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Pianist

122

Pianist magazine is adored internationally by those who love to play the piano. From Bach to Billy Joel, the magazine offers a wide range of music styles to learn from, as you don’t just read it – you play it too! With every issue, you’ll find 40 pages of selected sheet music (suitable for players of all levels) accompanied by specially recorded sound files. The sound files act as the perfect learning tool, so you can listen to a piece of music before you learn it. All you need to do is click on the ‘sound’ icon and turn the Scores pages with a light swipe of your finger. With Pianist magazine you can expect nothing less than the very best when it comes to playing the instrument you love. You’ll have everything you need to play like an expert, including notes on technique, pedalling and interpretation, sheet music reviews, Q&As, teaching tips, in-depth ‘How to Play’ masterclasses, readers’ letters, piano news, interviews with top concert pianists and so much more! And guess what? If you opt for the digital issue, you get FREE EXTRA Scores! From the basics of scale playing to the difficult stretches and fast runs, Pianist magazine is your top piano playing guide – giving you the confidence and expertise you need to play like a pro!

Land:
United Kingdom
Sprache:
English
Verlag:
Warners Group Publications Plc
Erscheinungsweise:
Bimonthly
8,73 €(Inkl. MwSt.)
43,65 €(Inkl. MwSt.)
6 Ausgaben

in dieser ausgabe

2 Min
how time flies

When Pianist hit the newsstand 20 years ago, nobody had heard of Daniil Trifonov (he would have been ten at the time). Here he is now, an instantly recognizable face on the cover, the model of a modern virtuoso. How much has changed (for all of us) since 2001! The 17-year-old Lang Lang had just made his London debut. Piotr Anderszewski had released his first album for Virgin Classics. British piano manufacturers such as Kemble were still thriving. I have looked back over many of the highlights in the life of Pianist with a retrospective article, remembering artists and instruments, teachers and scores, tuners and cats, and more. How good it is that more and more pianists in our own time push the boundaries of ‘the repertoire’; something I try to…

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2 Min
your chance to have your say

EMAIL: editor@pianistmagazine.com WRITE TO:The Editor, Pianist, Warners Group Publications, The Maltings, West St, Bourne, PE10 9PH. Letters may be edited. Phenomenal Phoebé I love Mel Bonis’s piece Phoebé which is featured in the Scores section of issue 121. Is it possible to have more of these lush sounding scores for pieces in future issues? Rowena Fryer, Congleton, Cheshire You have great taste, Rowena! When the editor came across this piece, she knew she’d found a winner. Inside this issue you might like to try Reynaldo Hahn’s Les revêries du Prince Églantine. It’s less thickly textured, but the harmonies are a dream. From recent past issues we’d recommend Levitzki’s The Enchanted Nymph (119), Sinding’s Rustle of Spring (102) and Chaminade’s Automne (86). More lush sounding pieces to come! How does she do it? Gabriela Montero’s interview inside issue…

4 Min
piano round-up

Buying a new piano, whether it’s your first ever or your latest acquisition, is an exciting undertaking. It can also be daunting. One of the challenges you may be facing is balancing your progress as a pianist against household pressures and budget constraints, sometimes making it more difficult to choose an instrument that fits your needs. The practicalities of a digital over an acoustic can be appealing, and if you have the budget for a step-up model, you can buy something noticeably superior to entry-level models. There’s plenty of choice from recognised brands, and among some recent 2021 releases, Roland’s RP701, priced at around £1,163, seems to hit the spot. The model benefits from the company’s SuperNATURAL Piano sound engine, which I’ve found responds with greater nuance than the sounds available…

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9 Min
second nature

I will go out on a limb and say that only one pianist – ever – has given equally accomplished performances of Rachmaninov, late Bach and Stockhausen. The pianist I’m talking about is Daniil Trifonov, and two summers ago, in July 2019, he was sitting opposite me in a hotel lobby in Verbier. Back then, Trifonov was in the foothills of learning Bach’s culminating fugal masterpiece, The Art of Fugue. His intention was to begin performing it the following summer: ‘I like to have a year of little by little getting to know a piece. I like to work on it, then leave it, and maybe come back to it in a month.’ But we all know what happened next. At the time, all he would say was that his approach to…

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7 Min
a matter of accompaniment

When is an accompaniment not an accompaniment? Unless we’re talking about a pattern-based sequence of notes, such as an Alberti bass, the answer is often not so clear-cut. And though we might be tempted to glance first at the bass line for confirmation of how the roles are divided between the hands, we’ll often need to look elsewhere, especially in repertoire from the Romantic period onwards. Even by the early grades, accompaniments can be found in the RH, with the tune in the LH. Furthermore, accompaniments won’t necessarily remain rooted in one hand (or keep conveniently to a single position within the musical texture). Frequently in piano music an accompanimental line will suddenly morph into something more melodic, perhaps just fleetingly. We sometimes think of the piano as being an…

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7 Min
ways to improve your left hand technique

Pianists tend to complain that their left hand doesn’t feel as strong as their right, and students often ask me if they should be practising special exercises for the left hand alone to help their weaker hand catch up. Is it possible, though, for the left hand to be as agile as the right? In 2011, Psychology Today published some interesting research that showed that whether a pianist identified as right- or left-handed, the performance of the right hand always displayed a higher degree of evenness and motor control than did the left hand. Also, the more practice time a left-handed player had accumulated, the better the performance of their right hand. In this article I explore a range of exercises, studies and repertoire written for the left hand alone, and…

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