthur Rubinstein, Claudio
Arrau and even Daniel Barenboim could
claim a pedagogic connection.
Czerny was born in Vienna to musical
parents who taught him the piano. He
gave his first public recital at the age of
nine and from the age of 10 to 13 was
LISTENING GUIDE
Haydn: Complete Piano Sonatas
Alfred Brendel
Philips 416 643-2 (4 CDs)
CPE Bach: Complete Piano Solo
Works
Ana-Marija Markovina
hnssler CLASSIC 98.003 (26 CDs)
Clementi: The Complete Piano
Sonatas (6 volumes)
Howard Shelley
Hyperion 67632, 67717, 67729,
67738, 67814, 67819
Clementi: Sonatas and other pieces
Vladimir Horowitz
RCA 7753
Czerny: Piano Sonatas Vol 2
Martin Jones
Nimbus NIM5832 (2 discs)
Dussek: Piano Concertos
Concerto Kln/Andreas Staier pf
& cond
Capriccio 5072
Hummel: Piano Concertos Nos 2
&3
Stephen Hough
English Chamber Orchestra/
Bryden Thomson
Chandos CHAN 8507
Listen to Ana-Marija Markovina play
CPE Bachs Solfeggietto on this issues
covermount CD.
taught by no less a virtuoso than
Beethoven. In later life, Czerny taught
the great mans nephew.
Aged just 15, Czerny launched his
teaching career, passing on the
performance principles of Beethoven and
Clementi to a succession of future stars
including the legendary virtuoso
Sigismund Thalberg and the great Franz
Liszt. He and Liszt became lifelong
friends. The famous composer went out of
his way to support and promote Czernys
music, a huge factor in sustaining his
former teachers career and reputation.
Another factor, of course, was the sheer
quantity of music Czerny composed:
more than 1,000 pieces most, though not
all, for the piano. Among them were
those fearsome tomes The School of
Velocity and The Art of Finger Dexterity,
but also sonatas, nocturnes and variations,
some for multiple hands. Today piano
students shudder at all those monotonous
studies but in the years immediately
following his death, Czerny was highly
regarded, with even Brahms, admittedly a
lover of Baroque formality and Classical
restraint, praising his work. Just goes to
show that piano students can be wrong.
81 Great Composers
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MAKERS
KEYBOARDS
of the Classical Era
Understanding the strengths and weaknesses of the keyboards used by Mozart

and Beethoven will aid you in interpreting their music. Gez Kahan guides you through
the intriguing world of fortepianos, pianofortes, actions, knee pedals and more
82 Great Composers
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produced in Vienna) are nowadays

referred to as fortepianos, with the
name pianoforte reserved for their
19th-century descendants. (No such
distinction, incidentally, applied at the
time, with both terms in general use:
Jane Austen, for instance, writes about
the pianoforte, though modern
practice would classify instruments of
her time as fortepianos.)
Shape changer
The fortepiano didnt spring up
unannounced at the beginning of the
Classical era. It had been bubbling
away for half a century since Bartolomeo
Cristofori invented it in around 1700 in
Opposite, clockwise from

top left: 1816 Broadwood
grand piano by John
Broadwood and Sons; 1801
Erard; piano by Johannes
Zumpe and Gabriel
Buntebart, London, 1769;
c.1800 fortepiano by
Rosenberger, Vienna
Above: Grand piano from
the circle of Johann Andreas
Stein, South Germany or
Vienna, last quarter of the
18th century
Italy. Gottfried Silbermann took it up

some 30 years later in Saxony, while his
pupils helped spread the instrument and
its manufacture to cultural centres such
as Vienna and London, just in time to
catch the wave of changing musical
taste, and a favourable economic climate.
It was then, in the 1750s, that the
keyboard really started to develop its
own identity or rather, identities.
The looks of earliest instruments
have undeniable similarities with the
harpsichord, which is no surprise given
that harpsichords were the dominant
keyboard instrument until well after
1750. Cristofori was a harpsichord
builder by trade, Silbermann majored
Cobbe Collection (p82: top & bottom left; p83); Finchcocks (p82: top & bottom right)
ne would be
probably safe in
hazarding that
the majority of
Pianists readers
likely started
their keyboard
studies with a diet that included plenty
of music of the Classical era. Mozart,
Haydn, early Beethoven and the rest
are staples in the repertoire (and the
grade exam syllabus). It is equally likely
that only a handful of readers have
even seen let alone played or heard
an 18th-century piano. Unlike the
repertoire, few of the keyboards of the
Classical era have stood the test of time,
though anyone reading this issue will be
aware that the modern piano we know
and love has changed quite dramatically
from the instruments the composers of
that time knew and worked on.
There are plenty of clues in the
repertoire itself. Look at the restricted
range required to play Mozart
(compared to 19th-century works by
Brahms, say), and its easy to deduce
that earlier instruments had fewer keys.
Its also possible to infer from the
way the range required for Beethovens
works increased over time that the
instrument was probably evolving
throughout the Classical period, on its
way from a four- or five-octave compass
towards todays seven-and-a-bit octaves.
Think about the Alberti
accompaniments and fast fingerwork
found in much of the Classical
repertoire. Was that just the fashion of
the times, or was it also influenced by
the characteristics, particularly the
action, of the instruments themselves?
We might also ask why a composing
genius not known for sloppiness should
pepper a score with sfz markings when
our modern piano is so ill suited to
articulating that particular dynamic,
or deliberately indicate pedalling that
often seems to obscure rather than
illuminate his musical message. We
might well conclude, even from
those few examples, that keyboard
instruments back then were different.
You dont need to be a musicologist
to verify that. There are places [see
boxout, page 85] where you can see the
instruments of the Classical era
though you probably wont be allowed
to play them because theyre too
delicate to allow budding Liszts to
get their hands near them. There are
also recordings, generally made on
modern-built replicas, in which you
can hear these instruments. Sight and
sound will confirm that most keyboard
instruments manufactured from 1750
to 1820 are unlike modern pianos in
so many respects that they might be
considered different instruments.
To distinguish them, these early
instruments (and particularly models
83 Great Composers
10/06/2015 09:14
MAKERS
in organs and harpsichords, and his
pupils also trained on harpsichords.
The resemblance to harpsichords went
beyond the shape of the case: some of
these early instruments had the white
naturals and black sharps were used to,
but many had black naturals and lighter
coloured sharp keys. It wasnt all ebony
and ivory, either. Many different woods
might be used for the keys.
The real differences, however, lay
beneath the bonnet. Cristoforis
instruments used a pair of strings per
key, where the modern piano has three
throughout most of the instrument.
The strings themselves were thinner,
though not as thin as on a harpsichord.
The hammers were leather covered
rather than felt. Frames were wooden,
and even the bracing tended to be
wooden in fact, the first cast-iron
piano frame appeared in the late 1820s,
after the Classical era.
All these factors influenced the sound,
which was not just smaller in volume
than todays pianos and with much less
sustain, but tonally different a true
sforzando accent, yielding a change in
timbre as well as volume, was easier to
achieve than on later instruments. The
downside was that the tone did vary
significantly across the registers, being
rather thinner in both the bass and
treble, while the middle register was
closer to the sound of a modern piano.
But the fortepiano was a work in
progress, and makers were continually

searching for improvements, so
generalisation is dangerous.
The earliest pianos (a term Ill use
from here on to describe the Classical
era instruments) didnt have pedals,
though they did have some form of
damper control, via hand stops at first,
and later through knee levers. Pedals
started appearing during the 1770s,
though it wasnt until 1795 that
Beethoven called for pedalling in a
manuscript, having previously indicated
with the knee when sustain was
required. Makers experimented with
various options: Mozarts piano had two
knee levers, one for raising all the
dampers, the other raising just those in
the treble; Beethovens Broadwood had a
split damper pedal allowing bass and
treble dampers to be raised separately.
It was a similar story with the una
corda (literally single string), which was
present, as a stop rather than a pedal,
on Cristoforis instruments, predating
damper control. On early instruments,
it shifted the hammers so they struck
only one of the two strings, giving a
noticeable change in timbre as well as
volume. As triple-stringing came in,
some makers allowed the performer to
select between una corda, due corde
and tre corde (the latter is specified in
some Beethoven works). That, sadly, is
not an option available today. Although
we still call it an una corda, the term is
This page, from top: Marie

Antoinettes piano, by
Sbastien Erard, Paris,
1786-87; John Broadwood
and Son square piano,
London, 1795. Opposite,
from top: JC Bachs piano by
Johannes Zumpe & Gabriel
Buntebart, London, 1777-78;
c.1805 Walter Square
(travelling piano)
a misnomer when applied to triplestrung modern pianos, where the pedal

on a grand shifts the hammers so they
strike two instead of three strings. Its
even more of a misnomer on an upright,
where it moves the hammers closer to
the strings, reducing the travel and
therefore the volume, but still striking
all three strings and thus not changing
the timbre.
Pianos of the time might also have
other controls to moderate volume,
to apply material to the strings to
induce a buzzing (a bassoon stop), or
to mimic a harpsichord. Among the
more ridiculous controls to modern
ears are janissary stops, which allow
fans of Turkish marching music (en
vogue at times in Classical-era Vienna)
to incorporate cymbal crashes into
their playing.
Action plans
However, it is in the action and
therefore the touch that we find the
most fundamental difference in the
instruments that the great Classical
composers played. Silbermann had
followed Cristoforis original design,
which, suitably refined by later makers,
ultimately led to what became known
as the English action. Many of his
successors in Germany and Austria,
however, opted for a simpler (and
cheaper) solution: the Viennese action.
While the English action eventually
won out and became the template
for the actions found in todays
instruments, it was the Viennese action
that composers such as Mozart, Haydn
and the younger Beethoven would have
been more familiar with.
The Viennese action was lighter,
requiring according to Edwin Ripin,
an authority on early pianos only a
quarter of the force to depress a key
84 Great Composers
10/06/2015 09:14
Cobbe Collection (p84; p85: top); Finchcocks (p85: bottom)
In London at the beginning of the

Classical period, a grand (forte)piano
cost 40, more than the average yearly
income the market, then, was
mainly restricted to wealthy noblemen
compared to a modern piano, and
therefore making fast passages easier to
play. On the other hand, getting the
best from its dynamic range required an
extremely sensitive touch.
Then, as now, some makers were
better than others. Mozart was scathing
about those whose cost-cutting led
them to dispense with the escapement
mechanism that removes hammercontact from the strings immediately
after the initial strike. Only one maker
in a hundred bothers about this, he
wrote to his father in 1777. But
without an escapement it is impossible
to avoid jangling and vibration after the
note is struck.
That passage is an aside in which the
composer is praising the pianos of
Johann Andreas Stein of Augsburg, who
is credited with perfecting what became
known as the Viennese action (though
Mozarts letter actually predates the
finished Prellmechanik action by four
years). Stein had studied under
Gottfried Silbermanns nephew, and in
turn passed on his expertise to his
daughter Nannette, who moved to
Vienna and continued the business after
her fathers death under her married
name of Streicher. The firm, which
provided pianos for Beethoven among
others, remained in business, still using
Steins Viennese action, until 1894.
Mozart, however, was not among its
customers. He bought his piano, some
years later, from Anton Walter, who
built pianos along the same principles
in Vienna.
It is one thing for a renowned
composer to buy a state-of-the-art
fortepiano. What, though, could his
public reasonably aspire to? At the
beginning of the Classical period, most
of them couldnt. In London, for
instance, a grand (forte)piano cost
upwards of 40, which was rather more
than the average yearly income at the
time and the upright as we know it
was 76 years away. The market, in other
words, was practically restricted to
wealthy noblemen. The times, though,
were a-changing. The industrial
revolution was beginning in England,

bringing prosperity to the rising middle
class, and bang on cue, Johannes Zumpes
square pianos arrived on the scene.
Zumpe had trained under Silbermann
then emigrated to London, where he
worked for Burkat Shudi, an migr
Swiss harpsichord maker. In 1761 he
went independent, building his square
pianos. This instrument (which wasnt
square but rectangular, and was called a
table piano in Germany) wasnt his
invention, but Zumpe was the first to
make them affordable. They sold for
1520, and from the late 1760s
onwards they went like hot cakes.
Within a few years, the piano, which
had taken 60 years to gather
momentum, had all but replaced the
harpsichord, and Zumpe and other
English manufacturers of square pianos
were scarcely able to keep up with
demand, both domestic and from
abroad. Innovation followed, not only
in London and Vienna but elsewhere in
Europe and in the newly independent
USA, though Americas heyday really
belongs to the Romantic rather than the
Classical era.
Sadly, only one manufacturer out of
all the makers of Classical era pianos
has survived to the current day. John
Broadwood, like Zumpe, worked for
Shudi. When Shudi died, Broadwood,
who had married his daughter, Barbara,
renamed the firm and prospered.
The Broadwood action was superior
to that of the Zumpe and led directly
(albeit with later refinements introduced
by Sbastien Erard) to the one we
know today. Indisputably the premium
English make, by the end of the
Classical period, Broadwood was making
in the region of 1,500 fortepianos a year,
the majority of them square pianos.
Though perhaps, given the continual
innovation and improvement the
company undertook, it would be
more accurate to say that by 1820 they
were no longer fortepianos, but
pianofortes and ready for the new
music of the Romantics. n
Meet the family
Where to see keyboards of the Classical era

The majority of surviving Classical era pianos are held
in museums and collections. What follows is not an
exhaustive list a web search will throw up several
possibilities, though visitors should always check first
to confirm that the exhibits theyre hoping to see are
actually on show and not on loan to other collections.
One of the best known in the UK is the Cobbe
Collection at Hatchlands Park, Surrey. This includes
instruments owned or played by composers such as
Johann Christian Bach (who gave some of the earliest
piano recitals in London and was a business associate
of Johannes Zumpe), Mozart, Haydn and Beethoven,
while the makers represented include Steins
workshops, Walter, Streicher, Zumpe, Broadwood, Erard
and many others. Check the website for details of the
keyboard collection, and for concerts and guided tours
where you can hear the instruments being played.
Similarly Finchcocks, in Kent, has a fine selection
of Classical era instruments by the same makers,
and likewise puts on concerts. The restoration and
conservation workshops of John Broadwood and Sons
are also located at Finchcocks.
Readers in North America are well served by the
likes of the Metropolitan Museum of Art in New York
(which contains one of the three surviving pianos by
Cristofori), and the Museum of Fine Arts in Boston.
Again, a web search will uncover more collections.
Plan your visit at cobbecollection.co.uk, finchcocks.co.uk,

metmuseum.org and mfa.org
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Bound to
impress
Itching to get the Classical repertoire under
your ngers? Michael McMillan rounds up
the best of Haydn, Mozart and Beethoven
scores for all levels of players
lthough the piano

was invented around
the turn of the 18th
century, it took a few
decades for it to gain
traction on the
prevailing musical
landscape. The first known piece of
music written specifically for the piano
was published in 1732 (the year Haydn
was born), and the lives of the great
Classical composers coincided with the
rapid evolution and development of the
piano, creating a huge groundswell of
solo work for the instrument that we
still enjoy today.
All the music written in the Classical
period has long since gone out of
copyright, so if you have a printer in
good working order, along with several
reams of paper and a handful of ink
cartridges, you could decide to print out
thousands of pieces of classical piano
music downloaded from the Internet.
The complete solo piano works of
Beethoven, Mozart, and Haydn, for
example amounting to roughly 3,000
pages could all be at your fingertips,
and at a fraction of the cost of buying
all the music.
However, when it comes to
sheet music, there are many subtle
considerations that come into play other
than cost, convenience, and portability.
We all have different peferences and
priorities that we look for in our choice
of editions, based on a variety of
qualities, such as: how clearly the music
is printed and spaced out on the page,
whether the musical text reflects the
latest scholarship, the editions aesthetic
appeal, the size and colour of paper,
the quality of its binding, its bulkiness,
whether or not it stays open easily on
the music stand, the appropriateness
of (or absence of ) fingering/pedalling
suggestions, the existence of awkward
page turns, whether or not it contains
introductory notes and essays about the

music, a glossary of musical terms, and
a critical commentary.
All the major music publishers
publish the piano works of the three
giants of the Classical period
Beethoven, Mozart, and Haydn with
slight variations in these factors. My
overview, I hope, will help to narrow
down and better inform your selection
of repertoire and choice of edition.
(Follow the footnotes to the last page
of this article for complete details about
the publications mentioned here.)
V rlag
G. Henle Ve
BEETHOVEN
Alfred Musics catalogue contains a
number of inexpensive books that are
appropriate for pianists in their first
few years of study. The easiest one is
Beethoven First Book for Pianists1,
which can be bought with or without
a demo CD; it is edited by Willard
Palmer, and contains ten of his easiest
pieces (Grade 1 to 4), such as the
Ecossaise in G (WoO23), Lustig, Traurig
(WoO54), and Sonatina in G (Anh 5
no 1). Palmer has recycled half the
content of this book and put it into
Beethoven 16 Easiest selections2
(Grade 3-5), which also contains, most
notably, Fr Elise and the Sonatina in F
(Anh 5 no 2), while he has absorbed the
whole of the First Book into Beethoven
An Introduction to his Piano Works3,
which contains seven additional pieces
around Grade 5. The fonts and musical
engraving in this latter book look a little
dated compared to the others, but there
are helpful introductory notes, with
particular focus on Beethovens use of
slurs and ornamentation.
These three books present the musical
text with editorial guidance on matters
of dynamics, pedalling, phrasing,
and realisation of ornaments, but if
youd rather do without this input,
Id suggest Beethoven Easy Piano
86 Great Composers
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Variations in C minor are also available

from Henle.
The first volume of Variations13
from Wiener Urtext contains all these
variations and more, but the musical
text is a little more cramped than in the
Henle volumes. If you cant wait to get
started on the Sonatas at this stage, a
good place to begin your journey would
be Alfreds two-volume set of Selected
Intermediate to Early Advanced
Piano Sonata Movements14 edited by
Maurice Hinson.
Finally, we turn to the sonatas, for
which there have been more editions
than any other collection of works in
the keyboard literature. Brenreiter
has published just two of the sonatas
op 13 Pathtique and op 57
Appassionata15 both of which have
been edited by Jonathan del Mar, who
prepared Brenreiters acclaimed edition
of all nine symphonies. These are the
only modern editions I know about that
have no editorial fingering, so if this
aspect ranks highly for you, look no
further than these beautifully presented,
slightly-larger-than-average volumes.
If the lack of fingering is a dealbreaker, however, youll need to look
elsewhere, and if youd like some
assistance in this area from worldrenowned pianist Murray Perahia,
Henles new edition of individual
sonatas16 contains his fingering
suggestions. This new edition is only
half complete, so Henles 50-year-old
Wallner edition is still available for the
remaining sonatas. The new Gertsch/
Perahia editions look more attractive,
however, distinguish between dots
and wedges, and presumably contain
updated research to warrant their
creation. Since the two Henle volumes
of the 32 Sonatas are based on the
Wallner edition, they have become less
desirable than other modern editions,
and, at around 300 pages each, these
tomes are also rather unwieldy.
The Tovey/Craxton edition is also
showing signs of its 80-year-old age,
and has been usurped in the ABRSMs
catalogue by their recent edition
prepared by Barry Cooper17. The
complete sonatas in this edition are
available individually or in three
volumes (the volumes can also be
acquired all together in a slipcase). In
Jonathan del Mars opinion, this is a
relatively diplomatic edition adhering
very closely to the First Edition,
resisting the temptation to adjust
editorially to more probable readings.
This observation aside, both the volumes
and individual sonatas are sumptuously
presented, with crystal clear musical
text on off-white paper, good binding,
extensive historical information, and a
readable, detailed commentary
completing a very impressive and
affordable package indeed.
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HN 1063 Mozart
Cover.indd 1
Pieces and Dances4 from Brenreiter.

This collection has a good cross-section
of 17 easy pieces up to Grade 5, but
do bear in mind that with only a brief
introductory preface, and with mostly
six staves to a page (compared to four
staves with Alfreds editions), it isnt as
friendly towards young pianists.
All the books mentioned so far provide
a good overview of Beethovens easiest
material, but if youre after a particular
work, you of course have the option of
buying the most popular easy selections
separately the Two Sonatinas Anh 55,
from Henle, for example.
If you want to delve further into
Beethovens dances (German Dances,
Country Dances, Eccosaises, Lndler,
Minuets and Waltzes), which constitute
a significant proportion of his easiest
pieces, Alfreds Beethoven Dances
for the Piano6 contains 41 individual
dances, only seven of which are
reproduced in the books already
discussed. Collectors looking for a more
comprehensive selection of dances, and
are willing to pay double the price,
can find all these dances and 30 more
in Henles Dances for Piano7.
Moving the survey up a level to
around Grade 5-8 brings into focus the
three sets of Bagatelles, easier Variations,
the three Kurfrsten Sonatas WoO47
that are often referred to as Sonatinas,
and the easiest movements of the 32
Sonatas. Alfred Brendel has edited the
complete sets of Bagatelles8 (opp 33,
119, 126 24 pieces in total) for
Wiener Urtext. This edition of these
quirky miniatures will be of benefit for
performers for the distinguished
pianists fingering.
The complete bagatelles are also
contained in the same publishers
Selected Piano Pieces9 volume, which
costs about twice as much. For the extra
money, you get 63 more pages of
Brendel-edited music, including the two
Rondos (op 51), Rage Over a Lost Penny
(op 129), Fr Elise, Andante in F
(WoO57), six Eccosaises (WoO83),
Fantasie (op 77), Polonaise (op 89),
Allegretto in C minor (WoO53), and
Klavierstck in B flat (WoO60).
If you can live without the Eccosaises,
though, and are not bothered about
Brendels fingering, Henles Piano
Pieces10 contains all the same music
for a similar price, plus a few more
pieces such as the three easy sonatas
(WoO47) and Sonatinas (Anh 5 no 1 &
2, WoO50, WoO51). If the latter seven
pieces are all you want, Alfred publishes
the set as Seven Sonatinas11.
Beethoven wrote many sets of
variations for the piano, and several
are within the grasp of those who have
reached Grade 6-8. Three charming
ones WoO64, WoO70, and WoO77
are published as a set by Henle12,
and going up another level, the 32
87 Great Composers
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SHEET MUSIC REVIEW
Haydn
Urtext
aviersonaten
Smtliche Kl
Band I
no Sonatas
Complete Pia
Volume I
G. Henle Verla
238
Wiener Urtexts fairly recent (late

1990s) edition of the complete
sonatas18 has been prepared by Peter
Hauschild and is also published in
three volumes, while individual sonatas
are available up to op 49. Unlike the
ABRSM or Henle editions, which rely
on one source for their fingering
suggestions, the fingering for a sonata
in this series comes from one of ten
different pianists (e.g. Gerhard Oppitz,
Hans Kann, Boris Bloch, Pavel Gililov,
Alexander Jenner). In comparison to
the new ABRSM edition, Jonathan del
Mar believes this one to be more lax,
by granting markings from later
editions equal weight to the first
edition without distinguishing them
through the use of editorial brackets,
but the details are so minute that you
probably wouldnt spot them unless
you were specifically looking for them.
The binding of the volumes is
exemplary, allowing the music to fold
open very easily, and textual clarity
does not suffer in comparison to its
rivals. The German preface has been
translated into French and English, but
the critical commentary is
unfortunately all in German.
Alfreds sonata edition19 is the least
expensive of all the ones reviewed here,
and was completed by Stewart Gordon
within the last decade. Nine of the
sonatas have been published
individually, and the complete set has
been divided into four, easy-to-handle
volumes. In addition to the primary
sources, Gordon has consulted editions
by dAlbert (Fischer), Arrau (Peters),
Blow (Schirmer), Casella (Ricordi),
Craxton/Tovey (ABRSM), Geoffroy
(Lemoine), Kohler/Ruthardt (Peters),
Krebs (Kalmus), Martienssen (Peters),
Schenker (Dover), Schnabel (Simon &
Schuster), and Wallner (Henle) to
provide immensely valuable
commentary via footnotes to many of
the pages. For example, in reference to
a problematic ornament in the first
movement of op 10 no 1, youd
discover that Tovey suggests a particular

execution, but that Schnabel rejects
Toveys solution, and instead
recommends two others. Schenker offers
another idea, and Gordon puts forth his
own realisation. This collation of
editorial information is a fantastic
resource, and excellent introductory
notes are provided along with
metronome markings for every
movement by Casella, Czerny (1842 and
1850), Moscheles, Blow and Schnabel.
There are only three potential drawbacks
Why Urtext matters

Brenreiters piano editor, Dr Britta Schilling-Wang, shares her views
Why are Urtext editions important? Part of the answer is that many
non-Urtext editions contain arbitrary corrections for example in slurs
and phrasing, articulation, ornamentation, accidentals, dynamics and
instructions. This means that the music has been tacitly altered,
sometimes considerably, in a way that is not evident to the performer.
Brenreiter uses the term Urtext for its scholarly-critical editions
in which the musical text has been established by leading experts
drawing on all available and authoritative sources. The aim is to
reproduce, as closely as possible, the work in the form the composer
intended. Editorial interventions that might be necessary in the case of
doubtful or unclear variant readings are kept to the minimum and are
listed in the Critical Commentary: the main focus is on the work in its
original form, free of any extraneous additions.
Brenreiter editors track down sources all over the world, deciphering
barely legible manuscripts and investigating mistakes, contradictions
and intended differences. In the course of their detective work, they
are often faced with tricky questions: does the autograph manuscript, a
first printed edition, a corrected working copy, or a revised second
edition reflect the composers final intentions? How significant are
comments in letters made by the composer or other contemporaries?
Brenreiter Urtext editions of piano music are not only intended for
specialists but also for pupils, students, teachers and music lovers,
offering a wealth of information that ensures a reliable basis for both
teaching and self-study. This includes an easy-to-read music layout,
with practical page-turns and fold-out pages, making inconvenient turns
unnecessary. The presentation includes suggestions for performance,
providing information on questions of historical performance
instructions, ornamentation, pedalling and articulation.
The Brenreiter piano music catalogue includes the composers of
the Viennese classics, with new Urtext editions being issued regularly,
including Beethovens piano sonatas in separate volumes and new
volumes of Haydns Complete Piano Sonatas.
I can find in this admirable edition.

Firstly, Gordon has decided not to
differentiate between dots and wedges.
Although he provides a perfectly
reasonable justification, all the other
modern editions mentioned here have
adopted both forms of articulation and
I expect some pianists will want to
follow this trend. The other two
misgivings are trivial but worth
mentioning; the binding benefits from
being smyth sewn (section sewn), but
still requires a little encouragement to
stay open, and, for some people,
Alfreds customary white paper isnt as
easy on the eye or as classy as the
off-white or cream colour used by
other publishers.
To summarise, those who prefer
not to have the distraction of editorial
fingerings in their copy will be
drawn towards Brenreiters scholarly
editions, but there are currently
only two sonatas in their catalogue.
Wiener Urtext provides good all-round
editions, but if youre after a copy of
an individual sonata, other editions
have extra features going for them.
Id recommend choosing between the
Henle (Gertsch/Perahia), ABRSM,
and Alfred editions depending on
availability (only ABRSM offers
a complete selection), how much
weight you give to footnotes (Alfred),
editorial commentary (ABRSM),
paper colour (Henle/cream, ABRSM/
off-white, Alfred-white), whether or
not you want wedges in your music (if
you do, Alfred is out), and how highly
you value Perahias fingering (Henle).
Similar considerations apply to
the sonata collections from Alfred,
ABRSM and Wiener Urtext. The ones
from ABRSM strike me as providing
the best overall package, while the
wealth of information in the footnotes
and slimmer volume-size provide a
strong argument for Alfreds edition.
If all the editorial add-ons have no
appeal, youd probably prefer Wiener
Urtext take your pick!
88 Great Composers
10/06/2015 13:27
expensive, but an affordable softback

version is published by Brenreiter,
and these volumes can be bought all
together in a five-volume slipcase31,
which consists of two volumes for the
Sonatas, one for Variations, one for
Miscellaneous Works, and one for the
Notebooks of Mozart and his Sister;
with the exception of the last volume,
they are also sold separately. With no
fingering in these volumes whatsoever,
these editions are geared towards the
serious performer. Just a couple of the
sonatas (K331 & K545) are printed
individually, and these do include
fingerings by Matthias Kirschnereit.
HAYDN
A good place for beginners to look for
easy music by Haydn is in Alfreds First
Book for Pianists32, which contains
eight pieces around Grade 2-4. Most of
these are the easiest movements from
Haydns easiest sonatas, which are often
referred to as sonatinas. For an overview
of Haydns works with a wider range of
difficulty, try Alfreds Introduction to
His Keyboard Works33, which contains
the First Book and a few more pieces,
such as the first movement of his Sonata
in D (Hob.XVI:37) which was set at
Grade 8 on the 2012-14 Trinity exam
syllabus. This book begins with an
extensive and readable ten-page preface
by the editor, George Lucktenberg,
detailing Haydns life and career,
information about the pieces, and a
discussion of Haydns ornamentation.
Editorial additions are all marked in
lighter, grey print. Another book with
a good cross-section of pieces at the
early intermediate level is Alfreds At
the Piano with Haydn34, edited by
Maurice Hinson, which has no overlap
of repertoire with the other two books.
Haydn wrote more piano sonatas than
the combined sum of Beethoven and
Mozart, and to celebrate the Haydn
anniversary in 2009 (200 years after his
death), Wiener Urtext released a revised
version of Christa Landons landmark
edition35 (1966) of the complete
Haydn piano sonatas. Fingering is
provided by Oswald Jonas in all four
chronologically-presented volumes, each
of which contains a three-page preface
by Ulrich Leisinger, the editor, detailing
the historical background to the music
in each volume. Robert Levin provides
three pages of Notes on Interpretation
and up to ten pages of Suggestions for
Embellishments, which all goes to
explain why each volume has Landon/
Leisinger/Levin/Jonas printed on the
front cover. The musical text is easy on
the eye, benefitting from a new
engraving, and the binding is typically
secure and flexible, allowing pages to
fold flat effortlessly. Sonatas Nos 26,
35, 37 or 49 are published individually,
and the four easiest sonatas36 are
MOZART
Mozart wrote many pieces in his youth
that are suitable material for beginners.
Wiener Urtexts First volume of Piano
Pieces20 contains 150-odd pages of
music from this period, including 18
pieces from the Notebook for Nannerl,
and the complete set of 42 pieces that
make up the London Musical Notebook,
which Mozart composed at the age
of eight while in London. If this is
overkill, you can find a more modest
quantity 12 pieces of the easiest
Mozart works in Alfreds First Book
for Pianists21. Editorial suggestions
for fingering, tempo, articulation,
dynamics, and realisation of ornaments
are provided in grey print. For a
greater range of difficulty, Mozart: An
Introduction to His Keyboard Works22
and At the Piano with Mozart23 from
the same publisher offer good samples
of his work, from elementary minuets
to larger works such as the D minor
Fantasy (K397), Variations (K300), and
Rondo in D major (K485).
These latter three pieces are
immensely popular with pianists
around the Grade 6-8 level, and should
you wish to buy them individually Id
recommend editions by Brenreiter
(Variations)24, and Wiener Urtext
(Fantasy, Rondo)25, 26; the music is
immaculately presented in all three.
Students playing these pieces would
also be ready for some of Mozarts
easier Sonata movements, and 17 of
these have been collected by Maurice
Hinson in Selected Intermediate
to Early Advanced Piano Sonata
Movements27; performance practice
notes are included, as is a suggested
order of study.
If youre after a copy of a single
sonata, ABRSM (ed. by Stanley Sadie)
and Henle (ed. Ernst Herttrich) both
publish all the sonatas individually as
well as in two volumes. The ABRSM
single sonata editions28 are cheaper
and have more readable introductory
notes, while the Henle editions29
are more recent, having been revised
in 1992, and are aesthetically more
pleasing. The Wiener Urtext edition30
by Ulrich Leisinger is still more recent
(2004), but only four sonatas are
published individually (K310, K330,
K457, and K545). All the sonatas are
published in their excellent two-volume
collection, though, and you can buy
both together for a worthy discount.
Brenreiters Mozart catalogue
originates from The New Edition of the
Complete Works of Mozart edited by the
International Mozarteum Foundation.
The keyboard solo music that makes
up just 5 of the projects 132 volumes
(or around 850 pages out of a total of
25,000), were first published between
1961 and 1986. The original, hardbacklinen editions are prohibitively
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available as a set, but if youre after a complete collection of
the sonatas, I cant think of any reason why you wouldnt get
these four volumes. This wouldnt be a cheap investment,
but to make the cost a little less eye-watering, you can buy
the complete set directly from their shop for about a 15
per cent discount.
Henle also publishes the complete Haydn sonatas37,
but does so in three volumes, while individually, Henle also
prints the sonatas mentioned above (with the exception of
No 26) but also Sonatas No 20, 23, and 40. The musical
text, edited by Georg Feder, is taken from Henles
Complete Haydn Edition (1971). Compared to Wiener
Urtexts edition, the music is a little smaller and less
spacious, with seven staves on a page not uncommon, and
the lack of critical commentary within each volume and a
brief, one-page preface will, for some readers, also count
against this edition. If youre interested in just the easiest
sonatas, however, and would like more than just the four
in Wiener Urtexts easy volume, Id recommend a book in
Henles catalogue called Nine Little Early Piano Sonatas38;
some of the easiest movements have been set on exam
syllabuses at Grade 2.
COLLECTIONS
Intermediate and early advanced students (Grade 4-7) may
find collections and anthologies of classical music a more
cost-effective and practical way of accessing the repertoire
most suited to their abilities. There are three albums in
Alfreds catalogue that stand out. Firstly, their Sonatina
Album39, compiled by Louis Khler, contains an excellent
selection of favourite sonatinas, rondos, and other pieces,
including all six of Clementis op 36, Kuhlaus op 20 and
the first three of his op 55 set. The spiral comb binding
allows the music to fold flat, and although the musical text
would ideally be more spacious and pleasing to the eye
you cant really ask for much more at this price point.
The Sonatina Album has two big brothers in the form of
Sonata albums40 edited by Maurice Hinson. The first
volume is the more attractive; it contains 12 of Haydn,
Mozart and Beethovens easiest sonatas (Grade 6-8). The
second volume presents the next 10 hardest sonatas (e.g.
Beethovens opp 13, 26, and 27 no 2), and if youre playing
at this level, Id suggest considering the editions covered
earlier. And finally, the Anthology of Classical Piano
Music41, also edited by Hinson, is a superb 248-page
comb-bound volume containing the works of 27 composers.
The text is razor-sharp, and a wide range of difficulty
(Grade 3 to 8) means you can keep coming back for more
music as your skills improve.
Looking elsewhere, Nils Franke has selected and edited
both Schotts Classical Piano Anthology series42 and
Wiener Urtexts Primo series43, the second volume of
which contains works by Haydn, Mozart, and Cimarosa.
Schotts three volumes contain around 20-30 pieces (Vol 1 =
Grade 1-2, Vol 2 = Grade 3-4, Vol 3 = Grade 5-6), mixing
some well-known works with less familiar repertoire.
Volume 2 has a particularly interesting selection, and my
only quibble overall would be that since all the written text,
including the useful teaching notes and biographical
information, is written in three languages, only 84 out of
the 164 pages in the series actually has music printed on
them (note that a final fourth volume has just been added
to the series). The books all come with demo CDs recorded
by Franke. The volume in the Primo series doesnt come
with a CD, has a narrower range of difficulty (Grade 3-5),
and fewer composers, but has a better quality of layout,
presentation, and 10 sonatas by Cimarosa that deserve to
be heard more often at this level. Performance practice notes
(called Practice tips) are included, and a selection of
Beethovens works can be found alongside those of Schubert
and Hummel in the third volume.
SCORES DISCUSSED (in order of appearance)

Beethoven
1 First Book for Pianists (Alfred; ISBN: 978-0-73900-7761)*
2 16 Easiest Selections (Alfred; ISBN: 978-0-73902-0227)*
3 An Introduction to his piano works (Alfred; ISBN: 978-0-73902-2979)*
4 Easy Piano Pieces and Dances (Brenreiter; BA6560, ISMN: 979-0-00649-8550)*
5 Two Sonatinas Anh 5 (Henle; HN365, ISMN: 979-0-20180-3654)*
6 Dances for the Piano (Alfred; ISBN: 978-0-7390-2-7301)*
7 Dances for Piano (Henle; HN449, ISMN: 979-0-20180-4491)
8 Bagatelles (Wiener Urtext; UT50054, ISBN: 978-3-85055-0543)*
9 Selected works (Wiener Urtext; UT50003, ISBN: 978-3-85055-0031)*
10 Piano Pieces (Henle; HN12, ISMN: 979-0-20180-0127)*
11 Seven Sonatinas (Alfred; ISBN: 978-0-73902-7301)
12 Three Variation Works (Henle; HN132, ISMN: 979-0-201801-322)
13 Variations Vol 1 (Wiener Urtext; UT50024, ISBN: 978-3-85055-0239)
14 Selected Intermediate to Early Advanced piano sonata movements (Alfred;
ISBN: 978-0-73902-1644)*
15 Individual sonatas, Brenreiter; e.g. op 13 Pathtique: BA10851, ISMN: 979
-0-00654-2055*; op 57 Appassionata: BA10852, ISMN: 979-0-00652-8165*
16 Individual sonatas, Henle; e.g. op 53 Waldstein: HN946, ISMN: 979-0201809-465
17 Sonata volumes, ABRSM; e.g. Vol 1: ISBN: 978-1-86096-245-5*;
Individual sonatas, ABRSM; e.g. op 13: ISBN: 978-1-86096-746-7*
18 Sonata volumes, Wiener Urtext; e.g. Vol 1: UT50107, ISBN: 9783-85055-1007; Individual sonatas, Wiener Urtext; e.g. op 27 no 2
Moonlight UT50114, ISBN: 978-3-85055-1069
19 Sonata volumes, Alfred; e.g. Vol 1: ISBN: 978-0-73902-7356*; Individual
sonatas, Alfred; e.g. op 81a: ISBN: 978-0-73907-3254*
Mozart
20 Piano Pieces Vol 1 (Wiener Urtext; UT50229, ISBN: 978-3-85055-6422)
22 An Introduction to His Keyboard Works (Alfred; ISBN: 978-0-88284-2547)*
23 At the Piano with Mozart (Alfred; ISBN: 978-0-73902-1873)*
24 Variations on Ah, Vous dirai-je Maman (Brenreiter; BA5765, ISMN:
979-0-00652-4365)*
25 Fantasy in D minor (Wiener Urtext; UT50245, ISBN: 978-3-85055-6170)
26 Rondo in D K485 (Wiener Urtext; UT51022, ISBN: 978-3-85055-6460)
27 Selected Intermediate to Early Advanced Piano Sonata Movements
(Alfred; ISBN: 978-0-73903-0530 )*
28 Individual sonatas, ABRSM; e.g. K284: ISBN: 978-1-85472-1624*
29 Individual sonatas, Henle; e.g. K284: HN1063, ISBN: 979-0-20181-0638
30 Sonata volumes,Wiener Urtext; e.g. Vol 1: UT50226, ISBN: 978-385055-6071*
31 Complete Works for Piano Solo (Brenreiter; BA5749, ISMN: 979-000652-5621, five volumes)*
Haydn
33 An Introduction to his Keyboard Works (Alfred; ISBN: 978-0-73900-6160)*
34 At the Piano with Haydn (Alfred; ISBN: 3808103412)*
35 Sonatas, Wiener Urtext; e.g. Vol 1: UT50256, ISBN: 978-3-85055-6538
36 The Easiest Piano Sonatas (Wiener Urtext; UT50273, ISBN: 978-3-850556828)
37 Sonatas, Henle; e.g. Vol 1: HN238, ISMN: 979-0-20180-2381*
38 Nine Little Early Piano Sonatas (Henle; HN645, ISMN: 979-0-201806457)
Collections
39 Sonatina Album (Alfred; ISBN: 978-0-73901-6589)*
40 Sonata Album Vol 1 (Alfred; ISBN: 978-0-73903-3197)*
41 Anthology of Classical Piano Music (Alfred; ISBN: 978-0-73901-3663)*
42 Classical Piano Anthology (Schott; e.g. Vol 2: ED13436, ISBN: 978-184761-1451)*
43 Easy piano pieces with practice tips (Wiener Urtext; Vol 2: UT52003, ISBN:
978-3-85055-7467)
Books marked with an asterisk (*) are available at the Pianist Digital Store:
http://pianistm.ag/digitalshop
90 Great Composers
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GREAT PIANO

OF THE CLASSICAL ERA

and in strict time.

duration of the bar.

FROM THE PUBLISHERS OF

15679 Steinway Pianist Magazine (Issue82)_Layout 1 12/01/2015 17:08 Page 1

The Steinway is not only an

Pianist Great Piano Composers of the Classical Era

The next issue of Pianist goes on sale 31 July 2015

Reader Competition Win the

complete Beethoven Sonatas from

Expert Talk Tim Stein answers

questions about Alberti basses, trills

How to Play Masterclass 1

Mark Tanner on getting to grips with the

10 John Suchet The newsreader, author

12 How to Play Masterclass 2

Graham Fitch on getting technical with

15 How to Play 1 Melanie Spanswick

on Haydns Andantino in E flat (Scores

16 Interpretation Jessica Duchen talks to

four leading concert pianists about what it

21 How to Play 3 Janet Newman on

the last movement of Clementis Sonatina

22 Subscribe today for just 4.50 an

issue by Direct Debit and receive Schott

24 How to Play 4 Lucy Parham on

26 How to Play 5 Janet Newman on the

first movement of Beethovens Moonlight

27 The Scores A pullout section of 40

pages of Classical sheet music for all levels

67 Inside the 32 Tim Stein looks at

the historical background of Beethovens

really like? Sophisticated genius or

75 The Classical Trail A whirlwind

tour of some of the places where Haydn,

79 The Known Unknowns The

greatness of Mozart and Beethoven is

82 Keyboards of the Classical Era

Fortepianos, pianofortes, actions, knee

86 Sheet Music Review A five-page

in-depth round-up of the best of Haydn,

70 Group Dynamic Playing chamber

music of the Classical era offers fantastic

72 Mozart the man What was Mozart

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Discover the great composers in

ABRSMs Signature Series

WITH TIM STEIN

I find Alberti bass in many of my

The Alberti bass accompanimental

C-G-E-G and is fingered 5-1-3-1,

I have been noticing that I do

Start slowly at first, listening carefully

Practising scales is good for all

Try holding your wrist of the hand