Piano Journal 125 interactive

JOU R NAL EUROPEAN PIANO TEACHERS’ ASSOCIATION Alexander Hawkins in conversation 83 Diabelli Variations: The First Modern Urtext The groundbreaking methods of Alfred Cortot Report on the 43rd EPTA Conference in Madrid NEWS – INTERVIEWS – REVIEWS THE EUROPEAN JOURNAL FOR PIANISTS AND PIANO TEACHERS ISSUE 125 DECEMBER 2021 £3

JOU R NAL ISSUE 125 DECEMBER 2021 Founder Carola Grindea CONTENTS Editor Anthony Williams [email protected] 3 Editorial by Anthony Williams Editorial Consultant Nadia Lasserson [email protected] 4 Alexander Hawkins in conversation Tel: 020 7274 6821 Designer/proofreader Helen Tabor with Anthony Williams helentaborcreative.com Piano Journal – EPTA’s official organ 9 Nicolas Medtner - his influence as a teacher – is published three times a year. It includes interviews with great pianists by Michael Jones of our time, important articles relevant to piano performance and teaching, book 1 3 The “Land Without Music”? Neglected Piano Works and music reviews, and EPTA news of from 20th-Century England activities in all EPTA Associations. by Asher Armstrong Available by subscription, from the EPTA website: epta-europe.org 2 0 The Ideal Teacher As from now, Piano Journal will be available solely online at a rate of £3 per by Michael Stembridge-Montavont digital copy with special rates for bulk orders. 2 4 83 Diabelli Variations: The First Modern Urtext A few hard copies are printed and rates by Mario Aschauer are UK (2nd class) £21, EU £30, ROW £36 2 8 From the Archive ISSN 0267 7253 by Nancy Litten epta-europe.org 3 1 Rachmaninoff, chordal composer, true or false? The opinions expressed or implied, the methods recommended or advice given in the Piano Journal by Kris Lennox are not necessarily representative of EPTA’s views and therefore EPTA takes no responsibility for them. Appearance of an advertisement does 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 © Onur Pinar 3 4 Report of 2021 43rd EPTA Spain Conference, Madrid by Nadia Lasserson 3 8 Reviews 4 2 EPTA News 4 4 EPTA Associations 2

EDITORIAL If you would like to Ihope this edition of Piano Journal finds you all well and beginning to anticipate and enjoy contribute an article about the prospect of a return to plenty of live music in 2022. I am writing this saddened that any area of piano teaching, I wasn’t able to attend the truly inspirational conference in Madrid but heartened that, interpretation or performing, bit by bit, concerts and face-to-face freelance work are beginning to feature in the diary or if there is a pianist you once more. I’m very much looking forward to feeling like a practising musician again (in think we should interview, both senses of the word). then please do not hesitate I’m hugely excited by this edition of Piano Journal that must offer one of the most diverse to email me: range of articles for some time. There is something for everyone, performers and teachers [email protected] alike, and at all levels. An article on the wonderful yet regretfully still under-performed Russian composer Nikolai Medtner sits side-by-side with an inspirational foray into neglected 20th-Century English piano works. A fascinating introduction to the exercises of Cortot are followed by some useful technical tips and exercises for fluent octave playing. The first part of an analysis of Rachmaninoff’s Études-Tableaux sets up the context for an in-depth discussion as to whether Rachmaninoff is really a chordal composer, and Mario Aschauer outlines the incredibly interesting background and history behind a new publication of the 83 Diabelli Variations, as reviewed in the last issue of Piano Journal. I’m absolutely thrilled and very excited that this edition also features what I am told is a first ever interview with a world-renowned jazz pianist (and someone I can also proudly say was a former pupil) Alexander Hawkins. His passion, knowledge, phenomenally sharp intellect and insight come across with a generosity and love of and for his art. His is a performing career that takes him all over the world, even this soon after the COVID restrictions, yet he still manages to ringfence time to teach and inspire younger and aspiring classical and jazz pianists. It’s an interview which leaves you wanting more and wondering what else might be said, given more time and space. Do take time to read what so many wonderful contributors have taken so long to write. I’m hugely grateful to them and, as always, would genuinely love to receive offers of articles from anyone out there willing to share their experience or knowledge. Anthony Williams 3

In conversation with Image © Edu Hawkins Music Photography Alexander Hawkins by Anthony Williams It is something of a coincidence that one of What are your earliest musical memories? the country’s most influential and successful In fact, my second earliest memory of all is a musical contemporary jazz pianists lives just 400m one (my very earliest memory – that of getting lost in a away from me, and it is quite usual for me to see a supermarket – is sadly somewhat pedestrian). It was hearing slightly unshaven and casually dressed young man the Duke Ellington composition Saturday Night Function. But running to the station in the early morning to I was extremely fortunate to grow up in a household where catch one of his many flights to various parts of the there was always music playing, so I have a great number of world to record, perform solo, or to meet up with very early musical memories. Some particularly formative some of the world’s top jazz musicians for a large ones are of hearing works such as De Falla’s El Amor Brujo and festival, broadcast or concert. a selection of the Respighi symphonic poems: compositions I did manage to catch him at home for just I first learnt from a cassette which we would play in the car, long enough to provide some fascinating and and so the pieces are inextricably linked for me with being on philosophical answers to some general questions holiday with my family. Other pieces which I came to know about his thoughts on music, performance, and his and love at a very young age in this way were a selection of career so far. the Brahms Hungarian Dances (Side A), and Dvořák Symphonic Dances (Side B). Two wildcards here too: first, unlikely though “my mother used to it may seem, I have a very clear memory of hearing the Joie du sing the theme from the sang des étoiles movement from Messiaen’s Turangalîla at a very finale of Haydn’s 104th young age: certainly before the age at which a child might symphony to me when I ordinarily have become conditioned by orthodoxy to perceive was a baby” the music as ‘strange’, and I do wonder if this laid some of the foundations for my love of contemporary music. And second, 4 my mother used to sing the theme from the finale of Haydn’s 104th symphony to me when I was a baby; so although I couldn’t honestly label this as a memory, it must be some of the very earliest music I ever heard, and I certainly have the sensation of having known it forever.

“I'm acutely aware how Do you recall significant moments or/and teachers lucky all of us for whom that inspired you to take music seriously? this is a reality in fact are ... I count my blessings The formative moments are very hard for me to every day” place, because I grew up experiencing music more as an ‘environment’ rather than isolated events. So at the risk Were there particular musical experiences, of sounding pretentious(!), I’d quote the Val Wilmer idea performances or composers that inspired you to take here, of the music being ‘As Serious As Your Life’ – it was music lessons? no more or less serious that something which was always there. Of course, every time I’m on stage, or even simply at This is an intriguing one, because actually, I never the instrument working at home, I’m acutely aware of what remember being inspired to take up music lessons for the a privilege it is to be able to make music, and in that sense, first time: I think beginning to have more formal lessons there is a constant inspiration to take things as seriously as must therefore have felt a very natural, unforced progression possible. from my early fumbling around on our upright piano at home (and the fact that I don’t remember beginning lessons That said, there are naturally a number of those magic with a ‘bump’ is probably very much a testament to the moments which keep the fire burning. I think, for example, manner and skill of my early teachers). However, a few years of an occasion on which I heard Sonny Rollins play the after beginning piano lessons, I also began to play the French tune They Say It’s Wonderful at the Barbican – a transcendent horn, and here, there was a clear impetus. When I was six performance of unbelievable joy in invention; or of a concert years old, I had had my very first piano lessons, with Roger which in fact we both attended with some of our pupils, Allen. Of course, not that I had any clue at the time, or that where Maurizio Pollini finished his programme with the it would have meant anything to me, but Roger was (and Beethoven opus 57 sonata, the final two pages of which remains) a prominent Wagner scholar, and the first lesson were I think to this date the most ecstatic music I have ever I recall was learning to read rhythm via the anvil part from experienced live. Die Meistersinger. This exposure led to an early obsession with listening to Wagner – my parents would borrow the LP box- I can answer more simply with respect to teachers, because sets from the library, and my father would change the records I have been fortunate always to have had brilliant teachers. for me so I could listen through to the pieces. From listening I have already mentioned Roger Allen, for instance. David to all this Wagner, in turn I became somewhat obsessed with Langdon and Timothy Morris, my two organ teachers, helped the horn – in quantities from solo to eight, I really wasn’t me on the instrument where I first encountered one of my fussy. Tie this in with the second Dover orchestral score I was greatest music loves, J. S. Bach. I don’t often get to mention ever given – a Strauss volume including Till Eulenspiegel and Gary Howarth in interviews, but his composition lessons Ein Heldenleben, and I remember mounting a fairly concerted when I was very young opened my mind immeasurably. I campaign at home to be allowed to take up the instrument. have Graham Caskie to thank for helping me to discover much contemporary classical music, through his love of How much was jazz a part of your musical environment Tippett. I have you (editor) to thank for any number of in the early years or were your original experiences things, but not least the constant reminder that how you mainly Classical? play the note is at least as important as which note you play, and for navigating me through a potentially tricky period Jazz was absolutely an equal part of my listening growing where my musical understanding was clearly well advanced up, and in this respect I feel very fortunate never to have of my technical ability, and making it clear that the technical had to work to overcome any received ideas of hierarchy work is nothing more or less than a pathway to the music within music: the genius of Mary Lou Williams, for example, itself. And so I can go on; and all this is only to mention the has always been obviously and completely equal in my ‘formalised’ teaching environment, because the truth is that universe to the genius of Karlheinz Stockhausen, of Aretha I am looking to learn from any musical situation in which I Franklin, of Caetano Veloso, of Josquin, or whoever. I’ve find myself – including now being the teacher myself. already mentioned Duke Ellington as someone whose music I was hearing from a very young age; but probably the first When did you realise that you were destined to pursue musician from any genre who I idolised unconditionally was a performing career? one of the greatest masters ever to sit at our instrument – Art Tatum. I also used to spend many happy hours at the piano I’m going to cheat here and say that I’m not aware of a muddling through a book of Jelly Roll Morton compositions, time where I ever wanted to do anything else, though there as well as one of Dave Brubeck transcriptions (the wonderful may once have been periods at which I wanted to pair the ‘Two-Part Contention’ was a particular favourite – and one music with a career as the creative lynchpin of the Chelsea I’d enthusiastically recommend to any teachers looking for midfield. But I could never say that I was ‘destined’ to pursue a starting point for a Bach obsessive wanting to try some a performing career, not least because I’m acutely aware how written-out jazz). So essentially, I very much learnt classical lucky all of us for whom this is a reality in fact are: there are music and jazz in tandem as a listener, although it is true that many very brilliant musicians who, for whatever reason, are as a player, jazz came later. not able to pursue this direction, and in this respect, I count my blessings every day. HOME An interest in contemporary jazz performance is not something that would attract many young musicians. Were there encounters with particular performers that led you in this direction? Interestingly, no. My interest in the avant-garde grew organically from my love of the tradition. Growing up as a listener, it was always very clear to me that the tradition is innovation. Duke Ellington is squarely in the tradition 5

Montreux Jazz Academy 2021 © Anoush Abrar when at one point, Peggy Sutton, a producer for the BBC Radio 3 ‘Jazz on 3’ programme, called me from out of the “...in many respects, blue, to say that she had heard my Ensemble (at that time, muscle memory is the a sextet comprising piano, bass, drums and guitar, but also enemy of creative ’cello and steel pan), and that she wanted to invite us to improvisation” record a studio session for the show. That session was very well received, and helped us to reach a broader listenership. precisely because he was concerned to forge his own This led to further BBC sessions, and also to my first major language, and not to copy the world of his great predecessors commission as a composer – a 50-minute work entitled One such as James P. Johnson. Similarly, Monk is squarely in the Tree Found which formed part of the BBC’s ‘Baroque Season’. tradition because of his idiosyncrasy, not despite it. These This piece in turn led to an invitation from the WDR in progressions are as strong in jazz as they are in classical Cologne, and this definitely helped my international profile music, if we consider canons such as Beethoven-Brahms- as a bandleader and composer. Schoenberg-Stockhausen, to cite only one lineage amongst many (and granted that ‘lineage’ is in practice too blunt a In addition to my work as a bandleader, however, I was description of something which is in reality more of a three- very fortunate to get my first opportunities on the larger dimensional web of interconnected streams of information). international stages as a musician in the bands of older, highly respected musicians: so it was in this way that I first So to circle back to the question: there are of course played the likes of London’s Royal Festival Hall, the Salle characters such as a Beethoven, a Coltrane or a Xenakis – but Pleyel in Paris, the Haus der Festspiele in Berlin, or festivals even the individuals who cause what appear to be ruptures such as those in Chicago, Mount Fuji, Ravenna, Vancouver, in the musical continuum can be understood as belonging to and so on. These opportunities were invaluable in helping me a tradition of creativity, and is this tradition about which I to begin to build an audience, and I’m eternally grateful to have always been passionate. these musicians, with many of whom I continue to tour. Your career as a respected jazz pianist took off Which pianists have been your main inspiration? relatively quickly. Were there particular recordings or This is really where I could fill a book – so for reasons of concerts that gave momentum to this? space, I’ll confine myself to a few words about just one of my favourites (thought it pains me not to enthuse about This is inevitably a tricky thing to pinpoint, but I would Argerich, Michelangeli, Lipatti, Fisher, Gould, Solomon, mention a few things. First of all, I was extremely fortunate Fiorentino, and many others at great length here…). Possibly 6 my greatest hero is Maurizio Pollini. More and more, I find that some of the deepest mystery and beauty in music is at the abstract, structural level. I have never experienced music in terms of images or anything representative, but somehow musical structures feel like universes or abstract playgrounds to me: and I think, of all the pianists, Pollini is the one who can take me most directly into these spaces with his incredible gift of communicating structure. He is someone who plays without a shred of sentimentality, which is also something I strive for at all costs (and this is also something I hear in the music of Thelonious Monk). In this era of self- conscious emoting, there is never the slightest hint of artifice or of whimsy in his work, nor are there any histrionics whatsoever. In an era in which ‘noise’ surrounds everything – think of the welter of meaningless content on social media, for instance – his modernist’s gift of searching for the unadorned essence of the composition is an object lesson. His political convictions and championing of new music also resonate very strongly for me (combining these two streams of thought, I would argue that his recording of Luigi Nono’s …sonde offerte serene… is one of the miracles of the last half century of contemporary piano music). Of course, he is technically almost without peer, to the extent that the sheer love for the music which this sometimes almost frightening control evidences is in itself part of the performances’ emotional impact. Where can one most obviously hear the influences in your playing, compositions and improvisations? In some senses, it’s hard to pinpoint specific albums where these things can be heard: I suppose one of the important things for me is to assimilate influences into a personal conception. However, one starting point could be one of my solo albums, Song Singular (Babel, 2013) or Iron Into Wind (Pears from an Elm) (Intakt, 2019), and as the latter of the two, I think that the Intakt album is probably the fuller realisation of

some of my approaches (although the former does contain hesitation in saying that Anthony is a genius, and to witness a deconstruction of a standard tune – Billy Strayhorn’s Take his creativity from the best seat in the house every night of The A Train – so for listeners who are familiar with this basic the tour was a privilege. I am proud of the set because of how material, this track might be an interesting introduction to unapologetic it is: it documents genuine risk-taking (as jazz some of my approaches to manipulating material). Just in musicians, we like to say we are taking risks, but I do think terms of some simple, very concrete examples of influence, this is far more rare than many would care to admit). and how it can be heard here: there are some clear instances in some compositions of me working with repetition – the Your performances appear to be a combination of influence of Janáček, perhaps, whose music is one of my great detailed notated compositions and free improvisation. passions – and trying to ‘worry’ repeated motifs as close to How do you prepare for your concerts and how much is breaking point as possible. There are also some investigations notated, how much improvised? of piano resonance, such as can be heard in the classical repertoire for instance in the wonderful music of Salvatore This is a really fascinating question, because I think that in Sciarrino. part, it goes to the heart of the question of how we practise as musicians, and I think there are some very interesting By the same token, I have many compositional interests differences between how the classical musician and the which are perhaps best heard in some of my ensemble improvising musician prepare (as a sidenote – what a strange recordings. One device I’ve investigated repeatedly in these historical development that, nowadays, we can talk of these is that of concurrent, otherwise unrelated (or only distantly as different categories!). The classical musician is naturally related) musical events – ideas which come directly from concerned to develop muscle memory, because although the Mozart, Ives, Stockhausen and Braxton. interpretation may vary from performance to performance, the notes themselves – the actual information which the Another fascination is counterpoint – how could I love composer left for posterity – are of course the same each Bach and it not be?!? – and although I have used a certain time; so faithful reproduction is key. But in many respects, system in certain earlier compositions, my next release – muscle memory is the enemy of creative improvisation: as Break A Vase (coming out on Intakt Records in January 2022) improvisers, we want to be making musical decisions based – realises these ideas much more fully; and coupled also on the trajectory of the particular performance, not on the with a more explicit concern for groove than in some of my basis of the patterns into which our hands naturally fall. previous work So I love to practise exercises such as scales and repetitive patterns: things which keep my technique in shape, but Which recent collaborations, recordings or concerts which are musically so banal that there is no risk that they are you most proud of? would ever creep into the musical flow of an improvisation. Moving to the complete opposite of banality, I love to In terms of my own recordings, part of me wants to offer practise Bach (a lockdown obsession has been The Art of Fugue, the ‘cop out’ answer, which is that I would only release but otherwise, it’s a rare day that I don’t play through at least something of which I was proud(!). However, I can definitely a couple of pieces from the WTC): I feel that every time I play recognise that the more recent releases – say, from the last Bach, I gain a greater understanding of musical architecture. five years or so – have arguably conveyed my thinking in a I feel that a great many improvisers are brilliant moment to more concentrated, fully-realised way than the earlier ones; moment, but far fewer can generate larger structures. The so I would love to mention here my most recent release, contrapuntal Bach is also peerless in helping the ear to hear Togetherness Music (for Sixteen Musicians): a work for soloists, multiple dimensions of sound. And back to the exercises, improvisers and a contemporary classical ensemble which although I take a perhaps almost perverse pleasure in the I think perhaps contains the most ambitious and coherent extremely mechanical aspects of piano playing (such as statement of my compositional language to date. But I am the Dohnányi, although I completely acknowledge that it’s proud of the earlier ones nonetheless, especially in that they important to be careful with a number of these!), I’ll also do contain genuine experiments, of the sort which I think it often sit down with even only a short passage of ‘proper’ is easy to shy away from committing to a release. Even where repertoire for the technical benefits: so phrases here and I now feel that these experiments may not quite have worked, there from the Chopin opp. 10 and 25, for instance. I hope that the music is interesting for this very reason, since after all, we live in a musical ecosystem where manicured As to the balance of notation and improvisation: this contrivance is sadly fairly commonplace. really varies for me. Or, to put it another way, the balance itself is essentially improvised. When I play a solo concert, But I will happily mention a couple of other specific for instance, I often have a pool of materials, which I can recordings here on which I play, but where I am not the reorder, or superimpose, or otherwise manipulate, in real bandleader, since I feel far less self-conscious doing this! time. Sometimes, the flow of things will be such that long I have had the great joy of playing in the bands of the periods are almost completely improvised; other times, really legendary South African drummer Louis Moholo-Moholo working with the materials in a very structured way can be for more than a decade now. Although I have appeared on an appealing choice; so it really depends on the ‘moment’. four of his albums, I do think that the most recent – Uplift Sometimes, I will be dealing with a process – so the The People – is perhaps the most special. The music is a compositional element may focus on rules of transformation joyful noise – Louis’ own very special blend of happy chaos, rather than traditional ‘through notation’. A good example of fierce polyrhythms, and the unmistakable magic of the this is the ‘Etude’ which appears on the Iron Into Wind album: compositions, derived from South African hymns and other this is a piece where every note played is a transformation of traditional songs. It is one of the rare live albums which I a single pentatonic rhythmic/melodic cell, but what those believe genuinely does capture what it felt like to be in the precise transformations are (inversion, change of speed, room on that night. And second, I would love to mention change of key in either hand or both) will change from one the recently released 13-CD box-set Quartet (Standards) 2020, realisation to the next. which documents the tour of the Anthony Braxton Standard Quartet, made only weeks before the lockdowns struck. 7 In a world where the word is horribly overused, I have no HOME

What advice would you mundane, even unambitious. give to those pianists and That is that for me at least, teachers reading this who some kind of revelation was are less comfortable with realising that music wasn’t improvising? necessarily the ‘be all and end all’ for all my students. I think I would begin with As a professional musician, it something which at first blush certainly is for me; but there may seem to be something are countless other completely of a platitude, but which I valid and wonderful ways to genuinely think is crucial: experience and engage with which is simply to try it. I say music. I think at first, I was this for a few reasons: first too concerned to push all is that especially for those my students in the type of of us who are accustomed ways I would want to push to classical music, much myself: to refine technique, of the block can simply be to understand the music on a psychological. We spend so theoretical level, to experience much time working on the Image © Edu Hawkins the joy in repetition, to printed page, that it can be Music Photography compare recordings, and so on. daunting to come off it; but of course the raw materials of But at some levels, there are improvisation can be incredibly approachable (for instance, often also those who simply like to explore and experiment a simple pentatonic scale). Often what makes improvising on the instrument for their own entertainment; and realising uncomfortable is that at first, we don’t know what we are that this is also completely valid made my lessons far more aiming at, unlike in classical music where we can see the goal enjoyable, certainly for me, but I hope also my students. Of on the page in front of us. Related, I would say to learn to be course, as a teacher, there is a responsibility to show students happy to make mistakes. As classical musicians, we are often the potential rewards of playing to a higher level; but this terrified of errors; but there will inevitably be many, many ‘nudging’ has to be done with a light touch, I think, and the occasions improvising where we will stumble trying to get knowledge this type of playing isn’t for everyone. the ideas out, just as we might as we take baby steps with a If I am teaching at a more advanced level then of course few words of a new verbal language. the questions become more complex. But one thing I try to instil in improvisers is always to try to deal with the actual In addition to this, I would say that listening to music is situation at hand: not simply some generic ‘type’ into which vital: as improvisers, we need to have an idea of the sounds the current situation loosely seems to fit. Improvisation is we want to make. What improvised music do we as teachers wonderfully precarious, because in its truest incarnations, and students like the sound of? What sort of sound world it is exhilaratingly ‘free’; and yet at almost every turn, the would we like to learn how to enter? I’m often amazed at how temptation to lapse into known behaviours and patterns is little students listen to music. But a language analogy is useful lurking. here too: we can learn big long lists of vocabulary for French classes, but if we don’t have an idea about an idea we’d like You are still considered a ‘young pianist’ (at least to express with this vocabulary, then the lists of words are compared with me!) What are your aspirations and pointless. Similarly with improvising: actually, the language is ambitions for the future? often very simple. The more creative part is having a gesture, image, concept or whatever which we’d like to convey with The simple answer is that I would like to try to do the this language: and we often need some guidance as to the same, but more and better. That’s an answer which we as type of things we can express with our new-found language. musicians understand, but which many others find puzzlingly vague. I want to continue to put myself in musical situations I would also say that playing solo piano is definitely one where we can go looking for sounds and structures which of the technically hardest disciplines there is: so if we’re we haven’t experienced before: and that is why the ambition fortunate enough to teach with two instruments, then question is so treacherous, because if I knew the way forward, playing together can be a nice way forward – splitting the then probably someone would already have trodden the path. roles of accompanist and melodist, so as to make the whole I think here of those languages where the idioms are that the thing more manageable. If we’re not fortunate enough to past is ‘ahead’ of you: you can ‘see’ it. The future is ‘behind’ be able to accompany each other, then there are some really you, right where you can’t see it. great backing tracks available, both digitally and in print. Links: Finally, I sometimes think that as teachers, we can be Website: put off because we don’t feel that we know enough about www.alexanderhawkinsmusic.com the subject matter actually to ‘teach’ it. But this is of course Record label: the very traditional, didactic ‘top-down’ model of teaching. www.intaktrecords.ch Actually, if we feel that we don’t know the subject matter, this https://alexanderhawkinsintakt.bandcamp.com could be a really great opportunity for some collaborative Alexander Hawkins on Bandcamp: learning with our students: we can figure things out together. https://alexanderhawkinsmusic.bandcamp.com Do you do any teaching and if so, do you have a philosophy of teaching you can share with us? I do teach – both classical music and improvisation. A philosophy though – that is a much harder question! I would say one thing which I think in some senses might seem quite 8

Nicolas Medtner - his influence as a teacher by Michael Jones Edna Iles at the piano, 1930s Nicolas Medtner with Edna Iles In early October 1935 Nicolas got a lot of letters with greetings, Russian Round-Dance & Knight-Errant Op. Medtner and his wife Anna left expressions of thanks, requests to 58 (for 2 pianos), Concerto No. 3 in E minor France to live in London – at meet and so on.” Op. 60 (‘Ballade’), and his late Piano 69 Wentworth Road, Golders Green1 Quintet Op. Posth in 1950. where he would remain until his death Among the requests was to give on 13th November 1951, aged 70. Having a BBC broadcast on 27th February As soon as he was established in left Russia in 1921, Medtner settled (with Makushina) and a reception in London, Medtner needed to earn a first in Germany until 1927, and then his honour at the Royal Academy of living by teaching, and it is this aspect in Paris until 1935, largely with the Music on the 24th, hosted by Sir Henry of his work that I wish to focus on in help of Marcel Dupré – the dedicatee Wood and attended by a number of this article, as Medtner’s influence of Medtner’s Second Improvisation Op. 47 professors who were to take a keen on the British composers mentioned and whose daughter Marguerite was personal interest in Medtner and his above is discussed elsewhere2. Pianists one of his favourite pupils; she even music. These included the composer– and pupils associated with Medtner commuted to London to continue her pianist York Bowen, who liked to lessons! perform the Sonata in G minor Op. 22 in 9 But Medtner’s connection to his recitals, and composers Benjamin England goes back to 1928 when he Dale and Dora Bright. Medtner played his Piano Concerto No. 2 in C minor continued to make other important Op. 50 for both the Royal Philharmonic visits to Britain, not least in order to Society in London and the Hallé make all his gramophone recordings Orchestra in Manchester, and made between 1930 and 1947 and to give his debut recital in the Aeolian Hall, the World Premiere in Glasgow’s partnered by the soprano Tatiana Stevenson Hall on 5th February 1931 Makushina, in February that year. of his Sonata Romantica Op. 53 No. 1, one The event was a sell-out and created of his greatest works. All his works a sensation – Tobias Matthay kissed from Op. 56 onwards were composed his hands! Anna Medtner wrote in her in England and published mainly in diary: the UK. Other world premieres given “Yesterday our thoughts went here would include: Sonata-Idylle Op. back to Moscow. The way in which 56, Sonata Epica Op. 40 for Violin & Piano, they [the audience] greeted and received each piece and constantly demanded repetitions was such for some minutes I thought, no, this was not London, it couldn’t be that this was all taking place in an unfamiliar foreign place, where Kolya [Anna’s nickname for her husband] was appearing for the first time. The warm welcome, the deathly silence during the performance, had so good an effect on Kolya that he played altogether exceptionally and in a way that even for me was new... For us this was entirely unexpected... He HOME

were to include Arthur Alexander, rehearsals and the concert and I was series of lessons, which continued later a professor at the Royal College immediately taken with how the sound throughout the 1980s. During the early of Music and who would number of Miss Iles’ playing so completely 1990s things took a more significant Malcolm Binns among his pupils, transcended the printed page – her turn when I became the go-between Yvonne Dinwiddy (the daughter of vitality and deep understanding when Barrie Martyn visited Miss violinist and Medtner champion revealed a total commitment and Iles in the process of working on his Arthur Catterall) who taught Marcus integrity to the music (“scrupulously substantial Medtner biography4 which Andrews, and Phyllis Palmer, for honest” stated The Times’ obituary in was published in 1995 in time for her many years a renowned teacher in February 2003). When I enquired 90th birthday. The book is dedicated: Cambridge. But it was the Midlands how busy she was as a teacher, being ‘To Edna Iles, with respect’. Her death pianist Edna Iles, the future dedicatee the official authority on Medtner in January 2003, aged 97, received a of the Russian Round-Dance, who interpretation, she replied that she had full-page obituary in ‘The Register’ of studied with Medtner for almost not taught anybody! In fact she had The Times, and in 2005 her Centenary twenty years and would continue to always wanted to pass on what she had was celebrated in a special concert in champion his works in her Wigmore learnt, but it was simply that no-one Birmingham University, attended by Hall recitals and BBC broadcasts had approached her for lessons! And the Lord Mayor of Birmingham. right up to the Medtner Centenary in so it was arranged that I should visit 19803. She had first introduced herself her home in Solihull for an extended But there is an additional and to the composer after his Aeolian significant dimension to the Medtner/ Hall concert on 20th March 1930, having first written to him regarding the British Premiere of Medtner’s Piano Concerto No. 1 in C minor Op. 33, which she had given with the City of Birmingham Orchestra, conducted by Adrian Boult on 16th February. This was no mean feat, as the work is in an extended and continuous one- movement form of over 30 minutes’ duration; but Miss Iles had already proved her worth, having given one of the very first performances in England of Rachmaninov’s Piano Concerto No. 3 with the City of Birmingham Orchestra and Appleby Matthews in 1923 – aged only 17! In 1946 she would perform all three Medtner concertos in a series of three concerts in the Royal Albert Hall with the London Symphony Orchestra and George Weldon, given in the presence of the composer – who inscribed her copy of the Russian Round-Dance with the comment: “To the bravest and ablest besieger of my musical fortresses.” In 1980 I met Miss Iles for the first time when she was preparing to give a Medtner Centenary Recital in the Birmingham School of Music Recital Hall in February that year. In addition to the Sonata in G minor, Canzona Matinata and Sonata Tragica and several ‘Tales’, she also accompanied soprano Margaret Handford in a number of Medtner’s distinctive songs – some set to Russian texts performed in English prose translations by Miss Iles herself, based on Anna Medtner’s literal translations. As a friend of the singer I was asked to turn the pages at both the 10

Edna Iles story. When World War like his friend and supporter it is the quality of Medtner’s technique II broke out in September 1939, the Rachmaninov, was a great pianist who and sensitivity that creates such space Medtners began to feel anxious for kept his faculties to the end despite between the notes, in contrast to the their safety should the ‘Blitzkrieg’ his developing heart condition. His superficial brilliance and facility of become a reality. During the summer playing represents the highest ideals many of today’s performances. One of 1940 they visited Edna’s parents, of Art: supreme quality of technique, of Medtner’s close associates, Arthur Herbert and Amy Iles, at their home in allied to a perfectly-balanced intuitive Alexander, has written of Medtner as Moseley, Birmingham, to express their and intellectual sense of form and a pianist: anxieties, and it was agreed that the feeling. In addition, the unpublished London home should be temporarily recordings include pieces never before “Now, in my experience, no one has closed up and the Medtners come to released: Tale in C minor Op. 8 No. 1, equalled Medtner in the extraordinary live with them as house guests for as Primavera Op. 39/3, Novelle No. 2 in C musical clarity of his playing, long as was necessary. However, in minor Op. 17, Tale in F# minor Op. 51 No. 5 particularly on crowded and complex December 1940, Birmingham itself and the first of ‘Three Hymns in Praise of music in the lower registers of the became a target of the Luftwaffe and Toil’ Op. 49 No. 1 – which in Medtner’s piano […]. Moreover, he possessed the Iles family took the initiative to hands has a peaceful serenity and sense to an acute degree the rare power of move out temporarily to a rented of religious devotion I have not heard colouring melodically passages that in house in the village of Wythall, seven in anyone else’s recordings. Above all, the hands of others remained mere miles to the south of Birmingham notes, and his subtleties of nuance – where Medtner put the finishing the sound of pedal were unforgettable […]. touches to the Russian Round Dance, of Miss Iles’ But above all [Medtner’s] playing Knight Errant and his Two Elegies Op. playing so throughout was imbued to a remarkable 59 – two of his finest late works. Then completely in February 1941 they all moved to transcended the degree with such strongly individual rhythm a much larger house called ‘Foreign printed page that, without seeing him, one could Park’ in the Warwickshire countryside – her vitality always have named the performer’s at Wootton Wawen, six miles from and deep identity.”7 Stratford-upon-Avon. It was here that understanding Medtner completed the two-piano revealed a total Concerning Miss Iles’ own teaching: score of his Piano Concerto No. 3 Op. 60 commitment When demonstrating a piece she ‘Ballade’ in February 1942, and Miss and integrity to displayed a special grasp of large Iles was therefore privileged to be the the music structures instinctively, which brings very first pianist to learn the solo part me to a very crucial point. There is and rehearse it with the composer on real rhythmic vitality in Medtner’s two pianos5. A welcome visitor during ideas, coupled with a strong sense this period was the renowned pianist of individual character, but here we Benno Moiseiwitsch who was seeking must touch on an anomaly: ‘Al Rigore Medtner’s interpretative advice for the di Tempo’. What does this mean? It forthcoming premiere gramophone does not mean stick the metronome recording of Sonata in G minor which on and hope for the best! Medtner Moiseiwitsch was to make in London was especially sensitive to shape and for HMV on 4th and 11th March 1943. form – his works are perfect in this That same year, the Medtners returned respect, but if the shape and form to London in April, and despite having are distorted by a lack of structural endured some serious ill health grasp, or of feeling and understanding, (two coronary attacks) Medtner was then his music becomes vulnerable. nevertheless able to complete the The music must be grasped by one’s orchestration of the Concerto in time whole being and not just intellectually to give the work’s world premiere in and technically assimilated. “Long the Royal Albert Hall on 19th February notes long, short notes short” was 1944 with the London Philharmonic a favourite saying of Medtner’s – Orchestra conducted by Sir Adrian Boult. merely playing ‘in time’ does not convey the meaning. On the question In seeking to get a better of ideal interpretations Medtner understanding of Medtner’s music it said: “There may be many ways of is essential to become familiar with performing a work but there is always Medtner’s own recordings, which one way which is the best.” This is are now available complete from a remarkable statement, revealing a more than one CD label release and hidden law of musical inevitability which also include some important whereby every musical work exists unpublished recordings6. Medtner, in its own archetype and the closer you get to intuitively perceiving this HOME archetype the more inevitable your 11

performance becomes. This came as which fit the keys like a glove. Miss he had made the right decision to a revelation, having been brought up Iles tended to convey the impression make his home here, as he wrote to his with the fashionable attitude that of flat hands being required, as brother Emil in February 1936: every performer had a right to his mentioned in occasional footnotes own personal interpretation under the in the Soviet Medtner Edition, but “You will see....that clearly they [the guise of so-called ‘objectivity’! well developed hands should form a British audiences] value me more here sufficient natural roundedness to glide than in any other foreign country, and Also, the term ‘Fairy Tales’ in the freely across the textures. therefore our coming over to England British publications is misleading. was essential.” Medtner’s preferred translation of In 1978 Edna Iles delivered a Skazka were either the French Conte lecture to the British Institute of or the German Märchen; therefore the Recorded Sound (now the British English term should simply read ‘Tale’. Library National Sound Archive which Also, Miss Iles’ favourite term for the contains a considerable number of her Sonata-Conte Op. 25 No. 1 was ‘Sonata- original discs and BBC off-air tapes)8 Legend’ which I also prefer. Regarding piano technique, Miss Iles had copied called ‘Nicolas Medtner – Friend and out numerous exercises given to her Master’9. This is essential reading to by Medtner from the Russian and gain a bigger picture than what I can central European tradition (Medtner describe here; nevertheless I will had trained with Paul Pabst, Vassily always feel especially grateful to Edna Sapellnikov and Vassily Safonov). The Iles for so many valuable insights exercises have been studied in detail by into the music of a still-under- Alexander Karpeyev in his 2014 thesis recognised composer whose music ‘New Light on Nicolai Medtner’ as yields up its treasures only to those part of his detailed study of the Edna who sincerely wish to extend their Iles Collection in the British Library, full musical faculties to rise to the acquired in 1997. Judging by the photos challenge. Nevertheless, Medtner did I have seen of Medtner at the keyboard receive so much attention, respect and he favoured beautifully rounded fingers support from musicians and pianists in England that he sincerely felt that Endnotes 1 The house now has a blue plaque commemorating Medtner’s time of living there from 1935 to 1951. 2 ‘Nicolas Medtner – An Honorary British Composer – Exploring interlinked connections between Russian Music and Britain’. Journal ‘British Music’, Volume 42 (2020) published in August, and now also available for direct access on Chris. Crocker’s Medtner website: www.medtner.org.uk. 3 Edna Iles’ last BBC Radio 3 broadcast was recorded in 1977 and broadcast in 1979. 4 Barrie Martyn: ‘Nicolas Medtner – His Life and Music’, Ashgate, Scolar Press, 1995, also available in paperback. 5 This whole story will feature in a forthcoming Channel 4 TV programme ‘Great Canal Journeys’ in which Michael and Jones and Alexander Karpeyev are interviewed by Gyles Brandreth and Sheila Hancock. 6 Medtner’s complete solo recordings are currently available from, among others: APR 5546 to 5548 (3 CD’s) and St. Laurent Studio, Canada on YSL 78-004 to 78-007 and 78-023, 78-024 and 78-027. 7 Quote taken from ‘Medtner as Pianist’, pages 93-94 in ‘Nicolas Medtner – A Memorial Volume’ edited by Richard Holt, London, Dennis Dobson Ltd. 1955. 8 A sizeable collection of Edna Iles own recordings were released in 2014 on the St. Laurent Studio label, including many Medtner works (including Piano Concerto no 1) on YSL 78-210 to 212, and 7-215 and 263. 9 Journal of the British Institute of Recorded Sound 70-71, April-July 1978. Michael Jones is a professional pianist who graduated from what is now the Royal Birmingham Conservatoire in 1974 with Prizes for Piano, Advanced Harmony and Musical Distinction. He is also a historian, musicologist, composer’s biographer and Executor/Trustee (for Edgar Bainton), contributing articles for many journals and magazines. During the 1980s he studied a sizeable number of Medtner’s works with Edna Iles, and after her death in 2003 was appointed to oversee the transfer of her archive of recordings to the British Library National Sound Archive for posterity. Michael and Alexander Karpeyev were filmed in conversation with Gyles Brandreth and Sheila Hancock on the subject of Medtner’s time in Wootton Wawen during World War 2 for the popular TV series ‘Great Canal Journeys’ - broadcast on 8th and 11th September on More 4. This year Michael celebrates 50 years ‘In Search of Music’ and has now performed works in all genres by over 500 composers. 12

The “Land Without Music”?: Neglected Piano Works from 20th-Century England by Asher Armstrong Despite England’s It is perhaps an irony that the region from which comes the earliest known manuscript of undeniable historical keyboard music (the Robertsbridge Codex) and arguably the first truly distinctive cohort of artistic importance, keyboard composers (Byrd, Bull, Gibbons) suffers egregious neglect of its keyboard music much of its best piano in other eras on the international concert stage. England was a historically important centre for music from the last arts: Liszt toured there, and Chopin ended his concert career on the island. Similarly, England century remains gave birth to other major trends in the arts; for instance, its impact on Continental Europe unaccountably as the epicentre of the Romantic movement in literature (with such figures as Wordsworth, neglected. Composers Coleridge and Byron) is hard to overestimate. Such influence is not limited to literature; in overlooked include painting, the storm-tossed and sometimes violently colourful canvases of William Turner Ivor Gurney, whose are often cited as being far ahead of their time, even seeming to belong to an Impressionistic captivating set of artistic world 100 years later (one musical “Impressionist” was especially taken with Turner’s preludes is a cycle of work, admitting to a friend “that he spent many hours in the Turner galleries in London” gems. The exciting (Wolfman 2015); one certainly sees the colourful in this composer’s Poissons d’or, Jardins sous la if regrettably slight pluie, and countless other works). output of Ethel While within England one easily observes celebration of home-grown musical–artistic Leginska has been figures (one need only to look at an old £20 bank note to see the face of Elgar), there is a almost completely wealth of music, and particularly keyboard music, that remains relatively little-known outside overshadowed by her the island. English tenor Ian Bostridge illuminates the lingering 19th-Century impression career as a concert some seem to have had of England in Continental Europe (at once highlighting the Teutonic pianist; her keyboard influence): “Successful absorption of the German experience in England – the land without works include a music, as it was known – was slow” (Bostridge 1999). pre-Liebermann “Gargoyle”, and a Ivor Gurney (1890–1937) Victorian Suite, explored In some cases, these little-known keyboard repertoires may be overshadowed by their same here. William Alwyn has written generously author’s greater works. For instance, in the world of vocal performance and pedagogy, Ivor for the piano: in his Gurney is for many a familiar name; his art song Sleep is enough for many to be convinced of 12 Preludes, one finds his powers as a composer for the human voice. But his slight piano output has been left largely many memorable unexplored; only in recent years has there appeared a scattering of recordings which explore moments, including a some of these pieces: “…it has largely been through the efforts of the smaller record companies heartbreaking tribute that the vast amount of English music for solo piano from the first half of the 20th Century has to a promising young begun to be explored: fine music which has unaccountably been neglected for far too long” pianist whose life was (Matthew-Walker 2005, 49). cut tragically short. For those familiar with Virginia Woolf’s seminal novel Mrs. Dalloway, reading of Gurney’s HOME life might bring to mind the heartbreaking character of Septimus Warren Smith. Like this protagonist, who acts as a kind of counter-balance to Dalloway herself, Ivor Gurney was a 13

a composer survivor of World War I, experiencing severe post-traumatic stress disorder and increasing unafraid of mental instability. Prior to the War, Gurney had shown great promise “… (as a) composer expressive and accomplished organist, Gurney won a scholarship when he was twenty to study at the lyricism, Royal College of Music (RCM) in London. When they saw his enthusiasm, energy and musical and with skills, his teachers likened him to a young Schubert” (Hart 2009). In the Great War, Gurney a deep experienced unnumerable horrors (he was wounded by gunshot, and later survived a gas sensitivity assault in Passchendaele). At the war’s conclusion, Gurney matriculated once more at the Royal to the Conservatory where he studied with Ralph Vaughan Williams. Upon completing his studies in inherently 1921, Gurney left, but failed to find employment or any kind of life-security; his efforts in music vocal and literature also proved unsatisfactory: “haunted by the belief that he was being rejected both as a composer and as a poet, he grew increasingly unstable, threatened suicide and was eventually admitted into Barnwood Mental Hospital, Gloucester” (Hurd 2001). Musicologist and biographer Michael Hurd has pointed out in his biography of the composer that many of the characteristics which eventually lead to Gurney’s permanent confinement to the London Mental Hospital (1922–1937) were already evident before the war. More recent research and efforts at diagnoses seem to support this conjecture; in any case, Ivor Gurney spent the rest of his life institutionalised, eventually dying from tuberculosis at the age of 47. His output for piano includes a set of nine preludes (recently recorded by Mark Bebbington), of which five were published in an earlier set (1921). These five pieces instantly stand out as true gems in the genre; if Rachmaninov is to be believed that the miniature requires more compositional mastery than the large-scale work (Slenczynska 2007), these pieces’ absence from the concert platform and recital venues is doubly regretful. One immediately recognises the “distinctive and magical” (Hurd 2001) qualities that make Gurney’s songs so attractive, particularly in the fourth piece: this heartbreaking canvas is intimate and yet elusive. Dedicated to one of Gurney’s pre-war friends from the Royal Conservatory of Music, Sidney Shimmin, it seems to enclose a private constellation of secrets and gentle whispers (made more celestial by the “starry” key signature of F-sharp major): Example 1. Ivor Gurney, 5 Preludes for Piano, No. 4 in F-sharp major, mm. 1–3. The opening melodic contour suggests a composer unafraid of expressive lyricism, and with a deep sensitivity to the inherently vocal; one can see why Gurney’s teachers dubbed him a “young Schubert”. The melody’s expressivity is heightened by the way Gurney gently sustains the rhythms of the murmur-like opening pulse, creating a feeling of breathlessness. Some chromatic inflections belie this highly personal musical landscape: Example 2. Ivor Gurney, 5 Preludes for Piano, No. 4 in F-sharp major, mm. 7-9. 14

The harmonic sleight-of-hand in such a wonderfully unpredictable moment as this brings to mind the contemporary voice of Fauré, who is often lauded for his similarly idiosyncratic and colourful harmonic reach. Similarly colourful harmonies lift the third prelude out as a highlight (of all nine of Gurney’s preludes): Example 3. Ivor Gurney, 5 Preludes for Piano, No. 3 in D-flat major, mm. 14–19. Again textured richly, this seems pianistically not too distant from the world of late Brahms, but inhabits a sphere all of its own with its confiding, song-like candor. Its dedication is to the matriarch of the Chapman family who had, after the war, “welcomed Gurney back as a son to their midst … this relative happiness for the composer is reflected in this lyrical, expressive work” (Connock 2012). Brahms may again come to mind in the second prelude, in which Gurney’s marcato-staccato treatment of trenchant march-like rhythms quickly and excitingly gives way to hemiola effects: Ethel Leginska by her Example 4. Ivor Gurney, 5 Preludes for Piano, No. 2 in A minor, mm. 13–18 fireplace in 1916. This prelude shows a different side of a composer who loved the outdoors, and was an avid HOME rambler of the Cotswolds (Kennedy 2020, 207); taken at the appropriately breathless pace, this little piece provides a valuable study in double notes, voice-leading, leaps, and subito dynamic control. Ethel Leginska (1886–1970) While Gurney was studying composition in London, another English musician, now almost entirely forgotten, was studying composition in New York with Rubin Goldmark (the teacher of such figures as Copland and Gershwin). Ethel Leggins, born in Hull, UK, in 1886, was immediately recognised as a child prodigy by her mother; Ethel later recounted this story humorously: “When I was about two, my mother was bathing me upstairs. All of a sudden, I started to climb out of the tub. My mother grabbed me and I struggled with her. I howled, but still tried to get out. Then my mother noticed that it was when my aunt downstairs was strumming on the piano that I made my attempts to get out of the tub, and that I yelled when she stopped. My mother wondered whether there was any connection, tossed a towel around me, and rushed me, dripping, down to my aunt. She explained to my aunt, and had her play, both watching me. I seemed very much pleased at the sounds she made. Then my mother held me by the piano. Instead of hammering with my fist, as babies generally do, I carefully tried to imitate the action of my aunt’s fingers, and listened very closely to the sound that came each time I pressed a key. My musical education began at that point” (Broadbent 2002, 10). This precocious child was shortly thereafter taken around door-to-door to provide musical instruction to neighbourhood music students; at the age of six, she performed for the Prince of Wales; at the age of 10, she made her debut appearance in London; and astonishingly, at the age of 11, Leggins travelled by herself to Frankfurt-am-Main to matriculate at the Hoch Conservatory of Music (the youngest student to do so at the time). She found herself a classmate of such pianists as Percy Grainger, Cyril Scott and Roger Quilter. After four years in Frankfurt, Leggins went on to study in Vienna with Leschetizky, one of the most revered piano pedagogues of the day, and whose studio over the years included such heavyweight figures as Schnabel, Paderewski, Moiseiwitsch, Hopekirk and many others. Around this time, Ethel Leggins took 15

Leginska’s up the stage name of “Ethel Leginska”, and to the present so she has been known. (This was music for not uncommon in her time; one thinks of the native Texan pianist, Lucy Hickenlooper, who, keyboard hoping to invigorate her concert career, changed her name to Olga Samaroff!) is not extensive, Leginska’s career as a performing pianist is reflected in a number of recordings she made but shows a prior to her retirement from the concert stage; despite some unaccountably acid and gender- daring and inflected reception, even in more recent years (which surely serves as its own commentary on courageous threads of misogyny in criticism), it cannot be denied that Leginska was an artist of exceptional artistic talent, and there are too many overwhelmingly positive reviews from concerts, not only in voice her homeland but in the U.S. and Continental Europe, to think otherwise. For those familiar with the unbelievably demanding and rigorous regimen cultivated by Leschetizky it should be no surprise that that this English pianist must have been special to pass so successfully (and quickly) through the gauntlet; but those unconvinced are encouraged to explore her above- mentioned recordings: of her regrettably scant output – which features the complete Schubert Impromptus – her D. 935, No. 3 in B-flat is a riot of graceful charm and nonchalant virtuosity, while of her recorded Rachmaninov Preludes, Op. 23, No. 5 in G minor is a kind of masterclass in orchestral voicing, restrained power and persuasive artistry without garishness. In all of these recordings, one has the impression of witnessing the magic of a noble, Romantically- assured artist of the “old school”, whose individual voice is complemented by a robust and masterful technical command of the instrument. On an objective metric, there is really no more “eccentricity” in Leginska’s recorded playing than in Cortot’s, Hofmann’s or Horowitz’s, but this has in some circles been held against her nonetheless, along with an unaccountable denial of her individuality and sensitivity: “her playing of Schubert can sound rather straightforward and restrained (and) short on sensitivity; whilst in her recording of Chopin’s Prelude in D flat Op. 28 No. 15, Leginska unaccountably doubles the tempo for the middle section” (Summers 2007). (One wonders what this reviewer might have made of Debussy’s 1913 recording of his own La Cathédrale engloutie!) Listeners must make their own conclusions. Leginska’s music for keyboard is not extensive, but shows a daring and courageous artistic voice. This is particularly evident in her Gargoyles of Notre Dame, written long before Lowell Liebermann’s own set of grotesque etudes. This work, written around 1919–20, demonstrates experimental polytonality, complex and idiosyncratic rhythmic organisation, underpinned by Leginska’s own evocative gothic imagination, in which the gargoyles are depicted “brooding in the moonlight”, “pirouette-ing”, and even “making coarse jokes” (Griffin 1993, 47). But it is a late piano suite, 3 Victorian Portraits, which leaves a lasting, haunting impression. In these pages, published in 1959, one finds evidence of Leginska’s belief that “the piano is capable of reflecting every mood, every feeling: all pathos, joy, sorrow – the good and the evil too – all there is in life” (Brower 1915, 48). It is particularly the second movement of this suite which makes the piano (and the listener!) shudder: Example 5. Ethel Leginska, 3 Victorian Portraits, II. A Dirge, mm. 1–4 Entitled “A Dirge”, it carries a highly personal significance for Leginska: “(it) represented the funeral procession in 1938 of Arthur Stanley (‘Jack’) Wilson, son of Mary Wilson. On that sad occasion the coffin was carried on a horse-drawn hearse, and the music suggests the rumbling of the cart as it was driven over muddy rutted ground” (Broadbent 2002, 15). The movement’s preface reveals the inspiration, even while dressed up with gothic imagination: “the lumbering, creaking wheels of an ox-drawn farm wagon move slowly along the muddy road of an English village, carrying to her final resting place the body of the landowner’s wife. The farm workers 16

and other retainers follow on foot in a somber procession to the church yard” (Leginska 1959, 6). The sheer weight of this music instantly brings to mind the Bydlo oxen of Mussorgsky’s Pictures at an Exhibition, but its overwhelming heaviness is even more crushing. Leginska has exploited the piano to its literal and physical extremes; not only does tolling of the deepest A-natural create an ominous and funereal effect, but the use of the sostenuto pedal amplifies this one step further. This innovation of the mid-19th century (and sometimes credited to French piano builder Claude Montal) is now standard in every concert instrument, but may be the least-used of the modern piano’s technology; many pianists and students find its application “fussy”, “messy” or impossible, and frankly, there is not much literature that explicitly calls for it. How thrilling, then, to encounter a piece which uses this effect in a way which is not only thoroughly satisfying and convincing, but also quite practical; Leginska’s instructions (asterisked at the bottom of the page) read: “Before first beat, silently press down lower A-E-A using both sostenuto and soft pedals with left foot” (Leginska 1959, 6). This skeletal open sonority takes on a seemingly impossible chasmic quality, resonating deeply into a vast hollow and still amplifying every strata of texture above it. The opener of 3 Victorian Portraits is a charming piece, and it would be unfair to characterise Leginska’s third movement, Heroic Impromptu, as simply an homage to the pianistic richness of the most satisfying Scriabin, Liszt or Brahms; there is nothing “new” here, but there is plenty to recommend its inclusion in any programme which might feature any of these former composers: Example 6. Ethel Leginska, 3 Victorian Portraits, III. Heroic Impromptu, mm. 1–6 William Alwyn (1905–1985) In 1905, William Alwyn Smith was born in 1905 in Northampton, UK. Like Leginska, he would later alter his name in the hope of aiding his career (by changing his middle name to his surname, believing “Alwyn” would stand out more distinctively than “Smith”). Nowadays if Alwyn’s name is recognised at all, it is almost certainly for his work as a film composer, with almost 200 scores to his credit (among these, Odd Man Out, A Night to Remember and the Disney-produced Swiss Family Robinson may ring distant bells in some readers’ memories). But Alwyn’s heart was always in concert and chamber music, which he cultivated with a tireless sense of dedication throughout his career, and consistently after he eventually abandoned writing for films. This large body of concert work has seen little attention, and many pianists may not know anything about Alwyn; in a review of a recent biography of the composer by Adrian Wright, one reads: “Wright begins his introduction ‘William Alwyn’s name may bring not a flicker of recognition to most of the British public…’ Recognition is indeed a big issue throughout this biography… film composition was always seen by Alwyn as secondary to his artistic ambitions as a composer and author. His concert music was of much greater importance to him” (Johnson 2013, 97). HOME 17

a thoughtful In the realm of piano music, Alwyn left many attractive works, including two substantial and rigorous Piano Concertos, solo sonatas and several incidental pieces, as well as a cycle of Fantasy-Waltzes architectural and 12 Preludes, both of the latter recorded by the late English pianist John Ogdon with the craft composer on hand. When one quickly surveys the reception to this album, there is a common, general impression of surprise and the sentiment that this (now 36-year-old) recording represents great music we’ve all missed out on. While the Preludes are accessible in many immediate ways (pianistically, melodically), a closer look reveals a thoughtful and rigorous architectural craft, which, while absorbing some influence from dodecaphonic music, remains firmly rooted in Romantic syntax and practice (in his own notes on the cycle, Alwyn explains that they are “experiments with short note groups, each with a strong tonal centre” [Alwyn 1985]). The individuality and distinctiveness of each prelude’s conception is immediately attractive, but it is perhaps the fifth prelude which takes the listener most off-guard: Example 7. William Alwyn, 12 Preludes, No. 5 in D major, mm. 1–8 The exposition of this beautiful and unexpectedly expressive chorale ruminates on its opening three-note motive (incidentally, this melodic cell distantly echoes the three-note contour which gently initiates the heartfelt confessions of Nimrod). In the middle section, these melodic fragmentations progress in a tentative antiphonal setting, before coming to fixate on the underpinning rhythmic figure. This dramatically precipitates a granitic, enormously forceful outburst: Example 8. William Alwyn, 12 Preludes, No. 5 in D major, mm. 24–31 18

A native of The raw, grieving lucidity of this moment reveals its inspiration as “an elegy in memory of Knoxville, Tennessee, the brilliant young New Zealand pianist Richard Farrell who was so tragically killed in a car Asher Armstrong is an accident… the Prelude was written a few days after his death” (Alwyn 1985). For those familiar Assistant Professor of with Farrell’s luminous, deeply lyrical recordings, this piece seems the perfect tribute. Piano at the University of Arkansas, and a Along with the preludes of Ivor Gurney, the incidental keyboard works of Ethel Leginska, member of the Royal and the rest of Alwyn’s output for piano, this piece rests quietly in a large and mostly Conservatory’s College unexplored treasure-trove of 20th-century English keyboard music. In each of the above cases, it of Examiners. Formerly, is my feeling that the music speaks for itself, inviting (if not demanding!) a little advocacy. It is Asher served on the my hope that this brief essay will encourage exploration and performance of these wonderful, Piano Faculty of the neglected piano works, and of others long forgotten. University of Toronto as a lecturer of Piano References and Piano Literature. An enthusiastic music Alwyn, William. 1985. Liner Notes for “William Alwyn: Fantasy Waltzes, 12 Preludes.” John scholar, Asher has Ogdon (piano). Recorded 1985. CHAN8399. Compact disc. been published by Cambridge University Bostridge, Ian. 1999. Liner Notes for “The English Songbook.” Ian Bostridge (voice) and Julius Press’s Tempo, Clavier, Drake (piano). Recorded 1999. CDC724355683021. Compact disc. American Music Teacher Broadbent, Marguerite and Terry. 2002. Leginska: Forgotten Genius of Music. Wilmslow, Cheshire: and others, and has The North West Player Piano Association. recently recorded a two-disc album of the Brower, Harriett. 1915. Piano Mastery: Talks with Masters and Teachers. New York: Frederick A. Stokes last works of Brahms. Company. He holds degrees from the Cincinnati Connock, Stephen. 2012. Liner Notes for “The Sons of the Morning: Piano music of Ralph College-Conservatory Vaughan Williams and Ivor Gurney.” Iain Burnside (piano). Recorded January 18-20, 2012. of Music (MM) and the ALBCD015. Compact disc. University of Toronto (DMA), where he Griffin, Melodie Love. 1993. “Ethel Leginska, Conductor Extraordinaire, Composer, Pianist and worked with renowned Feminist.” Newport News: Christopher Newport University. pianist-teacher Marietta Orlov. Hart, Linda. 2009. “Ivor Gurney: From Triumph to Tragedy.” Contemporary Review 291/1692 (Spring). link.gale.com/apps/doc/A205111724/BIC?u=utoronto_main&sid=bookmark- BIC&xid=7 4a4827c. Accessed 13 July 2021. Hurd, Michael. 2001. “Ivor Gurney.” In Grove Music Online. Oxford Music Online. Accessed July 13, 2021. https://www-oxfordmusiconline-com.myaccess.library.utoronto.ca/grovemusic/ view/10.1093/gmo/9781561592630.001.0001/omo-9781561 592630-e-0000012046. Johnson, Bret. 2013. “The Innumerable Dance: The Life and Work of William Alwyn by Adrian Wright.” Book Review. Tempo 67/265. Kennedy, Kate. 2002. “‘A Place One Can go Mad In’: Ivor Gurney, Dwelling in Shadows.” In Lives of Houses, edited by Kate Kennedy and Hermione Lee, 201-212. Princeton: Princeton University Press. Leginska, Ethel. 1959. 3 Victorian Portraits. New York: The Composers Press, Inc. Matthew-Walker, Robert. 2005. “Ivor Gurney & Howard Ferguson: Solo Piano Music.” CD Review. Musical Opinion 128. Slenczynska, Ruth. 2007. Tribute to Rachmaninoff. Pleasantville, NY: Video Artists International. DVD. Summers, Jonathan. Liner Notes for “A–Z of Pianists.” Ethel Leginska, et al (piano). 2007. Naxos 8.558107–10. Compact disc. Wolfman, Ursula Rehn. 2015. “Claude Debussy: Music and the Artists of the Fin de Siècle.” Interlude, December 13. https://interlude.hk/claude-debussy-music-artists-fin-de-siecle/. HOME 19

Learning the piano with a former prodigy can be a risky proposition. Pianists who were formed at a very young age are often unable to explain how they play, and trying to replicate their way of playing is counterproductive for a pupil, particularly so if the model pianist has developed a highly individual and idiosyncratic technique. Unfortunately, many great pianists fall into this category. But Alfred Cortot, who was one of the world’s greatest piano teachers and also one of the greatest pianists, learnt his piano technique consciously through careful study and application. The Ideal He was born in Nyon, Switzerland, Teacher in 1877, where his first teachers were his elder sisters Léa and Annette. The great pianist and teacher Alfred Having decided that young Alfred Cortot devised exercises based on Chopin’s was destined to be a virtuoso pianist, principles. Today we can still benefit from the family moved from their native his groundbreaking methods says Michael Switzerland to Paris. Cortot, however, Stembridge-Montavont. was not a prodigy and had already reached the advanced age of 14 when 20 he was admitted to Louis Dièmer’s class at the Paris Conservatoire in 1892. As he described himself: ‘my hands were flaccid, lacking muscle and rather clumsy. They often let me down, betraying my intentions. It took laborious exercises to loosen them while strengthening them at the same time.’ On his second attempt, at the age of 18, Cortot received the Premier Prix, exceptionally the only first prize awarded that year. The young musician was eager to pursue a conducting career, but when that did not develop as planned – he lost much money conducting Wagner in France – he was forced to take up the

piano seriously again for economic who has correctly carried Cortot’s Avoid reasons. As he put it, ‘The pianist paid principles... and who has scrupulously playing with for the recklessness of the conductor.’ adhered to the following regime of unprepared He was much influenced by Chopin’s preparing the muscles before playing. muscles... To own revolutionary style of teaching To play without proper muscular play without the piano, which he absorbed both preparation can be harmful if not proper muscular from his own teachers at the Paris dangerous.’ Manshardt pointed out preparation can Conservatoire and later on from that by practising in this way, Cortot be harmful if contact with former pupils of Chopin. was able to play large programmes to not dangerous For all these reasons he made an ideal an advanced age with no physical or teacher, not forgetting that he was also technical problems. While on tour that the wrist is above the hand – then an incomparable pianist. in his eighties, he played Chopin’s pull the wrist back towards one so 24 Préludes and 24 Etudes as a single that the fingers are flat on the keys. At the beginning of his book concert. Magda Tagliaferro (a pupil of Repeat this back-and-forth movement, ‘The Rational Principles of Piano Cortot) toured the USA on more than which must be executed decisively and Technique’, Cortot suggests nine one occasion to much acclaim when with ‘souplesse ‘ (which translates as exercises to be done for 15 minutes in her nineties – a testimony to his ‘suppleness’ or ‘flexibility’), the tips every day before playing the piano. He teaching! of the fingers keeping their initial likens these exercises to the warm-up position on the keys, one movement exercises used by athletes or dancers, Warm-up exercises per quaver at a tempo of 60 (eight or the stretching and breathing In The Rational Principles of Piano back-and-forth movements). Keep a exercises advised by doctors. The Technique, Cortot described nine constant pressure on the keys. goal of the exercises was to loosen preparatory exercises. We’ll consider the playing apparatus of the pianist – Nos. 5, 6, 8 and 9. Exercise No. 6: Same exercise but fingers, wrist and forearm (and upper Cortot recommended that Exercises in the opposite direction. Slide the arm, though Cortot does not say this). 5 and 6, which are explained at hand down so that the inside surface For the aspiring pianist, the value of length below, should be practised on of the fingers touch the outer case of doing these warm-up exercises is that a series of chords with the note value the keyboard, then return the hand to they loosen the playing mechanism, of a semibreve. The hands should be its original position. The wrist is first making it easier to learn technique exercised together. Additionally, the lowered and then raised when bringing directly through playing pieces. exercises should be done in a new key the hand back to its original position. and different part of the the piano Chopin’s teaching was one source each day. Start with your arms loosely Manshardt clarified Cortot’s of these initial exercises. Karol hanging by the side of the body and intentions by describing the way these Mikuli, one of Chopin’s best pupils, then lift them directly up on to the exercises should be played: reported: ‘As gymnastic aids Chopin keyboard, keeping a comfortable, recommended bending the wrist relaxed space between your hands. - the keys must be pressed down inward and outward, repeated wrist Manshardt said that this avoids ‘the strokes, and stretching the fingers, but somewhat cramped position of playing - there must be constant arm all this with an earnest warning against in the very middle of the keyboard’ pressure on the key-bed (the bottom over-fatigue.’ and that ‘the movements are more of the descent of the key) while doing easily free with the hand at whatever the exercise Another inspiration for Cortot may part of the keyboard it reaches when have been Tobias Matthay’s books on the hand hangs loosely at the side and - the arm pressure must remain piano technique: The First Principles of is carried to the keyboard at the same precisely the same at every instant Pianoforte Playing (1905) and Relaxation longitude’. from the beginning to the ending (of Studies (1908). Cortot refers to this For both exercises, begin by the series) obliquely in his study edition of placing the left hand on the first five Chopin’s op. 28 Préludes. Matthay, consecutive notes of the scale of C - beginners will do well to avoid whose pupils included Harriet Cohen, major – C-D-E-F-G below middle C any but the most subtle of pressures. Myra Hess and Moura Lympany, also (fingers 5-4-3-2-1; thumb on the G). Virtuosos on a good day can stay loose recommended that his ‘relaxation’ The right hand to be placed on C-D-E- with a pressing that would register exercises should be done every day F-G above middle C (fingers 1-2-3- some kilos on a weighing machine before playing. 4-5; thumb on the C). The keys are softly depressed (at a piano dynamic) 21 Thomas Manshardt, who studied ensuring that the fingers are together. with Cortot from 1957 to 1962, writes in his book Aspects of Cortot (a play on Exercise No. 5: Having played the the title of Cortot’s own book, Aspects of chord, advance the wrist towards the Chopin): ‘The pianist must avoid playing piano, tipping the fingers forward so the piano with unprepared muscles. No case of muscular impairment, damage, tendonitis, etc. has come to my attention in the case of any pianist HOME

- the wrist should be lowered (or one of Cortot’s is to be carried out twenty times at a raised) to a position as far as physically favourite metronome speed of 60. possible (without straining) maxims was, ‘Find the right For lateral movements, Cortot - the movement should be carried gesture and the distinguished between two types of out slowly, taking care that the elbow passage will leap (sauts): the rapid lateral shift, and does not swing away from the body or play itself.’ the leap in the form of an arc (courbe). the shoulders will lift up arm that facilitate the playing of a Exercise No. 9: In this exercise, - these exercises should be played particular passage or in creating a from the preliminary gymnastic very slowly and calmly, thereby aiding pianistic effect. As well as finding the exercises, Cortot concentrated on the peace of mind of the pianist. right gesture, there is the additional the rapid lateral shift in which ‘the problem of gauging its optimum size. keyboard is skimmed to cross the In his Relaxation Studies, which Cortot quoted Rameau’s advice: ‘guard interval which separates two notes may have been one of Cortot’s against all unnecessary movement. No or two intervals. It is analogous to a inspirations, Tobias Matthay offered large movement should be made where silent glissando in which one hears a similar exercise but with one highly a smaller one is sufficient.’ Often the only the first and last notes when it is significant difference: the keys must gesture required will be slight, with played.’ The purpose of this exercise not be pressed down, instead, ‘the minimal movement and carried out so is to develop ‘souplesse’ and speed in hands rest on the keys’. Consequently, rapidly that it is difficult to see what is lateral forearm movements. Cortot the weight of the arms has to be happening. wrote, ‘This exercise, which has as its supported. This can only increase any objective development of the lateral muscular tension already present in According to Guthrie Luke, who mobility of the forearm with a view the body. also studied with Cortot, one of to acquiring the technique of rapidly Cortot’s favourite maxims was, ‘Find changing the position of the hand Discussing supported arm weight, the right gesture and the passage will on the keyboard, is practised in the Cortot’s pupil Manshardt remarked play itself.’ Once a particular gesture is following way: that ‘those who play while carrying mastered, the difficulty is then to link the weight of the arm must find the playing gestures into a continuous ‘Placing the right hand on the practising extremely fatiguing. Anyone flow. Aldo Ciccolini, a professor at the keyboard as far as possible to its left, required to hold up the arms for three Paris Conservatoire, reflects: ‘There rapidly flick the forearm to the right or four hours would be justified in is a moment practising where each towards the highest notes of the piano. complaining of being tortured. Yet gesture of the hand has to be thought Then flick the forearm back to the piano teachers who advocate muscular out. What is so difficult is that one can original position. Mark a short pause support of the arm think nothing of never separate a gesture – even visually. at each point. The left hand is then prescribing that torture.’ No doubt The gesture is continuous, one thinks exercised in the opposite direction – Cortot understood this danger, as one has it and it has already changed mirroring the right hand movement Manshardt makes clear: ‘Those who because it going towards the next (i.e. the hand is placed as far as possible practise long hours while they support gesture. The most important thing is to the right and the forearm flicked to the weight of the arms tend to have the moment between two gestures, the left). Repeat each gesture 20 times what are nowadays called “muscular that mysterious transformation.’ at a speed of 60 for each movement.’ problems”. It is at this point that some pianists give up playing altogether.’ Exercise number 8 from the For this exercise, the hands should preliminary daily gymnastic exercises be exercised separately. In making this There is a moment practising where is devoted to: ‘souplesse’ of the movement, the wrist is projected by each gesture of the hand has to be wrist and of the forearm (vertical the impetus given to the forearm. In thought out. What is so difficult is that movement) which Cortot describes as: the right hand it flies initially to the one can never separate a gesture – even right as an extension of the forearm visually. Holding both hands (‘parfaitement movement and then to the left on souples’) at shoulder height, project its return. Cortot believed that one In a later chapter of The Rational them, by a quick and decisive must develop lateral as well as vertical Principles of Piano Technique devoted to movement onto the piano keyboard, freedom in the wrist. Manshardt wrist technique, Cortot declared that which they graze (‘effleureront sans added: ‘The forearm sets the hand one of the major difficulties of playing jouer’), to then instantly return to in motion, the hand adds its own the piano is combining the vertical their initial position where they mark capacity to swing from the wrist to this descent into the keyboard with the a short pause (‘où elles marqueront movement.’ lateral movement across the keyboard. un léger temps d’arrêt’). This gesture He came up with a series of exercises The movement must be quick and to practise isolating the one dimension decisive, with the elbow acting as a from the other. These exercises fall in pivot for the forearm. The elbows to the category of what one might call must not swing away from the body. ‘playing gestures’ – certain movements Once this lateral movement of the of the finger, wrist, forearm and forearm (Chopin Étude op. 10 no. 2, for example) is mastered, the classic waltz 22

pattern in the left hand will become to the left or the right’. Following much easier… on from this, Manshardt wrote, ‘The elbows should be about six inches in Best posture at the piano front of the body for if they are only at keyboard the sides only the forearm is brought into play; the advancing of the elbows Cortot stressed the importance of ensures participation of the whole arm’. a student sitting at a height ideally adapted to his body shape – the length Near the end of his life (he died of arm rather than that of the upper in 1962), Cortot noted in his diary: body (‘buste’) determining the best ‘Appeared, to date, more than 6,000 posture at the keyboard: times in concert’. Interestingly, even other pianists with equally long careers ‘The arm must follow a natural line, put Cortot on a pedestal. Vladimir avoiding any awkward angles which Horowitz, after hearing Cortot play the might paralyse the muscles in the 24 Etudes and 24 Préludes of Chopin as forearm and the hand.’ a single programme in Paris, declared that: ‘the execution and interpretation Furthermore, ‘as a general rule the of these masterpieces seemed wrist should be lower than the hand.’ unsurpassable.’ Claudio Arrau once By adopting the correct posture, which said, ‘Cortot practised a lot. D’Albert is determined in part by the height of and Ansorge didn’t practise. But Cortot the piano stool, one avoids exaggerated knew exactly how to do everything. He (finger) articulation and disabling wrote all those exercises...’ muscular tension. Chopin believed with ‘a supple hand, the hand, the (This article originally appeared in wrist, the forearm, the arm, everything the April May 2005 issue of Pianist will follow the hand in the right order’. Magazine represented here with the He advised that ‘the elbow should kind permission of the author who be level with the white keys’ (which retains copyright.) dictates the ideal height of the piano stool) and ‘the hand turned neither Bibliography: THE RATIONAL PRINCIPLES OF PIANO TECHNIQUE Alfred Cortot (Reprint Services Corp, 1995) PRINCIPES ÉLÉMENTAIRES DE LA TECHNIQUE PIANISTIQUE à l’usage des débutants Jeanne Blancard (Maurice Senart 1938) ASPECTS DE CHOPIN Alfred Cortot (Albin Michel, 1949) CHOPIN,PIANIST AND TEACHER, AS SEEN BY HIS PUPILS (Jean-Jacques Eigeldinger 1988) ALFRED CORTOT Bernard Gavoty (Cambridge University Press, Buchet Chastel, 1995) ASPECTS OF CORTOT Thomas Manshardt (Appian Publication and Recordings, 1994) ALFRED CORTOT: HIS INTERPRETATIVE ART AND TEACHINGS Taylor, Karen M. (thesis 1988) FRENCH PIANISM: A HISTORICAL PERSPECTIVE Charles Timbrell (Amadeus Press, 2003) Following studies with Jean Micault (Alfred Cortot’s former assistant), Michael Stembridge-Montavont has organised piano courses for the past twenty years inspired by the pianistic ideas and ideals of Alfred Cortot) https://www.cortotheritage.com/alfred-cortot-1877-1962/ HOME 23

83 Diabelli Variations: The First Modern Urtext by Mario Aschauer One of the many great aspects of composer publisher. Cappi und Diabelli catered to the high demand for anniversaries such as Beethoven’s 250th birthday arrangements of popular opera melodies as well as dance in 2020 (minus the COVID-19 pandemic, of music for the salons of the middle class, published in course) is that they have a tendency to shed light into numerous series of subscription-based editions. Furthermore, otherwise often somewhat under-lit corners of music Diabelli’s easy-to-perform sacred music became exceedingly history. Among the many projects that have received more popular beyond the confines of the city. But also in the attention leading up to this anniversary is Anton Diabelli’s realm of more serious repertoire the firm had a good nose, Vaterländischer Künstlerverein. For example, Rudolf Buchbinder for example in becoming Franz Schubert’s first publisher. In inspired contemporary composers to create an entirely new short, Cappi und Diabelli rose very quickly to become one of cycle of variations, EPTA Germany made it the theme for its the most influential music publishers in Biedermeier Vienna annual conference in autumn 2020 (including a complete – a success story that continued beyond the point of Cappi’s performance of all 50 variations by piano students from exit from the firm in 1824 and lasted for the rest of Diabelli’s all over Europe), and Bärenreiter in Kassel had the idea to career until his retirement some 30 years later. honour the occasion with the first modern edition of both parts of Diabelli’s mammoth project – Beethoven’s op. 120, but The idea that led to the two sets of Veränderungen presented also the 50 variations by Vienna’s composers and virtuosos in the Künstlerverein probably arose already in Cappi und – perhaps the most impressive “family picture” of Viennese Diabelli’s first days of existence4 and was as ingenious piano culture in the 1820s.1 as simple: Diabelli sent a 32-measure waltz of his own composition to the most reputable composers and virtuosos On December 10, 1818,2 the Viennese music publisher of the Austrian Empire with the invitation to submit a Pietro Cappi announced the establishment of a new firm variation for a collaborative set of variations that would with his business partner Anton Diabelli.3 Cappi brought subsequently be published under the title Vaterländischer a valid business licence to the partnership, Diabelli his Künstlerverein. In early 19th-century periodicals such as the exceptional instincts for the demands of the music market Wiener Zeitung the term Künstlerverein is frequently used when in Biedermeier Vienna both as composer and music referring to the entire performing personnel of a concert, 1 Ludwig van Beethoven et al., Vaterländischer Künstlerverein: Veränderungen für das Piano Forte über ein vorgelegtes Thema, componiert von den vorzüglichsten Tonsetzern und Virtuosen Wien’s und der k. k. oesterreichischen Staaten, ed. Mario Aschauer (Kassel, etc.: Bärenreiter, 2020). 2 Wiener Zeitung, 10 December 1818, pp. 1130–31. 3 Born 1781 in Mattsee near Salzburg, died 1858 in Vienna. 4 One of the first composers to respond to Diabelli’s invitation was Carl Czerny, who was also to provide the coda. The autograph of his variation is dated May 7, 1819. 24

only one composer’s explicit decline to collaborate is ascertained: Ludwig van Beethoven Anton Diabelli are curiously absent from the list of contributors (e.g., Joseph Eybler, Joseph Weigl, Wenzel Müller, Adalbert Gyrowetz, the cast of a theatre, or an opera company.5 Consequently, Ignaz Ritter von Seyfried,7 Friedrich Starke, Hieronymus Vaterländischer Künstlerverein might perhaps be translated as Payer, Michael Umlauff ), only one composer’s explicit Fatherlandish Union of Artists. Whether or not this title was decline to collaborate is ascertained: Ludwig van Beethoven. already decided when Diabelli sent out his waltz is unclear, but we are safe to assume that in his invitation Diabelli Beethoven must have decided to compose an entire set of emphasised the nature of the project which he eventually variations all by himself only shortly after he had received advertised as “alphabetic anthology of all, in part already long Diabelli’s invitation as his sketchbooks attest. Legends celebrated, in part very promising names of our so brilliantly about Beethoven’s motive are manifold8 (I made an entire shining era in music history.”6 Who would not want their YouTube video about this9). I think most credible is the way name included in such a project – particularly since the Carl Czerny relays the story: Beethoven was invited, “but he task, albeit probably otherwise unpaid, was simple enough. did not want to participate in this contest [“Concurrenz”], And indeed, Diabelli was able to garner variations by 50 promised, however, to write a set of variations by himself.”10 composers and piano virtuosos. While a number of names Fun fact: At least intermittently Beethoven composed the 33 Veränderungen not directly for Diabelli, but considered alternative avenues of publication. In 1820 he offered them to Simrock in Bonn,11 then also to Peters in Leipzig in the summer of 1822.12 Further correspondence demonstrates that both in November in 1822 and in the spring of 1823 Diabelli tried to rush Beethoven into completing the variations.13 However, when at some point in the spring of 1823 Beethoven insisted that Diabelli purchase the variations as part of a package deal with the Missa solemnis, the publisher did not respond with sufficient interest so that Beethoven threatened to not sell the variations to him after all.14 Nonetheless, an agreement seems to have been reached quickly – too quickly as Beethoven and Schindler will complain later15 – and Diabelli advertised the publication of Beethoven’s 33 Veränderungen on June 16, 1823.16 In the spring of 1824 Pietro Cappi left the partnership with Diabelli who continued his enterprise with his new partner Anton Spina17 as Diabelli et Comp.[agnie]. Planned or unplanned, the establishment of the new firm coincided perfectly with the completion of the collaborative 50 5 When in 1833 musicians from the Kärntnerthortheater established a concert series entitled Künstler Verein, 25 The Harmonicon translated the term with “union of artists”; The Harmonicon 11/1 (1833), p. 202. 6 Wiener Zeitung, June 9, 1824, p. 550–51. 7 Günter Brosche, ed., Anton Diabellis Vaterländischer Künstlerverein: Zweite Abteilung (1824); anhand der erhaltenen Originalhandschriften revidierter Nachdruck, Denkmäler der Tonkunst in Österreich 136 (Graz, 1983), p. VII. 8 For an overview see Maynard Solomon, Late Beethoven: Music, Thought, Imagination (Berkeley et al., 2003), pp. 11–13. 9 https://youtu.be/jBTbq4Hc7tc 10 Klaus Martin Kopitz and Rainer Cadenbach, eds., Beethoven aus Sicht seiner Zeitgenossen in Tagebüchern, Briefen, Gedichten und Erinnerungen, vol. 1: Adamberger – Kuffner (Munich, 2009), p. 223. 11 Beethoven to Peter Joseph Simrock, February 10, 1820, (No. 1365) in Ludwig van Beethoven, Briefwechsel: Gesamtausgabe, ed. Sieghard Brandenburg, vol. 4: 1817–1822 (Munich, 1996), pp. 363–64. 12 Beethoven to Carl Friedrich Peters, June 5, 1822, (No. 1468) in ibid., pp. 488–90. 13 Beethoven to Anton Diabelli, [early November 1822], (No. 1507) in ibid., p. 545; Beethoven to Anton Diabelli, [January/February 1823], (No. 1545) in ibid., vol. 5, pp. 22–23. 14 Beethoven to Anton (Felix) Schindler, [early April 1823], (No. 1622) in ibid., p. 101. 15 Karl-Heinz Köhler and Dagmar Beck, eds., Ludwig van Beethovens Konversationshefte, vol. 3: Hefte 23–37 (Leipzig, 1983), pp. 231–32; Beethoven to Anton Felix Schindler, [shortly after May 17, 1823], in Briefwechsel (see note 11), vol. 5, p. 125. 16 Wiener Zeitung, June 16, 1823, p. 554. 17 Born 1790 in Brno, died 1857 in Vienna. HOME

Carl Czerny Today, autograph manuscripts are extant for 38 of the 50 Veränderungen. 35 were given to the Vienna Court Library Veränderungen. As yet another stroke of business genius, (today Austrian National Library) in 1829 by Diabelli on June 9, 1824, Diabelli presented his new firm with the himself.19 Three further autographs came to the library from advertisement of his Vaterländischer Künstlerverein, “Variations different sources; the whereabouts of the autographs for the by the most distinguished composers and virtuosos of Vienna remaining twelve variations and Czerny’s coda are currently and the imperial and royal Austrian states” in the Wiener unknown; they are believed to be lost. The dates on a number Zeitung. Beethoven’s 33 Veränderungen, first published one year of surviving manuscripts show that composers began to earlier, retrospectively became part I of the collection, the respond to Diabelli’s invitation as early as May 1819 (Carl collaborative 50 Veränderungen part II: Czerny). The project grew little by little and some composers submitted as late as spring 1824 (e.g., Friedrich Kalkbrenner A. Diabelli and Comp. … are fortunate to be able to begin and Jan Nepomuk August Vitásek). The letter to Diabelli their career with the publication of a work of music that contained in the autograph of Vitásek’s variation refers to is unique in its kind and will by its nature remain singular “repeated requests” by the publisher. This goes to show that in the future. All fatherland’s fortepiano composers and Diabelli must have followed up with at least some of the virtuosos now living, fifty in number, have united to each invited composers several times to solicit their contributions. compose a variation on the same theme presented to them, in which inspiration, taste, individuality, and understanding of The 35 surviving autographs for the 50 Veränderungen art, as well as the treatment of the Fortepiano particular to display a wide range of manuscript characters. While some each of them speak in the most interesting and instructive clearly constitute carefully produced fair copies, others way. Earlier, our great Beethoven (the musical Jean Paul show the typical characteristics of a first written version of our time) has exhausted all the depths of genius and with numerous corrections. Three composers notated their art in a masterly original treatment of the same theme in 33 variations on the very leaf Diabelli had sent them with his Veränderungen (published by us), which form the first part of waltz theme. It is fascinating to observe the idiosyncrasies this work. So how interesting must it be when now all the of 35 composers active in early 19th-century Vienna in their other musical artists who are currently flourishing on Austria’s use of notation, articulation, ornamentation, and pedalling. classic soil developed their talent on the same motif, and After all, the Künstlerverein provides us with a truly impressive thus strived to make this important work not only a prize musical snapshot of Viennese pianoforte culture around competition, but also an alphabetic anthology of all, in part already 1824: the average age of the contributor in 1822 (as assumed long celebrated, in part very promising names of our so year of creation of most of the variations) was 39.5 years. brilliantly shining era in music history.18 The most senior composers were Emanuel Aloys Förster and Abbé Maximilian Stadler, both 74 years old. Schubert, at age 25, was among the five youngest participants, Franz Liszt at eleven years obviously the youngest, followed by Joseph von Szalay (19), Carl Maria von Bocklet (21), and Johann Evangelist Horzalka (24). In other words, a significant number of important figures in the Viennese pianoforte scene were born and trained in the third quarter of the eighteenth century. Consequently, Diabelli faced the task to unite a corpus of heterogenous manuscripts containing music by several generations of composers writing in the diverse styles that coexisted in early 19th-century Vienna. The publisher took pride in high-quality engraving and made sure to point out that “the appearance matches the content” as the last sentence of his announcement. This probably explains the at times considerable differences between autograph readings and the first edition – similar to the first edition of Beethoven’s op. 120. The editorial challenges The three main sources for Beethoven’s 33 Veränderungen are the autograph, the revised copy for the planned London edition (both manuscripts heavily revised by Beethoven), and the first edition in various states of plate corrections. Because of his particular working circumstances between April and June 1823, Beethoven carried out multiple revisions without having all three sources at his disposal to work on at the same time. Part of the revision of the London copy 18 Wiener Zeitung, June 9, 1824, p. 551–52. 19 Brosche (see note 7), p. VII. 26

appears to have occurred at a time when the autograph Extra: Notes on Performance Practice was inaccessible, necessitating several pages with a list of Following Bärenreiter’s recent standard to furnish new corrections in the sketchbook Engelmann as an intermediary. editions with a chapter on performance practice, also the When finally the corrections listed there were incorporated Künstlerverein comes with an essay that invites the readers into the autograph, Beethoven changed his mind about to “read between the lines”, offering a discussion of the some of them and returned to the London copy to revise fundamentals of legato playing and pedalling on the once more … All of this (and quite a bit more) is laid out in historical instrument, articulation, hairpins and dynamics detail in the preface of my edition. To cut a long story short, as well as embellishments and tempo modification. This caused by Beethoven’s revision process the texts in each of overview not only draws from the most pertinent written the three main sources began to develop a certain degree of sources of early 19th-century Viennese fortepiano culture, individuality. Therefore, I did not want to pretend coherence but also from the experience with the wealth of autograph where the sources do not support it. My edition is based on manuscripts of the Künstlerverein, putting the notes of the the autograph, because it constitutes the central source from scores in their contemporary performative context. which all others derived and to which Beethoven returned almost until the end of the creative process. In those Conclusion instances where readings from the London copy and the Already Carl Czerny recognised the significance of the corrections in Engelmann could be argued to constitute valid 50 Veränderungen in a historical sense: “The 50 Variations alternatives, they appear in the edition as ossias and footnotes. … are interesting in their nature and from a musical– Additions and changes in the first edition are shown in historical perspective, because every author strived to show grayscale, clearly discernible as a separate layer. his personality [Eigenthümlichkeit] and some are very elaborate.”20 As such they allow for a unique glimpse into the For the 50 Veränderungen it seemed paramount to find a way Viennese piano scene of the early 1820s and its breathtaking to do justice to the fascinating diversity of the sources while diversity of styles and musical personalities. Beyond the maintaining the coherence of the complete set as the edited “anthological”, however, the collection offers the material whole Diabelli published. Wherever no autograph source was for endless possibilities of performance that should prove as known, my edition is based on the first edition. The text of entertaining to the pianist as to the audience. The foundation the 35 variations for which autographs do survive is based on for which – I hope – is now laid with the new edition. the autograph. Additions and revisions in the first edition, identified by a comparison with the autographs, that constitute Mario Aschauer is – in all likelihood – an intended revision of the autograph text Associate Professor are shown in grayscale, clearly discernible as a separate layer. of Musicology at Sam Houston State Diabelli’s waltz poses an interesting philological problem. University where he The text survives in a total of nine sources. Three of them serves as coordinator are Diabelli autographs, sent out to contributors of the of the musicology collection. Emanuel Aloys Förster made a copy of both the area and director of theme and his variation for himself to keep which became the Center for Early subsequently part of his estate. Beethoven’s autograph of Music Research the 33 Veränderungen contains a theme sheet that originally and Performance belonged to Beethoven’s earliest sketches for the variations (CEMRAP). He teaches music history, early keyboard and seems to have served as the thematic model for instruments, and basso continuo. As a continuo player Beethoven’s creative process. While it eventually changed and recitalist on early keyboard instruments he has its function and became the first page of the autograph, it performed at numerous renowned early music festivals retained many of its sketch-like characteristics. The London on both sides of the Atlantic. His first collaboration copy of op. 120 shares some these characteristics, but it with Bärenreiter, the publication of his book on seems unlikely that Beethoven’s theme sheet served as its German keyboard treatises in the second half of the model. The first editions of both parts of the Künstlerverein, 18th century, has led to further projects including contain Diabelli’s theme in two separate engravings that Mozart’s Sonata in Major, K. 331, and the Vaterländischer deviate in a few details. Since there does not seem to be any Künstlerverein. All new Bärenreiter editions of Schubert’s compositional input on Beethoven’s part to Diabelli’s waltz, piano music (including Impromptus, Moments musicaux, I treat it as a work by Diabelli in my edition. As main source fantasias, and sonatas) are furnished with Mario’s notes serve a group of manuscripts and prints that are closest to on performance practice, some also with “historically Diabelli that can be described as complementing each other. informed” fingerings. A new edition of Beethoven’s While they all differ to some extent, these differences do not Bagatelles is slated for publication in spring 2022. seem to be a result of intentional revision, but of mistake, negligence, or practicality (e.g., space issues). My edition therefore presents the waltz in a synthesis of the sources establishing that common underlying text which they individually fail to transmit. 20 Klaus Martin Kopitz and Rainer Cadenbach, eds., Beethoven aus Sicht seiner Zeitgenossen in Tagebüchern, Briefen, Gedichten und 27 Erinnerungen, vol. 1: Adamberger – Kuffner (Munich, 2009), 224. HOME

FROM THE ARCHIVES Continuing our fascinating retrospective history of EPTA through a review and summary of Piano Journal. Pianist, teacher, adjudicator, performer, writer and educator Nancy Litten summarises and selects excerpts from issues 35, 36 & 37 of our EPTA magazine. No. 35 (June 1991) emotional moment was when the On recording: ‘I object to the type meeting officially recognised the newly of editing that goes on in studios. EPTA ROMANIA’s President and independent status of EPTA Lithuania, You know very well that some of the Founder is Dragos Tanasescu. He is EPTA Estonia and EPTA Latvia. pianists on the labels would never be Professor at the Bucharest Music able to play those works in the same Academy, and also has a law degree Jacques Chapuis, Chairman of way. The art of a musician is to play and a doctorate in Economics. He has EPTA France and outgoing European a work in its entirety, not in separate written a four-volume Treatise ‘New President, earned a special round of bits. I want a recording to represent Premises for a Conscious Pianistic applause for his performance of a Bach what you are actually doing.’ Technique’ and co-authored the book Minuet: singing the top line while ‘Dinu Lipatti’ (edited and translated by playing the bottom line and vice versa, On competitions: ‘There are far Carola Grindea and Anne Goossens). as a recipe for making it thoroughly too many competitions but only very one’s own. Professor Merzhanov’s few carry the prestige of launching No. 36 (October endorsement of non-legato touch yet another pianist on to the already 1991) carried us back in time to Mozart overcrowded profession. What or across the Atlantic to modern- audiences expect from an artist is EDITORIAL by Malcolm Troup day America. When asked about his rather different from the requirements (EPTA’s 13th European Conference was own way of practising these skills, imposed by competitions. The held in Moscow) he performed a coruscating series of audiences cannot be fooled by artifices; non-legato, lightly accentuated scales, only when a young musician has a From our Hotel Ukraine, across including double thirds, octaves and message, has something to offer, then the River Moskva, was the Soviet arpeggios. He limbers up each day the audience will accept him.’ Parliament where Yeltsin had with Bach Inventions played in octaves unflinchingly stared down the tanks (without the trills!). On teaching: ‘I make no of the conspirators and where Mother WHO’S WHO OF PIANISTS: concessions, no compromises. I have Russia had finally thrown off the ANDRÁS SCHIFF talks to Carola an idea and an ideal of how a piece yoke of the Communist overlords. Grindea should sound and I expect to hear The numerous gold-bedecked onion- that from whoever sits down and plays domed churches must have been so Talking to András Schiff is not as it. If the pianist hopes to become many thorns in the side of Stalin simple as one might expect. He seems professional and he has not got that and his atheistic Kremlin-based to enjoy an argument, and I found great talent and the other qualities to henchmen. Even more than Stalin myself debating with him instead of go with it, I have to say so.’ and Lenin lay the hand of Ivan the thinking what my next question ought Terrible over the Kremlin – his to be. He has an innocent, occasionally On technique: ‘A technical throne and his crown were all silent ironic smile on his face, especially foundation is vital, but this should not relics of his brooding presence. How when he makes provocative remarks be separated from music. Mechanical much it looked like a stage-set for such as, ‘How can one enjoy playing exercises do not inspire a child, on Boris Godunov! Carola Grindea, in her Bach on that un-singing instrument, the contrary, they turn him away. A Secretary’s Report, testified to our … the harpsichord?’ He loves Debussy real technique involves what kind of common cause with our new-found but does not play Ravel. ‘I am unsuited sound to produce. You have to know Russian friends. Further national spiritually to Liszt’s music and my what you want to do, you have to want associations were already underway hands are much too small.’ For Bach to do It. It is very much a question of in Spain and Poland…. But the most or the classics his hands are actually an imagination, of sensitivity, of fantasy.’ 28 advantage, his narrow fingers getting MOZART’S LITTLE-KNOWN easily between the black keys, yet, PIANO DUET SONATA IN C KV when asked how he copes with majestic 19d by Frans Schreuder (Rotterdam concertos by Brahms or Bartók, his Conservatory) smile came back. ‘If I really love a work, I do find the way to play it.’ The youthfulness and small scale of this Sonata make it a very suitable On performing: ‘I must love what piece for teaching; or opening a Piano I am doing otherwise I couldn’t do it. Duet recital. The year 1765, when it I play better when I have an audience. was composed, marks the threshold I am inspired to give all I can to bring between late Baroque and early the essence of the works as a homage Classical periods. Aged only nine, to the composer and, at the same time, Mozart was one of the very earliest as an offering to my listeners.’ composers to write piano duet music (either on one keyboard or two)

and it was the first such work to be Mr B. had a contract with a music There is an interesting section listing published. Up until then the keyboard dealer, made me buy all the available the imposed pieces for exams at the had only four octaves (and small notes) duet arrangements of Classical and Paris Conservatoire. Up until 1964, a but had now expanded to five. Laying Romantic symphonies, overtures and different set of pieces was required for out salient principles of four-hand chamber music and played them with men or women. In 1950 women were writing, he includes opening motifs me during lessons. given Schumann’s Kreisleriana, Roger- in unison, dialogue between the two Ducasse’s Barcarolle and the Lizst- players including antiphonal and echo Mr C. made me work on Clementi’s Paganini E major Etude; men only got effects, passagework in octaves, 6ths Gradus ad Parnassum plus octave-etudes Roger-Ducasse’s Prelude and Fugue and and 10ths, and crossing of the hands. four hours a day, without giving Lizst’s Mazeppa etude. Douglas Finch Wolfgang and his sister performed me the slightest hint as to how the the duet in London on a 2-manual practising should be done. Result: MUSIC FOR ADVANCED PLAYERS harpsichord. (This could explain why inflammation of the muscles from the G. Henle Verlag Ausgewählte in places the left hand of the primo wrist up to the shoulder, incapacitating player coincides with the right hand me for months. Klavierwerke: Kirchner of the secondo player.) During the Theodor Kirchner was a family’s 15-month stay in England Mr D. gloriously promised to coach he was befriended by J. C. Bach (J. S. me so I could make my debut within contemporary and friend of Robert Bach’s youngest son, known as the two years. I left him before the first Schumann. His piano music was ‘London’ Bach). Together they played term was over because he slipped over frequently played by Clara Schumann 4-hands music for King George lll and gross mistakes in my performance and he received much critical acclaim Queen Charlotte. which I myself recognised when re- during his lifetime, not least from READERS FORUM by Wanda studying the half-finished pieces. Schumann, Mendelssohn and Brahms. Jeziorska He specialised in writing piano Mr E. exerted an uncompromising miniatures. A.J.S. I always hope to impress on my domination upon his students, pupils my own belief that it is far belonging to the old type of Alfred: Essential Keyboard Repertoire - better to play an easier work well, ‘absolutistic’ teacher exemplified by Requiring a Hand span of an Octave or less than to play one that is too difficult, Leschetitzky. He was an excellent badly. It is, of course, also the only pianist and musician but an embittered The indefatigable Maurice Hinson way to improve the quality of one’s man, frustrated in his aspirations to has done it again. He has selected 83 playing. The young pianist – like the become known as a brilliant virtuoso. intermediate-level works ranging from young violinist – should move as if he Whatever the master bestowed upon Bach to Khachaturian. Not only is the had become a part of the instrument his pupils in knowledge, he took choice of pieces very original but it is and in order to acquire this intimate ample toll for on their self-confidence. of great value for students with small familiarity with the piano, he must Woe to the disciple who won some hands who will be able to play any of be taught early to use it in a natural, public recognition of success! He could the titles without undue tension or relaxed and always rhythmical way. be sure to be showered with sarcasm, stress. N.L. or to pocket an ice-cold remark that Discussion group at the EPTA would chill his joy and make him feel MUSIC FOR TEACHING Conference 1991 How to approach a fraud. Breitkopf & Härtel Variationen über contrapuntal music? BOOK REVIEWS Clarendon Press eine Romanze von Méhul Franz Xaver Mozart • Encourage pupils to compose their UNPREMEDITATED ART: The op. 23 own! Cadenza in the Classical keyboard Concerto, by Philip Whitmore This work was composed by Mozart’s • Arrange, for example, a 3-part youngest son, born 1791, just before fugue for string orchestra. As performers were all composers his father’s death. Like his father, he in those day, a soloist in a concerto composed from childhood, as well as • Start with Bach’s Two-Part came to need a platform on which to being a virtuoso keyboard performer Inventions. demonstrate his own creative style and but his success was not comparable. virtuosity. This took on an increasingly A.S. • Colour each separate appearance dramatic function and became a of the fugal subject and counter- mainstay of the form even after the Alfred Carnival Capers by Margaret subject, having first identified improvising tradition declined. There Goldston cadence points. (However, one is anecdotal material to suggest why experienced teacher said that in all it declined. Spohr describes the It was a good idea to use carnival probability what most people hear performance of a cadenza in which characters for the theme of this book, is the harmonic effect, not as one the soloist ‘as usual exhibited all of his but unfortunately the pieces do not might think, the linear effect! artistic tours de force at such great length really live up to their titles, being on that the players gradually packed up the whole repetitive and dull. A.J.S. PROBLEMS IN RETROSPECT by one by one and slipped out, with the Margit Varro virtuoso apparently unaware of their No. 37 (February absence until his final trill which failed 1992) Concerning the incompetent to bring in the expected final tutti.’ teacher, this is what that species did Clarendon Press UN NOUVEL ART WHO’S WHO OF PIANISTS: to me: DU PIANO by Lucette Descaves and JOAQUIN SORIANO talks to Carola Gérard Bullandot, Paris 1990 Grindea Mr A. took a powder at the beginning of the lesson, went to sleep C.G. I asked Joaquin for his views on over my scales and woke up just in competitions. time to mark the lesson and give me a new assignment. J.S. So many of the young pianists think that if they can play accurately, HOME fast and loud enough, the jury will be 29

impressed and, eventually, award them and enjoyment and find pleasure in arpeggios that are rivers and arches of a prize. I, myself, am always looking accompanying other instruments. The sound. Hold up to the light as it were for the young artist – a performer of good reader has yet another advantage every strand of melody in contrapuntal great sensitivity, capable of moving in that he can practise to greater effect, music. me, thus also communicating to an for he can start at any bar and give audience. First prize must go to the attention to any passage which requires CZERNY’S 160 8-BAR EXERCISES one who shows an original personality, it, while the poor reader always goes op.821 by Audrey Innes, St Mary’s who presents performances of high back to the beginning! I try to ensure Music School, Edinburgh integrity which do not sound as faithful that each pupil reads something new imitations of some of the recordings every day from my well-stocked Sight- Czerny was born in the year Mozart one hears again and again, and, also Reading Library and I sometimes set died. These short studies cover all the someone who has acquired great Quick Study pieces for the pupil to figuration patterns – scalic, arpeggio, control of the keyboard so that his only learn entirely on his own. 3rds, 6ths, 8ves, repeated notes, goal is to communicate the music. chords – that are found in the works EPTA NEWS Sheena Nicholl of Haydn, Mozart, Beethoven and I like to think of my pupils and Schubert. A few even indicate the way EPTA SPAIN will hold its first students as fellow travellers and ask pianism will go in the music of Chopin Congress from 6th to 10th April at the myself what I can give them as we and Liszt. Balanced groups of studies Royal Conservatory in Madrid. travel this part of the road together. can be devised to develop the pupil’s Rosa Maria Kucharski, their Founder Schumann in his ‘House Rules and technique systematically. Czerny’s and President, is professor at the Maxims for Young Musicians’ says, order of studies is by key, starting in Escuola Superior de Canto in Madrid. ‘There is no end to learning’ (equally C major, progressing to F#/Gb majors She studied in Madrid with Thomas applicable for teachers). In reminding and minors, then returning to C major. Andrade de Silva, in Paris with Lazare pupils to study the architecture of a Levy, Pablo Casals, and George Enescu, piece he said, ‘Only when the form is THE FOUR CHOPIN IMPROMPTUS and later with Gieseking and Wilhelm quite clear to you will the spirit become by Donald Alfano Southern Connecticut Kempf. She combines her many quite clear to you.’ State University activities as performer and pedagogue, Rubinstein said of the piano, ‘You working intensely for the development think it is one instrument? It is a When performed individually, each of Music Education in Spain. hundred instruments!’ Nielsen said, Impromptu expresses an improvisatory READERS FORUM by Wanda ‘We must first reverence and respect character. When performed as a set, Jeziorska the simple intervals; - dwell on them, they offer examples of contrast and listen to them, learn from them and continuity on a different level, as each The contributions in this issue come love them.’ And of course, this love is based on its predecessors’ thematic from two well-known EPTA members, of intervals naturally develops into a material. The impromptu from which organisers for Yorkshire and Scotland love of chords. Right from the very the others are derived is the Fantasie- respectively. beginning our pupils can experience Impromptu. Its appearance as the a progression of chords through the fourth and last impromptu obscures Christine Brown playing of one note - as a pedal point. its function as the source for further If a pupil is not making progress Schumann said, ‘Always play as elaboration. It was composed in 1834 term by term, month by month or though a Master were present.’ and published posthumously in 1855 even lesson by lesson, then I look hard Matthay encouraged his pupils before by Chopin’s friend Julius Fontana who for the reason. It may be my fault. they played, ‘Enjoy yourself, enjoy your added the word ‘Fantasie’ to the title. Perhaps I am asking too much of the music.’ Remind pupils that examiners Perhaps in Chopin’s lifetime it could pupil and his reaction is to do nothing. are human beings; they, the players, not be sold to a publisher because of On the other hand, I may be asking can transform the occasion by making its dedication to Baroness d’Este, or too little and his response is to make the examiner feel glad that he or she perhaps Chopin hesitated because of very little effort. Much of the art of has come to hear such beautiful music. its resemblance to the Eb impromptu teaching lies in setting realistic targets. Liszt said, ‘Think ten times and play of Moscheles. (The character, tempo, The player who can read well is once.’ Silent practice on the surface of accompaniment, and motivic material self-sufficient and able to explore the keys, imagining the sound, gives of both works is similar.) However, the whole range of piano repertoire the ears a rest and is particularly useful Ernst Oster in an article ‘The Fantasie- which lies within his technical for a pupil who may have acquired the Impromptu: A Tribute to Beethoven’ powers. He can also join in ensemble devastating habit of not even thinking (1983), believes that the Moonlight music making with greater ease once and playing ten times. Ornaments Sonata was Chopin’s chief inspiration. 30 should make the original notes even He draws parallels between both more beautiful. Create scales and works’ motivic structure, key scheme, and character.

Rachmaninoff, chordal composer True or false? Across three articles Kris Lennox focusses on Rachmaninoff’s Etudes Tableaux and by Kris Lennox investigates the belief that Rachmaninoff is primarily a chordal composer. In the first of the series Kris defines a chord and provides the data for the purposes of further analysis and comparison. Rachmaninoff: Études-Tableaux its own category) is an interesting one, the answer of which An Analysis (Part 1) has significance in the fields of composition and psychology of music. Thinking in terms of perceived intervals, the above “I’ve always been wary of words – a perhaps curious opening categories make sense: remark when one considers how many are to follow.” 1. Single note = presence/perception of 0 intervals (Philip M. Bromberg, ‘Standing in the Spaces’) 2. Dyad = presence/perception of 1 interval 3. Chord = presence/perception of more than 1 interval. One of the most commonly-held views regarding Rachmaninoff’s output is that his writing is very ‘chordal’ The dyad C–E contains only one interval (C–E), as per Fig. 1: in nature. I’m sure we are all aware of the speech regarding Rachmaninoff’s ‘big chords’… CE …Is this view nothing more than a ‘hunch’? Are we dealing The chord C-E-G contains three intervals (C-E, C-G, and with assumption, consensus of conformity, pluralistic E-G), as per Fig. 2: ignorance, an Asch experiment à la piano, or fact? Even if the assumed position is correct/conforms to the data: G without data/reference to it, the position held is still a hunch/speculative. We require the raw data (and processing/ CE interpretation of ) to know if we are speaking with any level of accuracy or authority. If we were to extend the above chord to a four-note chord (e.g. C–E–G–B), we would yield the following intervals: This article (and subsequent articles) will look at the chordal nature of Rachmaninoff’s writing – with exclusive C–E, C–G, C–B, E–G, E–B, G–B focus on his Études-Tableaux (Opp. 33 & 39). i.e. whilst there are three intervals in a three-note chord, there are six intervals in a four-note chord – hence the Basic Definitions importance of the above principle to composition (i.e adding Prior to looking specifically at the Études-Tableaux (which only one note to a three-note chord doubles the interval we’ll look at towards the end of this article), defining our density of the chord). In this sense, we only require the terms – and showing potential difficulties therein – will serve adding of one note to a three-note chord to double the us well. ‘brainwork’ involved for the listener (hence also why four- In terms of musical texture, there are only three possible note chords sound ‘thick’ and ‘jazzy’ relative to basic triads: categories: they are twice as dense, intervallically). 1. Single Note We can calculate how many intervals are in an n-note chord 2. Dyad with the following equation (n = number of notes): 3. Chord Intervals = n(n-1)/2 In simple terms, these categories are measurements of E.g Five-note chord = 5 x 4 divided by 2 (e.g 10 intervals). quantity, i.e. 1. Single note = one note only 31 2. Dyad = two notes 3. Chord = more than two notes. (Take note that the Rachmaninoff articles won’t focus on the specifics regarding dyads (i.e we won’t classify them as 3rds, 5ths, 6ths, octaves etc), but rather, groups all dyads as a single measurement metric.) The question of why two notes isn’t a chord (and merits HOME

On the Uncertainty of Defining ‘Chord’ As said previously, single notes are performed – yet what Given music exists within a temporal space, we have to is sustained by the fingers on beats 2 & 3 is a dyad. We only decide at which point in time we measure our chords. We should performed two notes, yet we generated (in time) three also determine the role technique/performance plays in textural categories (single note/dyad/single note). relation to our definition. In this sense, there are two primary means of measurement, and (in terms of piano/performance Also consider the following example (Fig. 4a): in general) one secondary means of measurement: 1. Is a ‘chord’ defined as what is perceived at any given Performed on beat 1 is a four- moment? note chord, and performed on 2a. Is a ‘chord’ defined as what is performed at any given beat 3 is a dyad (Fig. 4b): moment? 2b. Is a ‘chord’ defined as what is sustained by the fingers Yet on beats 3 & 4 we sustained a four-note chord (despite at any given moment? only playing two notes). What is sustained by the fingers is a Consequently, the reporting results will differ depending chord, followed by a chord (Fig. 4c): on how we choose to define ‘chord’. Therefore, do we define beats 3 & 4 as 1. The Problem(s) of Defining in Terms of What is a chord or a dyad? Perceived at Any Given Moment There is, of course, also the ‘problem’ If we define in terms of what is perceived at any given of having two hands (Fig. 5a): moment, we have to decide: To the ear/in terms of perception, what is performed in Fig. Which particular moment(s)/point(s) in time do we select 5 is a chord – yet this chord is the product of: for measurement? • Single note in the LH Looking at Fig. 3: • Dyad in the RH Therefore, we can define Fig. 5 in multiple ways, depending Despite the bar’s consisting of two notes performed on how we choose to interpret the term ‘chord’ – and, in the individually, there are two possible definitions of what occurs specific instance of piano performance, depending on whether in the bar, depending at which point in time we choose to we define in terms of hands separately or hands together. define from: As can be seen, looking at ‘chord’ from a purely technical perspective creates multiple issues. Also consider the Defining on beat 1 = perception of single note (i.e. 0 intervals) following: Defining on beats 2 & 3 = perception of dyad (i.e. 1 interval) • If we silently depress a chord, can we say we have Defining on beat 4 = perception of single note (i.e. 0 intervals). played a chord (as it hasn’t been sounded)? i.e. despite at no point performing a dyad, for beats 2 & 3, a • If we practise a full concerto on a digital piano dyad is perceived. with the power switched off, have we played no music (or Therefore, different points in time in relation to the rather, no notes/dyads/chords) as we haven’t heard any material performed would (or rather, could) yield different music (i.e. does ‘sounding’ have to constitute part of the measurement results. definition)? Defining ‘chord’ in terms of perception has the potential • If we hold three notes in the RH and silently to become very complex very quickly, e.g we could extend the swap the lowest RH note to the LH, would we say we principle to include the harmonic series: a single note could performed/sustained a chord but we are no longer be defined as a chord if we counted the overtones; in this performing/sustaining a chord? sense, the only instance of a single note having the possibility • We can programme a computer to sound a chord: of being defined as a single note would be the sounding of a does ‘performing’ have to constitute part of the definition? single tone. • How do we define a computer programme sounding We could also consider the following points/how they a chord if the speakers are muted? could influence our definition: Etc. At this latter stage of reasoning, we are essentially asking • Part of a chord sustained whilst other notes are the question ‘If a tree falls in a forest and no-one is around to hear it, released does it make a sound?’. We can deal with this particular question in multiple ways i.e. • Echo/decay of notes • Small breaks (not indicated on the music) where the player releases certain notes • Notes sustained via use of the pedal Etc. 2a/b. The Problem(s) of Defining in Terms of What is Performed and Sustained by the Fingers at Any Given Moment Looking again at Fig. 3: 32

• Plunge into a philosophical/phenomenological vortex Interestingly, chordal playing/writing is the least dominant • Ask the questioner what their definition of ‘sound’ is. category for both hands. Perhaps the most succinct approach is first to ask for a clear, concise definition of ‘sound’, after which a simple Data/breakdown for Op. 39, rounded: ‘yes’ or ‘no’ (in relation to the provided definition) can be given; likewise, once we have established a clear, workable Études-Tableaux, Op. 39 definition of ‘chord’, we can move forward with relative ease. LH LH LH RH RH RH How ‘Chord’ is Defined in This Article/Subsequent Articles Single Dyad Chord Single Dyad Chord Defining ‘chord’ in terms of what we are perceiving makes Note Note 43 % sense with the likes of ensemble/orchestral works, and 43 % when conducting any form of musical analysis – but given 34 % 23 % 25 % 32 % we are dealing with piano etudes and focusing on technique, I personally find it more appropriate for these articles to define Perhaps the most obvious change across opuses is how ‘chord’ in terms of what is performed at any given point, each hand dominant chords become in the RH in Op. 39. This tendency considered separately. towards density is not only textural, but also reflected in note For the purposes of these articles, my definition/ count: Op. 33 (hands combined) involves the performance of classification of Fig. 4 is as per Fig. 4b: just under 12,000 notes, whereas Op. 39 (hands combined) involves the performance of over 27,000 notes. ‘Density as a Given we are going to be looking at the data for each hand product of maturity’ was also evidenced when we analysed separately, it perhaps also makes most sense to analyse and Chopin’s etudes last year (i.e. mature works were considerably categorise each hand separately. denser than youthful works). Looking back at Fig. 5, we would define it as follows (Fig. 5b): Opp. 33 & 39 combined/rounded: Études-Tableaux, Opp. 33 & 39 (Combined) LH LH LH RH RH RH Single Dyad Chord Single Dyad Chord Note Note 44 % 34 % 22 % 29 % 31 % 39 % Classifying in a musical sense/hands together creates Viewing Opp. 33 & 39 combined, we can infer the following problems when we attempt to analyse each hand separately, in relation to the Études-Tableaux: as the textural categories can (and often do) change – and we also want to avoid potentially double-counting the notes of • Single-note writing is Rachmaninoff’s dominant each piece (which would alter totals/percentages etc). means of writing for the LH Again, there probably isn’t a ‘correct’ or ‘wrong’ • Chordal writing is Rachmaninoff’s dominant means interpretation/usage, but rather, that which is most suitable of writing for the RH for the task at hand. • Dyads account for roughly one third of the musical material in both hands. Whilst the above percentages are useful, they fail to give us an indication of how Rachmaninoff’s writing compares to other composers (i.e. 39 % of the RH musical material as chordal, relatively speaking, may be very high – or very low). As such, in the final Rachmaninoff article we’ll compare Rachmaninoff’s musical texture with Chopin’s musical texture, at which point we’ll be able to say – with at least some confidence – whether Rachmaninoff’s writing is, in fact, ‘chordal’ (or not). Études-Tableaux: the Data Kris Lennox studied music at Strathclyde University Now we have our definitions, we can begin looking at the and the RSAMD before pursuing an independent music/data. The next edition of Piano Journal will give a per- career as performer/writer/producer. Previously, he piece breakdown of Rachmaninoff’s musical treatment – but occasionally performed as a recital pianist/composer, for this article, we’ll look only at the ‘high-level’ data. and has a number of classical works published by Music Data/breakdown for Op. 33 (*including Cm and Dm Op. Sales. Kris has authored around 18 books on a diverse Posth), rounded to the nearest whole number: range of musical topics, and has developed harmonic models for 24-TET composition, spending around two Études-Tableaux, Op. 33 decades developing various cryptographic methods of harnessing written music as a form of steganographic LH LH LH RH RH RH cipher. At the non-musical level, Kris has worked in Single Dyad Chord Single Dyad Chord security, business, & compliance as a consultant analyst, Note Note 29 % developing sector-specific computational/statistical 46 % models & algorithms. 33 % 21 % 41 % 30 % Kris regularly posts to/can be found on YouTube. HOME 33

Report of the 2021 43rd EPTA Spain Conference, Madrid by Nadia Lasserson who was the first woman composer in Last year, EPTA Spain was Barcelona, whose son preparing for the 43rd EPTA published a Hommage European Conference with very to her of 500 pages heavy hearts, knowing full well that of her compositions. after many months of lockdown, it Stephen Power was against all the odds that the event (UK) delivered an might never materialise. However, interesting session plans were put in place with the with recordings of his schedule all fixed, and it was up to students performing each delegate to organise his or her multipiano works The Madrid Conservatory and Royal Theatre, mid-19th-century own travel arrangements even with a last-minute chance of not being by Graham Fitch able to leave their countries. It would composed specially seem that travelling across European for them. He also presented Mompou that something very special was about countries is fairly straightforward but and a lost tradition of Rosenthal to occur. With everyone ushered there were huge problems for those performing Chopin with the left hand into the Great Hall and seated at the travelling from further afield, such as ahead of the right. Paolo Oliveira from allocated tables, Alberto Urroz and the UK, Israel, the USA, Canada and Portugal presented the music of the Ana Guijarro opened the proceedings Brazil. The Israeli delegation were only Iberian, Pedro Blanco (1883-1919), with warm greetings before the given the green light 48 hours before a music critic and composer whose special concert. Alberto Urroz offered the start of the Conference. fascinating music has been neglected musically sensitive accompaniments The miracle happened and we over the years and whose grandson to the mezzo soprano, Laure de all entered the Real Conservatorio has amassed all his music together for Marcellus, in songs by Garcia, Chapi Superior de Música de Madrid for the posterity. Isidro Rodrigues Fernandez and Gounod, with the added attraction Opening Ceremony that took place introduced the music of the Romantic/ of Sara Porta, Spanish dancer with on Thursday 9th September at 1pm, Nationalist-inspired composer, accompanying castanets, to complete with the President, Alberto Urroz, and Facundo de la Viña, in his presentation the sonic and visual effects. At this Honorary President, Ana Guijarro, of “Performative Research as a Means point, the starter of the Gala Dinner welcoming the delegates. In total, of Recovering Spanish Musical Heritage”. was served before the next musical there were 88 delegates over the four instalment given by Ana Guijarro days with some just attending single Our first evening outing was to the performing the opus 2 Three Argentinian days. The Conference began with a Royal Hall of the Casino de Madrid Dances by Ginastera with the second Piano Duo from Norway given by its for the most luscious Gala Concert one being accompanied by Flamenco President Otto Graf and Anne Brâten and Dinner. From the first moment of dancing from Laura Daganzo offering presenting “From Tradition to Folklore entering the portals, everyone knew most florid and flamboyant visual and Tango Nuevo” with the Brahms- Haydn Variations, Otto Graf’s own From the entertainment to wonderful piano arrangement of Oblivion by Piazzolla playing. The main course of the dinner to celebrate the centenary of the first moment followed before the third and final composer’s birth and the recital ended musical interlude given by Mario with Falla’s Ritual Fire Dance from El of entering Santos performing his own intriguing amor brujo. Radmila Stojanovic-Kiriluk, composition accompanied by Clara a Serbian-born pianist now living in the portals, Gonzalez in contemporary dance. The the USA, presented an enlightening marvellous evening of original musical pedagogical session on “Elements of entertainment and food was rounded Traditional Spanish Music Through everyone knew off with delectable desserts and coffee Intermediate Pieces” by American before people were reluctantly obliged composers. These included William to depart. Gillock, Timothy Brown, Catherine that something Friday opened with three sessions Rollin, Dennis Alexander and of “Approaches to teaching and Melody Bieber. Ester Vela López, very special was learning” starting with Alberto Nieto from Spain, introduced us to the and Elena Arellano in most effective fascinating Narcisa Freixas (1859-1926), about to occur. improvisations to demonstrate “The 34

Expressive Gesture as Motivation for fascinating video of “Mostly Tangos, Edition” and showed his five years of the Students”. Radmila Stojanovic- Piano Music from the Americas” in research into many previous incorrect Kiriluk gave another presentation, works by Piazzolla, Castro, Copland, editions of this masterpiece. His new this time explaining “What Special Villa-Lobos and Ponce; Alessandra edition makes the great music more Learners Taught Me” as a result of Tiraterra (USA/Italy) discussed “Astor accessible with more logical fingering, working with disabled pupils, having a Piazzolla’s Heritage and the Magic redistribution aids and technical son with Autism. This was particularly of the Tango in the Piano Music of comments on each piece, showing helpful advice in planning lessons Saul Cosentino”. Laura Granero from clear thinking in a fine pedagogical for these very special young people Spain introduced ‘“If they knew edition for all to study. Luis Noan who all wish to play the piano. Lastly, how much Beauty they lose” Clara from Spain showed the enormous Marilia Patricio demonstrated her Schumann’s …tradition?’, a truly differences between “Chopin and very special work in encouraging her fascinating presentation from archive Liszt as Piano Teachers” – mainly students to compose and perform their performances by direct descendants of personality differences which proved impressive pieces. Clara Schumann and Friedrich Wieck to be the outcome of their pedagogical which included Moura Lympany, legacy. A great quote: Chopin Several presenters were unable Fanny Davies and Moscheles. Luis whispered to a few and Liszt played to travel and sent their recorded Ponce de León then followed with to huge audiences… Liszt invented videos which formed very interesting most effectively original compositions the modern Masterclass while Chopin alternatives. Antonia Miller from of charming works for students in taught only one-to-one. Francisco Germany demonstrated “Rarely “Falsos Folklores: Original Works Fierro (Spain) discussed “The Lost Performed Short Pieces by Ibero- for Piano Students of Varying Skill Art of Improvising”, demonstrating American Composers” offering Levels”. Albert Nieto then returned how only one note, one cluster, one interesting new material for young with “The Iberia Suite: A Complex chord is acceptable – everything is players; Oscar Macchioni sent a correct when improvising…Marcela Linari, an Argentinian living in Spain, Gala Dinner at the Royal Hall of the Casino de Madrid presented “The European Legacy in HOME the Argentine Piano School” and the work of Vicente Scaramuzza, a great pedagogue who was born in Italy and settled in Argentina where he founded the Scaramuzza Academy of Music. He taught Martha Argerich, Enrique Barenboim and Alberto Portugheis as well as composing several piano works. Megumi Masaki is another presenter who was unable to travel from Canada and sent a video of her “Connecting the Nordic and North America Contemporary Performance Practice with Technology in ICE IS WATER IS ICE IS”, a new work for amplified piano, multichannel processed sound and interactive video by Ken Steen with Gene Gort providing brilliant imagery to the fine performance in three movements. Our second evening treat was held at the Escuela Superior de Canto de Madrid – a historic-artistic monument that was originally the Bauer Palace with Baroque façades and has been the home of the Madrid Singing School for the last 50 years. Half of the concert comprised “Songs by Albéniz and Granados: from the Cosmopolitan Salon to the Concert Hall” performed by Silvia Naranjo (soprano) and Inés López (mezzo soprano) ably accompanied by Aurelio Viribay. The second half consisted of “Grandes Zarzuelistas” or larger-scale Spanish Operetta performed by Adriana Viñuela (soprano) and Javier Alonso (tenor) with fine accompaniments from Jorge Robaina. The wonderful evening concluded with delectable 35

cocktails in the fine old garden to the Casa de Vacas for a show surrounded by elderly trees and of mixed Spanish Classical and fragrant blossoms. Flamenco-style choreographies: Saturday morning started “Danzadas-Clásico Español & with “Guatemalan Piano Music: Flamenco”. Seven mixed shows Indigenous, Colonial and non- were created and choreographed native Influences” presented by Virginia Muñoz, Javier by Shannon Wettstein-Sadler Palacios and Juanma Carillo and (USA) through the splendid but performed by undergraduates of infrequently heard piano music the Fortea Professional Dance of Jesús and Ricardo Castillo and Conservatory: Ariadna Rivas, Xavier Beteta. Robert Andres Diego Andújar, Raquel Guillén (Portugal/Croatia), Director of and Rubén Victorio. The four the Madeira Conservatoire of musicians offering exciting Music and Editor of “Antologia rhythmic support to the dancers da Música na Madeira”, reviewed consisted of Amador Losada, in this Journal, took us through percussion, David Durán, guitar, “19th-Century Piano Music in Ana Guijarro performing Ginastera accompanied by Flamenco Pedro Obregón, cantador, and Madeira” with Dances by Duarte dancer Laura Daganzo pianist Rosalía López. The most des Santos, Fonseca, Philippe wonderful teamwork from all Madeira and Amelia d’Azevedo, The most the artists provided a superb shedding light on much delightful, wonderful evening of musical entertainment of neglected music that needs recognition the very highest level that could only and performance by students. Svetlana be experienced in Spain. Kotova from Chile introduced “Chilean teamwork from Sunday was the final morning Piano Repertoire for Students”, of sessions dedicated to health for explaining that Chilean music students musicians and inspiring recitals. are obliged to perform a native work all the artists Marcela Linari (Spain/Argentina) every year at every level, hence there is offered tips to pianists of injury an abundance of suitable repertoire in provided a prevention in “Occupational Health different styles from the geographic and Injury Prevention in Professional regions. Marcella Crudeli, President superb evening Piano Practice” where she shared of EPTA Italy, then delighted the her research on the topic. The most captive audience with Mendelssohn of musical logical tip that everyone neglects is Songs Without Words interspersed not to increase practice time suddenly with three Scarlatti Sonatas. Two entertainment before a major performance as this sessions on Scarlatti followed: Laia can cause the greatest damage and Martín (Spain) introduced “Variety in of the very harm. Pilar Leyva (USA/Colombia) Granados: Transcriptions of Scarlatti highest level discussed posture, balance and Sonatas” before Carlotta Masci (Italy) that could only innovative concepts and practical tools presented “Homage to Domenico be experienced required for stress-free performance Scarlatti; Between Iberian Influences in Spain. and practice in her enlightened and Bucolic Reminiscences”. Miloš presentation: “Re-engineering of Pavlović, President of EPTA Serbia, Hands for Contemporary Piano connected continents with “Music Performance and Teaching”. Luisa Puzzle; Three Peninsulas of Southern Tender (Portugal) gave a Lecture- Europe (Iberian, Apennine and Balkan Recital on “The Piano Teaching Peninsula)”, introducing interesting of Vitalij Margulis: Principles and links between the performed Sonatas Strategies Towards Effective Practice by Scarlatti, Andante Espressivo by Romanian pianist residing in Norway, and Performance” which included Papandopoulu and Yugoslav Dance by celebrated “Pauline Viardot - 200 original audio recordings by the Slavenski. Lina Yoo, South Korean Years”, a great pianist who played Ukrainian composer with detailed now residing in the USA, introduced duets with Chopin and a singer advice on connecting two notes to hitherto unknown, yet effective, whose phenomenal range changed produce a perfect legato/diminuendo, contemporary works in “Small opera through requesting arias from how to focus on one difficult element Noise and Great Noise: Selective Berlioz, Bizet, Meyerbeer, Gounod and decide what must be heard and, Solo Piano Works by Hyo-Shin Na”. and Saint-Saëns. The day concluded the best advice, “Look for inspiration Vera Fonte, Vice-President of EPTA with the indefatigable Alberto Urroz, in life OUTSIDE of music”. The last Portugal, joined forces with me to President of EPTA Spain, offering two inspiring Lecture-Recitals were perform the intriguing, rarely-heard fine, sensitive accompanying to Laure given by the Kanazawa/Admony Duo “Six Etudes in Canon Form” opus 56 de Marcellus (USA/Switzerland) in from Israel and Luís Pipa, President arranged for four hands by Bizet, and “Pauline Viardot - On Wings of Song” of EPTA Portugal. Yuval Admony is with a fascinating selection of heart- Peter Warlock’s lively Capriol Suite in warming arias. the President of EPTA Israel everyone “Crossing Continents between 19th- was delighted that he and his wife, Century Germany and 20th-Century The last evening outing was a Tamy, obtained the green light to Britain”. Monica Tomescu-Rohde, beautiful walk through the Retiro Park travel, 36 hours before the start of the 36

Conference and still managed to arrive EPTA Presidents, left to right: back row: Martti Raide (Estonia), Heribert Koch (Germany), in time. “Five Jewish Composers – In Otto Graf (Norway); middle row: Marilia Patricio (Germany), Olof Jonsdottir (Iceland), Quest for Musical Identity: From Tamas Dratva (Switzerland); front row: Olga de Kort (Netherlands), Alberto Urroz (Spain), Spain to Eastern Europe” included Nadia Lasserson (UK), Ana Guijarres (Spain), Marcella Crudeli (Italy), Hande Dalkılıç Mikhail Burstein, Hemzi arr Hajdu, (Turkey), Luís Pipa (Portugal), Yuval Admony (Israel) Ben Haim, Uriya Boskovich (husband of Miriam who started EPTA Israel) 37 and Yehezkel Braun, in tightly-knit ensemble playing that only a married couple can produce with natural ease. The concluding session was given by Luís Pipa in his most sensitive and stimulating playing: “Popular Traditions with Spanish Flavours in Philipp Scharwenka’s Humoresque and Mazurka, op. 13”. The Closing Ceremony was a sad moment for everyone, reluctant to depart and leave the wonderful atmosphere created by the energetic and hardworking team of EPTA Spain in such difficult circumstances. Thanks are futile on this occasion - no one can truly imagine the angst and hours put into the organisation of this fantastic Conference and ALWAYS knowing that it might not be allowed to go ahead at the very last minute. COVID stipulations were strictly administered throughout the Conference, with social-distancing and masks made obligatory, enabling all 88 delegates to enjoy live music-making once again in complete safety. The attendance of the complete Committee of EPTA Portugal, hosts for the 44th Conference in 2022, was a gratifying sight as they came to gain tips from EPTA Spain on how to run a Conference! This appeared to be completely futile as the final screening was a brief guided tour of Guimarães, the ancient first capital of Portugal, where the next conference will be held in September 2022. Hearts were uplifted as the magnificent sights appeared and everyone left Madrid looking forward to another amazing conference next year. HOME

Reviews Improve Your Teaching Series! Paul not entirely. He uses the word with little was known about the topic and Harris his students to express whether they decided to investigate and study it Unconditional Teaching A ground- have grasped a concept being used in in depth. The piano was introduced breaking journey towards a new a piece that is being studied. Another in Spain around the late 18th century, style of music teaching idea is to discuss scales with students as in the rest of Europe, by way of and suggest playing one with the same aristocracy and Royal families. It Having mentioned Paul Harris’ character as the current piece and to is easy to forget that Scarlatti was a numerous volumes on teaching, judge all possible colours. There is a Court musician in his time and all his here is the latest. Paul Harris opens chapter on Group Teaching with the harpsichord Sonatas were composed with “we can all become exceptional most important factors being that all for Maria Barbara. He taught Padre teachers” and elucidates on the word students are of equal motivation (not Soler whose harpsichord Sonatas are Unconditional and discusses “good and necessarily the same level) and that considered to be forerunners of those bad students”, which in his teaching, the group lesson is allocated enough of Mozart and Haydn. The glossy- do not exist. It is just that some are time to achieve the necessary work. paged book is magnificently illustrated more able than others and progress One section includes responses from throughout, dealing with early piano faster but ALL students are worthy questionnaires on “do the students manufacturers, the building of music of lessons and of being taught. One think they are making progress”, conservatoires in major cities during chapter deals with the purpose of “would they work harder if lessons the early 19th century to mark approval lessons, in improving self-confidence, were more enjoyable”, “if teachers were of music teaching, large salons were self-esteem, self-belief and self-worth. less critical”, “if lessons were more fun” used for musical performances as were Another chapter advises teachers to and a wealth of similar eye-openers. cafés and the establishment of the find something to praise, however For lessons to run smoothly, teachers Lyceum where weekly sessions were small, in every lesson and, also to need to feel aware of themselves as organised for reading, painting and explain why it is necessary to dwell on a well as of the effects their comments listening to music. Liszt and Thalberg technical issue. Basically, teachers and may have on the student. This in turn performed in this particular Madrid students should both be respectful of will enable the situation to be calm, venue. Felipe Pedrell was a Spanish the other and there is a worthy quote: positive and constructive. Mention is composer and musical scholar who “Gratitude is a currency that we can made of teachers having occasional off devoted his life to the development of mint for ourselves and spend without days when they are unable to deliver a Spanish school of music founded on fear of bankruptcy”. Another point is with their usual energy and this is both national folk songs and Spanish not to dwell on mistakes throughout acceptable. Students can realise that masterpieces of the past which became the lesson, it is the teacher’s role to use teachers are also human and those the basis of a true Spanish Nationalist the lessons to explain carefully what lessons can go at a slower, more gentle movement as later seen in the works of is expected in the week’s practice so pace. The book is laced with many Granados, de Falla, Albéniz and Turina. that work does not come back with ideas and angles for teachers to look at There is a chapter based on “Maestros errors. The disturbing scenario of themselves and to give more thought and Predecessors” with a list of no the student overtaking the teacher is into their delivery at every lesson, as fewer than 37 rarely-known composers debated. Some teachers opt to move well as excellent advice throughout. and with the opening page of a work their students onto another teacher Once again, Paul Harris has devised from each. Isaac Albéniz, Enrique whilst others choose to discuss and a winning topic to get all teachers to Granados, Manuel de Falla and Joaquín work on musical details. Harris has think about their positions, musical Turina are each offered a complete devised a wonderful phrase “liminal” thoughts and production. chapter per se. which he uses to describe when a student understands partially but BASSUS EDICIONES A wonderful quote cannot be The Piano in Spain by Ana overlooked: The piano teachers are 38 Benavides $24 annoyed because I make my students work on “This book is an essential tool for understanding the piano in Spain Scarlatti….I maintain that the day will come during the 19th century”. Spanish pianist, Ana Benavides, felt that when Scarlatti is often played in concerts, and the public appreciates and enjoys it. Chopin sic, how right he was! Ana Benavides’ beautiful pictorial book with period images is aimed at a non-specialist general public with a focus on the piano and its music from around 1729 until the early twentieth century in Spain and is definitely an interesting introductory text at a basic level. Well thought-through, interesting and appealing to the eye, it is ideal as a gift for musicians, musicologists and piano enthusiasts and also has a place on the coffee table for all to peruse, study and just enjoy.

DPS Digital Printing Services Royalty. Like with Chopin, the Waltz practised and studied every week, Antologia da Música na Madeira became transformed to an art form thus constantly reading new material Volume 4 that was for careful listening rather while simultaneously spending many Música para Piano 1 Revised and than dancing. César Augosto Casella weeks, or even months, studying one edited by Robert Andres €10 was an active cellist and his Adeos à set piece… Brilliantly paced, these six Madeira – a lengthy Waltz for piano volumes each contain over 20 pieces Robert Andres, the Editor of this – was well-received during his short of widely varying characters, moods enlightened collection, is the Director life. Amélia Augusta de Azevedo was and rhythmic patterns, encouraging of the Conservatoire of Madeira and born in Madeira and spent much of young pianists to note all the musical in an ideal position to explore and her life in France after studying there markings that occur on every page. investigate the piano music of the and her Recordações de Cintra – Polka By doing the same piece daily for one island. By the nineteenth century, the Mazurka – is a lively, contrasted work week, students should be familiar island was inhabited by immigrant in four sections. The final two works in with many notation symbols and feel families, many of whom had pianos this intriguing collection are by Duarte confident to move on to the next work. and required lessons to perform Joaquim dos Santos, one of the most The range of keys covers four flats and Salon music and also to dance - a active and influential musicians in sharps helping students to feel the regular occurrence on the island. A Funchal for the second quarter of the various patterns involved. considerable amount of music was 19th Century who played organ, piano composed for the Bourgeoisie and this and harp. Two sets of Duets: Madeira It is a well-known fact that sight- interesting Anthology brings to light – a new set of original quadrilles, five reading is basically stored knowledge many hitherto unknown composers of in all, dedicated to Mrs. and Miss and this new series of entertaining appealing dance music. Ellicott of Madeira, and Quadrilles de short pieces will aid students of every Contredanses. Each work consists of five level to gain and store more musical Quadrilles were the first dances on separate dances. knowledge at a rapid pace and this, in the island which derived from the turn, should enable everyone to learn reign of Louis XIV. This volume is the first of many new repertoire more quickly. which set about shedding light on Five composers are included in this the wealth of music composed in The two Duet volumes follow the collection: Nuno Graceliano Lino Madeira over the centuries and is same principles and ideas. Primo parts (1859-1929), also an instrument maker, designated for intermediate and are aimed at students of the named composed La Maderoise – a suite of advanced pianists to discover and Grades, while the Secondo parts can three Waltzes with an Introduction enjoy. Hitherto unknown in Europe, be played by more advanced students and expressive Coda – for Queen these original piano works will prove of teachers. By playing with another Dona Maria Amelia on her visit to of great interest to pianists in search of person, the student is forced to keep the island, as a “modest souvenir of new, unusual repertoire to add to their going even if incorrect notes have her trip”. Filipe Fernandes Madeira recital programmes and Robert Andres previously occurred. The key range is represented by Souvenir de Madère, is to be congratulated for unearthing here covers three sharps and flats with a Rhapsody of 8 Popular Songs this abundance of interesting new and simple rhythmic patterns to enable which might have been performed entertaining works for piano. students to improve their confidence with castanet accompanimnent. in playing rhythmically, musically and Ricardo Porfírio da Fonseca was an FABER MUSIC continuously. organist and pianist who dedicated Paul Harris “The Fashionable Madeira Cotillions Improve your sight-reading - Renowned educationalist, and (Petticoats)” to Miss Caroline Smith A piece a week, Initial–Grade 6 author of over 500 books on piano with six charming dances, each titled. Improve your sight-reading DUETS, study, Paul Harris has come up with a He dedicated Souvenir de Madère – Grades 0–3 novel way to improve sight-reading. A Trois Valses pour Piano – to British new publication is always intriguing The indefatigable musician, and exciting for pupils. These volumes HOME pedagogue and examiner has produced of musical material come highly yet another sight-reading series for recommended and can only be a part students to improve their skills at of the road to building the foundations this very important aspect of piano for our students to improve their study. The thinking behind this knowledge and understanding of music. series is that students do not spend enough time exploring new music 39 and these pieces are designed to be

Reviews continued... to sounds and appreciating different types of genre. Thoughtfully devised, the book sees a gradual build up, with the final pieces and duets covering a wide spectrum of notes albeit in simple rhythms at this stage. “Exploration spatiale” is especially effective with part written, part exploring and improvising on black key clusters. ALFRED Inter-lude contains 33 pieces for 2, cannot fail to delight intermediate The key to Scales & Arpeggios by 4 and 6 hands, moving on from the pianists anxious to get their fingers Jane Mann initial book, and explores pieces to on this fun repertoire. Both books Hands together made simple include foot-tapping, clapping, hand come complete with efficient and clusters on black keys and also on the inspiring accompanying CDs to enable Jane Mann is a distinguished pianist white ones. Lovely music to enjoy as all students to make their repertoire and teacher who was a late starter students begin their piano journey. choices. To quote the author, “I wanted herself and realised that she was The authors are to be congratulated on always playing with slips and that these delightful starter books full of to create a series of pieces that would appeal secure fingering was required to play variety of musical styles and touches with confidence. Realising that several which will delight all pupils and to all ages and reflect the breadth of jazz pupils lack confidence in descending teachers seeking pastures new . scales, she decided to print out the from its African–American roots, through finger pattern to make scale fingerings ABRSM easier to remember. Jane Mann’s Nikki Iles and Friends Books 1 & 2 to fusions with folk, Classical and world pattern covers 13 different scales £12.95 & £13.95 with the SAME fingerings and she is music. I hope this is a starting point for anxious to get this message across. Nikki Iles’s books of jazz piano your own interpretations and creativity”. The diagrams are clearly numbered are already popular and well-used These few words completely sum throughout enabling students to grasp so it is a treat to have the Associated up the wide range of musical styles “3rd fingers play together” and “thumbs Board team up with her on this in these volumes and come highly on C and F”. occasion to produce two volumes of recommended for all aspiring jazz 29 new original works. Several pieces pianists, young and old. Although I always want my students are arranged by Peter Churchill, to play scales from memory, this her husband, while several of her EDITION DOHR particular book would aid them to colleagues and seven friends have 18968 Romanze in A minor Woo 28 realise how very logical many of the composed the other pieces. Ten £9.95 scale patterns are by merely looking at of the works are arrangements of 97401 Variations de Concert sur la the large fingered charts. The author well-known favourites such as Fly Cavatina du Pirate de Bellini £17.50 has certainly simplified the many me to the Moon, Ain’t Misbehavin’ and A Edited by Thomas Synofzik scales and arpeggios that use similar Nightingale Sang in Berkeley Square, which fingerings. Dominant sevenths and Both the above titles are revised diminished sevenths are clearly laid and edited by Thomas Synofzik with out too as well as all the contrary detailed information on the sources motion patterns. This series is and amendments to the text. Clara invaluable for students who cannot get Schumann ceased to compose after to grips with scale finger patterns as an the death of her husband, Robert, and aid to finally memorising them. Will when publishers requested works from Jane Mann devise a fool-proof method her, she offered earlier, unperformed for scales and arpeggios that do not pieces. The original MSs of the follow the well laid-out patterns? This Romance, dating from 1853, show two must, indeed, be her next volume. versions with many alterations and amendments, offering the editor a few Editions Vandevelde quandaries to fathom, making this a Pré-lude & Inter-lude €23.40 each first printed edition which includes by Annick Chartreux & Valérie dynamics, tempo markings, slurs and Guérin-Descouturelle pedal markings by Clara Schumann. The charming short Romance, in Pré-lude contains 43 beginnning ternary form, includes a lively faster pieces to get young pupils listening middle section, is a must for all intermediate pianists in search of new 40 Romantic repertoire.

The Variations de Concert date Hands – Piano À 4 Mains/ Selecção/ Pastoral), “A virgem se confessou” from 1839 after hearing and being Selected By/Choisis Par Bruno (The virgin confessed) – from his 3rd stimulated by Kalkbrenner’s variations Belthoise, João Pedro Mendes Dos book of Melodias rústicas portuguesas on a different aria from the same Santos. Volume II, Intermediate- (Portuguese rustic melodies) offer Bellini opera. No doubt Clara had Advanced (2021) ISMN 979-0-55053- pianists a beautiful and heartfelt heard the opera on her travels to 096-6, Ref. AVA212190, 145 pp., mode of expression. Three works France and this left a lasting memory AvA Musical Editions, Lisbon. from Lapa’s Storyboard – seis miniaturas in her musical mind. She dedicated www.editions-ava.com, 28€. para piano a quatro mãos (Storyboard – the work to her new-found friend six miniatures for piano four hands) Adolph Henselt. This new revised first A marvellous new volume of demand discovery: “White silence”, edition includes all Clara’s detailed Portuguese duet repertoire has “A match at dawn”, and “The miracle pedal markings offering an insight just become available from one of of roses”. A stylistic challenge is into the history of music performance Portugal’s more recent publishers, found in Mesquita Lopes’ “Tribute of the time. It is a substantial AvA Musical Editions. Compiled and to Olivier Messiaen”, while Carlos work comprising of a declamatory edited by Bruno Belthoise and João Azevedo’s “Story of a Waltz” brings introduction to the Cavatina Theme Pedro Mendes dos Santos, this newest one back to earth, with a smile. Bastos’ before the virtuosic four Variations. volume is an exciting complement “Adsum” (“am here”) is exciting and Clearly, Clara Schumann was a terrific to an earlier volume, offering a wide breathtaking, while Sérgio Azevedo’s pianist and these Variations will range of styles and musical challenges, “Suffering Tango” and “Barrel Organ challenge advanced pianists wishing to from the most predictable to the Waltz” are poignantly and timely give a fine performance of this exciting most surprising. The joy that today’s dedicated to the late Portuguese work. Double thirds, sixths, rapid Portuguese composers have for this pianists, Olga Prats (1938-2021), from octaves and wide leaps for both hands keyboard formation is evident here. his Duas borboletas para Olga (Two at a “Brillante e passionate” tempo are butterflies for Olga). The penultimate required to overcome the technical The collection includes original composer’s work, “In one night”, demands of this work. Each Variation works by João Domingos Bomtempo that of B. Martins, is unabashedly ends with a short calming codetta (1775-1842), José Vianna da Motta expressive. The final composer and except for the final one which ends in (1868-1948), Lucien Lambert (1858- only female represented in the rapid, brilliant chromatic passagework 1945), Armando Leça (1893-1977), volume is Inés Badalo, whose three in the marked “volante”. Fernando Lopes-Graça (1906-1994), commentaries on works by J. S. Fernando Lapa (b. 1950), José Mesquita Bach are profound for one so young. It is wonderful to have these new, Lopes (b. 1960), Carlos Azevedo (b. Using the full timbric capacities of revised editions and huge thanks must 1964), Paulo Bastos (b. 1967), Sérgio the piano, the three pieces – “About go to the Editor for unearthing the old Azevedo (b. 1968), Bruno Martins BWV 643” (Alle Menschen müssen manuscripts. It is hoped that the two (1988), Inés Badalo (1989), and a sterben, All men must die), “About works will frequently appear on concert transcription by Artur Santos (1914- BWV 687” (Aus tiefer Not schrei programmes and in concert halls. 1987) although Lambert’s work could ich zu dir, In deep distress, I cry for count as one. you), and “About BWV 711” (Allein Nadia Lasserson Gott in der Höh sei Ehr, Glory to Compositores Portugueses As is usually the case with Belthoise God Alone) – have an effect in the - Portuguese Composers - and Santos, we are given a world 21st century different from that of its Compositeurs Portugais/ Repertório premiere publication in which at least original inspiration but nonetheless Para Pianistas/Repertoire For one if not more works is debuted. In as thoughtful. As an Appendix, Santos’ Pianists/ Répertoire Pour Pianistes/ this case, the newly discovered work transcription of Chopin’s 3 Écossaises, Piano A Quatro Mãos – Piano 4 by the “Portuguese Bartók” – Fernando op. 72, is delightful, rounding out this Lopes-Graça – is presented: Cisirão, exceptional volume. HOME cisirão, which is the composer’s own transcription for piano four hands It is a “must-have” for pianists who of the folksong by the same name love piano duo music – in any country! from his masterpiece, Glosas. The contemporary works presented here, Nancy Lee Harper for the most part, are also premieres. The volume begins with Bomtempo’s “Lord Wellington’s March”, a rousing Schubertian-like march. This is followed by da Motta’s two pieces, “Dance” and “Sunset”, 2nd and 3rd movements from his Ein Dornfest or “A Village Festival”. Feet will be stomping upon hearing the French composer of African descent Lambert’s “Creole Sketches”, based on none other than Gottschalk’s “Le banjo” and “Bamboula”. Leça’s “Burlesque March” maintains the lively pace. Three other pieces by Lopes-Graça – “S’nhora da Póvoa” (Lady of Povoa), “Pastoril Transmontano” (Tras-os-montes 41

EPTA News - Winter 2021 by Nadia Lasserson EPTA - EUROPEAN PIANO The COVID crisis continues to hinder lives all over the world and in these TEACHERS ASSOCIATION difficult times EPTA soldiers on regardless. As you read this article, there The Parent Organisation have been several activities during the month of November, namely three Charity Registered Number 1094973 Piano Competitions, several Annual Conferences and Pupils’ Concerts – some events 34 Carver Road, London SE24 9LT were live and some online. Tel: +44 (0)20 7274 6821 Email: [email protected] Competitions were eagerly attended in Rome, Iceland and Belgium. Founder Carola Grindea EPTA Rome was delighted to Honorary European President participate in the 30th Chopin Roma Dominique Merlet Competition from 4th–16th November Honorary Vice Presidents with 92 participants from 19 countries. Malcolm Troup, Alberto Portugheis The absolute first prizewinner was Slava Guerchovitch, 22, from Belarus; EPTA EUROPEAN PRESIDENT 2nd prize went to Ivan Basic, 25, from Alberto Urroz (President of EPTA Spain) Serbia; and the third prize to Yijia Lin, The 30th Chopin Roma Competition participants 25, from China. with Marcella Crudeli VICE PRESIDENTS All Presidents of EPTA National Associations EPTA Iceland ran its VIIIth Piano Competition from 4th–7th November in the Salurinn Music Hall in Kópavogur. The competition is held every three years EPTA EXECUTIVE COMMITTEE and, from the first competition in 2000, EPTA Iceland has worked with Icelandic Chair: Anthony Williams composers on a new piece of music. This time Group I, 14 and under, played a new Secretary: Nadia Lasserson Icelandic piece called Lausagrjót by Ingibjörg Friðriksdóttir – and the winner was Treasurer: Derek Watson Polina María Viktorsdóttir. Other winners were: Kristín Gyða Bjarnveigardóttir (10 and Members of Executive Committee: under); Vasyl Zaviriukha (14 and under); and Ásta Dóra Finnsdóttir (18 and under). Heribert Koch, Alberto Urroz, Alan Paul, EPTA Belgium was delighted to have finally organised the 15th “Les Rencontres Susan Bettaney & Luís Pipa Internationales des Jeunes Pianistes” in Grez-Doiceau from 23rd–28th November after three previous cancellations caused by COVID. Yet again, it was extremely Website: www.epta-europe.org successful, with 60 participants from 14 countries. The winners were: Class 1 (12 and under) 1st prize Raffaello Giannini, 2nd prize Mahault Ska, 3rd Prize Yui Harumashi; EPTA – the Parent Organisation – is Class 2 (13–16) 1st prize Ildiko Rozsonits, 2nd prize Sophie Lewerenz, 3rd Prize constantly expanding not only in Europe Salvatore Amico; Class 3 (17–20) 1st Prize Zoe Masset, 2nd Prize Tianfeyung Yun, 3rd but also throughout the world through its Prize Aleksandre Misiak; and Class 4 (21–26) 1st prize Byeong-Ju Yu, 2nd Prize Tom de Affiliations with the most important Beuckelaer and 3rd Prize Summin Park. Tom De Beuckelaer was also the winner of Piano Teachers Associations: the Piano Maene Recital and Summin Park won the prize for the best performance MTNA – Music Teachers National of a Belgian work. Association EPTA Albania is so concerned with the pandemic crisis in its country that it is Piano Teachers National Association now hoping to hold its usual December “Duo-Pianistic” competition on 19th–20th of Japan, Founder: Yasuko Fukuda February 2022 and will run the “Young Pianists’ Festival” on 3rd–4th June 2022. Japan Piano Teachers Association, EPTA Croatia was able to present the Laureates Concert of the Dora Pejarevich President: Prof Akemi Murakami Competition (held earlier in Osijek) on 4th December in the Bersa Concert Hall, Canadian Federation of Music Zagreb, where Stipe Prskalo, Lucija Kashnar and Jan Nikovich performed Beethoven’s Teachers Associations, Co-ordinator: Op. 110, Ravel’s Le Tombeau de Couperin and Rachmaninoff’s Second Piano Sonata. Prof Ireneus Zuk EPTA Spain celebrated its VII Certamen in the Yehudi Menuhin Auditorium of Latin American Piano Teachers the Alfonso X University with the sponsorship of Musical Princesa on 26th–27th Association (Argentine, Chile, November and the winners’ “Sonata Cecilia Concert” took place on 27th November. Ecuador, Brazil) Annual Conferences that were obliged to cancel in 2020 were able to take place EPTA ASSOCIATES: this year. EPTA CHINA ASSOCIATES Patrick Leichner EPTA Slovenia was able to celebrate its 20th Anniversary “Piano Days” on 12th–13th EPTA NEW YORK ASSOCIATES November and the theme was “Nature Inspires” with the usual array of lectures, Prof Salvatore Moltisanti presentations, children’s performances and round-table discussions. EPTA INDIA ASSOCIATES Founder-Director: Prabhudas Ivanson EPTA Sweden held its Autumn Concert in Stockholm on 20th November and EPTA ISRAEL ASSOCIATES produced a digital concert to enable the participation of children who could not Dr. Yuval Admony travel to the venue. EPTA Sweden also continued with online digital lectures by Mikael Kanarva, university lecturer - on “piano technique”, Staffan Storm, professor 42 in composition and music theory - on “female composers”, and Martin Berggren, university lecturer, jazz pianist - on “improvisation”. EPTA Portugal held its Annual Conference on 11th–12th December 2021 online as preparations of the 44th EPTA European Conference to be held from 1st–4th September 2022 in Guimarães, the old Portuguese capital. The situation in Austria is so bad that EPTA Austria was obliged to cancel its Annual Conference and hopes to organise it online in the spring of 2022. EPTA Finland held its XLV Annual Conference online on 6th–7th February

Contact information and news from the EPTA international community www.epta-europe.org 2021 with masterclasses given by Professor Matti Raekallio and Sonja Fräki, be offered concert opportunities as pedagogy sessions included Suzuki Piano Teaching, Piano Teaching in Finland and soon as live concerts return. During Chamber Music composed for young pianists over the years by Antti Vahtola. EPTA lockdown and shortly afterwards, Finland will hold its XLVI Piano Seminar on 12th–13th February 2022 with further EPTA UK organised the extremely information on www.pianopedagogit.fi. popular NPP – National Pianists Performance – programme with over EPTA Iceland will run its inland conference in Akureyri, North Iceland, in April 300 recorded entries. 28th November 2022, and Albert Mamriev will give a masterclass and lecture on 6th–7th June 2022. 2021 Anthony Williams introduced the National Finals of the Winners EPTA Israel Associates have finally found a decent Tel-Aviv venue in the of the NPP programme that he and Givatayim Conservatoire and have organised three meetings: 17th December EPTA Nadia Lasserson had adjudicated prior Israel Associates held a masterclass for EPTA teachers’ students with Professor Yossi to the Final. EPTA UK continued to Reshef; 7th January 2022 – Israeli pieces played by students, with a talk by Israeli run extremely successful fortnightly repertoire expert Ofra Izhaki; and on 17th March 2022 there will be a round-table Webinars for its members with a discussion with a panel including Yuval Admony, Dr. Michal Tal, Dr. Einat Fabricant few extra important ones each week. and Sara Dvir on topics such as improving, memorisation techniques and coping These are all based on pedagogy and with mistakes in performances. piano teaching-related topics and have been enormously appreciated and Bi-annual sessions continue in Germany and Switzerland. attended by large numbers of members EPTA Germany holds two meetings each year and on October 23rd–24th ran its – far more than ever attended live autumn Conference online dealing with the topic “Music and Crisis”, including conferences. Webinars include: live presentations, discussion panels as well as videos produced by the lecturers in advance. EPTA Germany extends its thanks to the great effort taken by all the 7th November 2021 Dr Chris lecturers who again created a successful event with substantial contributions and Stanbury (Casio): Dispelling the lively discussions. EPTA Germany hopes that its two 2022 sessions will go live: Myths of a Digital Piano May 27th–29th 2022 in Halle/Saale on the topic of “Music and Crisis” and October 28th–30th 2022 in Cologne on the topic “Diversity”. More details at www.epta- 21st November 2021 Michael Jones: deutschland.de. Medtner EPTA Switzerland held its autumn Conference in the Montreux-Vevey Jazz Conservatoire on 13th November on the topic of “The Piano and Contemporary 5th December 2021 Cordelia Music”, with Professors Raphael Sudan and Jean-Claude Charrez presenting “Who is Williams: On being a pianist in Kenya afraid of the big bad wolf?” and “What place do Contemporary Creations have in the General Media?”, and Jean-Jacques Schmid gave a contemporary lecture recital. EPTA 9th January 2022 Angela Fogg: Kodály Switzerland will hold its spring National Conference in Burgdorf on 8th May 2022, 23rd January 2022 Aaron Shorr: with the topic of “Motivation”. Question Time EPTA life continues in some of the Associations. 6th February 2022 Colin Hazel: EPTA Slovenia produced the 8th edition of Virkla which included articles on “I New Horizons for piano feel therefore I play”, and the 9th edition, devoted to “After Beethoven”, is now in 20th February 2022 Richard preparation. EPTA Slovenia continues to organise “Piano Days” which give young Crozier & Emyr Roberts: ESTA Post artists concert opportunities, and all were cancelled in 2020 although two young Graduate Diploma in Piano Teaching Slovenian pianists, Vid Ibic and Anastasija Češnjevar, were offered recording sessions. It is clear that, despite the Pandemic The concert series will continue again this year. and illness throughout the world, EPTA Croatia is delighted to announce the second EPTA Laureates Concert on 2nd EPTA is continuing to maintain April 2022 in the recently renewed concert hall in Split and now with definitely the activities and stimulation for all its best acoustics in Croatia. EPTA laureates will be privileged to play on a brand new members. No-one can forget the Steinway piano. incredible recent Conference just EPTA Iceland is planning its 2022 autumn Conference in the northern part of held in Madrid which managed to Iceland to enable members from other parts of the country to travel easily for access keep everyone safe and send everyone to EPTA events. away invigorated with renewed EPTA UK is sad to announce the resignation of Murray McLachlan after 14 musical energy. EPTA Portugal will years in office as Chairman of EPTA UK and EPTA Europe. He also edited the two run the 44th Conference in 2022 in important Journals, EPTA Piano Journal and Piano Professional. EPTA wishes to Guimarães, and future Conferences thank him for his incredible input and commitment over the years, with stimulating are in place for the next four years: and inspiring masterclasses and concerts. His tireless energy always drove him to 2023 will be hosted by EPTA Italy; dizzy heights and he will be sorely missed although EPTA assumes that he will EPTA Switzerland will celebrate its continue to attend events and keep in touch with everyone. Mark Tanner succeeded 40th Anniversary and host the 2024 Murray as Chairman and was warmly welcomed before he resigned and Peter Conference; EPTA Slovenia will host Lipman stepped in as an interim measure. 21st November 2021 EPTA UK held the 2025 Conference; and EPTA UK its AGM online and Aaron Shorr was elected as the new Chairman. EPTA UK is will host the 2026 Conference at delighted to welcome him to take EPTA UK into the 21st Century. the Royal Scottish Conservatoire at After a hugely successful series of mini Festivals in place of the original Piano the time of its International Piano Competition throughout the EPTA Regions, all outstanding performances will Competition; finally, it is hoped that EPTA Estonia will invite everyone once again to Tallinn in 2027. All is well with EPTA. HOME 43

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 Committee: Dominique Cornil, Pierre-Yves Inke Kesseler, Elisabeth Holmegaard Nielsen, Honorary Presidents Prof. Walter Cuvelier, Jacqueline Lecarte, Antonio Sena, François Groppenberger, Prof. Anton Voigt Thiry, Fabian Jardon, Sabine Lawalree, Pierre Thomas Søren Pedersen President Prof. Till Alexander Koerber [email protected] Honorary members: Anna Øland, [email protected] www.epta-belgium.be for all information in Tel: +43 664 7 36 09 503 French, English and Flemish. Tove Lønskov, Bella Horn, Arne Christensen, Vice President Dagmar Schinnerl Secretary Heidemarie Schneider–Klimpfinger EPTA BULGARIA Elsebeth Brodersen and Eugen Indjic Treasurer Regina Seeber, Project Manager. Søborg Hovedgade 150 1th Claudia Berzé Planning to reorganise. 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 44

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 45 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

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 46

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 Chairman Aaron Shorr Noguera, Members: Alfredo Corral, Ana María Administrator Yvonne Cheng Mondolo, Deputy Members: Martha Bongiorno, [email protected] Tel: +44 771 931 6333 Guillermo Carro www.epta-uk.org Auditor Gloria Diograzia Val www.musicaclasicaargentina.com/surif, www.valentinsurifpianist.com MTNA Music Teachers National Association 47

2022 CONFERENCE HEADLINERS National Conference MINNEAPOLIS March 26–30 Ursula Oppens Ronald Crutcher Adrian Anantawan 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. 48 HOME