Piano Journal 124

JOU R NAL EUROPEAN PIANO TEACHERS’ ASSOCIATION Nadia Lasserson in conversation Chopin and the Keyboard 250 Piano Pieces for Beethoven Mussorgsky Part Two Defining Piano Technique NEWS – INTERVIEWS – REVIEWS THE EUROPEAN JOURNAL FOR PIANISTS AND PIANO TEACHERS ISSUE 124 AUGUST 2021 £3

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Founder Carola Grindea JOU R NAL Editor Anthony Williams ISSUE 124 AUGUST 2021 [email protected] Editorial Consultant Nadia Lasserson CONTENTS [email protected] Tel: 020 7274 6821 4 Editorial by Anthony Williams Designer/proofreader Helen Tabor 5 Nadia Lasserson in conversation helentaborcreative.com Piano Journal – EPTA’s official organ with Anthony Williams – is published three times a year. It includes interviews with great pianists 9 Chopin and the Keyboard of our time, important articles relevant to piano performance and teaching, book by Alan Walker and music reviews, and EPTA news of activities in all EPTA Associations. 1 4 \"250 Piano Pieces for Beethoven\" An amazing project by Susanne Kessel Available by subscription, from the EPTA by Nadia Lasserson website: epta-europe.org As from now, Piano Journal will be 1 7 Debussy – The Creation of a House Museum available solely online at a rate of £3 per in Villeneuve-la-Guyard (Yonne) digital copy with special rates for bulk by Nadia Lasserson orders. 1 8 Mussorgsky: A reappraisal and overview A few hard copies are printed and rates Part Two by Kat Perdikomati are UK (2nd class) £21, EU £30, ROW £36 2 4 Is There One Correct Piano Technique? Yes, but... ISSN 0267 7253 by Barbara Lister-Sink, Ed.D. epta-europe.org 2 8 Reviews The opinions expressed or implied, the methods 3 6 EPTA News recommended or advice given in the Piano Journal 4 0 EPTA Associations are not necessarily representative of EPTA’s views 4 4 European Piano Teachers' Forum: EPTA Czech Republic and therefore EPTA takes no responsibility for them. Appearance of an advertisement does by Milan Franek with Nancy Lee Harper D. M. A. not necessarily indicate EPTA’s approval of the product or service. The editor welcomes letters from members but reserves the right to edit them for publication. This product is copyright material and may not be copied in whole or in part for any purpose whatsoever without the permission of the copyright owner. Cover image © Helen Tabor 3

EDITORIAL If you would like to contribute Without wishing the last days of the summer away, a warm welcome to an article about any area of the autumn edition of Piano Journal and I’d like to thank the contributors piano teaching, interpretation or for a wonderfully broad and fascinating range of content. performing, or if there is a pianist Nadia Lasserson will be known by almost every reader of this magazine; what you think we should interview, Carola began, her daughter has continued to promote, support and encourage with then please do not hesitate to email indefatigable enthusiasm. I was thrilled to have the opportunity to interview her, to me at: [email protected] find out more about her extraordinary artistic, perhaps Bohemian upbringing, and to put a little more context behind the birth and history of EPTA. EPTA and the Piano Journal have benefited hugely from Nadia’s extraordinary energy and her knowledge, friendship and understanding of some of the greatest performers, artists, actors and authors in the 20th Century. Those of you that know her will be only too aware that it is about time she had some of the limelight. I am only sorry not to have been able to include even more of her memorable anecdotes. The Journal contrasts a fascinating insight into Chopin’s technique, and revolutionary (excuse the pun) approach to composing for the piano, with a thought- provoking article on whether there actually is such a thing as a correct technique. Then there is an insight into the extraordinary Beethoven project of Susanne Kessel. Add the second part of Kat’s absorbing reappraisal of Mussorgsky and you have plenty to keep you turning the pages. Should COVID regulations permit me to travel back to the UK without isolating then I hugely look forward to meeting some of you at the EPTA Conference in Madrid. Anthony Williams 2022 CONFERENCE HEADLINERS National Conference MINNEAPOLIS March 26–30 Ursula Oppens Ronald Crutcher Adrian Anatawan Dennis Alexander Opening Session Recital Intermediate Piano Tuesday Recital Keynote Address Master Class Advanced Piano Save the date Master Class for MTNA’s return to in-person conferences Michelle Cann and Kimberly Cann Yu-Jane Yang and Shi-Hwa Wang with the 2022 MTNA National Conference, Cann Piano Duo Formosan Violin-Piano Duo Collaborative Recital Collaborative Recital March 26-30, in Minneapolis, Minnesota. For more information or to register visit www.mtna.org. 4

Image © Helen Tabor In conversation with Nadia Lasserson Nadia with her parents by Anthony Williams Nadia Lasserson, distinguished pianist and It was a whirlwind two hours, the conversation constantly teacher, and daughter of Carola Grindea the weaving and changing course and timeframe, ranging from founder of EPTA, talks to Anthony Williams memories of childhood, stories of her parents, current EPTA about the life and times of Carola, her own family news and a number of rather sudden ‘reminders to herself’ of experiences and contributions to the organisation. people she absolutely must get in contact with to check her It was not a surprise when, an hour before the facts or find out more information. scheduled interview time, the inimitable and permanently busy Nadia asked to postpone it to an What can you tell me of your background? hour later, so full and bustling is her life. It was equally “I was born of Rumanian parents, Carola and Miron Grindea, who not unusual to begin a Zoom conversation with this came to London from Bucharest on 2nd September 1939. My father was extraordinary musician via her iPhone as she rushed editor of the literary magazine ADAM International Review and Carola through the house to her computer. I only had until 5pm was a pianist. she told me, as she was teaching at 5.30pm. “My mother’s piano professor in Romania said that they absolutely I inevitably had some pre-prepared questions to ask, must visit her great friend Myra Hess. She invited them to tea the but it wasn’t long before I realised that the interview was next day, so with barely a penny to their name they walked from very much going to be led not by me but by this amazingly West Cromwell Road to Hampstead Garden Suburb on the day that intelligent, cultured and enthusiastic teacher. “My memory Chamberlain announced England was at war. They helped Myra black is not what it used to be,” she said on a number of occasions out her windows, she locked the pianos and said she wouldn’t unlock as she then promptly recalled anecdotes, people, places and them until after the war. dates with razor-sharp accuracy and occasionally cut me “With a little persuasion from Carola however she played them a ‘tiny short with the disbelief that I couldn’t know something or of piece’, an Intermezzo by Brahms. They were both moved to tears by the a significant musician she might mention. performance and persuaded her to perform for the war effort as HOME 5

‘anyone can drive an ambulance’. The next day Myra Hess had met with John McCabe and Ronald Stevenson, to name just a few. Kenneth Clarke, the director of the National Gallery, and the famous “My mother’s first pupil in Bucharest, Lory Wallfisch, and her daily war-time concerts began. husband, the wonderful viola player Ernst Wallfisch, always practised in “Myra Hess became a great friend of the family; I was given Myra as our home, and I learnt the Arpeggione Sonata by heart listening to them my middle name and Myra Hess became my Godmother.” from the age of seven. When they gave their Wigmore Hall debut, they promised me it would be the encore and it was! A very long one. As a child, what lasting memories do you have of music in the home? “I remember Manoug Parikian asked me what he should write in my book. I said ‘anything’ so he wrote ‘Anything’ - “I had a very unusual upbringing. My earliest memories are of regular ‘you asked for it’.” visitors to the house; authors, artists and distinguished musicians came to stay or practise. There were frequent soirées with poetry readings and At this point Nadia showed me a photo of her 10th birthday music. There was one evening when several famous violinists – Georges party where the young girls invited included Arabella Bentley, Enescu, Yehudi Menuhin, David Oistrak, Igor Ozim, Manoug Parikian the daughter of Nicholas Bentley, famous cartoonist and the – all played a Concerto movement on my 1/4 size violin! Unfortunately illustrator of ‘Old Possum’s Book of Practical Cats’, Tanya I was tucked up in bed and knew nothing about this amazing happening. Sarne (founder of the Ghost fashion label) and the pianist What would I have given to have heard it...My father took me to and teacher Danielle Salamon. numerous rehearsals and we often got to converse with the musicians. I’m not sure I realised at the time just how famous these people were or “Phew – what a lot of names,” I said. “It’s because I’m so old,” said would become; we led a gypsy-style existence and lived on a shoestring. It Nadia. “I remember Daniel Barenboim, aged 11. He went for tea at a seems quite extraordinary thinking about it that something as organised friend’s mother’s, and my friend and myself were invited round. When I and significant as EPTA could have come from this sort of background. was two Clara Haskil practised at our house; she loved playing Scarlatti but I got a little confused so called her Clara Latti and the singer Ilse Wolf “My parents were incredibly hospitable and loved to invite everyone was a great friend so there was a lot of lieder performed in our home.” they met to the house; my father would meet people in his editorial role and regularly announce that ‘so and so was coming’. I would meet them, Can you tell me something about your own musical and he would ask them to sign my autograph book. The first signature I career? have is from 1953.” “I started with my mother when I was six and then she asked Malcolm Nadia then reels off a list of names from her book that Lipkin, another musician in the autograph book, who lived in Earl’s sounds like a who’s who in the performance arts: the poets Court, to become my first piano teacher, though I have to admit that Jean Cocteau, Christopher Fry, actors Peter Ustinov, Claire my mother did all the work and organised me. I then got into the Junior Bloom and Vivien Leigh, conductors Leopold Stokowski, Academy aged 11, playing the little Scarlatti B minor Sonata; I remember Adrian Boult, Constantin Silvestri, violinists Isaac Stern, being in an aural class with Andrew Davis, Robert Jordan,Chris van Max Rostal, Manoug Parikian, Igor Ozim, pianists Wilhelm Kampen, Ian Jewel. Those Saturdays were the best days of my young life. Backhaus, Clara Haskil, Myra Hess, Moura Lympany, Peter I longed for Saturday to come, and thanks to the Junior Academy, I made Wallfisch, Rosalyn Tureck, Daniel Barenboim, Gina Bachauer, my debut in the Festival Hall at the age of 16. Yvonne Lefébure, Susan Bradshaw, French mime artist Jean- Louis Barrault, soprano Angela Gheorghiu, harmonica player “I then went to the Senior Royal Academy of Music and played a Larry Adler and composers Malcolm Arnold, Edmund Rubbra, number of concertos but never considered myself to be anything special on the piano; indeed I was married when I was still there, and very soon 6 had my own three children. My husband was a GP so he looked after the country’s health and I looked after the family which gave me little time to perform although I did play chamber music and a few concertos in public. “My 50th birthday present to myself was to start practising seriously and I was then performing in the UK and abroad. I must have played all the standard Sonata repertoire for most instruments including Hindemith’s Tuba Sonata. I also formed Piano 40, an ensemble for eight hands on two pianos, for which we had 27 pieces composed especially for us and we performed frequently at the South Bank and other venues. This ensemble lasted for 14 years and it was huge fun to work with live music written for us with feedback from the composers! The stipulation was the work could not be longer than seven minutes and had to be audience-friendly. The variety of musical moods that were created left us all amazed. We made one CD early on in our existence which is still available today. Anyone interested, please contact me (she cheekily suggests). “On the other hand, I started teaching at the age of 14 and never stopped, even while bringing up three children and travelling round various hospital apartments with my doctor husband. My first pupil was 10 years old when I was 14. I taught her with Carola’s supervision, and we are still in touch. “At about the same age I realised that there were quite a number of young musicians who shared with me a love of classical music and not necessarily a love of contemporary popular music so I started up the Young People’s Music Club. We were hugely fortunate that artists played

“we led a gypsy-style existence and lived on a shoestring...” or came and gave lectures for nothing; I particularly The Young People’s remember Joan Chissell from The Times talking about Music Club Chopin, Mosco Carner, Felix Aprahamian and John Lade. It got to the point where well-known musicians asked my mother, “When will Nadia invite me to her Music Club...?” “We originally met at home for small monthly recitals with 19 attending the first and 39 the second but the club quickly grew so we had to move to the London Music Club at Holland Park. This was a huge room and they were kind enough to give it to us for free and lay on tea too! We regularly had 50 at each event and on the club’s first birthday we had over 100 people. The press caught on and the headline was ‘Nadia’s Classic Club to Knock the Rock’. I did all the mailing, typing, organisation and it was partly as a result of seeing me do this and realising it could be done, that my mother had the confidence and belief to start up EPTA.” Tell me about the birth of EPTA. How did EPTA Europe flourish? “ESTA was already going strong and providing support and events for “EPTA West Germany was formed in 1979 and in 1981 Belgium string players throughout Europe and Carola thought there was a need Flanders/Brussels and Holland followed suit and by 1997 Finland, to form the equivalent for pianists and piano teachers. She got a group France, Switzerland, Austria, Eire, East Germany, Yugoslavia, Norway, of like-minded pianists together to set it up. Steered by Sidney Harrison, This was a red-letter time for the two Germanies to meet and collaborate EPTA started life on March 16th 1978 at the Guildhall School of Music, together in 1987, and very soon East and West became one unified EPTA Louis Kentner giving the opening recital. At the time I had three small Germany. It was run by a Praesidium of five in order to represent all children, the youngest was only one and a half years old so I had little parts of the country. time to play an active role. “By 1990 Croatia, Sweden, Czech Republic, Italy, Hungary, Romania, “Once EPTA UK was formed, its first conference was held in Denmark, Spain, Estonia and Belgium Wallonie/Bruxelles were all Chichester in 1978 and the first anniversary in 1979 was a double established. Portugal was born in 1998. The Scandinavian countries celebration as EPTA Iceland was formed, thus creating the beginnings already had their own piano teachers’ organisations so brought with them of the EPTA Family. The European Council of the Associations (the a significant number of members. By the time the Berlin Wall came down, parent body, now known as EPTA Europe) could then be established to EPTA became established in all the Eastern European countries with coordinate the activities of EPTA UK and parallel activities and affiliates the last ones to join being Poland, Latvia, Lithuania, Ukraine, Bulgaria, abroad. Carola of course knew everyone, had a phenomenal memory and Albania, Macedonia, Belarus, Slovenia, Bosnia, Georgia and Montenegro. It has not been easy for all these Associations to thrive and some of the made things happen. Eastern European EPTAs are struggling today but several are thriving. She was hugely proud of “In order to maintain its European identity, EPTA also had Affiliated the incredible standards Associations in other parts of the world such as New South Wales, Hong of pianism, the Young Kong Piano Teachers Association, and in countries where they formed Artists recitals that the equivalent of an EPTA Association but are outside of Europe, they used to take place at are the EPTA Associates, the latest ones to be formed being Israel and conferences, and above more recently, China.” all the coming together and a meeting of When did you become involved? minds. A “Citation for “I became fully involved in 1985 when John Bigg became the Leadership Award” (left) Chairman of EPTA UK, just before Sidney Harrison’s death in 1986. In was given to Carola 1994 I was appointed as the organising secretary of EPTA Europe but I by the MTNA (Music did manage to attend every EPTA UK Conference from the start. My first Teachers National European conference was in Sweden in 1994. The early Conferences were Association - USA) for tremendously exciting, with incredible speakers and performers from all her ‘Extraordinary work over the world. as a unifier of music “Luckily every session was recorded. They not only provided musical teachers throughout the inspiration, but mention must be made of several marriages and world’.” 7 HOME

relationships started at EPTA Conferences! Beryl Chempin was asked rNeacediivainwgitahnhOerBpEarents, on the occasion of her father’s to show Denis Matthews round the premises and she did far more, marrying him soon after. I am a firm believer that EPTA should be beyond walls and beyond individuals. “Since 1994, I attended every European Conference and took the Minutes of all the AGMs. Every Conference had its own individuality “All is well with the EPTA World today and we are all greatly looking reflecting its own way of musical life and, as a result, piano teaching. forward to the forthcoming 43rd International Conference to be held Young artists were often given platforms enabling them to perform in Madrid in September with its exciting programme: “Connecting to discerning audiences and to become known throughout the EPTA Continents and Traditions”. The 2022 Conference will be hosted fraternity, and frequently opening many more opportunities.” by EPTA Portugal (founded in 1998) on the occasion of its 20th Anniversary. 2023 will be hosted by EPTA Slovenia, and in 2024, EPTA I sense that you carry forwards an important legacy; Switzerland will invite everyone to celebrate its 40th Anniversary.” do you feel a strong emotional attachment to the charity and what is your dream for the future of EPTA? “the power of music can overcome everything...” “It goes without saying that I hope to carry on uniting musicians and pianists, to be joyful in our celebration of piano playing and to cohabit Despite the time and the approaching piano lesson, the amicably. Needless to say, several EPTA Associations have had problems interview finished with the most wonderful impromptu of some sort with powerful personalities coming to blows and that guided tour of autographed photos from distinguished some of the EPTA Associations function more actively than others. The musicians such as Klemperer conducting George Enescu original Eastern European Associations were often run by one person and Yehudi Menuhin in the Bach Double Concerto in 1948, and now, 20 years on, that person may be less driven and older. However, the great conductor Constantin Silvestri, a volume of the the ones with larger Committees are far more successful as the work can complete National Gallery Concerts 1939–1944, and Music in be passed around and no one person needs to do everything. All problems London by the playwright Bernard Shaw, autographed by the do eventually resolve, and hopefully the power of music can overcome man himself. everything. My hope is to visit all the EPTA Associations that have lost direction and see if I can be of any assistance in resurrecting them again I left the interview knowing I had only scratched to try to unite the entire EPTA world of pianists and teachers once again. the surface of the experiences, musical knowledge and understanding of this extraordinary and absorbing musician Nadia with her husband Michael who continues to this day to help promote and steer EPTA throughout the world with authority and wisdom. Nadia offers such fascinating first-hand insight into her family background, musical history, the founding of EPTA and in her own invaluable part in a rich artistic culture. Nadia with her three children and seven grandchildren 8

Chopin Kaned ythbeoard Extracts from Alan In piano playing Chopin was left to find his own way, and Walkerʼs Fryderyk he did so with such a natural aptitude that by the time he Chopin: A Life was nineteen years old he was fully formed as a pianist. His and Times Twelve Etudes, op. 10, begun about that time, were mostly composed to give himself new technical problems to solve. Consider the first Study, in C major. ‘The mechanism of playing took you little time. Chopin likened it to a violinist drawing his bow across the Your mind was busier than your fingers. strings while warming up, and he did not consider it difficult. If others spent whole days struggling with the Many modern pianists would disagree, for those arpeggios keyboard, you rarely spent an hour at it.’ sweeping up and down the keyboard involve stretches of tenths, not octaves. Chopin’s hands were small, but they were - Mikołaj Chopin to his son (1831).1 very supple. The poet Heinrich Heine described them as “like the jaws of a snake, suddenly opening to devour their I prey”. And as if that hand-stretching Study were not enough, Chopin follows it with a second Study, this one in A minor, As a child Chopin was precocious. He was writing verse at for hand contraction, in which the third, fourth and fifth the age of six and composing music from the age of seven. fingers do all the work. His very first composition was a Polonaise in G minor (1817). The piece may be compared with anything that Mozart was This “chromatic” study confronts the player with a writing at the same age. But the most remarkable thing difficulty justly celebrated among pianists. The thumb and about Chopin was his predisposition towards the piano. second finger of the right hand are simultaneously engaged in As a pianist he was mostly self-taught. True, the boy took providing an accompaniment to the chromatic scales, which some elementary lessons from Adalbert Żywny, a local have to be played mainly with the fourth and fifth fingers, Warsaw musician (who was actually a violinist), but they the weakest digits of the hand. Isadore Philipp considered were abandoned by the time Chopin was twelve years old. the piece to be the most difficult study in the entire keyboard His chief studies were with Józef Elsner - for composition. repertory. Yet once again Chopin did not consider it to be a Heine described them HOME 9 [Chopin’s hands] “like the jaws of a snake, suddenly opening to devour their prey” 1 CFC, vol. 2, p. 23.

special burden. He called the third and fourth fingers “the Of course, there is another way, and that is to let the Siamese Twins of the hand”, because they are joined from sustaining pedal paper over any cracks that might appear in birth by a ligament, rendering independence of movement the right hand as a result of laziness on the part of the player. more difficult. But unlike many of the pedagogues of the Chopin’s pupil Elise Peruzzi was among the first to hear him day he made no special attempt to separate them through play the Berceuse, and observed: “His fingers seemed to be treadmill exercises that often did more harm than good. without any bones; and he would bring out certain effects by Instead he indicated the fingering for each and every note of great elasticity.”4 the right hand (the only time he did such a thing), as if to say, “I can’t do much about the Siamese Twins, but if you follow “Finger sliding” was a common practice with Chopin. my fingerings, they need not get in the way.”2 Because the keyboard consists of two planes, the upper plane providing the black keys and the lower one the white ones, II it is not difficult for a single finger to slide from the upper to the lower level, although the purists of the day objected. In fact, Chopin’s fingerings repay study. It is not always Chopin left many examples which show his disdain for remembered that he took organ lessons in his youth and that orthodoxy. In the Waltz in A minor, op. 34, no. 2, the thumb he was competent enough to play for the Sunday services slides quite easily from D-sharp to E-natural. at the Church of the Nuns of the Visitation, in Warsaw. The experience left its mark on his piano playing and especially on his choice of fingerings, which his biographer Frederick Niecks described as “revolutionary”. Chopin’s fingers hardly ever left the surface of the keyboard when he played; a true legato was always his top priority. Organists do not keep melodies alive by throwing their hands and arms into the air, after the fashion of the piano virtuoso who relies on the right foot and the sustaining pedal to retain the sound and save the day. At the organ the fingers alone must do it and Chopin had learned that lesson well. It was Chopin’s inventive use of finger-substitution to sustain melodic lines that led Alfred Hipkins to observe that “he changed fingers as often as an organ player”.3 In the Prelude in G major, Chopin calls for substitutions in which the first and fourth fingers are relieved of their duty by the second and fifth. Another “finger-slide” occurs in the Trio of the Funeral March of the B-flat minor Sonata, op. 35, where both the third and the fourth fingers are slipped discreetly from black to white keys. The following example from the Berceuse makes clear the extraordinary effort that Chopin took to preserve the smoothness of his melodic lines. It, too, is a legacy of time spent in the organ loft. At first sight, the fingering looks bizarre. But there is really no other way to preserve the independence of the two parts in the right hand. 2 Chopin’s fingerings come to us from a variety of sources, including the scores used by his pupils Karol Mikuli, Jane Stirling, Camille Dubois-O’Meara, and Friederike Müller-Streicher, which Chopin frequently annotated during their lessons. Above all, there are the scores of his sister Ludwika, which are believed to have belonged to Chopin himself and acquired by her after his death. As for the metronome markings shown here, Chopin not only provided them for all the Studies but for every composition up to the Two Nocturnes, op. 27. Any MM markings found in the later works come not from Chopin but from his editors. One still encounters scholars who, finding some of Chopin’s metronome markings in the Studies to be “too fast”, claim that the instrument was faulty. The Chopin biographer Arthur Hedley examined the composer’s metronome in Warsaw before WW2 and found it to be in perfect working order. Alas, the instrument perished along with the destruction of the city in 1944. 3 HHCP, p. 5. 4 NFC, vol. 2, p. 339. 10

...a true legato was IV always his top priority ... At the organ the fingers It was Chopin’s pedaling that captured the attention of alone must do it and Antoine Marmontel, the doyen of piano teachers at the Paris Chopin had learned that Conservatoire. lesson well. “No pianist before him employed the pedals III alternately or simultaneously with so much tact and skill. With most modern virtuosos, excessive, Chopin also advocated the unrestricted use of the thumb continuous use of the pedal is a capital defect, on the black keys, and often used it to strike two adjacent producing sonorities eventually tiring and irritating keys simultaneously; he would sometimes pass the longer to the delicate ear. Chopin, on the contrary, while fingers over the shorter ones without the intervention of the making constant use of the pedal, obtained ravishing thumb if that would secure a better legato; he recommended harmonies, melodic whispers that charmed and a flat finger for a singing touch; and he favoured a low astonished.”6 piano stool, finding it more comfortable than the high one adopted by the hard-hitting virtuosos who liked to There is no shortage of those “ravishing harmonies” and descend on everything from a great height. Above all, there “melodic whispers” resulting from pedaling that continued was his “flutter pedaling,” that continuous vibrating of the to live in Marmontel’s memory long after Chopin was dead. sustaining pedal that cast a warm glow over everything he The dissonant E-flat towards the end of the F major Prelude, played, yet gave it at the same time its unusual clarity. Such op. 28, totally unexpected, leaves the work floating in the originality could never have come from someone drilled in air, a magical effect that would be impossible without the the restrictive methods then in vogue in the conservatories of sustaining pedal – which remains depressed even after the Europe. He reacted strongly against the “finger equalisation” work has ended. school made famous by Czerny and his followers, maintaining that each finger has individual characteristics that are there It is well known that whenever Chopin played four- to be enhanced, not equalised away. “The third finger,” he hand music, he insisted on taking the secondo part, which would tell his pupils, “is a great singer,” and he would go on traditionally gave him control over the pedals. Whether his to unfold entire phrases with this finger taking a major share partner was Liszt, Kalkbrenner, Moscheles, Czerny, or any of the work. Chopin’s attempt to formulate his approach to other pianist with whom he is known to have played, the piano playing may be found in his “Sketches Toward a Piano outcome was always the same. They had to take the primo part, Method”, which remained unfinished at his death.5 leaving him in charge of what Anton Rubinstein called “the soul of the piano”. Chopin’s bearing at the keyboard was quiet, almost immobile. He avoided those overt displays of body language, V so beloved of pianists both then and now, which involved torsos swaying back and forth, with hands and arms thrown Any meaningful discussion of Chopin and the keyboard aimlessly into the air. Chopin called such actions “catching will founder unless it acknowledges one influence that held pigeons”, a reminder that for him good piano-playing was him daily in its thrall: the human voice. His adoration of a horizontal rather than a vertical activity, the latter being opera, and Italian opera especially, was unconditional. a place where spectacle is born. His default position at the keyboard was simplicity itself. With his elbows level with the Having heard and admired countless operas sung by keyboard, and hands pointing slightly outwards (their natural many of the leading singers of his time – Sontag, Catalani, position), his arms could reach the full compass of the piano Schröder-Devrient, Malibran, Viardot, Nourrit and Lablache without inclining him either to the left or the right. He among them – it is hardly surprising that Chopin attempted leaned back slightly, hardly ever forward, the only visible to enshrine the memory of their singing in his melodies. movement being the hands and their lateral movements across the keyboard. His right foot rested on the sustaining pedal, even when not depressing it. 5 The manuscript is held in the Morgan Library, New York, and is somewhat more extensive that we are generally led to suppose. 11 Chopin bequeathed it to his friend and neighbour, the composer Charles-Valentin Alkan. It has been published by Jean-Jacques Eigeldinger (ECE, pp. 190-97). 6 MPC, pp. 10-11. HOME

This love affair with the human voice comes out especially in his nocturnes, whose inner spirit belongs to the world of opera and that style of singing we call bel canto. Consider the portamento effects in bars 18 and 20 of his Nocturne in F-sharp major, op. 15, no. 2. They have their origin not in the keyboard and the five fingers of the pianist, but in the throat and larynx of the singer. The piano is incapable of a true portamento – that Both Jenny Lind and Henrietta Sontag were famous for imperceptible gliding from one tone to another through all delivering phrases in this manner, and Chopin knew both the intermediate pitches. Chopin, imprisoned within the singers personally. For the rest, one can draw a straight line twelve notes of the chromatic scale divided equally across from this passage to the first movement of Ravel’s Piano the keyboard, nonetheless comes close to imitating one of Concerto in G major, written eighty-five years later, where the great expressive devices of the singer. And given some a similar technique is used – the French master doffing his nuanced playing on the part of the pianist, the illusion can be hat to his Polish predecessor, so to say. Note also the use of made complete. One of the best ways to prepare this passage “flutter pedaling”, the rapid changes of pedal (seven times for performance is first to sing it. Hans von Bülow’s aphorism within one bar) designed to keep clean a texture that the comes to mind: “Whoever cannot sing (whether the voice be trills might otherwise make cloudy. beautiful or unbeautiful) should not play the piano.”7 VI If it is axiomatic that all good music making begins with the voice, then all instruments should aspire to sing. That It was Chopin’s good fortune to encounter the Pleyel piano is especially hard in the case of the piano because it is a at the very moment that his genius was achieving its fullest percussion instrument whose sounds begin to decay from expression. When he first touched its keyboard, towards the the moment they are born. Ways must therefore be found end of 1831, he knew that he had found an ideal instrument. to create the illusion that the piano sings. And this is where “Pleyel’s pianos are the last word in perfection,” he wrote a deeper study of Chopin’s keyboard textures begins to pay in December of that year.8 Today what Chopin valued in a dividend. Fingering, pedaling, phrasing, nuance, agogic the instrument is much better understood. It was for him a accents, light and shade (not just between the individual treasure-chest filled with nuances of colour and dynamics notes of a melody but within the individual notes that make awaiting their release. The action was light, yet responsive to up chords as well) all play a role in the grand deception. every variation of touch. And the una corda provided further Meanwhile, it remains the case that inside every successful tone-colours at the quiet end of the spectrum.9 Chopin interpreter is a singer trying to get out. It nonetheless remains extraordinary that Chopin’s music Among the myriad ways in which Chopin connected was composed mostly for an instrument with a keyboard himself to the great singers of his time, one of the more compass of a mere six-and-a-half octaves. What a universe he striking occurs in his B major Nocturne, op. 62, no. 1. Here unfolds within the confines of those 78 notes! The seven- he finds an unusual use for the trill. This ornament had of octave keyboard was available to him, but he rarely used it.10 course been employed from time immemorial to decorate The modern concert grand has 88 notes at its disposal, some individual notes. But had it ever been used to decorate an models offering more. But Chopin’s music ignores such entire melody – except, perhaps, by the coloratura singers in bounty. “Stone walls do not a prison make/Nor iron bars the opera house? When Chopin recapitulates the Nocturne’s a cage.”11 Some such philosophy always governed Chopin’s opening theme, he recalls it in the form of a series of relationship to the keyboard. Throughout his entire output shimmering trills coiled around the notes of the melody. he rarely went beyond a keyboard with 78 notes, and we admire his inventiveness within such constraints. Unlike Liszt, Chopin had no great pupils to carry on his tradition. His most gifted student may well have been the young Hungarian prodigy Károly Filtsch. But Filtsch died when he was only fifteen years old, his promise unfulfilled. Another pupil was Karol Mikuli, who later produced his 7 BAS, part 2, p. 275. 8 CFC, vol. 2, p. 48. 9 CSP, pp. 234-35. 10 Chopin’s last piano, which was loaned to him by Camille Pleyel during the final months of his life, has a compass of 82 notes (serial number 14810). After Chopin’s death it was purchased by his Scottish pupil Jane Stirling and sent to Warsaw where it is today displayed in the Chopin Museum. Chopin composed nothing on it that made use of its wider compass. 11 Richard Lovelace was not thinking of music when he penned those perceptive lines. But their continuation – “Minds innocent and quiet take/That for an hermitage” – apply with peculiar force to Chopin. The “hermitage” of the Pleyel keyboard became for him a place in which he felt most at home. 12

own edition of Chopin’s music and left some useful personal to all who attempt to analyse it. Arthur Rubinstein put it best observations about Chopin’s playing. Nor should we overlook of all when he observed that, “when we hear Chopin’s music Adolf Gutmann, to whom the composer dedicated his it is like coming home.” And this idea of a “homeland” places C-sharp minor Scherzo, and who was present at Chopin’s Chopin’s music in a special category. While other composers bedside when Chopin died. The pupil whose playing most attract an audience, Chopin attracts a congregation. Liszt resembled that of Chopin himself, so we are told, was was not being superficial when he wrote about “the Church Princess Marcelina Czartoryska, but her elevated position of Chopin” with listeners gathered for worship. Even if we in society precluded any possibility of a public career. These dismiss such language as hyperbole, any Chopin lover will names were the exceptions. For the most part Chopin was tell you that his music moves one to a better place. It brings reduced to teaching the sons and daughters of the French constantly to mind Alfred Cortot’s beautiful aphorism: aristocracy, where wealth usually stood in inverse ratio to “Music forces Mankind to confront its nobility.” talent. The outcome might have been foreseen: Chopin’s tradition died with him. Liszt fared better. Of the four SOURCES hundred or so pupils who are known to have passed through his hands, a number of them became eminent—von Bülow, BAS Bülow, Hans von. Ausgewählte Schriften, 1850-1892. 2nd. ed. Tausig, Rosenthal, Friedheim, Lamond, and von Sauer Herausgegeben von Marie von Bülow. Leipzig, 1911. among them. And because some of them lived well into the twentieth century and made notable gramophone records, CFC Correspondance de Frédéric Chopin. 3 vols. Edited, Revised, they created a special posterity for Liszt, which gave him an and Annotated by Bronisław Sydow, with Suzanne and Denise enviable advantage over his contemporaries. Chainaye. Paris, 1953-60 VII CSP Chopin e il suono di Pleyel (Chopin and the Pleyel Sound). Villa Medici, Giulini, Italy, 2010 As we turn the pages of Chopin’s music it never fails to open up new vistas on the world of the piano, on the ECE Eigeldinger, Jean-Jacques. Chopin vu par ses élèves. 2nd ed. physical attributes of the keyboard, and on the connection Neuchâtel, 1979. of the keyboard to the human hand. And the wealth of opportunity it proffers the virtuoso is widely recognised. But HHCP Hipkins, Edith J. How Chopin Played. Impressions Collected if that were all, Chopin’s music would have no prior claim from the Diaries of the late A. J. Hipkins. London, 1937. on our attention. Lurking in the background is a question that is rarely asked but which every player has at one time or MPC Marmontel, Antoine. Les pianistes célèbres. Silhouettes et another pondered. What is it about Chopin that casts such Médaillons. 2nd. ed. Paris, 1887. a spell over us and draws us into his world? We listen to the music of Bach, Beethoven, Brahms and other composers, NFC Niecks, Frederick. Frederick Chopin as Man and Musician. with pleasure and even adoration. But the music of Chopin 3rd. ed. 2 vols. London, 1902. is different. After playing some of his Mazurkas, Chopin was once asked by a member of the audience what it was about Previously in Piano magazine, reprinted with kind permission. his music that gave it such emotional power and held the listener captive. He could not at first answer this question. Franz Liszt who was there tells us that after some reflection Chopin finally came up with the Polish word Żal, and he kept on repeating it: Żal, Żal. The term can mean “longing”, “regret”, “nostalgia”, “melancholy”, “grief”, and even a combination of these things. Chopin’s music is shot through with this inexpressible quality of Żal, familiar to all who hear it, elusive ALAN WALKER is Professor Emeritus at McMaster University, Ontario, Canada.  Before settling in North America he was on the staff of the Music Division of the British Broadcasting Corporation in London. He is the author of several books, including the definitive three- volume biography of Franz Liszt, which received the James Tait Black Memorial Prize in Biography and the Royal Philharmonic Society Book Award. Dr. Walker is a Fellow of the Royal Society of Canada and was awarded the Knight’s Cross of Merit of the Republic of Hungary. He has published more than a hundred scholarly articles in music journals across the years, and is the author of the entry on Franz Liszt in The New Grove Dictionary of Music and Musicians. His latest book is Fryderyk Chopin: a Life and Times, from which the above article has been drawn. HOME 13

“250 Piano Pieces for Beethoven” An amazing project by Susanne Kessel Report by Nadia Lasserson excited by the idea and wanted to be a part of this great work in progress. More than 100 even travelled from Taiwan, The entire music world had prepared Beethoven Australia, USA and Europe to hear Susanne’s concerts and Celebrations for 2020 in anticipation of the 250th meet fellow composers in this terrific festival atmosphere Anniversary of the great man and then COVID that developed throughout the seven years. Sometimes, there struck, leaving everyone devastated and with all planned were over 20 composers at one concert (pictured below). concerts cancelled overnight. Germany decided to extend the Anniversary celebrations for a further year until September Over the years, the scheme escalated into a major 2021, the month of the Annual Beethoven Celebration which happening in Germany, with 50–100 works performed and was started by Liszt in 1845. published each year. Last year, 2020 saw the tenth and final Many concert organisers began planning a few years ahead volume in print and audiences so sad once it was over, they but one, pianist Susanne Kessel, began her planning in 2013 were clamouring for more. Susanne had given over 200 allowing herself seven years to achieve her goal. To celebrate recitals to perform each work, paced over seven years, having Beethoven, Susanne began by reaching out to 50 composer decided against the idea of attempting to play the complete friends of hers to write a piece inspired by Beethoven’s works in one long day, with the 250 works shared out theme which was not to exceed the length of a Beethoven Bagatelle. The composers were given total freedom of style or genre and no fee was offered but a premiere performance by Susanne Kessel and publication in a sheet music edition were promised. 50 contemporary compositions were soon born and published in the first and second volume of the series. Once armed with ammunition, Susanne was then able to explore further into the contemporary music scene and approached many well-known composers from all walks of life, different cultural backgrounds and corners of the globe. The final count was 250 composers from 47 countries with an incredible musical mix from the worlds of music theatre, academic contemporary, film music (including Hollywood), jazz and pop. Every composer who was approached became 14

Dennis Kuhn (CH/DE) – Ludwig’s harp ; David Graham (DE) – Two footnotes ; Nickos Harizanos (GR) – To B ; Boris Kosak (DE) – Karneval in der Bonngasse ; Dom Aiken (US) – Immortal Beloved ; Leander Ruprecht (DE) – Sonata in D minor / (2nd-version) ; Demetrius Spaneas (US) – déchirant ; Marcus Schinkel (DE) – Sturm und Klang ; Stefan Thomas (DE) – Bagatelle mit cis ; Johannes Quint (DE) – Ein Akkord aus Beetho- vens Sonate op. 101 ; Joan Huang (CN/US) – A Flowing Brook in Yunnan ; Alex Shapiro (US) – Chord history ; Nikolas Sideris (GR) – „O ihr Menschen“ ; Dietmar Bonnen (DE) – Rote Beete ; Arni Egilsson (IS/US) – Respectfully ; Frank Zabel (DE) – Mashup – Elise in Warschau ; Moritz yEogugretritm(DeE;)H–eHlmämumt Zeerkrlleavttie(rDXEX) V––MAobowneiinchCusnhga(rHpomminmoarg;eAàliBNee. tAhsokvienn()D;EH) a–u7kMuroTmóemnatessaouns (1I1S1) –; UBertsoenl Q; Wuiinlltia(DmE)K–raBfitst(UdSu) –taAubm?o;mWeanltteorf Zimmermann (DE) – Groll & Dank ; Bernfried E.G. Pröve (DE) – Paintings for Ludwig van ; Gisle Kverndokk (NO) – “Gott! Welch’ Dunkel hier!“ ; Roger Hanschel (DE) – Plucking in estimated fields ; Bernd Hänschke (DE) – Bagatelle – für Beethoven ; Markus Schimpp (DE) – Ludwig at the silent movies ; Olav Anton Thommessen (NO) – BEETHroot. A meditation on op. 111 ; York Höller (DE) – Weit entfernt und doch so nah ; Charlotte Seither (DE) – Left Luggage. For Ludwig van B ; Ratko Delorko (DE) – Bagatelle ; Georg Nussbaumer (AT) – Beethoven durchquert die No.2 in G-Dur ; Gershon Kingsley (US) – Beethoviana ; William Kinderman (US) – Bee[t]h[ov]e[n] ; Stefan Cassomenos (AU) – Twilight in BKorönlnl (;DBEa)r–ryWLi.eRinosThratoum(UeSs/DWEi)r–re2n5;0M25ik0ethHsetort2in5g0t(hD;EJ)o–hCahnonreasl fPüfrlüdgieerB(rDuEd)e–rsDcherafetr;nTsoterbBelinckM; JaeidwDalidst(lDerE)(U–SA) v–vBenirttohd; aMyiBkaegGataerlsleon; G(UeoS)rg– Pathétique Variations ; Lars Werdenberg (CH) – Il Rain (Der Rhein) ; Harald Muenz (DE) – Beethovenamstück ; Klaus Runze (DE) – Echo für Klavier ; Markus Reuter (DE) – His Last Decade ; Steffen Schorn (DE) – The Mad Code ; Robert HP Platz (DE) – Kessel ; Knut Vaage (NO) – 2nd Movement Meditation ; Claudio Puntin (CH/DE) – Left ; Ivo van Emmerik (NL) – Wiesengrund ; Keith Perreur-Lloyd (UK/FR) – Loss ; Mateo Soto (ES) – Bagatelle ; Adrienne Albert (US) – Homage to B7 ; Martin Christoph Redel (DE) – Begegnung. Rheinische Bagatelle für Klavier ; Chao-Ming Tung (TW/DE) – Beten und Hoffen ; Valentin Ruckebier (DE) – ReLudium ; Erik Janson (DE) – Felix sit dies natalis – meinem Idol Ludwig zum 250. ; Samuel Penderbayne (AU/DE) – Thank you for the struggle ; Wolfgang Müller (DE) – Schweine. Fingerübungen für Musik und Gebärdensprache ; Albena Petrovic-Vratchanska (BG/LX) Moonlight (BG/LU) – ; Justin Lépany (FR/DE) – Le Cosmogoniste ; Sidney Cor- bett (US/DE) – »... ma non troppo e molto cantabile …« ; Jaap Cramer (NL) – Für Eline ; Christoph Theiler (AT) – Ludwigs Flügel ; Peter Knell (US) – Interlude (Homage to Beethoven) ; Matteo Bertolina (IT) – B-E Bagatella ecatombea (from WoO56) ; Kai Schumacher (DE) – A little moonlight music ; Keith Burstein (UK) – Momento for Beethoven ; Gene Pritsker (RU/US) – Progression ; Ulrike Haage (DE) – Unheard and unattended ; Julian Lembke (DE/FR) – “…wir irren allesamt …?” ; Vincent Royer (FR/DE) – »Es träumt …« ; David Philip Hefti (CH/DE) – Resonan- zen II ; Siegfried Kutterer (CH) – Different things in five ; Peter Wittrich (DE) – Die Wut über die verlorene Bagatelle ; Louis Sauter (US/FR) – Tristan im Mondschein ; Adrian Gagiu (RO) – Große Bagatelle ; Shigeru Kann-no (JP) – Mini-Work XXXX for piano WVE-348 ; Dave Gross (US) s–cEhleisine DunadncSintegrnoennIgcela;nHz a; HkaenrnUálnusQ(uDiEn/tTeRl)a–(AARla)q–IEIt;eBrnairdbaadr;aAHnedlrleeras(DWE)a–gCniearo,(DLEu)d–wLigo!se; DBolähtutenr ;LEedei(nKoR/KDrEi)e–geNrä(cBhRt)li–chMesonGdesscphreäicnh-C- hMaocnodn-- ne ; Stephen Cohn (US) – The Beat Goes On ; Mark Rayen Candasamy (NO) – Besessenheit ; Markus Karas (DE) – Mass-Memories ; Martin Tchiba (HU/DE) – Beethoven – directions ; Otfried Büsing (DE) – trentaquattro / ohne Diabelli ; Allan Crossman (US) – Fantasie 250 ; Albrecht Maurer (DE) – So nah ; Bjorn Howard Kruse (UK/NO) – Erinnerung ; Jan Kopp (DE) – Ahnen ; Michail Travlos (GR) – In memoriam Beethoven ; Wilfried Maria Danner (DE) – drawing tunes … - upgraded, reloaded ; Ruth Wiesenfeld (DE) – Notata ; Howard Blake (UK) – Briedel Les Vaches 2017 (2) ; Robert Oetomo (ID/AU) – For Allyce ; Leon Gurvitch (BY/DE) – Ludwig, wann? ; Hans-Henning Ginzel (DE) – An die Hoffnung ; Matt ;HWeroslkfgoawnitgzF(UuSh)r–(DTaE)n–go1-3T1oc;cAalteaxoannFdürroEsliGseeo; rPgieiarrdeisT(hGiRll)o–yW(FRid)m–uLn. vgaannBe.i;nKehnaTditjaanZ;eByrnuacloevBaro(AuZg/DhEt)o–nI(nUmS)e–mKoarnianmst LDuudmwiigchvannocBheehtöhroevne?n; Alois Bröder (DE) – … con brio ; Jan Mannee (NL) – Für … ; Friedrich Jaecker (DE) – 110 ; Johannes Schropp (DE) – vervorstellung.imitat ; Christian Wolff (US) – Short Beethoven Piece ; Koki Fujimoto (JP) – Happy Birthday, Lüdobichi !! ; Carol Worthey (US) – The Last Thunderstorm ; Damian Scholl (DE) – Mondschein-Widerschein – quasi una fantasia ; Domenico Melchiorre (CH) – Backstage ; Gwyn P–riBtochnnaGrdas(UseK)T–wBenagtya-; telle ; Gonzalo Gimenez (AR/NL) – Presto con fuoco ; Simona Simonini (IT) – Capriccio appassionato ; Bil Smith (US) Georg Gräwe (DE) – Behauptung und Nachtrag X ; Elias Jurgschat (DE) – an-denken ; Sandeep Bhagwati (IN/CN) – …diabellissimo.. ; Wolf- gang Niedecken (DE) – Kyrie eleison ; Jan Erik Mikalsen (NO) – Will they like Beethoven? ; Alberto Jacopucci (IT) – Sechs kleine Bagatellen im Namen Beethovens ; Bujor Hoinic (RO/TR) – Frühlingsgedanken ; Michael Habermann (FR/US) – Bagatelle with Beethoven ; Ernst Bechert (DE) – Alle Schlüsse ; Michael Schelle (US) – Alberti Bombardier ; Alexander Tonikjan (AM) – Gefühlspalette ; Gilead Mishory (IL/DE) – An die ferne Schwester ; Julius von Lorentz (DE) – Unsterbliche Geliebte ; Katarzyna Kwiecien-Dlugosz (PL) – Asking Wolfgang ; Anthony Whittaker (UK) ;–JMohicarno-nSeosnKat.inHail;dDeibarnaanGdth(eDoEr)g–iust(üRrOm) –iscNho;eMscaatptehferwomMDaessotniny(U;SC)o–eHneSiclihgeennskta(NdLt)E–chDoan; kMgaerskanugs ;WS.uKsaronpnpe (KDeEs)s–elB(eDeEt)h–oÜvebne‘srmMSinteimrnaelniszmelt; John E. ZammitPace (MT) – Day of the Moon ; Ady Cohen (IL) – Sonata in F? ; Juri Dadiani (GE/DE) – Nocturne ; Christoph Maria Wagner (DE) – RemiX XIII ; Silvio Foretic (HR) – (diese) Töne ; Julián Quintero Silva (EC) – Vier Klavierstücke ; Miho Sasaki (JP/US) – Sanshisuimei ; Oliver Drechsel (DE) – Dreaming of E. ; Hans-Günter Heumann (DE) – Modern Elise ; Francisco Alvarado Becherrechea (CL/FR) cli cli cli tla ; Ksenija Vojisavljevic Milovanovic (AU) Flinders Walk whispers to Ludwig ; Anthony Halliday (AU) – Toccata for Susanne Kessel (Tribute to op. 111) ; Rüdiger Gönnert (DE) – Valse Brutal ; David L. Lefkowitz (US) – Bagatelle ; Albrecht Zummach (DE) – Leise Rufe ; Mark Hendriks (NL) – Un- sterbliche Geliebte ; Paul Greally (UK) – Indecision ; Ezequiel Esquenazi (AR) – Captain’s Ring ; Edward Mead (UK) – Inspired by Beethoven ; Hattie McGregor (UK) – Deterioration ; Gorka Plada-Giron (UK) – Lettres à Napoléon ; Ivan Sokolov (RU/DE) – Schicksal ; Cian O’Dwyer (UK) – Mit Freude ; Ezo Dem Sarici (TR/UK) – A Bagatelle for Beethoven ; Gregory May (UK) – Allegro Scorrevole ; Anno Schreier – (DE) – 126.4 (Stop That Machine!) ; Zhang Chi (UK) – Memories of Beethoven ; Synne Skouen (NO) – Eine kleine Meditation sul B. („… schreyt, denn Ich bin taub!“) ;(NDLa)v–idWReardikelnenM–en(UscSh)e–nNBerwüdBearg?aAtlelell?e;;TJhohomn Sa.sHBolordm(eUnSk) –amRepm(DinEi)s–ceBsaogfaBteelelethPoavtehné;tiEqduuea;rCdhIrsirsatiealnovB(rGaEn/dDeEn) –buArdgaegrio(D;EM) –iraCnaldliangDBrieeestsheon- ven ; Ryokan Yamakata (JP/DE) – 25/11 ; James Wilding (ZA) – Déjà Vu ; Ralf Hoyer (DE) – Es bleibt. (Metarmorphose 5) ; Walid Al Hajjar (SY) – In Memory of Beethoven ; Christian Banasik (DE) – „An einen unbekannten Adressaten“ ; Mogens Christensen (DK) – Rosengeburt und Flammentod ; Peter Michael v.d. Nahmer (DE/US) – Where is the Stillness ; Miklós Sugár (HU) – L.v.B. alio modo ; Martín Palmeri (AR) – Tur- kish March ; Hans-Michael Rummler (DE) – Natur-Spuren ; Carlotta Rabea Joachim (DE) – Eingeständnis ; Andreas F. Staffel (DE) – Two glasses past Midday ; Matthias S. Krüger (DE) – beben ; Alon Nechushtan (IL/US) – Nu Variations on a Swiss t(BG/LU)heme ; Anicia Kohler (DE) – Mortal Beloved ; Nikos Drelas (GR) – Woher? (Erinnerungen an den Sturm) ; Maria Jonas (DE) – Improvisation ; Enjott Schneider (DE) – Des- pair & Longing ; Xavier Beteta (GT/US) – Sur Elise ; Horst-Hans Bäcker (RO) – Fantasie über Ludwig van Beethoven ; Gregor Schwellenbach (DE) – Dolce ; Nino Tiro (PH) – Phantasie für Ludwig ; Heinz-Dieter Willke (DE) – Allegro agitato ; Dorothea Hofmann (DE) – „… nach dem Sturm“ ; Martin Gerke (DE) – Séance mit Ludwig ; Mist Thorkellsdottir (IS/US) – A Wink at Beethoven ; Bente Leiknes Thorsen (NO) – Who Wdoaydodulew(aUnSt) t–oTbhee?V;aAmlepxiraen;dVriaoKlelteainD(iDnEe)s–cuBe(ReOth/DoEv)e–ns1L0o9c.2ke; D–aBmonirnS(ee)rtBi.ć;(PHeRt/DerE)M–i„cJhuasterleHadamShealk(eDsEp) e–aFrree’suTdeemfüpresBte“eotrh„oEvreon[t;]iPcaau“ l; AKretlelamchy Mukhin (US) – Defiance ; Paul Terse (US/DE) – Impromptu Fantasy ; Aaron Tyutyunik (US) – Sunrise. A tribute to Beethoven ; Mack Scocca-Ho (US) – Conversation ; Juan María Solare (AR/DE) – Heiligenstadt oder der Rand des Abgrunds ; Kubilay Uner (DE/US) – Neumen ; Fried Bauer (DE) – Echoes from Beethoven ; Martha Gottschalck (DE) – Gegen den Strom ; Christian Benjamin Thiesen (DE) – Beethovens Traum ; Martin Wistinghausen (DE) – außenwärts ; Hermann Dechant (AT/DE) – Beethoven, eingekesselt ; Klarenz Barlow (IN) – 47 estratti da un vicolo ludo- filo ; Gustavo Maulella (AR) – Die ewige Nacht ; Matthias Höhn (DE) – Sag mir Mando… ; Konrad Lang (DE) – Perdendo le forze, dolente ; Jo- hannes S. Sistermanns (DE) – Kleine Sekunde ; Nicolaus A. Huber (DE) – Ludwigs Lust ; Berthold Wicke (DE) – Das Mädchen aus der Fremde ; Age Veeroos (EE) – Imaginäre Sonate op. 53 ; Manuel Lipstein (DE) – eigengrau 17 ; Andreas Woyke (DE/AT) – 127/27/2 Byroad ; Benedikt Jahnel (DE) – Prolegomenon ; Johannes X Schachtner (DE) – MADEAM ; Daniel Elias Brenner (DE) – Ein Tusch zum Geburtstag ; Eberhard Kranemann (DE) – Beethoven - Panpsychism ; Thurídur Jónsdóttir (IS) – Eine Bagatelle ; Sascha Dragićević (DE) – 20 b ; Marco Molteni (IT) E–pfpoulirosui nsudoicnia(Bilasgilaetnezlliao u; HndelEmleugtiha Ffülarmihmn)e;rD(DaEm) –ia„nMTu.ßDezsiwseisin(?P,Lj/aDeEs) m– u..ß. asnedin“th;eJyohlinveAdlthmapapnil(yUeKv) e–rMafetdeirta(2ti0o2n0;)A;nOdsrceaarsvHaenrkDeilnlerant(hN(LD)E–) – Nur wer sie kennt … ; Oxana Omelchuk (BY/DE) – Grattage II / Versuch über Beethoven ; Alexej Aigui (RU) – Razumovsky ; Jörg-Peter Mitt- mann (DE) – Umwölkter Strahl ; Ralf Soiron (DE) – Tetrachord I (aus: »Durch alle Harmonien«) ; Kjartan Ólafsson (IS) – TwoTimes ; Smail Benhouhou (DZ/DE) – Perpetuum Mobile ; Marc Aurel Floros – Transmission ; Atli Ingólfsson (IS) – atloid 104: lascito ; Vito Palumbo – (IT) – bonn bagatella ; Fabian Müller (DE) – Intermezzo ; David Claman (US) – दो सौ पचास सा - do sau pachaas (250) ; Odeya Nini (US) – Shift in Tonal Centers ; Birke Bertelsmeier (DE) – Verflochten (Konversationsheft II) ; Steingrimur Rohloff – Nachklang ; Loy Wesselburg (DE) – beethoven transforming gaps ; Emanuele Savagnone (IT) – wie ein verlorener ; Sarah Nemtsov (DE) – einhundertelf ; Gerhard Stäbler (DE) – Schwarzer Wind International Composition Project by Susanne Kessel Too numerous to mention individually, here is a postcard devised by Susanne Kessel which includes all 250 composers by name. 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between several pianists. She felt it was more comely to space The complete sheet music – 10 volumes them out and allow the loyal following to come to several concerts in order better to absorb this new music and follow One last additional volume will be published in September the birthday greetings in modern style. 2021 which will consist of eighteen of the easier pieces of the project which can be studied by less advanced pianists, It took 100 sessions to record 230 of the works in teachers with younger students and also be used as encore professional studios. All the concert pieces were recorded; the pieces in recitals. only ones omitted involved mime or theatre and would not be appropriate on audio. Susanne was recording one CD after Susanne Kessel built up a gigantic website with another in this hectic time. By this summer, 2021, two new comprehensive detail for every piece and composer as well CDs will be published. All the recorded pieces are available as as a shop for the sheet music, downloads and CDs. Complete downloads on the project’s gigantic website. information about the project is also on the website. The website is one of the largest musical websites in the world, It is hard to imagine the hard work, blood, sweat and tears, consisting of over 1000 pages – a universe in itself. poring over the proofs of these compositions. Susanne was fortunate to find the London publishing house of Editions www.250-piano-pieces-for-beethoven.com Musica Ferrum who specialise in contemporary score presentation and all the hieroglyphics that are required What has this amazing project achieved, apart from in this. The ten printed volumes of sheet music ended up great professional and personal satisfaction? Many requiring four times the amount of paper as the complete Conservatoires are now teaching this repertoire to young Beethoven Sonatas. pianists, competitions are setting individual compositions as a compulsory part of programming and the contemporary music scene is now the richer by 250 works, all inspired by Beethoven in celebration of this 250th Anniversary. Most importantly, Susanne Kessel has created a colossal empire for the future. She is convinced that in 300 years, audiences, pianists and teachers will understand and relate to this – at present – new music which is all related to Beethoven. This project offers a modern view of contemporary composers of the early 21st century on the work of Beethoven. Congratulations would not be appropriate for such a mammoth undertaking which is so unique, brilliant and intelligent. It is quite clear that Susanne Kessel will go down as a key figure in the contemporary musical world of the future. 16

Debussy – the Creation of a House Museum in Villeneuve-la-Guyard (Yonne) by Nadia Lasserson Strange what can be discovered in a chance meeting on an eight-minute train journey from Victoria to Herne Hill: I was going home and heard a young mother talk to her daughter in French so I joined in the conversation. On discovering that I was involved in piano playing  and teaching, she told me about her mother, Marie-Jeanne Baeli, a pianist and teacher who  lives in Bichain and is one of the key instigators in the Debussy project described below. with God’s help, he hoped to complete with a larger room for concerts and “La Mer” by the time he would return masterclasses. Another section will be to Paris. He explained that the total an exhibition area with letters, photos, inspiration came from the various scores and archive material relating to trees of Bichain. his works, his life, his marital relations with Lilly, his friends and testimonials This 19th-century modest country from villagers who actually knew house is situated in a little village, Debussy and his parents-in-law. Bichain, in Villeneuve-la-Guyard Educational projects are also in place, in the northern part of the Yonne in order to attract the greatest number region of France. It is being restored of visitors of all ages to this very by the community, with the aid of the special, hitherto unknown, venue. The Heritage Foundation, to relive fond Museum will be registered as part of a memories when Claude Debussy spent tour of the different cultural places in three summers there at the turn of the the region: Château de Fontainebleau, 20th century and where he found solace Atelier Rosa Bonheur, Musée Stéphane and the inspiration to compose some Mallarmé and Maison Colette. of his major works. Debussy went there with his wife, Lilly, whose parents www.debussyabichain.com resided in Bichain, and she often stayed there while Claude returned to Paris. She Cover of the score of \"La Mer\" Debussy with his wife Lilly in Bichain, 1901 had a weak constitution and needed the 17 fresh country air for health reasons. He shared his love of nature with his artistic friends in the prolific world of The locals of Bichain found him poets and artists of the day: Mallarmé, an unusual type of city person and Satie, Degas, Redon as well as with the somewhat Bohemian who spent his Impressionists and Symbolists such as holidays amongst peasants, country Maurice Denis or Hokusai. folk, farm labourers and builders. He described the rustling of the wheat as The plan is to turn the house into sounding like the sea. In 1903, Debussy a Debussy Museum in the next few wrote to Durand, the publisher, that, years to preserve the memory of the composer’s holidays there. One HOME part of the museum will include the rooms in which the couple sojourned,

Mussorgsky: PART TWO Kat Perdikomati continues her reappraisal and overview An element of irony and Viktor Hartmann (1834–1873): Plan for a City Gate in Kiev. ambiguity permeates the suite. Additionally, the human realm and achieve immortality existence, of life with its many changes juxtaposition of a multitude of genres as she crosses The Great Gate of Kiev. of fortune: ‘Speak to me now, Muse, of that (serenade, scherzino, toccata) with What other composers and artists ingenious man who wandered far and wide..’.8 an all-prevailing sombre undertone considered a thematical taboo, injects dramatic contrast: beauty and Mussorgsky embraced. The ‘unhappiness The first chapter brings us to Gnomus, death; wealth and destitution; romance and unendurable misery’4 of regular people a fantastical gnome on crooked little and separation. Pictures has it all.1 It was became inspiration and mantra. legs. This is Mussorgsky’s take on exactly this attitude towards art and Hartmann’s original drawing (now expression of the complexities of life The composer confessed himself extant) of a nutcracker he designed that permeated Mussorgsky’s works satisfied with the end product, for the Christmas tree at the Artists’ and positioned him at odd with the especially the Promenades,5 the Club in 1869.9 Our hero is still a child musical establishment of his time.2 humorous intermezzi which depict at play, but the sinister shrieks of the ‘The endless stream of meanings’ is what him straying from picture to picture, gnome leave a sore impression on gives Mussorgsky’s output its unique part joyfully part melancholically, his her innocent mind. Is the gnome all cultural value. They forever attract new own physiognomy’6 peeping out. Not bad? Or is he trying to warn us away questions, to which new answers are only do we see the composer taking from future troubles? Perhaps what we offered.3 Similarly, Pictures can be read in the exhibition in the Promenades, witness after all is a metaphor for the on many levels: it can be viewed as an but we also witness the content of the passing from childhood to the angst- allegory on the journey of life towards pictures commemorated, as well as ridden years of adolescence, where death; the first half of the suite being watch the pianist create music at the one’s character is drastically reshaped; the adventurous, youthful spirit of a piano.7 In them one can almost hear the possibilities are endless. The person as she witnesses life-altering this introduction to the voyage of listener is left to decide for themselves events. From the routine of hard work we encounter in Bydlo, to the frivolity of childhood in the garden of Tuileries and the disappointment of lost love in The Castle, we are led to the dark second half where she faces head-on mortality for the first time in Catacombs and battles with the Devil in Baba-Yaga, eventually to transcend the 1 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 239. 2 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 244. 3 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 397-398. 4 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 282-283. 5 Orlova, A., Mussorgsky’s Days and Works: A biography in documents, 416. Evidence of this is Mussorgsky’s private correspondence to Stasov, where he discusses the process of composing Pictures. 6 von Riesemann, Moussorgsky 291. 7 Emerson, C., The life of Musorgsky, 113. 8 Homer, Odyssey, ed. E. V. Rieu (Penguin Classics, 2003), p. 3. Translation of opening line adapted by the author of this paper. 9 Russ, M., Musorgsky: Pictures at an Exhibition, 36. 18

whether to approach this creature with one can almost dimensional cosmos. more compassion and sympathy than hear this The composer provides some comic a sense of horror.10 The duality of light introduction and darkness is striking and sets the to the voyage relief with the next scene, a much- mood for what is to follow. of existence, needed respite. In 1871, Hartmann of life with its designed the costumes for Serov’s Tranquillity and peace are restored many changes ballet Trilbi choreographed by Marius in Il Vecchio Castello which begins with of fortune Petipa; one of the costume designs a melody similar to Serenade from Songs inspired Mussorgsky’s Ballet of the and Dances of Death, a serenade being an musically of their endless mocking and Unhatched Chicks. Hartmann’s designs emotive composition to be sung under bickering in the gardens. Capitalising of ‘canary-chicks enclosed in eggs a lady’s window.11 It was Hartmann on the gold-mine he had already as in suits of armour’ are perfectly whose painting of an old Italian castle struck with The Nursery, Mussorgsky set to music, with the composition had suggested the size of the building provides another glimpse into the imitating the chicks as they tap to along with a troubadour singing world of innocence.15 break their shells and hatch with a accompanied by a lute. His intentions shriek.17 The piece is playful, light- were honoured by Mussorgsky The ensuing Bydlo is heavy, dragging hearted, fun – an oasis in the middle of who composed a sustained moonlit and enigmatic. One could easily a hard-wired cycle threading together serenade.12 The atmosphere is dark imagine country-men at work, a huge matters pertinent to life and death. and brooding. A typically heartbroken cart pulled by oxen. There’s no picture Our traveller-hero is stationary at this adolescent’s mood, the pathos of for this number either and Mussorgsky junction in his Odyssey, only to set a lover scorned. Mussorgsky later wrote to Stasov, ‘Right between the eyes off in his travels shortly after having revisited the theme employed here in refuelled for the journey ahead. Even his Songs and Dances of Death, to depict “Sandomirzsko bydlo” (le télègue) [the heroes require rest after all. death appearing as a lover to claim an cart]… this then is between us.” This invalid girl.13 scene can be viewed as a depiction of It is not curious that we find a people hard at work, the burden of scene inspired by Judaica in Pictures, In Pictures we see a number of making a living depriving them of joy as Mussorgsky was open to drawing scenes showcasing life in France, a and spontaneity. Aesopian allegory inspiration from all walks of life, country special to Hartmann. In fact, was another Mussorgskian feature of treating no subject as unworthy to the first half of the piano suite (as the late period, whereby ideas and artistic representation. His influence also happened to be the case with the criticism could be communicated for the 1877 choral work Joshua were exhibition itself ) comprises solely of in hidden, didactic form.16 Could songs he had overheard sung by his scenes from everyday life on streets this draw a parallel directly linking Jewish neighbours, as Stasov and and in churches, ‘of workers in smocks, us to Mussorgsky’s aversion for his Rimsky-Korsakov attest.18 What day job, which dragged him down captured Mussorgsky’s imagination landscapes with scenic ruins, Jews smiling and was thought of as an obstacle to was ‘their virility and aggressive from under their skull-caps’.14 his artistic development? We know nationalism’.19 While on tour in Odessa, how disillusioned the composer he attended a synagogue and was In Tuileries, we zoom in on children was with his employment. Or could enthralled: ‘I shall never forget these!’ he playing in the eponymous gardens; we it be a sardonic commentary on remarked and went on to note down witness how masterly Mussorgsky’s how humankind are pulled by fate, Greek and Jewish songs. ‘The Jews leap representation of children’s cosmos powerless to resist, towards their is. The atmosphere is lighter here. The inevitable death? No assumption is with joy when they hear their own music, composer had always loved children far-fetched in Mussorgsky’s multi- their eyes shine!’ he commented; his and enjoyed spending time observing appreciation is also apparent in Pictures’ and playing with them; children Samuel Goldenberg und Schmüyle, which loved him back. It is, therefore, to be ends the first part of the suite. The expected that he would have such a caption, entered in Mussorgsky’s hand, gift for setting to music their play-time can be found in the autograph, yet it activities, casting a sympathetic eye on does not appear in Stasov’s records nor their world of capricious alternation in the Urtext – it did make it to first of emotions. We experience pictorially Bessel publication, however. what Mussorgsky chooses to capture 10 Russ, M., Musorgsky: Pictures at an Exhibition, 37. 19 11 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 241. 12 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 247. 13 Russ, M., Musorgsky: Pictures at an Exhibition, 38. 14 Orlova, A., Mussorgsky’s Days and Works: A biography in documents, 387. 15 Zetlin, M. and Panin, G. (ed), The Five: The Evolution of the Russian School of Music, 157-158. 16 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 280-281. 17 Russ, M., Musorgsky: Pictures at an Exhibition, 41-42. 18 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 85-89. 19 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 382. HOME

Mussorgsky was never fully consumed by religion and continued to represent a thinking person’s no- man’s-land with his oscillating beliefs and fluid artistic credo. Viktor Hartmann (1834–1873): The Hut on Fowlʼs Legs (1870) It is often assumed that Hartmann of the composer, and was adopted by Mussorgsky, along with most of his had presented Mussorgsky with a Pavel Lamm in his critical edition of contemporaries, was open about his drawing of two Jewish men, which Pictures, at which point Mussorgsky’s anti-Semitic tendencies.21 he cherished. The original title of the original title was dropped. The music piece is rarely transcribed correctly: vignette Mussorgsky subsequently Before we dive into the headily “ ‘Samuel’ Goldenburg and ‘Schmuÿle’ ”. composed is of apparent Judaic murky waters of the second half of The quotation marks indicate that topic and employs oriental motifs Pictures, let us make a brief sojourn the two characters are actually one. of restraint and taste. The pompous in West-Central France, where Mussorgsky’s musical portrayal is pure introduction is clearly depicting the Mussorgsky’s Odyssey stops over next. satire: despite the dignified exterior, rich Jew whereas the repeated staccato The technically challenging toccata/ a Jew remains a pestering little supplications are representing the scherzino The Gossipers at Limoges Schmuÿle deep down. The re-touched poor subordinate, before the two are depicts the busy marketplace in the title of ‘Two Jews: rich and poor” was superimposed in a climax of ingenious French town of Limoges, where old first encountered in Stasov’s obituary inception.20 It is worth noting that women are quarrelling publicly.22 In this scene, where the hustle and bustle 20 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 92-94. 21 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 383. 22 Russ, M., Musorgsky: Pictures at an Exhibition, 44-45. 20

of a fair comes alive boisterously, life Mussorgsky wrote to Stasov in attitude towards the composition is worth living if only to interact with impassioned language proclaiming that process echoes that of Pictures’. He social networks and partake in the only fools would say that the deceased wrote of how it was ‘boiling’ in his casual, everyday gossip. The travelling doesn’t exist any more. Hartmann had artistic mind. The subject matter for hero finds refuge in simplicity before succeeded in creating, Mussorgsky both works was broadly the same: the pressing on with more important said, and therefore lives on.30 We find witches’ Sabbath scene morphs into matters. this mood to be prevailing in the Baba Yaga, one of the most distinctive second half of Pictures in stark contrast figures in Russian folklore: an old Pictures belongs to the third phase of from the first part’s compositions. The bony witch who resides in a cottage Mussorgsky’s career, a phase marked second half of the suite also happens standing on fowl’s legs. Both musical by an obsessive pre-occupation with to be linked to the second half of the portraits conclude with the tolling death and loss, mysticism and religion exhibition, which had architecture at of bells which signals the dispersing and the renouncement of music as its centre. of evil spirits.34 We can hear the conversation with people in favour of influence of Liszt’s Danse Macabre, introspection.23 This was not the first Stasov reported to Rimsky-Korsakov a composition which had made a time that Mussorgsky was occupied by upon the completion of Pictures in profound impression on Mussorgsky existential questions of immortality and early July 1874: he praised the second upon hearing it in 1866. the meaning of life despite his cynical half of the suite, speaking of the poetry views on religion and God.24 Through of the dense orchestral chords in the The composition is based on his letters to Balakirev, we learn how somber Catacombs, which give their Hartmann’s image of a clock in the engrossed he was on the ‘condition of place to the first Promenade theme shape of Baba Yaga’s ‘Hut on Hen’s Legs’. soul after death’.25 In 1859 he wrote to over a minor tremolo, just like the Mussorgsky revels in the idea of the Balakirev about ‘his mystical thoughts about glimmering of little lights in the evil witch that lives deep in the woods the Deity’.26 It should be said, however, skulls, in Speaking with the Dead. Here, and feeds off children, covering her that Mussorgsky was never fully we re-visit the cavernous underground tracks by grinding their bones in her consumed by religion and continued to of Paris in which Hartmann had giant mortar and pestle.35 The piece represent a thinking person’s no-man’s- captured himself, a friend and a guide is powerful and percussive, with a land with his oscillating beliefs and carrying a lantern. The second part of quasi-supernatural energy and pulse fluid artistic credo.27 Pictures concludes with the demonic to it. It is fiendishly difficult to play, fierceness of Baba Yaga and at last, the leaving the pianist gasping for air. It was blatantly apparent that popular church melodic line of ‘As you Our protagonist would have felt the Mussorgsky was stigmatised by the are Baptised in Christ’ in the Great Gate same battling against the forces of evil: death of his mother, his closest friends of Kiev.31 The use of religious material is overpowered and clearly overwhelmed, and his own battle with alcoholism unsurprising considering Mussorgsky’s against a force larger than life itself. and frail nerves. Loss made him better contact with liturgical music during comprehend the ambiguously complex his formative year at Cadet School.32 The image for the final movement role death occupies in human life. in Pictures was made by Hartmann Influenced by Liszt’s Totentanz and It would be fitting to use upon his return to Russia in 1868, the dancing death of Liszt’s Dies Irae, Mussorgsky’s own words describing when he entered the Kiev city-gate Mussorgsky looked death right in the his St. John’s Night on the Bald Mountain competition announced by the Tsar to eye.28 His personal correspondence for Baba Yaga too: ‘It is harsh, barbarous commemorate his extraordinary escape when reporting on the death of from an assassination plot. Hartmann’s Hartmann left little room for doubt: and dirty... The general character of the work suddenly became intensely ‘This talentless fool of a death mows on Russian in form and ornamentation; piece is hot, it doesn’t drag, the transitions he modelled the gate on the traditional without considering whether there is any bell-tower resembling an old Slavonic necessity for his accursed visit’.29 are tight and without any German-like approach’.33 Bald Mountain took just over ten days to complete and Mussorgsky’s 23 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 237. Mussorgky’s output during the last phase consisted of an altogether different 21 kind of mood. The Sunless cycle, alongside Songs and Dances of Death and the second part of Pictures, are testaments to this shift. 24 Zetlin, M. and Panin, G. (ed), The Five: The Evolution of the Russian School of Music, 101. Mussorgsky had, as a young man, occupied his mind with metaphysical concerns which he had tried to keep at bay throughout his life. Balakirev was made aware of this and strongly disapproved. 25 Brook, D., Six Great Russian Composers – Their Lives and Works, 43. 26 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 246. He had also dabbled in the writings of French spiritualist Johann Kaspar Lavater on the subject of afterlife. 27 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 301. 28 Emerson, C., The life of Musorgsky, 127. 29 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 237. 30 Orlova, A., Mussorgsky’s Days and Works: A biography in documents, 330. 31 Orlova, A., Mussorgsky’s Days and Works: A biography in documents, 419. Rimsky-Korsakov unsurprisingly responds to Stasov less enthusiastically, not knowing what the make of The Catacombs. Mussorgsky evidently was never really understood by his peers. 32 Brook, D., Six Great Russian Composers – Their Lives and Works, 41. 33 Zetlin, M. and Panin, G. (ed), The Five: The Evolution of the Russian School of Music, 169. 34 Brook, D., Six Great Russian Composers – Their Lives and Works, 50. 35 Russ, M., Musorgsky: Pictures at an Exhibition, 47. HOME

helmet. Despite the hard work, the Alcoholism certainly contributed to Kat Perdikomati is the founder competition was cancelled and the the worsening of his condition; the and owner of Hackney-based gate remained a sketch in Hartmann’s end was quick and relatively painless.40 East London Piano (www. portfolio. It was, nevertheless, eastlondonpiano.co.uk), a considered his finest creation and is Slowly, the Western world caught up Corporate Member of EPTA UK. the inspiration behind the last image word of Mussorgsky’s name – he went She holds an MMus in Piano Mussorgsky set to music in Pictures.36 from being an esoteric composer’s Performance from Goldsmiths composer to being a major influence College at University of London In The Great Gate of Kiev or The on the greats: Claude Debussy and a Recital Diploma from the Knights’ Gate,37 the listener embarks proclaimed Mussorgsky ‘something of National Conservatoire of Athens on a journey that takes her from the a god in music’. Debussy and Stravinsky (Greece). She teaches piano to now to the beyond – the bells toll had in fact discussed Mussorgsky’s adults and children of all ages and and the metamorphosis begins. The songs and found them to represent ‘the levels and enjoys performing the soul flees the human body and blends best music of the whole Russian school’.41 classics, alongside contemporary with celestial elements, becoming classical music. Kat also has a transparent and eternal. The Gate Prokofiev was also profoundly background in Economics and feels and sounds like life flashing influenced by the composer’s aesthetic Management, with a BSc in before one’s eyes: the theme of the in opéra dialogué to the extent of seeking International and European Promenade returns and is filtered into to replicate the rhythmical nuances Economics and Politics from the the music as counterpoint to the of the Ukrainian idiom in his opera, Athens University of Economics melody. Mussorgsky, who embodies Semyon Kotko. Ravel followed suit in and Business and an MSc in the Promenades, has now flown where affirming Mussorgsky as a major Management from the London there is no return. The trance-like state influence in Le Figaro in 1911.42 School of Economics. of Catacombs has morphed into ecstasy and, ultimately, apotheosis. Death for Despite the butchering that his work Mussorgsky was of changeable nature underwent initially by his entourage and had transformative powers; dying through the various re-touches, edits is an outlet, leading ultimately to and corrections, Mussorgsky’s place redemption in a new realm.38 in the pantheon of music history has now been restored and cemented, with A month after completing Pictures, the original compositions performed Mussorgsky indicated on the cover unadulterated on the world stage. of the autograph that it was ready Deliverance is complete. for publication, however there’s no evidence to suggest that any publisher had shown interest in it. Bessel & Co only acquired the rights to the composer’s unpublished works after Mussorgsky’s death, without paying a fee. It wasn’t until Ravel’s orchestration in 1922 that the original version was restored.39 Mussorgsky died at 43, at the peak of his talent, destitute, homeless and alone. In the period prior to his demise, he was living a hand-to-mouth existence and had no living quarters of his own. He relied solely on the kindness of his social circle to survive. 36 Russ, M., Musorgsky: Pictures at an Exhibition, 48. 37 Orlova, A., Mussorgsky’s Days and Works: A biography in documents, 387. We find here a details description of Hartmann’s The Great Gate of Kiev: the low arch of the gate is supported by columns half sunk into the ground, which echoes ancient times. A gigantic, wooden kokoshnik (= old woman’s headdress) crowns the arch, which is covered by etched and painted on Russian patterns. The bell tower is made of bricks, which also bear Russian patterns and figures. An ancient Slavic war helmet adorns the top of the tower. 38 Emerson, C., The life of Musorgsky, 113. 39 Emerson, C., The life of Musorgsky, 123. 40 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 316. 41 Brown, M. H. (ed), Musorgsky In Memoriam 1881-1981, 5-6. 42 Taruskin, R., Musorgsky: Eight Essays and an Epilogue, 95. 22

BIBLIOGRAPHY Homer, E. V. Rieu (ed), Odyssey (Penguin Classics, 2003). Abraham, G., Studies in Russian Music Orlova, A., Mussorgsky’s Days and Works, A biography in documents (London: William Reeves, 1935). (Michigan: UMI Research Press, 1983). Brown, D., Musorgsky: His Life and Works Orlova, A (ed), Musorgsky Remembered (Oxford University Press, 2010). (Indiana University Press, 1991). Brook, D., Six Great Russian Composers – their lives and works von Riesemann, O., and P. England (trans), Moussorgsky (London: Rockliff, Salisbury Square, 1947). (New York: Tudor Publishing, 1935). Brown, M. H., (ed.) Musorgsky, In Memoriam 1881-1981 Russ, M., Musorgsky: Pictures at an Exhibition (Ann Arbor, Michigan: UMI University Press, 1982). (Cambridge University Press, 1992). Calvocoressi, M. D., The Master Musicians: Mussorgsky Taruskin, R., Musorgsky: Eight Essays and an Epilogue (London: J. M. Dent & Sons Ltd, 1946). (Princeton University Press, 1993). Emerson, C., The life of Musorgsky Walsh, S., Musorgsky and His Circle: A Russian Musical Adventure (Cambridge University Press, 1999). (London: Faber and Faber, 2013). Grier, J., The Critical Editing of Music: History, Method and Practice Zetlin, M., and G. Panin (trans. & ed.), The Five: The Evolution of the (Cambridge University Press, 1996). Russian School of Music (New York: International Universities Press, 1959). Herbert, T., Music in Words: A Guide to Research and Writing about Music (ABRSM, 2001). THE FRANCES CLARK CENTER ONLINE TEACHER EDUCATION COURSES & MICROCOURSES A THE THE UNSUNG PIANIST’S GUIDE INCLUSIVE BEGINNER HEROES IN TEACHING COURSE TO TEACHING PIANO ONLINE COURSE Establishing Strong PEDAGOGY Foundations Teaching Piano to Students 20 Pieces by Black who are for Young Pianists Composers to Use in Your Studio Now Special Learners Exclusive discount for Piano Magazine subscribers. TO LEARN MORE VISIT CLAVIERCOMPANION.COM/COURSES. May not be combined with any other offer HOME 23

Is There One Let Me Think About That - detail Correct Piano Pastel by Barbara Lister-Sink Technique? Yes, but... by Barbara Lister-Sink, Ed.D. “…one can only be free if the essential technique of one’s art has Fortunately, other viewpoints on technique differed been completely mastered.” Nadia Boulanger, 19581 drastically from Bacon’s. As early as 1936, pianist Arnold Schultz reflected the attitude of a growing number of dedicated It is difficult to argue with one of the greatest teachers piano pedagogues such as Tobias Matthay, Thomas Fielden and of the 20th century. But like so many bold, profound Otto Ortmann –and later József Gát and George Kochevitsky, statements, what does it actually mean? We have to make György Sándor, Dorothy Taubman and Carola Grindea, certain assumptions about “free” and “mastery”. For now, let among others.3 Schultz believed unequivocally in the need to us assume that “free” means the ability to focus exclusively on understand the science of piano playing. He eloquently sums the musical product. But what does “mastery” mean? Does it up this rebuttal to the attitude expressed by Bacon: mean the ability to play all the notes accurately, in time, and expressively? Or was Boulanger referring to a certain specific “The general hostility of method derives much of its vitality… definition of technique involving how we use our body to play, as well as what we play? This question needs to be answered. from a half-conscious and almost universal suspicion that there is As yet it has not been, either by Boulanger’s statement, or by the piano world today. a fundamental incompatibility between a mind interested in the Let us look at another attitude about the study of technique, written less than 50 years ago by a respected mechanical phases of playing and a mind filled with what is loosely American composer and pianist who was the recipient of both Guggenheim and Pulitzer awards. known as musical temperament. There is a fear…that a persistent use of “Learned books have been written on the physical aspects of the reasoning mind in reference to the objective phenomena of technique playing…all of them rewarding to whomsoever is given to probing into results finally in the deterioration and atrophy of the subjective emotions anatomy, physiology, neurology, and the mechanics of the arm and hand, upon which the interpreter’s art depends…It is one thing to say that as they affect piano technique. But while they may stimulate and satisfy scientific curiosity is vastly different from subjective sensibility, and “scientific” curiosity, they help the student of piano no more than would quite another to imply that an extreme curiosity and an abundant an analysis of the larynx, the lungs, the diaphragm, and the sinuses, sensibility cannot coexist in the same personality.” Arnold Schultz, The Riddle of the Pianist’s Finger, 19363 help the singer to sing. In aiming to enlighten, too much mechanical Scientific Understanding vs. Artistic Sensibility: Either/Or or self-knowledge mostly confuses. Piano playing will never be a science. Both/And? If it were, it would cease to be an art.” These quotes are from the mid-20th century. But in my Ernst Bacon, Notes on the Piano, 19632 experience, they continue to represent the two opposing Nowadays such a blatantly antagonistic attitude toward perspectives of pianists: At one end is the opinion that scientific inquiry into technique seems outrageously piano technique is a skill that can be scientifically analysed, uninformed. However, in my experience as a teacher and quantified and taught; the other opinion is that teaching performer over the last half century, this attitude continues technique should follow the almost universally traditional to reflect the fears and animosity of many pianists. We empirical approach and should rely primarily on intuition, worry that if we study technique from a more scientifically- experience and teaching as we were taught. This may explain informed viewpoint, it will somehow diminish our musical why many pianists report having as many approaches to imagination. Nothing could be further from the truth. Such piano technique as they have had teachers – up to seven or knowledge would, most likely, enhance our musicality. eight in my subjective experience. And some approaches are often in bewildering opposition to others. The perplexed 24 piano student is left to make sense of these contradictory viewpoints!

Persistently High Playing-Related Injuries with 88 levers ¾ inch deep (122cm long x 15cm wide with 88 Photo by Patrick Kool on Unsplash We might rightly ask whether this indifference, scepticism, levers 1.75cm deep). And we are using primarily small muscles and even hostility toward attempts to base piano technique located in the upper extremities of our bodies. So even if on sound science may be contributing to the persistently high the audience does not see the results of actively engaged rate of injury in the global piano world? Could the confusing, larger muscles that our dancer and skater colleagues use, the contradictory technical approaches and this reticence to muscles of our entire body are very much a part of playing develop a universally-accepted definition of scientifically- the piano. informed “healthful” piano technique be fuelling the fire of playing-related disorders? Studies of pianists with playing- Defining Piano Technique – What we play? Or how we play related injuries over the last 15 years have yielded results what we play? varying roughly between 25% and 75%. And women are twice as likely to suffer playing-related neuromusculoskeletal First, before we consider the question “Is there one correct disorders, most likely because of hand size. technique?”, we need to define what piano technique is. In the 40-year-old field of performing arts medicine, Presently, technique is defined primarily as what we play – researchers, healthcare practitioners and educators have our scales, arpeggios, exercises and etudes. Technique needs dedicated their careers to understanding, reducing and to be defined as how we use our body to play what we play. preventing injury. Yet in spite of extensive research, and hundreds of books, articles, workshops, DVDs, blogs, websites Athletic coaches and their young athletes certainly on piano technique, etc., playing-related injury continues at a understand this, including artist–athletes such as dancers, steady rate.4 This unacceptable plague of injury has profound figure skaters and gymnasts. In fact, undergraduate degree consequences professionally, academically and financially. It programmes in movement science train and certify future also often leaves in its wake devastating emotional, mental, athletic coaches through studies in anatomy, physics, physical and psychological suffering. biomechanics and sports psychology. We would do well to follow suit as piano teachers. However, past one or two pages Complex Motor Skill vs. Making Music of brief instruction on sitting, hand position, bench height There are any number of reasons for this high rate of injury, and proximity, etc. in piano method books, and assignments not the least of which is the nature of the beast. Playing the of scales, arpeggios and technical exercises, students are often piano is one of the most complex and advanced motor skills left largely to their own devices to figure things. At best, most known to humankind. As noted 19th-century physiologist teachers will give suggestions if there is a technical problem. Homer W. Smith stated, “The most intricately and perfectly Imagine if this were the modus operandi of a respected dance instructor or figure skating coach? coordinated of all voluntary movements in the animal kingdom are those “Playing Apparatus” or Whole Body? of the human hand and fingers, and perhaps in no other human activity We also need to define what we actually use in the physical act of playing the piano. Even today, many writers and do memory, complex integration, and muscular coordination surpass researchers refer to the “playing apparatus” of the arms, hands the achievements of the skilled pianist.” Neurologist Frank Wilson and fingers, thus completely divorcing these body parts from wrote, ”No other activity in which we engage requires the accuracy, the rest of the body! Universally one hears of pianists with “flying fingers” and there is even a growing visual emphasis speed, timing, smoothness, or coordination of muscular contraction on hands and fingers only, as well as on facial expressions. Historically, the majority of books on piano technique have exhibited in finished musical performance.” But speaking from my own personal experience, we usually 25 do not choose to play the piano because it is an intricate, complex motor skill – like young people choosing to play a sport for the sheer joyful sensation of moving and actively using their bodies. We play the piano to create music, one of the most powerful forces on our planet. We may even believe we have no predilection or talent whatsoever for good physical coordination. Making music is what gives our brain emotional rewards and what drives us to practise long hours. And, unlike athletes, we practise in isolation, without the added reward of group camaraderie. The Artist as Athlete The only problem is, we can only create this powerful emotional stuff in sound with our bodies, directed by our brains. Actually “playing” the piano is fundamentally a very physical, even athletic activity. We are artist–athletes. Just as dancers and figure skaters create visual art through physical movement, we also use physical movement to create powerful emotions in sound. Of course we aspire to be artists first. But we are also athletes that must be trained to use our bodies in those extraordinarily complex coordinative patterns on a roughly four-foot long x six-inch wide horizontal plane HOME

Cool Comfort - detail addressed this august “playing apparatus”. But this so-called Pastel by Barbara Lister-Sink playing apparatus is distal to what really controls and drives it – the central nervous system, located in the brain and spine – and the proximal torso that supports its movements. So playing the piano is actually a highly complex, integrated activity of the whole body, directed by our brain and central nervous system. To separate the fingers, hands and arms from the rest of the body could be likened to addressing the head as a separate entity from our torso! Needed: A Universally-Agreed-Upon Definition of Piano Technique I grew up in a family of athletes. After farm and home chores before dark, we were always outside moving – running, throwing, swinging, pitching in some sports game. I saw my father’s smooth, natural golf swing, my older brother’s grace as he sunk a rimless foul shot, and my younger brother’s powerful, smooth tennis backhand. My father was a “natural” athlete, but my brothers were coached in basic form – the fundamentals of coordinating the signature, defining movement of a sport – like the golfer’s or tennis player’s basic stroke, the smooth forward stroke of a figure skater, or the foundational movements of the dancer. Each fundamental movement varied, depending upon the particular sport. But the basic form of each followed core principles of optimal body use and efficient biomechanics. These principles have been defined and agreed upon in the field of biomechanics and are respected and followed by athletes and coaches world-wide. They manifest themselves differently, depending on what we are doing. But they do not change. The outcome of applying these principles, regardless of the activity, is good coordination – the harmonious working together of all parts of the body, directed by the brain and central nervous system. The outcome for athletes is achieving the desired results with the least amount of energy expenditure. The outcome for the pianist would be achieving maximum musical results with minimal effort. So “Is there one correct piano technique?” Yes, but… Correct technique equals good coordination of the whole body, directed by the central nervous system, with the piano. And since we pianists are artist–athletes, I must add our primary goal: “in service of the requirements of the music”. What is this “Correct” Technique? For answers to this, I turned to my learned colleagues in piano technique history, physical therapy and sports science. Reginald Gerig in his encyclopedic book Famous Pianists & Their Technique stated that his so-called “enlightened” piano technique “…operates in harmony with the laws of nature – with a special regard for those laws concerned with physiological movement and muscular coordination.” Gerig also rightly believed that technique should never be divorced from the desired musical outcome. It could even be said that the desired musical outcome is more assured if our technique is based on these laws. (I do caution my students, however, that they can be “technically as free as a bird.” But if they are not striving for the most compelling musical outcome, they can be “musically as dull as a brick”!) Also included in Gerig’s description of “enlightened” technique were components that are now corroborated 26

by neuroscience, biomechanics and exercise science, Just as dancers and figure ergonomics, psychology and somatic education. They include: skaters create visual art through physical • the importance of developing kinesthetic awareness and movement, we also use self-sensing of the body physical movement to create powerful emotions • optimal dynamic postural alignment of the entire skeleton in sound. • efficient muscle use – using what muscles when, for what Yes…But – The “But” Qualifier intensity, and for how long we need them So is there one “correct” piano technique? I unequivocally • ergonomic considerations – practising environment, believe the answer is “Yes.” It can be defined as optimal coordination and harmonious working together of all of the appropriate match between instrument and pianist parts of the body – directed by the central nervous system regarding size, touch and voicing; acoustics, etc. – in service of the musical objectives. However, the equally • “smart” practice – mental visualisation, resting important qualifying “but” clause is: “tailored appropriately intervals, sufficient time for brain-body integration of to each unique, individual pianist”. coordinations, mirror neuronal imitation of the teacher’s It is my fervent hope – as one who strives to prevent injury coordinations, etc. and to promote compelling music-making – that the piano • psychological/emotional health – reducing negative stress, world can join with experts in the relevant disciplines and good nutrition, sufficient sleep, daily exercise, positive agree upon such a definition. Then the next step will be to self-image and outlook, etc. develop both scientifically- and pedagogically-informed To prevent injury and optimise physical coordination, means and methods of teaching such a technique. Not physical therapist and exercise science specialist Dr. only would such an endeavour help reduce the epidemic of Bryan Brozy6 also affirmed these components and further playing-related injury. It would also help maximise musical added his own: potential and ensure a long and joyous life in music. • Correct form/technique is based on optimal loading of the soft tissues (muscles, tendons, ligaments, joint capsules, References etc.) through optimal skeletal alignment. 1 Boulanger, N. (1958). “Sayings of Great Teachers,” The Piano • Optimal alignment of nervous system (head/neck/torso Quarterly, No. 26, Winter 1958-1959, p. 26. out to the extremities) allows the greatest nerve flexibility 2 Bacon, E. (1963). Notes on the Piano. Syracuse University required for unimpaired communication from brain/ Press: Syracuse, New York. spine to muscles. 3 Gerig, R. (2007). Famous Pianists and Their Technique. • Joints should move within a healthy range of motion, but Bloomington, IN: Indiana University Press. “norms” might vary with each individual. 4 Schultz, A. (1936). The Riddle of the Pianist’s Finger and its • We need proximal (torso) stability (core muscle strength) Relationship to a Touch-Scheme. Carl Fischer, Inc. New York, NY. to ensure distal (arms, hands, fingers, legs, feet) 5 Chong, J. & Manchester, F. (2014, March). What can go movement and flexibility. wrong and what to do to get back on track? Workshop presented • Curvilinear, smooth use of the muscles, rather than for Pedagogy Saturday, Music Teachers National Association stopping and starting, is desirable. and Performing Arts Medicine Association: A Pioneering • In the kinetic chain from the torso out, all joints impact Partnership to Keep Musicians Performing at the 2014 MTNA each other and need to move as a fully-integrated, National Conference, Chicago, IL. cohesive group of segments, producing optimal 6 Brozy, Bryan. (2021). Notes from telephone conversation. movement. https://bwellptfl.com • The term “playing apparatus” is a counterproductive and erroneous concept that isolates the arms, hands and fingers from the rest of the body. • There is such a concept as “good form” in any simple or complex motor skill, but the principles of good form and efficient biomechanics must be tailored to each individual. Barbara Lister-Sink, internationally acclaimed pianist and acknowledged global leader in injury- preventive keyboard technique, is a graduate of Smith College, the Utrecht Conservatory and holds an Ed.D. from Columbia University. A Steinway Artist since 1977, Lister-Sink has performed and given workshops throughout North America, Europe and Australia. Her DVD Freeing the Caged Bird – Developing Well-Coordinated, Injury-Preventive Piano Technique won the 2002 MTNA-Frances Clark Keyboard Pedagogy Award. Presently Artistic Director of the Salem College School of Music and Director of the Graduate Music Program, she has taught on the Eastman School of Music Artist Faculty and was keyboardist for the Royal Concertgebouw Orchestra. A previewer for Oxford University Press, Lister-Sink was chosen by Musical America Global as one of America’s “30 Top Professionals of 2018” as an innovator, independent thinker, and visionary leader. HOME 27

Reviews CD REVIEWS first publication of the Sonatas in 1803 Luís Pipa is an artistic authority in was not proofread by Beethoven and himself. Hopefully, more Beethoven Luís Pipa he found over 80 errors which he duly Sonatas will soon follow in this Revisiting Beethoven 250 Years sent to the publishers. Again there inimitable endeavour of musical Piano Sonatas op. 7 and op. 31 no. 2 were errors and the third attempt by artistry. ‘Tempest’ Simrock in 1805 was labelled Edition très https://tradisom.com/en/product/ correcte and yet recent research suggests Nadia Lasserson luis-pipa-2/ €15 that, still, there were inaccuracies. amazon.com as MP3 The first movement is known as EDVARD GRIEG, Complete Violin Price for the full album: US$ 6.93 ‘Sonata quasi una fantasia’ due to the Sonatas alternating dramatic contrasts of tempo David Wyn Lloyd, violin, Bernardo Luís Pipa, President of EPTA and mood within the movement. Santos, piano Portugal, always selects most Beethoven had already experimented (2020) DaVinci Classics COO341 interesting programmes for his with this structure in the first 12.50€, on sale via the website for recordings and this CD is no movement of the Pathétique but the 9.90€ exception. To coincide with the structural juxtapositions of this opus 31 https://davinci-edition.com/artists/ Global Beethoven celebrations on the first movement are even more subtle. bernardo-santos/ anniversary of the composer’s birth in 1770, Pipa regales us with opus 7 and Luís Pipa has always been a keen • Sonata for Violin and Piano in F opus 31 no. 2, the ‘Tempest’. follower of the work of fellow Major, op. 8, composed in Copenhagen countryman Vianna da Motta, who Little is known about the genesis studied with Liszt, regarding him as I. Allegro con brio - II. Allegretto quasi of opus 7 which was first published in the finest and most erudite interpreter andantino - III. Allegro molto vivace 1797, the first to be a separate Sonata of Beethoven. Motta’s manuscript and not part of a set, as had previously edition of the complete Beethoven • Sonata for Violin and Piano in G been the case, thus it was known as Sonatas, with itemised musical Major, op. 13, composed in Oslo the ‘Grand Sonata’. It happens to be details of every single bar above the one of the longest and, according original copy, enhances the musical I. Lento doloroso - Allegro vivace - II. to Czerny, the title of ‘Appassionata’ shape throughout. Having frequently Allegretto tranquillo - III. Allegro animato suited this Sonata rather than opus performed the complete Sonatas, 57 in F minor and claimed that when Vianna da Motta was intending • Sonata for Violin and Piano creating this work, Beethoven was “in a to publish the set but this did not in c minor, op. 45, composed in very impassioned frame of mind”. This materialise. Troldhaugen sonata was one that has no corrected reprints of the original source and was Very apt and fitting that Pipa I. Allegro molto ed appassionato - II. slow to gain popularity. should produce a Beethoven CD in Allegretto espressivo alla Romanza - Allegro this anniversary year, and the added molto - Tempo I. - III. Allegro animato The three-page contemplative Largo depth and input from well-known is one of the longest slow movements Portuguese pianist, Vianna da Motta, The three Grieg sonatas for violin of all with great depth of poignancy have inspired Pipa to produce this and piano constitute an important created by foreboding silences and fine CD to add to the vast collection opus for that duo ensemble. They subtle shades of pianissimo and the of Anniversary recordings. Pipa’s predate, for the most part, the three introduction of “ppp” for the first time, enlightening Introduction to the Johannes Brahms sonatas for the insinuating that the keyboard of the day CD explains the great lengths he same duo, but are less well known. was capable of all these tonal colours. took to study Motta’s details and Composed respectively in 1865, 1867 the inspiration and guidance they and 1886–1887, Grieg combines folk The ‘Tempest’ Sonata, opus 31 no. 2 provided, showing him the way to and national elements within deep was actually composed before no. 1 of these fine interpretations. Always romantic lyricism. Brahms may the same set and the three date from most musically shaped with subtle have known these sonatas before he Beethoven’s time in Heiligenstadt. The hints of rubato that never intrude or composed his in 1878/79, 1886 and distort, colour shades that range from 1887 respectively. The two composers 28 the sombre to cheerful delight, warm met in person at least twice in Leipzig, accentuated bass motifs to enhance once in 1878 and again on New Year’s the harmonic lines, and both final Eve in 1888 in the home of the Russian movements showing far more of the Grazia than the Allegretto flavour, Pipa’s performance of the two Sonatas provides distinct musical satisfaction and delight. Pipa talks about being “guided by the hand of Vianna da Motta” in his remarkably fine playing but actually,

violinist Adolf Brodsky, and later in is the case of Santos (https://www. F Minor Prelude before leading Vienna in 1896. Grieg admired Brahms’ bsantos-piano.com/), whose youthful straight into the Gnossienne No. 1 by songs and his use of Hungarian folk performances as soloist with orchestra Satie. Indeed, each track represents a elements, once likening the German in Coimbra, Portugal, anticipated his different composer and while there’s composer’s music to the ruins of current fruitful pianistic career. His little time here to linger awhile and beautiful ancient temples. Other higher studies in Spain and England adjust to a new style, the juxtapositions composers, such as Tchaikovsky and contributed to broadening his musical are well-crafted and well-paced. Liszt, lent their comments, with understanding. Bernardo is equally Tchaikovsky observing similarities at home as a collaborative pianist in It is refreshing to see two in the music of Grieg and Brahms.1 chamber music, as this CD amply commissions alongside the older And Liszt admired Grieg’s first testifies. In 2020, two of his editions masters and these, alongside the sonata, writing to the composer in of Portuguese piano music were inclusion of Fazil Say’s crazy-mystical 1868 to affirm his “sincere pleasure”.2 reviewed in Piano Journal Issue 119 – Black Earth/Kara Toprak, offset well In January 1900, Grieg wrote to the Frederico de Freitas Tema e Variações the more direct works such as Liszt’s Norwegian poet Bjørnstjerne Bjørnson, and Berta Alves de Sousa “Alfabeto Mephisto Waltz and Stravinsky’s “Last week I had the pleasure of em Música” (https://www.youtube. effervescent Tango 1940. performing my three violin sonatas com/watch?v=PYnDuTO5Fbg). with Lady Neruda-Hallé before a Bernardo has already performed on Radutu makes easy-sounding work very discerning Danish audience and four continents (an example of his of the technical challenges here, the receiving a very warm response. I can Brazilian debut: https://www.youtube. Liszt, Chopin and first and third assure you that we did very well and com/watch?v=djXQ_0b6JS4) and Gershwin Preludes cascading from her it had special significance for me, possesses a laudable resumé. He is fingers with admirable self-assurance. because these three works are among currently pursuing a PhD, focusing And whilst perhaps there was room for my very best and represent different on Portuguese piano music at the more soulful earthiness in the Bluesy stages in my development: the first, Universidade de Aveiro. lament of Gershwin’s second Prelude, naïve and rich in ideals; the second, or more warmth to the lyrical beauty nationalistic; and the third with a The performances given here bring in Sgambati’s sensitive arrangement of wider outlook.”3 energy, poetry and beauty of sound. Gluck’s Dance of the Blessed Spirits, taken The ensemble is airtight, and they sing as a whole the album succeeds well in Paired with veteran British violinist, as one voice. I particularly found the the emotional and creative journey it David Wyn Lloyd, who is also a superb second movement of the third sonata charts. violist, Portuguese pianist Bernardo to be heartfelt and moving, and the Santos is a marvellous collaborator in third movement scintillating. One interesting issue raised by the three Grieg sonatas. His animated a concept album such as this is to playing brings vibrancy and clarity to Llyod performs an instrument made compare its relative merits as a CD the duo, ably supporting as needed in Portugal by Yuri Bushagin, whose to be enjoyed at home versus as a and shining out in soloistic moments. rich deep sound would be well suited complete live performance. Radutu Lloyd, who has performed with the to the music of Brahms, while the gives multi-media performances and BBC Symphony Orchestra and who pianist performs on a Yamaha CFIII. often seeks a different path from the currently teaches at the Universidade Fine programme notes are supplied traditional piano recital – I’m sure this de Aveiro in Portugal, has played by Chiara Bertoglio. Recorded at the music heard straight through with in all the major concert halls in the Teatro Aveirense in Aveiro, Portugal, accompaniment in other media would world under such conductors as Pierre and well engineered by Bruno Gomes, take us on a more ‘obvious’ journey. Boulez, Zubin Mehta, Sir Simon Rattle, this first CD collaboration between the As it lives on disc, the relatively wide Sir Colin Davis, Vladimir Ashkenazy, two artists leaves high expectations for horizons of PHOENIX are perhaps Gennady Rozhdestvensky and future projects. best enjoyed without the need to others. Lloyd is also a conductor and conjure the concept, but what’s left is composer. He brings maturity to the Nancy Lee Harper playing of finesse, filigree and passion. duo. PHOENIX Simon Watterton It is always gratifying to watch a Maria Radutu, piano young pianist grow and develop. Such HELLOSTAGE 29 1 https://nifc.pl/en/grieg/catalogs/persons/ Solo recital discs with an overarching theme are commonplace enough greatcomposers4565_johannes-brahms, these days but Maria Radutu goes a step further, creating concept albums accessed 18 June 2021. designed to tell a more subtle tale, the latest of which, PHOENIX, takes us on 2 Chiana Bertoglio, liner notes to the CD. a journey through darkness, joy and ultimately rejuvenation. 3 https://www.naxos.com/mainsite/blurbs_ No fewer than twelve composers reviews.asp?item_code=8.553904&catNum feature, Radutu plunging in with a fearless performance of the Chopin =553904&filetype=About%20this%20 Recording&language=English, accessed 18 June 2021. HOME

Reviews continued... SHEET MUSIC warhorses of the piano repertoire, touch enabling a wide range of tonal along with the Goldberg Variations. The colour within the overall lightness. Bärenreiter “Fatherlandish Union of Artists - BA 9656 Variations on a Given Theme for the A very revealing part of the Preface Beethoven 33 Variations on a Waltz Pianoforte, Composed by the Most offers the student many pedagogic op. 120 and 50 Variations on a Excellent Composers and Virtuosos theories of the time. Czerny’s Waltz Composed by Vienna’s Most of Vienna and the Imperial and Royal mentions of his teacher feature Excellent Composers and Virtuosos Austrian States” is another title for considerably with quotes on his for Piano the 50 Variations on the same Waltz instruction of gaining a true legato Diabelli Variations by Diabelli which was sent out to all touch by use of finger pedalling Edited by Mario Aschauer Vienna’s leading composers when rather than resorting to the use of £25.50 Diabelli became the business partner the damper pedal which was only to of the publisher Pietro Cappi in 1818. be used for special effects. Czerny’s BA 9657 The Firm “Cappi und Diabelli” soon writings of how Beethoven taught him 33 Variations on a Waltz op. 120 for became the most important music to approach each of the 33 Beethoven Piano “Diabelli Variations” publishing company in Biedermeier, variations offer great insight: variation Edited by Mario Aschauer £11 Vienna. By the time the most reputable 22 - “This variation is a parody of composers and virtuosos of the Leporello’s aria and Beethoven This unique, exciting publication Austrian Empire were sent the 32-bar wrote it down in a day in a droll from Bärenreiter is the first time Waltz and asked to compose a set of ill-humour, as he was so often asked that the complete sets of Diabelli Variations on the Theme, all were by the publisher to accelerate the Variations appear together in one delighted to be included and published completion of the work.” “Variation volume. Beethoven’s 33 variations on by such a well-established company 33 is in ancient Minuet time, but with the Diabelli Waltz theme have always and 50 variations were immediately tender expression. Beethoven wrote been amongst the most important returned to Diabelli. Only one these variations in a merry freak. But 30 composer, Beethoven, was noted for the freaks of genius often become law his refusal to participate and, instead, to posterity.” So speaks the Master’s composed 33 of his own which he had pupil who soaked up all information published by a different publisher… tendered. Another Czerny quote: “the pedal is both necessary and effective There is no need to review when the harmony does not change Beethoven’s Diabelli Variations per se, too quickly”. and this latest edition appears to be definitive and up-to-date as a result of Hummel also advocates true legato the numerous available sources that playing by overholding notes to were consulted. Part II of the volume create pedal effects and only using the is devoted to the 50 variations of the damper pedal to enhance harmonic Fatherlandish Union of Artists. Unlike bass notes. Hummel’s distinction Beethoven’s Variations, the 50 are not between staccato and portato are worthy totally appropriate as a Recital Formula of mention: “the keys are to be struck other than as a curio. Each one is smartly by the fingers and quitted valuable in its own right and adds immediately, without lifting the hand enormous musical value and interest too far - the greater the lightness, the to the piano repertoire although there more pleasing the effect produced is a discrepancy in the actual musical on the listener” and for portato: “the content. Many of the composers are notes must be gently detached by the now neglected or forgotten but there fingers and each, for itself, receive a is a handful of wonderful gems for certain degree of emphasis”. Hummel musical posterity by the likes of Liszt, also explains how to approach notes Czerny, Schubert, Hummel, Moscheles, marked fp and fz. Of special interest is Franz Xavier Mozart, Kreutzer, the fact that both Czerny and Hummel Hoffmann, Kalkbrenner and Archduke advocate modifying the basic tempo as Rudolph of Austria. a means of expression when playing the piano. The Preface to this Edition is a treasure-trove of music history and The 50 variations by Beethoven’s social life in Vienna at the time as contemporaries featuring in the well as revealing piano performance second part of the volume includes in practice of the day. The main Alphabetical order: instrument was the Fortepiano and the instruments of Vienna were Assmayer, Bocklet, Czapek, C. particularly lightweight and delicate of Czerny, J. Czerny, Dietrichstein, Drechsler, Förster, Freystädtler, Gänsbacher, Gelinek, Halm,

Hoffmann, Horzalka, Huglmann, BA11839 go to the erudite and meticulous Hummel, Hüttenbrenner, Beethoven Bagatelle for Piano in A Editor, Mario Aschauer, for delving Kalkbrenner, Kanne, Kerzkowsky, minor WoO 59 ‘Für Elise’ deeply into the archives of this work Kreutzer, Lannoy, Leidesdorf, Liszt, Edited and with fingerings by Mario to present such a lasting musical curio Mayseder, Moscheles, Mosel, Mozart, Aschauer. £4 for all students and teachers. Mario Panny, Payer, Pixis, Plachý, Rieger, has certainly produced a memorable Riotte, Roser, Schenk, Schoberlechner, It may seem unusual to be reviewing edition and this quote sums it all up in Schubert, Sechter, Rudolph v. Für Elise in the Piano Journal, but this one sentence: Österreich, Stadler, Szalay, Tomášek, latest edition is of particular interest Umlauff, F. D. Weber, Franz Weber, to pianists and academic musicians. “This definitive edition, with Winkhler, Weiß, Vitásek, Vořišek. Little is known about the genesis of historically-informed fingering, invites the piece, nor about the identity of everyone on an exciting voyage to The Variations vary in length with Elise and somehow the MS remained rediscover the popular piece.” some composers adhering to the unknown until 1865 when Ludwig Diabelli 32-bar format while others Nohl, a German music scholar and HENLE VERLAG expand considerably such as the “Quasi writer, discovered it in the possession Beethoven Klaviersonate no. 6 in F Ouverture” by Joseph Drechsler and of a Munich piano teacher, Babeth major, op. 10 no. 2 Emanuel Aloys Förster’s “Capriccio” Bredl, whose illegitimate son had Edited by Norbert Gertsch and as well as a lengthy Coda by Czerny inherited the original autograph MS Murray Perahia to bring the entire work to a grand from Baroness Therese von Droßdik conclusion. Franz Xavier Mozart via Rudolf Schachner. Beethoven’s 250th Anniversary year submitted two variations and only has been extended until September one was published at the time but the The Volume shows Version 1 from 2021 on account of so many artistic second one is included in this edition the First Edition of 1867 which is the endeavours having to be cancelled as an appendix. standard script we have all studied and in 2020 due to the pandemic. It used over the years. This is followed feels appropriate to review many Enormous congratulations must go by a revision of the original with of the publications that have been to the Editor, Mario Aschauer, for his alterations in grey underneath each released during this celebratory time. in-depth study of the historic background original bar. It is fascinating to see The Opus 10 Sonata in F needs no to this incredible music and for his how Beethoven’s mind was working as detailed review, but Norbert Gertsch complex perusal of all Beethoven’s he made slight alterations including and Murray Perahia have extensively notebooks and MS to ascertain the most placing the LH notes one note ahead researched all available sources and authentic interpretation; a lifetime’s of the original to alter the rhythmic offer detailed historic background work all accomplished in a few years. emphasis as well as crossing out to the work with a quote from an Discrepancies between sources are all various bars. The Appendix shows the anonymous critic of the time: clearly apparent with ossias in light grey Completion of the autograph draft for print. Pianists will be extremely indebted version 2. “it cannot be denied that Hr. v. Beethoven is to Mario for his scrupulous work and a man of genius and most definitely pursues time visiting the many Libraries and The Critical Commentary followed his own path…. However his wealth of ideas perusing numerous manuscripts to by Special Comments on every single … too often causes him to pile his thoughts achieve this mammoth task. note, original sources and all draft wildly on top of each other and sometimes alterations cannot fail to interest to group them in a somewhat bizarre There have been a few attempts at music scholars who wish to pursue manner, thereby often producing a dark performing the complete set with one this well-known, almost overplayed, artificiality or an artificial obscurity…. Only or two recordings. There is no doubt Bagatelle by Beethoven. Acclaim must that many more will now take place 31 thanks to Bärenreiter for publishing this unique collection of Variations all included in the one volume for the very first time. This is a valuable publication, a “One-of-a-kind Urtext edition of the complete Diabelli Variations”. It needs to be on the shelves of pianists and teachers the world over. Bärenreiter have also published a single edition of the Urtext 33 Beethoven Diabelli Variations. HOME

Reviews continued... Hr. V Beethoven must pay attention to the with technical demands but also as one and poignancy with its changes of occasionally over-free style of writing.” huge crescendo to a climactic point tempo and mood. The return of the before a gentle, calm conclusion. slow opening theme anticipates the The edition comes with well- similar structure of the ‘Pathétique’. considered page-turns, excellent The Variations in F are a charming Few works had been composed in clarity of print and thorough detailed work, often neglected, and this latest this mournful key for Beethoven to performance commentaries from publication edited by Anna Pasetti is hear, making this Sonata all the more original sources. It is an excellent a gentle reminder to put it back on original in his maturity of musical addition to single Sonata copies from young pianists’ programmes. invention and depth. various publishers for academic purposes and comparisons of historic detail. WIENER URTEXT EDITION This latest edition is full of UT 50426 interesting historic and performing UT ORPHEUS Ludwig van Beethoven notes, giving students greater insight MAG 275 Three Piano Sonatas WoO 47 into musical life in Beethoven’s youth Ludwig van Beethoven £13.99 as well as his own thoughts on musical 6 Easy Variations on a Swiss Air for Ed by Jochen Reutter with matters such as ornamentation, where Piano or Harp Fingering & Interpretation Notes by he is quoted with: “All ornaments Edited by Anna Pasetti Nils Franke stand in proportional relationship to £9.95 the length of the principal note, the For many years these three Sonatas tempo and the affect of the piece”. The well-known Six variations in were known as Sonatinas although How true and straight to the point F were composed between 1790 and Beethoven named them Sonatas. coming from young Beethoven in 1792 in the period when he moved Composed 13 years before the Op. 2 contrast to the lengthy discussions from Bonn to Vienna and was still Sonatas, the three short movements of Bach ornaments. It was Professor working for the Von Breuning family of each one offer great musical Barry Cooper who was the first British and studying with Gottlob Neefe. The interest and promise of what young musicologist to combine these early MS of this work was surprisingly clean Beethoven had to offer. Strong Sonatinas into the 2007 acclaimed and lacking the standard corrections dynamic contrasts are in abundance Associated Board Edition “The and amendments usually found in with sudden contrasts of articulation Creation of Beethoven’s 35 Sonatas”, most of his autographs. The title in fast passagework and show evidence deeming them to be musically page for harp was added by Simrock of having been composed for a touch- comparable to the 32 that followed. At at the time of the first print in 1798. sensitive instrument of the day, the the end of the day, these three great Beethoven had two friends who clavichord and fortepiano. works are worthy of detailed study and played the harp and composed a few performance, regardless of their place substantial orchestral passages for the Beethoven’s fingerings may seem as separate Sonatinas or Sonatas. instrument. The variations were left strange when applied to today’s with no opus number and later became instrument but show the possibilities Bärenreiter BA 11569 catalogued as WoO 64. The variations of earlier keyboard instruments. They Little Virtuoso - 15 Pieces for Piano are considerably short and yet offer place “logic and musical effect ahead Jakub Metelka young intermediate pianists technical of ease and fingering conventions”. challenges in each one concluding The Menuetto and six variations Jakub Metelka is already well- with octave passagework in the final in the middle movement of the known to EPTA with a review of his two. The variations not only build up second Sonata in D major already Modern Piano Studies in PJ issue No. show technical dexterity while the F 118. Those charming studies in all 30 32 minor Sonata displays musical depth

keys have already been played to EPTA TRINITY COLLEGE LONDON It is so gradual, with a wide range UK, Denmark and Portugal with the PRESS of musical examples and styles, that composer attending and meeting EPTA Sight-Reading Piano piano students will delight in playing members. A progressive method by James through all the examples. Every lesson Treweek at every level includes one duet as This latest publication contains 15 Initial–Grade 2, Grades 3–5, Grades Mr. Treweek feels that rhythmic slightly longer pieces than the Studies, 6–8 confidence can be fruitfully gained although still targeted at Intermediate- £11.25, £12.00, £13.00 by playing with another person at the level pianists. Many of the pieces are same keyboard. This also develops in Ternary Form proving to be ideal Sight-reading is the most important the pianist’s listening skills which is concert pieces. Over half of the pieces skill to impart to all piano students in another part of the process of building are in tricky keys of four to six flats order that they may help themselves a musician. and sharps and, once again, Metelka to prepare new repertoire. Without shows his sense of humour in the this ability, learning new pieces can be This is a method that has been various titles which match the musical very slow, and, at junior levels, possibly carefully compiled with numerous natures of the repertoire. There are lead to losing confidence. The three examples to play at every level and some calm pieces such as Swan on Ice volumes are paced so gradually that comes highly recommended to all and Pet Cemetery which include a few students will soon gain confidence pianists to gradually reap the rewards bird calls, whilst the lively energetic and become more able and fluent. of reading these many tests of pieces Devil’s Waltz, March of the Chicks, Each level has ten preparatory lessons enjoyable music. Sailboat, Lark and Beauty Riding require with useful tips as guidance in playing finger security to achieve the required the numerous exercises with musical A RECITAL ANTHOLOGY tempo. Mention must be made of Paper interest from the first glimpse. These 21 pieces for diploma-level Aeroplane, Rain Fairy and Little Elephant are then followed by a further series performance (ATCL) which are sure to appeal to every of tests at the same level with no Piano Solo, edited by Steven pianists’ sense of humour with their prompts. This is an invaluable series Osborne catchy musical motifs. for students of every level of piano £22.50 playing and, with approximately Metelka has a musical style of 170 tests in each volume, students As the title suggests, this Anthology composition all his own, which is and teachers will soon develop this covers several of the pieces set for the always melodious and laced with important new skill. Trinity College Diploma examination unusual harmonic turns which - ATCL. The syllabus is extensive and never cease to surprise. Never The first volume deals with keys offers enough choice for every student straightforward, Metelka always of one sharp and flat, volume two to select a 33–38 minute programme to makes tricky technical demands on introduces keys up to three sharps and suit their own individual preferences young pianists ensuring that they are flats, while the third volume expects and technical abilities. All students constantly stretched while aspiring students to read in all keys. wishing to study any of the pieces in to reach full musical potential. Once this volume are fortunate as the they again, delightful illustrations by James Treweek is a fine pianist and can have their entire diploma recital in Andrea Takezy cover the pages with teacher as well as a prolific arranger the one volume. Every musical period witty black and white drawings. Jakub and musical producer. He has clearly is well-represented and the pieces Metelka is a concert pianist, teacher given this important teaching aspect appear in chronological order starting and pedagogue who knows exactly an enormous amount of thought and with Bach’s Toccata in E minor and how to target young piano students found an ideal pace of steady progress. Handel’s Suite in F minor. The value with just enough effort to achieve satisfaction from these unusual 33 musical gems. HOME

Reviews continued... of this hefty volume is that it includes Just like Beethoven, Schott music Kissin and Yuja Wang. The final three complete Sonatas of Haydn (Eb publishers is celebrating 250 years piece of this volume is Elgar’s own Hob XVI/49), Mozart (F major K332) of business having established itself arrangement of his emotional Salut and Beethoven (Op. 13 ‘Pathétique’), in 1770. The title is the new motto d’amour op. 12 which he dedicated to six Romantic pieces by Schubert, selected by Schott to celebrate its Carice who later became his wife. Chopin, Schumann, Liszt, Clara belief that “music can bring joy into Schumann and Brahms, 20th-Century the lives of individuals and enrich Full of amazing recital curios repertoire including Bartók’s Suite op. human society as a whole”. and comprehensive historical and 14, Debussy La plus que lente, Scriabin biographical details of each composer Deux Poèmes from op. 32, Coleridge- The collection contains some long- and work, this latest publication from Taylor’s Deep River, and miscellaneous neglected historic treasures from the the Schott Archives certainly offers works by Bortkiewicz, Szymanowski, publisher’s archives which are aimed pianists a wealth of uniquely interesting Scriabin, Sculthorpe, Kapustin and at professional musicians, proficient new material to study and incorporate Kabalevsky. amateurs, and advanced students who in recital programmes, whether as an wish to explore new material beyond integral part of a recital or as encores. In the editor’s Preface, Steven the standard repertoire. The volume Advanced amateurs will also delight Osborne explains his dilemma in contains fifteen large-scale works in in exploring this wealth of lesser- scouring all available sources of text in total, mostly from the Romantic Era. known repertoire. The price offers his aim to present authentic versions They are listed in chronological order excellent value for around 150 pages of every work. His attitude to fingering opening with Beethoven 24 Variations of wonderful music which will last all is exemplary, enabling students to on Righini’s Venni Amore. Henry Hertz’s pianists a lifetime of good use. With play as naturally as possible and with this superb celebration of 250 years of minimum tension, even redistributing Variations brillantes sur la Cavatine de l’opéra fine publishing, the editors are to be the notes across the hands for greater Cenerentolla de Rossini op. 60 follow congratulated on delving deep into the ease and comfort. Performance Czerny’s Le Désir. The variations, as the archives for so many musical treasures. Notes by the Editor, John Paul Ekins title suggests, are indeed brilliant and and Gary Wilkinson are extremely full of virtuosic octave passagework. Nadia Lasserson thorough and helpful. Ferdinand Beyer’s Nocturne goes beyond the usual atmosphere with many BOOK REVIEW Excellent value for money, this is a passionate moments of brilliance. collection that will be welcomed by Blood, Sweat, and Tours: Notes from all advanced pianists, not only those Friedrich Burgmüller is best known the Diary of a Concert Pianist: Rami preparing for an examination, as there for his numerous delightful piano Bar-Niv is an abundance of wonderful music studies but he was primarily known Amazon.co.uk (£27.09, paperback) for everyone to enjoy. as a composer of salon music in his day and this volume includes his 20- The outstanding Israeli concert SCHOTT page Grande valse de salon sur Le pardon pianist is perhaps best known ED23307 Joy of Music – Discoveries de Ploërmel de Meyerbeer. Liszt’s La Danza internationally in our present time as from the Schott Archives follows before Thalberg’s Home! Sweet the author of a wonderfully practical £28 Home! Air anglaise varié op. 72 with its book for piano players of all levels Virtuoso and Entertaining Pieces rippling passagework using the entire and abilities, The Art of Piano Fingering: for Piano ed Wilhelm Ohmen & range of the keyboard. Le Chemin de Fer Traditional, Advanced, and Innovative, but Robert Schäfer Étude op. 27 by Alkan will exercise any for decades he has been an extremely advanced pianist’s fingers to extremes successful and globe-trotting concert 34 at the marked Vivacissimamente and artist. Bar-Niv has countless anecdotes it is followed by two calm, delicate and insights on a career that has works: Gounod’s Méditation sur le premier prélude de J. S. Bach and Schulhoff’s Feuille d’Album. Gottschalk is represented by his Le Banjo. Esquise américaine op. 15 and Moszkowski’s Tarantella op. 77 no. 6 offers students one further study. Tausig studied with Wagner and became one of his loyal followers and transcribed much of his operatic output and the poignant Siegmunds Liebesgesang aus der Walküre is printed in this volume. Giovanni Scambatti studied with Liszt in Italy and his transcription Mélodie de Gluck, a transcription of the famous Dance of the Blessed Spirits, has become a favourite encore of renowned pianists Evgeny

been consistently successful as well legendary and developed into whole ‘Nowadays students and teachers listen as infinitely varied. Rami’s memoirs, evenings of the composer’s work in which are much more convincingly which he was often joined as a trio to many recordings to get ideas for their structured than mere diary notes, with a soprano and a sax player. make for compulsive and fascinating interpretations. That was not the case when reading, with vivid reminiscences of In addition to what looks like a touring, marketing in the pre-internet wonderfully sumptuous arrangement I was a student, not only because recordings era, recordings, and working with of the theme from Love Story for four wonderful colleagues. pianos, he took the Toccata and Prayer were not as easily and freely available, but and Dance for string orchestra and There are moving accounts of his made it into a three-movement piece also, and that is the main reason, because family and the move to Israel after entitled Israeli Suite. Rami writes: World War II, as well as touching teachers forbade it. If a Juilliard student as insights into family bonds and ‘My main two genres of composition connections. Clearly Rami’s mother much as mentioned to the teacher a recording, was an extraordinary individual, who were Israeli music and American music. In not only nurtured his pianism and the teacher would throw the student out.’ love of music early on but continued both styles I was heavily influenced by my Ultimately this book is touching to attend Rami’s performances well into her nineties. It is deeply moving, classical-music upbringing and education.’ and quietly spiritual with its positivity to the point of tears, to read about It is intriguing to read about Rami’s and sensitivity. There are few of us the tragic death through myocarditis who will fail to warm to sentiments of Rami’s eldest son whilst still only expertise in Karate, as well as his expressed such as, ‘I feel that music is like a teenager, as well as to read about outstanding work as a teacher in his the suffering and serious childhood piano summer courses, still going a holy shrine revolving eternally in space like illness (leukaemia) endured by his strong with a Facebook group social surviving trumpet-playing younger son media community entitled ‘Rami’s a huge carousel. We, both the performers and - now a highly successful professional Rhapsody Piano Camp for Adults’ musician in his own right. which has been hugely successful for the listeners, are just temporary visitors – we most of this century. The book proceeds in chronological enter and leave gracefully, while the music succession, with reminiscences Final sections of this densely-packed never stops.’ In an era when too many of study at Mannes in New York, but always fascinating book are devoted musicians suffer from poor mental early concert opportunities in the to thoughts on technique, interpretation health, Rami’s lucid positivity and states then in Israel, his romances and motivation (as well as many common-sense sensitivity is extremely and subsequent happy marriage, smile-inducing jokes) which are beneficial: ‘I often hear people talk about compositions, impresario work, invaluable, sensitive and always clearly recording career and releases for CBS stated. Observations on the reliance their burnout, depression, etc. When you are Columbia-Israel, and much more. of celebrity recordings for ideas and Rami made history by becoming the validation today are especially strong: wrapped up seriously in your creative work, first Israeli artist to perform in Egypt these things are foreign to you.’ I strongly after the historic 1982 treaty between recommend that time is taken to wrap- Egypt and Israel. up ‘seriously’ with Rami’s persuasively- written memoirs for more than a few As early as 1996 Rami was hours. The time will unquestionably characteristically quick to embrace pay off in all aspects of your love of online potential and possibilities, piano and music-making. and today he is exceptionally active on social media too. Clearly, Murray McLachlan he understands that the online possibilities make our world a global 44TH INTERNATIONAL village and community, and we EPTA CONFERENCE need only quickly listen to his many YouTube performances to be instantly PIANO TEACHING impressed by Rami’s authoritative, AND PERFORMING: persuasive artistry in varied repertoire. As a concert artist over the years, RENEWAL AFTER he was particularly successful in the THE PANDEMIC standard fare, but also managed to work in varied chamber and duo September 1-4, 2022 ensembles as well as in his own Guimarães - Portugal compositions. His championship of Gershwin and Rhapsody in Blue was Teatro Jordão HOME 35

EPTA News - Summer 2021 by Nadia Lasserson EPTA - EUROPEAN PIANO All EPTA Associations have been affected in one way or another by COVID TEACHERS ASSOCIATION restrictions and several resorted to online Conferences and sessions. The Parent Organisation Charity Registered Number 1094973 EPTA Finland ran its XLV Conference on 6th–7th February 2021 from the 34 Carver Road, London SE24 9LT Juvenalia Music Institute in Espoo. This was an online event with the following Tel: +44 (0)20 7274 6821 programme: A Masterclass given by Prof. Matti Raekallio, with student Ossi Tanner; Email: [email protected] Päivi Jordan-Kilkki gave a Lecture on “Attention and concentration in learning”; Founder Carola Grindea a presentation on Suzuki Piano Teaching in Finland with Maarit Honkanen, Honorary European President Susanna Pajukangas, Taiju Kaartinen and Mette Heikkinen. Antti Vahtola presented Dominique Merlet Piano duo pieces composed for Juvenalia’s chamber music competitions over the Honorary Vice Presidents years and Sonja Fräki gave a teaching demonstration and there was also a student Malcolm Troup, Alberto Portugheis concert. Finland is pleased to introduce changes to its Board. The President and Vice-President remain unchanged: Katarina Nummi-Kuisma and Eeva Sarmanto- EPTA EUROPEAN PRESIDENT Neuvonen. Peter Lönnqvist is the Secretary. Arkko Niini the Treasurer and Tuomas Alberto Urroz (President of EPTA Spain) Mali edits the Pianist Magazine. Committee members are Rebekka Angervo, Anti Hotti, Evelina Kytömäki and Katarina Limatainen. VICE PRESIDENTS All Presidents of EPTA National Associations EPTA Sweden also put its events online. The Spring Concert is now on the EPTA Sweden website as well as five video lectures throughout the entire year for EPTA EXECUTIVE COMMITTEE all members to view: Martin Sturfält performs the works of Wilhelm Stenhammar Chair: Anthony Williams to celebrate his 150th Anniversary; Mikael Kanarva, University lecturer, talks Secretary: Nadia Lasserson about “Piano technique”; Staffan Storm – professor of composition and theory – Treasurer: Derek Watson lectures on “Female Composers”; jazz pianist Martin Berggren will speak about Members of Executive Committee: Improvisation; and Rebecka Angervo from the Sibelius Academy will present “Group Heribert Koch, Alberto Urroz, Alan Paul, Teaching for the Youngest”. Susan Bettaney & Luís Pipa EPTA Portugal’s Summer Piano Festival and Masterclasses will be postponed Website: www.epta-europe.org until July 2022, due to the pandemic, and EPTA Portugal’s 2021 Annual Autumn National Conference will take place online. EPTA Portugal is planning a live concert EPTA – the Parent Organisation – is on August 5th 2021 as a memorial to the great Portuguese cellist, Paulo Gaio Lima, constantly expanding not only in Europe who was a good friend to EPTA Portugal and participated in many of its Ponte de but also throughout the world through its Lima Masterclasses and Festivals. Affiliations with the most important Piano Teachers Associations: 1st–4th September 2022 EPTA Portugal will host the 44th EPTA International MTNA – Music Teachers National Conference in Guimarăes: PIANO TEACHING & PERFORMING: RENEWAL AFTER Association THE PANDEMIC Piano Teachers National Association of Japan, Founder: Yasuko Fukuda Despite war zones and huge losses of life, EPTA Armenia managed to organise Japan Piano Teachers Association, events for young pianists and teachers. President: Prof Akemi Murakami Canadian Federation of Music 18th July 2021 EPTA Armenia organised a concert “Creating the Joy of Piano Teachers Associations, Co-ordinator: Performance” for young pianists aged 5–7 years old, and is planning autumn events. Prof Ireneus Zuk Latin American Piano Teachers 7th September 2021 EPTA Armenia will run a seminar on “The importance of Association (Argentine, Chile, continuous development for novice piano teachers” in the Naregatsi Art Institute in Ecuador, Brazil) Yerevan. EPTA ASSOCIATES: 16th December 2021 EPTA Armenia will organise a seminar and concert on EPTA CHINA ASSOCIATES Tchaikovsky’s Nutcracker for four hands at the Naregatsi Art Institute in Yerevan. Patrick Leichner EPTA NEW YORK ASSOCIATES EPTA Armenia is keen to welcome everyone to these events. Prof Salvatore Moltisanti EPTA INDIA ASSOCIATES EPTA Albania was unable to hold its 25th “Young Pianists’ Festival” in 2020 and, Founder-Director: Prabhudas Ivanson once again, the Ministry of Culture obliged it to cancel in 2021, due to COVID EPTA ISRAEL ASSOCIATES restrictions. This also applied to the national Meeting for Amateur Pianists. EPTA Dr. Yuval Admony Albania continued its Annual Exams and plans to go ahead with the 11th Duo Piano Competition in December 2021. EPTA Croatia had everything in place with social distancing, for its annual Osijek Competition, which the Government obliged it to cancel two weeks prior to the event. 36

Contact information and news from the EPTA international community www.epta-europe.org EPTA Netherlands held its AGM and Conferences online on 28th November 2020 and 27th June 2021. As one of the very senior members of the EPTA Family, EPTA Netherlands is posting an article explaining the “Grindea technique” on its website, having collaborated with Carola on numerous occasions. EPTA Russia continues to publish its successful PIANO journal. It is now preparing no. 83. EPTA Russia organised two International Piano competitions which, sadly, had to be recorded: “Masterpieces of Piano Music” took place in Moscow and “Bartolomeo Christofori” was held in Petersburg in May 2021. EPTA Russia managed to organise two live 90th Anniversary concerts devoted to Evgeny Malinin in the Halls of the Moscow Conservatory. EPTA Belgium Wallonie/Bruxelles celebrates its 30th Anniversary this year as well the 20th Anniversary of the biannual “Rencontres Internationales des Jeunes Pianistes”. COVID forced the 15th “Rencontre” in 2020 to be rescheduled twice and it is now fixed to take place in Grez-Doiceau – hopefully live with social distancing – on 23rd–28th November 2021 with all applications to be in by 4th October. Entries for the original 2020 dates will be accepted in 2021. The age limit has been extended to 25, to enable the oldest participants from 2020 still to be eligible. The opening concert on 23rd November 2021 will be given by winners of the 2018 Competition: Patrick Hideomi Townsend, Roman Fediurko, Chong Wang and Mirabelle Kajenjeri. EPTA Belgium Wallonie/Bruxelles was founded in 1990 by Diane Andersen and composer Jean-Luc Balthazar with five Committee members of which two are still on the EPTA Board: Dominique Cornil and François Thiry. EPTA Belgium Wallonie/Bruxelles hosted the EPTA International Conferences on two occasions in 1995 and 2002 and organises successful annual Pedagogical Days. The Rencontres Internationales des Jeunes Pianistes Competition began in 2000 and its history can be found on the website: www.epta-belgium.be EPTA Italy has rescheduled its patronage with UNESCO in the XXX Chopin Roma Competition from December 2020 to 4th–16th November 2021 with initial sessions in the Cloister of San Giovanni Battista de’ Genovesi and will culminate with the Winners’ Concert, accompanied by the Roma Tre Orchestra, in the Palladium Theatre on 16th November. EPTA Italy continues its didactic activity run by Marcella Crudeli. Six students from all over Italy receive lessons every two weeks. 6th May 2021 EPTA Italy held a live concert in the Museum of Civilisations in Rome, to celebrate the occasion of “European Day”. EPTA Italy organised monthly concerts in the 15th Cloister of San Giovanni Battista de’ Genovesi (pictured) with distinguished cultural personalities. July 2021 Congratulations must be extended to Marcella Crudeli who organised 17 concerts of past and present students in the “Festival of Nations” celebrating her 70-year career and her honorable award of the “Grand Official of the Italian Republic”. HOME 37

EPTA News - Summer 2021 continued... New board of EPTA France 14th July 2021 EPTA Serbia registered the appointment of Miloš Pavlović as its 38 new President and a change of Board members after the AGM held on 26th May 2021. This follows nineteen years of leadership from Dejan Sinadinovici who must be warmly thanked for all his work since 2002. 27th September–3rd October EPTA Serbia’s new Board have already organised an exceptional artistic weekend of masterclasses given by Professors Alexandre Kantonow, the winner of the last Tchaikovsky Piano Competition, and Igor Lazko from Moscow and Paris. 20th November 2020 & 21st May 2021 EPTA Switzerland continued its two annual meetings, “Inspired Beginnings” & “Women and Piano”, with both gaining a huge attendance online. Successful lectures, demonstrations and discussions took place. The AGM was also held online. 13th November 2021 EPTA Switzerland will hold its autumn meeting in Vevey on “Contemporary Music & the Piano”. 14 May 2022: EPTA Switzerland will hold its spring meeting in Burgdorf, on “Motivation!” 2024 EPTA Switzerland will host the 46th EPTA International Conference to mark its 40th Anniversary. Full details will follow. Tomas Dratva, President Saori Miyazaki, Vice-President; Secretary: Margot Müller; Board members: Kathrin Schmidlin, Susanne Schwarz, Wolfgang Clausnitzer, Raphaël Sudan Secretary: [email protected] President: [email protected]. www.epta.ch And it has been business as usual with EPTA Slovenia which is preparing its ninth issue of VirKLA based on “After Beethoven” relating to last year’s 250th anniversary of the composer’s birth. It is filled with a wide array of articles (Historically Informed Performance Practice of Beethoven’s Piano Sonatas, A Sociological Vision of Beethoven), as well as articles extracted from doctorate dissertations: Neuro- scientific View of Musicians’ Identity, some interviews and shorter contributions from our members www.epta.si/virkla. 12th-13th November 2021 EPTA Slovenia will reschedule the cancelled 2020 “Piano Days” with the same theme of: “Nature Inspires - Celebrating the 250th Anniversary of Beethoven’s Birth”. This will take place in the concert hall in the beautiful seaside resort of Portorož. There will be the customary lectures, projects, round table discussions and a workshop on improvisation. EPTA Slovenia continues the concert series Pianissimo 2021 for Young Artists, held in different locations, with the opportunity to record a CD at Piano Room (a professional recording studio). April 2022 EPTA Slovenia is pleased to announce ‘Happy Fingers’, an exciting new project to support under-privileged young artists, with a gala and competition for young talent. Students aged 6–9 from all music schools can take part in this event and perform a short recital including a selected new Slovenian piece of several contemporary composers. A jury from the EPTA Slovenia Board will select 18 finalists for the final round and Winners will be awarded upright pianos, donated by Japan Piano Center – a main sponsor – for the duration of their elementary musical education. June 2023 EPTA Slovenia is delighted to host the 45th European Conference. More details will follow over the next few months. 24th May 2021 We are delighted to announce that EPTA France had its first meeting. It was held in the Pianos HANLET à la Seine Musicale showrooms in Paris. Attendees enjoyed discussions, performances by young pianists and cocktails to end the day. EPTA France is delighted to have Lemoine publishers and Casio Pianos as sponsors. Further meetings are being planned in Montpellier, Pau, Lille, Lyon and Caen to attract more members. 2022 EPTA France will run its first Piano Competition with this new Board (pictured left).

www.epta-europe.org 24th and 26th May 2021 EPTA Israel Associates were fortunate to be able to hold PIANO COMPETITIONS live presentations in “The Singing Instrument Centre” (in a shop called Kley Zemer), Tel-Aviv, on the “Novelties of Electric Pianos and their Teaching Advantages” for 4th Tapiola Youth Piano Competition Keyboard and Theory sessions. November 2021, Espoo, Finland In addition to local categories there 1st July 2021 EPTA Israel Associates held their summer Conference at The is one competition category open for Givatayim Conservatory: pianists between 10–15 years of age from everywhere in the world. The Tamir Ben Zvi - combining Classical & Light Music in Lessons competition takes place in Espoo, Suzana Kedem - Music From South America with her student demonstrations Finland, during the international Sara Eylon - Presented her new duet booklet Songs Without Name PianoEspoo Festival. Application Members lesson presentations - Irit Weitz and Dalit Rinat-Ogev deadline is 31st August 2021. Prof. Alexander Gorin - The Well-Tempered Clavier http://www.pianoespoo.fi/tapiola- Prof. Boris Kleiner - Ornamentation in the 18th Century youth-piano-competition/ For further information and enquiries, 17th September 2022 EPTA Czech Republic’s annual Piano seminar will take please contact the competition office: place next year due to the continuing, very unstable worldwide situation with the [email protected] pandemic – the programme will remain the same as last year and which was planned for this year – at the High School and Music School of Prague. The programme will Liszt Utrecht include: Prof. Peter Takács (USA) from the Oberlin Conservatory of Music talking The upcoming competition will take about topics in Beethoven piano sonatas; Prof. Ingrid Sotolarova (CZ/Portugal) place from 22nd–29th September 2022 presenting some Portugese piano music for children; Prof. Alena Vlasakova (CZ) in TivoliVredenburg, Utrecht. Liszt giving a lecture about Classical piano music in the education of children; and Utrecht has a complete new set-up, Prof. Jitka Fowler Frankova (CZ) discussing Piano Technique - with exercises which focuses less on the competing and demonstrations by the well-known Czech piano professor and pianist, Ilona part and gives more opportunities to Stepanova-Kurzova. the participating pianists to showcase their artistry to an international EPTA UK continues to organise successful fortnightly Webinars which are widely audience. More variety has been added attended and appreciated by many members who cannot otherwise travel to live to the programme thanks to a festival events. EPTA UK also organised “Springboard” throughout the month of May with set-up in which different theme one hour of pedagogy for members and at a different time each day to enable the recitals take place every day at fixed greatest number of members to attend. Following Murray McLachlan’s resignation, times. To celebrate the 225th birthday Peter Lipman succeeded Mark Tanner as Interim Chair to steer EPTA UK through of Schubert, the repertoire will include the current period until the AGM in November 2021. works of Schubert, of course, along with Franz Liszt. 9th-13th September 2021 To end on a positive note of light and hope, cultural events are safe in Spain and, after months of uncertainty, EPTA Spain will hold And there is more news to share: the 43rd EPTA International Conference in Madrid with a rich and full programme as the first competition ever, Liszt of wonderful events. Gala evening concerts have been organised in the Royal Hall Utrecht is offering a fee for the of the “Casino de Madrid”, the “Escuela Superior de Canto” with a garden cocktail performances of the candidates both party to follow and a Flamenco dance show in the Retiro Park. These are the safest during the live selection round and venues where everyone will be able to mingle freely in the open air following the the Festival phase. daytime concerts and lectures where all auditoriums will have to be strictly vacated [email protected] inbetween sessions. EPTA Spain looks forward to welcoming everyone to this exciting Conference to come and join the re-united EPTA Family. http://epta-spain. 6th NTDTV International Piano com/43rd-international-epta-conference/ Competition 28th-31st October 2021 The Annus Horribilis appears to be abating gradually with more EPTA events Application deadline: 1st September taking place during this difficult time, and Zoom has certainly proved itself to be Contestants announced: 15th September an excellent substitute for drawing the masses to events that were often poorly Preliminary, semifinal, and final attended. It is clear that live concerts and conferences will continue to offer online rounds: 28th–30th October options as of now for those who cannot travel, thus increasing the popularity of all Winners’ Concert and Award EPTA activities. Live concerts are on the horizon and are here to stay but no one Ceremony: 31st October will ever miss an event as recordings have also become our way of life which enables pianontdtv.com everyone to keep in touch with the world of piano teaching and pianism. HOME 39

EPTA Associations EPTA ALBANIA EPTA BELGIUM-Flanders/ EPTA CZECH REPUBLIC Brussels Honorary President Takuina Adami Founder and Honorary President President Klodi Zheji Honorary Presidents Louise Hesbain, Roland [email protected] Radoslav Kvapil Jordan Misja High School of Arts, Tirana De Munck [email protected] Tel: +355 42 23 743, Mobile: +355 6740 80111 President Levente Kende President Dr Milan Franek [email protected] [email protected] EPTA ARMENIA Secretary Marc Theuns Tel: +420 728 896 891 [email protected] Vice President Dr Jitka Fowler Fraňková Honorary Presidents Prof. Sergey Sarajyan, Mechelsesteenweg 109/6, 2018 Antwerp [email protected] Prof. Armine Grigoryan Tel: +32 3 281 05 95 Tel: +420 775 974 327 President Anna Hambaryan Schnirchova 25, 17000 Praha [email protected] Marleen Geerts-Meeusen www.epta-cz.com Vice President Astghik Bakhshiyan [email protected] [email protected] Secretary Zaruhi Mkrtchyan EPTA BELGIUM-Wallonie/ EPTA DENMARK [email protected] Bruxelles Administrator Laura Barseghyan President Dr Balder Neergaard [email protected] President Diane Andersen Vice president Vagn Sørensen Tserents Armenia. Str. 7a, Apt. 8, [email protected] Secretary (Acting) Balder Neergaard Yerevan – 0032 Lotsesteenweg 186, B -1653 Dworp Treasurer Lise Andersen Tel: +32 2 380 08 27 or +32 1 045 24 03 Committee Members: Mimi Huang, EPTA AUSTRIA Secretary Marie-Dominique Gilles [email protected] Inke Kesseler, Elisabeth Holmegaard Nielsen, Honorary Presidents Prof. Walter www.epta-belgium.be for all information in Groppenberger, Prof. Anton Voigt French, English and Flemish. Søren Pedersen President Prof. Till Alexander Koerber Honorary members: Anna Øland, [email protected] EPTA BULGARIA Tel: +43 664 7 36 09 503 Tove Lønskov, Bella Horn, Arne Christensen, Vice President Dagmar Schinnerl Planning to reorganise. Secretary Heidemarie Schneider–Klimpfinger Elsebeth Brodersen and Eugen Indjic Treasurer Regina Seeber, Project Manager. Søborg Hovedgade 150 1th Claudia Berzé DK-2860 Søborg, Denmark [email protected] Phone: (+45) 41 188 288 Tel: +43 664 777 36 09 503 Email: [email protected] c/o Anton Bruckner University Hagenstrasse 57, A-4040 Linz EPTA CROATIA EPTA ESTONIA www.epta-austria.at / www.bruckneruni.at Honorary President Vladimir Krpan President Lembit Orgse, [email protected] President Ida Gamulin Vice Presidents Lauri Vainma, alauri. [email protected] [email protected], Martti Raide (Chief Vice President Ivanka Kordić Executive), [email protected] and Mati Secretary Helena Herman Mikalai, [email protected] Trg republike Hrvatske 12, 10000 Zagreb Information manager: Riine Pajusaar, www.epta-croatia.hr, www.idagamulin.com [email protected] Committee Members: Ia Remmel (editor of EPTA CYPRUS the annual magazine “Klaver”), Ruth Ernstson, Tiina Muddi, c/o Estonian Academy of Music Planning to re-organise. and Theatre Tatari 13, Tallinn 10116, Estonia Tel: +372 667 5700 www.epta.ee 40

EPTA FINLAND EPTA GERMANY EPTA ICELAND President Katarina Nummi-Kuisma, Presidium: Dr. Jairo Geronymo (Berlin), Honorary President Halldor Haraldsson [email protected] Prof Linde Grossman (Berlin), Heribert Koch President Ólöf Jónsdóttir Kelohongantie 8B, 02120 Espoo Helsinki (Langerwehe), Jens Hamer (Altenberge), [email protected] Tel: +358 405 615 877 Marilia Patricio (Köln) Treasurer Brynja Gísladóttir Vice President Eeva Sarmanto-Neuvonen, Secretary Sigrid Naumann [email protected] [email protected] [email protected] Secretary Einar Bjartur Egilsson Meripuistotie 3A 17, 00200 Helsinki Koenigswarter Str. 4, D-36039 Fulda [email protected] Tel: +358 505 266 440 Treasurer Dr. Rainer Lorenz [email protected] Secretary Peter Lönnqvist, [email protected] www.epta.is [email protected] Nittenauer Str. 31, 93057 Regensburg Orvokkitie 25, 00900 Helsinki Finland Tel: +49 (0)3212 123 1940 Tel: +358 505 658 503 www.epta-deutschland.de Committee Members: www.epta-germany.org Rebekka Angervo, [email protected] Antti Hotti, [email protected] EPTA GREECE EPTA IRELAND Eveliina Kytömäki, [email protected] President Natalia Michailidou Patrons: Frank Heneghan, Philip Martin, John Katariina Liimatainen, [email protected] [email protected] Vice Presidents: Dora Bakopoulos and Kalliopi O’Conor, Hugh Tinney Treasurer/Webmaster Arkko Niini, President Owen Lorigan [email protected] Germanou CommitteeVictoria Whittam and Nicolas Puyane Editor of Pianisti Magazine Tuomas Mali, Secretary Sofia Dousia Administrator Eithne Gallagher [email protected] Treasurer Kostas Tourkakis 16 Rowanbyrn, Blackrock, Co. Dublin www.eptafinland.fi Public Relations Stefanos Theodoridis Tel +353 1 289 3701 Member of executive committee Sara [email protected] EPTA FRANCE www.epta.ie, www.facebook.com/ Galanopoulou EPTAIreland President Véronique Bonnecaze Vice-President Vittorio Forte EPTA HUNGARY EPTA ITALY Treasurer Philippe Yared Secretary Jesse Berberian President Mariann Ábraham President Marcella Crudeli 68 boulevard de Courcelles - 75008 PARIS [email protected] [email protected] www.epta-france.org [email protected] Secretary Silvia Rinaldi Email: [email protected] Hollosy, S.u.15, 1126 Budapest Via Pierfranco Bonetti 90, 00128 Rome Tél. +33 (0)1 46 22 31 85 Tel/Fax: +361 356 05 62 Tel +39 06 507 3889 Ou +33 (0)7 88 55 15 94 www.parlando.hu Committee: Lear Maestosi, Carla Giudici www.chopinroma.it/eng www.eptaitaly.it [email protected] EPTA GEORGIA Honorary Presidents Alexandre Toradze, Valerian Shiukashvili President Nino Khutsishvili [email protected] Dolidzestr 28, ap. 87, 0115 Tbilisi, Georgia Vice Presidents: Sidonia Arjevnishvili, Ketevan Badridze, Maka Baqradze and Levan Inashvili HOME 41

EPTA Associations continued... EPTA LATVIA EPTA NETHERLANDS EPTA ROMANIA President Juris Kalnciems President Bart van de Roer There are plans to re-organise EPTA [email protected] [email protected] Romania. Secretary Diana Zandberga Vice President Liesbeth Eggen [email protected] Secretary Elize van den Berg, secretaris@ EPTA RUSSIA Rīgasiela 4-3, Baloži LV-2112 Latvia eptanederland.nl Tel: +37 126 204 457 Tel +31 645 085 533 President Irina Osipova Foreign Affairs Co-ordinator Toms Ostrovskis Treasurer Mariska de Waard, [email protected] [email protected] [email protected] Leninskiy Prospect (avenue) 64/2 Apt 150, http://www.music.lv/epta/events2017.htm Committee: Olga de Kort-Koulikova, Marc Moscow 119296 www.music.lv/epta/welcome.htm Tel: +7 499 1371526 / Mob: +7 903 6155155 Pauwels, ArielleVernède & Lestari Scholtes www.iospiano.ru www.eptanederland.nl EPTA Russia Structure: EPTA LITHUANIA EPTA NORWAY Chelyabinsk (Ural) – Chairman Andrey Nechaev Kaliningrad – Chairman Vladimir Slobodyan President Kestutis Grybauskas Honorary President Einar Steen-Nøkleberg Petrozavodsk – Chairman Victor Portnoy [email protected] President Otto Graf Rostov-on-Don – Chairman Vladimir Daych Latvia 7-2, 08123 Vilnius LT Vice President Radmila Stojkovic, Samara – Chairman Sergey Zagadkin Tel: + 370 521 38 771, + 370 614 15535 [email protected] Sochi – Chairman Tatyana Agafonova Secretary Aurelija Seliavienė Treasurer Otto Graf, Tambov – Chairman Irina Tsareva [email protected] [email protected] Tver – Chairman Galina Solodova Tel: + 370 620 91291 www.epta.no Ufa – Chairman Rustam Gubaydullin EPTA MACEDONIA EPTA POLAND EPTA SERBIA President Todor Svetiev President Karol Radziwonowicz Honorary Presidents: Arbo Valdma [email protected] Vice President Juliana Zabeva EPTA PORTUGAL and Dušan Trbojević [email protected] President Miloš Pavlović Secretary Dragoljub Apostolov Honorary members: Artur Pizarro, Fernando [email protected] c/o Academy of Music, PituGuli 1, 91000 Laires and Helena Sá e Costa (both deceased) EPTA Serbia Faculty of Music and Arts, Skopje President Luís Pipa, [email protected] Kralja Milana 50, Belgrade 11000 Tel: +389 91 231614 Caminho do Agro, 47, 4900-012 AFIFE, Tel: +381 11 362 1170 Portugal EPTA MALTA Tel: +351 258331860 EPTA SERBIA–VOJVODINA Mobile: +351 934210439 Honorary President Fransina Abela http://epta-lusa.pt/ President Tatjana Vukmanović President Evelina V. Batey https://www.facebook.com/eptaportugal EPTA Voyvodina, Isidor Bajić Music School, [email protected] Njegoševa 9, 21000 Novi Sad Tel: +356 9980 2226 [email protected] Secretary Shirley Psaila [email protected] | Tel: +356 2142 1112 www.epta-malta.com Facebook: Malta Piano Teachers Association EPTA Malta 42

EPTA SLOVAKIA EPTA SWEDEN EPTA CHINA ASSOCIATES President Ida Černecká President Eva Lundgren President Patrick Lechner Head of Keyboard and Dean of the Music [email protected] [email protected] Faculty at the Bratislava Academy. Ruddammsvägen 33, 11421 Stockholm Executive Secretary Dongyang Yu Vice Chairman Martin Tell Tel +86 28 6511 8239 EPTA Slovakia continues to organise annual Secretary Per Olsson Mobile +86 15 2288 11881 events. Vice Secretary Irina Krjutjkova-Lind [email protected] Treasurer Johan Sandback www.epta-china.org Committee: Natalia Kazimirovskaia, Vesna Mattsson, Andreas Juhlin, Ola Råbius-Magnusson and Stefan Gustavsson www.sppf.net EPTA SLOVENIA EPTA INDIA ASSOCIATES Honorary president Dubravka Tomšič Founder/Director Prabhudas Ivanson Srebotnjak Honorary member Majda Jecelj [email protected] President Suzana Zorko DKPS EPTA, Ižanska 12, 1000 Ljubljana EPTA SWITZERLAND EPTA ISRAEL ASSOCIATES Vice President Dejan Jakšič [email protected] President Tomas Dratva Chairman Yuval Admony Committee members: Nuša Gregorič, [email protected] Committee Miriam Boskovich, Dr. Einat Miha Haas, Božena Hrup, Dejan Jakšič, Jurastrasse 45 , 4053 Basel Fabrikant, Prof. Eitan Globerson, Prof. Emanuel Davorin Dolinšek, Sanja Šehić, Julija Kunova, Tel +41 78 612 36 30 Krassovski,, Dr. Ron Regev, Dr.Michal Tal Jana Stojnšek, Sanja Šehić Vice-President Saori Miyazaki Secretary Natalie Yontov Address: Društvo klavirskih pedagogov Committee members Wolfgang Clausnitzer, Academy of Music and Dance, Jerusalem; Slovenije EPTA, Stari trg 34, 1000 Ljubljana Buchman – Mehta School of Music, Tel-Aviv www.epta.si, www.epta.si/eng Kathrin Schmidlin, Susanne Schwarz, Raphaël Sudan University Secretary Mrs. Margot Müller [email protected] EPTA SPAIN Haus der Musik, Gönhardweg 32 CH-5000 www.epta-israel.org Aarau / Switzerland Honorary President Ana Guijarro Mobile: 0041 76 539 76 45 President Alberto Urroz [email protected] [email protected] epta.ch bluewin.ch C/Luis Vives, 8. 4º A. E-28002 Madrid [email protected] Tel: +34 915 630 807 www.epta.ch Mobile: +34 639 894 349 Vice-President Marcela Linari EPTA UKRAINE ALAPP Argentina (Association of Secretary Pablo López de la Osa [email protected] Planning to reorganise. Latin American Pianists and Pedagogues) Treasurer Paloma Molina President Valentín Surif www.epta-spain.com EPTA UK [email protected] Arcos 2030, 15 “C” Buenos Aires (1428) HOME Founder Carola Grindea Tel: (54-11) 4784-0583 Patron Piers Lane Secretary Estela Telerman, Treasurer Lilia Acting Interim Chair Peter Lipman Noguera, Members: Alfredo Corral, Ana María Administrator Carole Booth Mondolo, Deputy Members: Martha Bongiorno, [email protected] Tel: +44 18456 581054 Guillermo Carro www.epta-uk.org Auditor Gloria Diograzia Val www.musicaclasicaargentina.com/surif, www.valentinsurifpianist.com MTNA Music Teachers National Association 43

European Piano EPTA Czech Teachers’ Forum: Republic by Milan Franek with Nancy Lee Harper, D. M. A. EPTA Czech Republic (formerly Fig. 2. L–R: Jitka Fowler Frankova, (USA), Prof. Heribert Koch (Germany), EPTA Czechoslovakia) was Walter Groppenberger (Honorary Prof. Johannes Marian (Austria), Prof. established in 1989 by Professor President of EPTA Austria and Professor Aniko Drabon (Hungary/Germany), Radoslav Kvapil, one of the most Emeritus at the University of Music in Prof. Thomas Hecht (USA/Singapore), renowned Czech pianists and most Graz), Milan Franek, 2020. Prof. Walter Groppenberger (Austria), active organisers of musical life in Prof. Tatiana Kozlova (Israel), Prof. the country (founder and president Miguel Ángel Rodríguez Láiz (Spain), of South Bohemian Music Festival, Prof. Ivan Klánský (Czech Republic) American Spring Festival, etc.). He and Prof. Alena Vlasakova (Czech served for many years as the President Republic), among others. of the association, organising the wonderful annual international EPTA Fig. 3. Professor Heribert Koch (L), conference in 2009 with the current University of Münster, Germany, EPTA Czech officers listed below. President of EPTA Germany with Milan Franek at the Piano Seminar of EPTA Fig. 1. Radoslav Kvapil, Founder- The main goals of EPTA Czech Czech Republic, 2016. President of EPTA Czech Republic. Republic are to bring together piano teachers for the purpose of deepening In its 32-year existence, EPTA Czech In 2010, EPTA Czech Republic knowledge in the piano pedagogy Republic has experienced the most was re-established in the form of a profession and to contribute to piano unusual time of its history. Since 2020, non-profit organisation with a new teaching at all levels, leading to the it, like so many other organisations, leadership. These included the new raising of standards in the field of has been affected by the world President of EPTA Czech Republic, piano performance. Coronavirus pandemic. However, the Professor Milan Franek, who is now next live event – the annual Piano Associate Professor at the Zhaoqing EPTA Czech Republic is happy to seminar – is planned for September University in China and Vice-President cooperate within the Czech Republic 2022. It will feature Professor Peter Professor Jitka Fowler Frankova, with the Ministry of Education, the Takács from the Oberlin Conservatory who is concurrently Professor at the Association of Primary Art Schools of Music (USA) as the keynote speaker Conservatory in Pardubice and at (Asociace základních uměleckých škol), with his lecture-recital about specific the Jan Deyl Conservatory in Prague, the Academy for Performing Arts issues of Beethoven piano sonatas. Czech Republic. Professor Kvapil was in Prague, the Janáček Academy for We wish EPTA Czech Republic much appointed the Honorary President. Performing Arts in Brno, and others. success in its future endeavours! 44 HOME Annual events of EPTA Czech Republic, such as Piano seminars, take place regularly in the hall of the High School and Music School of Capital Prague, one of the best music institutions in the Czech Republic. Since 2010, EPTA Czech Republic has organised its regular annual Piano seminar to feature both domestic and international distinguished professors. These outstanding pianists and lecturers have been Prof. Dominique Merlet (France), Prof. David Witten