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Pianist

Pianist 119

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!

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Country:
United Kingdom
Language:
English
Publisher:
Warners Group Publications Plc
Frequency:
Bimonthly
£7
£34.99
6 Issues

in this issue

2 min
heroes and hanon

DONT MISS OUR FREE ONLINE VIDEO LESSONS www.youtube.com/PianistMagazine Deutsche Grammophon bet on a winner when they scooped up Krystian Zimerman right after his victory at the Chopin Competition in 1975. He and DG have stayed loyal to each other for almost half a century, even when the keyboard perfectionist resisted going into the studio for years at a time. Last year’s Beethoven anniversary, and the promise of rekindling a long and happy working partnership with Sir Simon Rattle, drew Zimerman to lockdown London in December. The planned concerts went up in smoke, but Pianist still caught up with him at LSO St Luke’s during sessions to record all five concertos. Zimerman can be an elusive interview subject, but he spoke candidly to Jessica Duchen (p10) about his continual search for the right…

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. Star Letter wins a CD. STAR LETTER PIANISTS ON FILM Further to Warwick Thompson’s article Silver Screen Pianists (Pianist 118), I was pleased you cited in your editorial Charles Williams’s lovely the Dream of Olwen from While I Live as a personal favourite amongst 1940s weepy themes; it also happens to be one of mine. To this piece, and the Warsaw Concerto from Dangerous Moonlight, I would add Hubert Bath’s Cornish Rhapsody from Love Story as another classic example of the genre. Interesting that these three movies in question are all usually better recalled via the titles of the music composed for them! A little factoid re The Beast with Five Fingers: the…

1 min
our mortal world scoops up the prize

Congratulations to Patrick Dailly from Cambridge, the winner of our 2021 Composing Competition. Patrick wowed the judges with his imaginative composition, Our Mortal World. A regular reader of Pianist, Dailly is a self-employed piano teacher with about 30 pupils. He also loves to compose: ‘Composing, for me,’ he tells us, ‘is like a perpetual experiment: will this work? will that work? how about I start over again, but this time do it differently?’ As for Our Mortal World, he says: ‘There was an idea behind the piece. Language, and particularly poetry, have always seemed close bedfellows with music. The phrase “mortal world” appears in the last stanza of WH Auden’s Lullaby. I like the way that Auden plays around with strong, resonant phrases which seem to make sense, but in a dreamlike…

6 min
new balance

Peter Jablonski has had more reason than most of us to use quarantine as a time for going back to basics. In 2018 the Swedish pianist was diagnosed with ‘frozen shoulder’ syndrome. It took 18 months of patience and therapy before he could even think about resuming a career that has taken him around the globe countless times, heaping up honours, awards and a considerable discography (first for Decca, now Ondine) along the way. Then Covid-19 arrived. Rather than cabin fever, time shut at home has given Jablonski a healthy sense of perspective. Having a partner (Anastasia Belina) who is also a musicologist helps, he tells me: ‘She keeps throwing repertoire at me that I have never heard of!’ At her encouragement he picked up the overlooked music of Alexey Stanchinsky,…

9 min
master of his craft

It’s early December 2020 and in LSO St Luke’s, Krystian Zimerman and his piano technician are hard at work. The piano – Zimerman’s own, with which he usually travels – is opened and the entire action is removed. A large steel case the length of the keyboard is unclipped. Inside it is another action, which they slot into place. This is the beginning of a surreal, unforgettable and frankly miraculous occasion: the recording of all five Beethoven piano concertos with the socially distanced London Symphony Orchestra, Sir Simon Rattle and Zimerman himself, in the middle of a pandemic (see picture opposite). In the brief window of opportunity between Lockdown 2 in November and Lockdown 3 in mid-December, they are presenting the concertos in three streamed concerts online (on Deutsche Grammophon’s online…

2 min
krystian zimerman on… beethoven’s hearing loss

All composers write not for the piano, but for their piano, because they get feedback from that and inspiration from what they hear. For me it was always fascinating to find out what it was that they heard. In the case of Beethoven, it’s far more complicated because of his hearing problem, which is probably completely different from what we imagine. He may have heard things that were not at all what we hear. First of all, an instrument doesn’t exist without an acoustic. And here comes the hearing deficiency of Beethoven: maybe this is the biggest influence of his condition, on the acoustical part. The acoustical part is responsible, among other things, for tempo. I remember a discussion with Herbert von Karajan when we played some concerts in one hall,…