Pianist 114

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!

United Kingdom
Warners Group Publications Plc
8,65 €(IVA Incl.)
43,24 €(IVA Incl.)
6 Edições

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3 minutos
life under lockdown

Near the end of last year I attended an astounding recital by Arcadi Volodos. Oh, how it feels like half a lifetime away. Just a few months later, the world is a different place, and the doors to the Barbican and all our other culture palaces are firmly shut. Like many of us, I am working from home and I appreciate more than ever the value of a routine to bring calmness in adversity. Instead of attending meetings and concerts, I am practising more than I have done in a very long time. Th e experience has been a revelatory one. I chose a score from this issue and studied it in depth: Oskar Merikanto’s magical Idyll (p46). I took Graham Fitch’s advice (p16), breaking the piece down into tiny units,…

4 minutos
your chance to have your say

EMAIL: editor@pianistmagazine.com WRITE TO: The Editor, Pianist, Warners Group Publications, 31-32 Park Row, Leeds, LS1 5JD. STAR LETTER wins a surprise CD. Letters may be edited. Th e weakest link We are always told that our fourth (ring) fingers are our ‘weakest’ and should therefore be used as little as possible. (Schumann supposedly damaged one of his trying to strengthen it with some kind of exercise machine.) However, I’ve found that I’m increasingly using my fourth finger in favour of my third and fifth, particularly in opposition to the thumb (e.g. in intervals of thirds and fourths and Alberti basses), where using the third requires an inward rotation of the hand (pronation?) and the fifth, an outward rotation (supination?), while the fourth requires no rotation at all and is therefore the ‘easy’…

5 minutos
the show must (virtually) go on

Filling in my diary at the start of the year, I noted down Yuja Wang at the Barbican in March, the launch of the BBC Proms in April, the Arthur Rubinstein Piano Competition in Tel Aviv in May. You will have had red-letter dates of your own. Diaries everywhere, of course, now lie useless and unopened during our months of lockdown as we protect ourselves and everyone else from the spread of Covid-19. What to do, for the amateur pianist and piano lover? Practise, of course. What about the professionals, and the rest of the music industry? Th e concert halls whose chairs are empty? Th e festivals who have cancelled for the year? Th e teachers who can no longer accept pupils past the front door? Th ey must adapt,…

8 minutos
who's that girl?

Back in February – which seems an age away now – I found myself at a very special debut in Glasgow. Th e Russian pianist Zlata Chochieva was playing a concerto in the UK for the first time, with the BBC Scottish Symphony Orchestra. As she sparkled and dreamed her way through the Chopin Piano Concerto No 1, the sense of surprise grew and grew: and not only about the freshness and spontaneity of her approach, the innate poetry, the effortless-sounding nonchalance, but also the question, ‘Where has this pianist been all our lives?’ Chochieva is no newcomer to the concert platform, after all. She made her debut in Russia when she was only eight. Now she is 35 and her account of the complete Chopin Etudes on the Piano Classics…

1 minutos
zlata chochieva up close

If you could play only one piece from now on, what would it be? Rachmaninov Piano Sonata No 1. If you could play only the music of one composer from now on, who would it be? Rachmaninov. One pianist you’d travel long and far to hear? Rachmaninov! One concert hall you’d like to play in? The Concertgebouw in Amsterdam. Any technical troubles? No. Everything can be solved. What advice would you give to an amateur pianist about how to improve? Follow your natural love for music, without thinking too much about technical difficulties. Only love can really help you find the way to solve a problem. If you weren’t a pianist, what would you be? I would have loved to be a doctor. One person you’d love to play for? Mozart. It would be interesting to see what he’d say about Chopin or Liszt. A composer…

1 minutos
zlata chochieva on…the chopin etudes

In the Chopin Etudes, what I see, first of all, is a deep, profound and beautiful expression of the composer’s emotional world. For me these were never about technique. The Czerny Etudes are virtuoso works to train technique, but I regard each of Chopin’s as a sort of sketch. For my first graduation exam at the Moscow Conservatory in 2008, I wanted to present something big and important, not for the jury members but for myself, so I decided to learn all the etudes and that would be my programme. It was a huge amount of work. I remember playing them in recitals when I was young and crazy enough to play Op 10 and Op 25 without a break – oof! – which I maybe wouldn’t do now. I decided…