Andrew Eales is a pianist, writer and teacher based in Milton Keynes UK, where he runs Keyquest Music - his successful independent music education business, private teaching practice and creative outlet.
Philip Keveren is one of my favourite arrangers and composers whose music has a contemporary popular vibe. He is also clearly industrious: this year alone has seen the release of his clever Circles: Character Etudes in 24 keys (reviewed here) and the hugely appealing Piano Calm (reviewed here), both of which are quickly establishing themselves as firm favourites with my students.
Now Keveren brings us the sequel to the latter collection, Piano Calm Christmas. And if it lives up to its recent predecessors, we can look forward to something very special indeed.
Faber Music have established a reputation for producing interesting and beautifully presented piano collections in recent years, ranging from their standard-setting Faber Music Anthologies series to less imposing but equally attractive compilations.
Their latest is called Play Piano for Well-being, which offers a typically diverse assortment of popular and easily accessible pieces.
In common with last year’s Peaceful Piano Playlist, this new addition similarly compiles a wide range of music in the manner of a Spotify playlist, the hope being that the “31 uplifting piano solos” contained within will bring delight to players and listeners alike.
Brad Mehldau is not simply one of the true greats of jazz piano, but one of the most interesting composers, collaborators and creators in the contemporary music scene.
Every release of his is special, and this year we are fortunate to have two in close succession, the brilliant quartet album RoundAgainwith Joshua Redman, Christian McBride and Brian Blade and, the subject of this review, Suite: April 2020, an intimate solo set comprising twelve pieces improvised in response to the lockdown of March/April 2020, plus three concluding bonus cover versions.
Suite: April 2020 appeared digitally almost immediately back in the late spring, and the physical CD album arrived this Autumn:
Rami Bar-Niv is known and beloved worldwide as one of Israel’s most acclaimed and sought-after pianists.
Performing worldwide as a soloist with orchestra, recitalist and chamber musician, Bar-Niv has become an ambassador of goodwill for Israel. He has made several well received recordings for CBS, many of his compositions have been published and recorded, and he is widely in demand as a teacher.
Regular readers will know that I am quite a fan of Paul Harris’s Piece a Week series from Faber Music, having found that using these books within my own teaching practice has helped many of my students significantly improve in their music literacy and ability to learn independently using notation.
Harris has just added a new book to the series, A Piece A Week: Initial Grade, which merits a separate review to the rest of the series for a variety of reasons which I will come to presently.
My first reaction to hearing about this book was admittedly mixed, on the one hand delighted that this wonderful resource has been extended to accommodate the needs of early elementary players, but the other hand stifling a weary sigh that in a year which has seen exam boards straining to dominate the music education agenda, yet more grade material has appeared for review.
But, extraordinary fellow that he is, Harris has an unnerving and seemingly inexhaustible knack for pleasantly surprising me, indeed, hugely exceeding my expectations.
Grażyna Bacewicz (1909-1969) is at last gaining the recognition she deserves as one of the great composers of the mid-twentieth century, her towering Second Sonata rightly applauded as one of the significant piano masterpieces of the last century.
Among the composer’s many smaller-scale piano works the Suita dziecięca or Children’s Suite is a delightful highlight, its eight charming miniatures for the late-intermediate pianist a fascinating progression from the educational piano music of Bartók, Kabalevsky and Prokofiev (whose popular Musiques d’enfants appeared just one year after Bacewicz’s Suite).
Poland’s major publishing house Polskie Wydawnictwo Muzyczne, PWM Edition, have recently delivered a delightful new edition of the work, edited by Monika Dziurawiec and with a gorgeous cover design by Joanna Rusinek.
Over the coming months I am going to be publishing a major series looking at an impressive swathe of lovely publications from PWM Edition: Music from Chopin’s Land.
In the meantime it’s a pleasure to look at this new publication and delve into the imaginative pianism of Bacewicz, not least because this important work surely deserves a place within the core pedagogic repertoire that every piano teacher should try to be aware of…
English composer Rachel Portman is best known for her many gorgeous film scores, including the music for such blockbusters as Chocolat, The Cider House Rules, The Duchess and The Lake House.
Portman’s latest musical project is Ask the River, a self-contained CD of piano-led instrumental reflections on the natural world, with an accompanying book from Chester Music delivering solo piano versions of all 13 tracks, the subject of this review.
According to the composer,
“I wrote this collection of pieces throughout 2019. They are the fruit of many years spent being immersed in nature. What can be more inspiring than the green shoots of new beech leaves appearing in the woods with the dappling light reflected in the spring breeze? These pieces are a personal reflection on the beauty of the earth around us – the trees, flora, rivers, birds, animals and all her gifts to us. I hope you enjoy exploring them as much as I loved being inspired by the natural world.”
“If we begin to think about our goals in life as destinations, as points to which we must arrive, this thinking begins to cut out all that makes a point worth having. It is as if instead of giving you a full banana to eat, I gave you just the two tiny ends of the banana – and that would not be, in any sense, a satisfactory meal”.
One of the many positive developments within the piano teaching and performing community in 2020 has been a re-evaluation of the contribution of musicians of African descent to the repertoire.
A primary sourcebook for this music, Oxford University Press published Piano Music of Africa and the Afrian Diaspora in five volumes, compiled and edited by William H. Chapman Nyaho, between 2007-8. Between them, the books offer 60 pieces by 36 separate composers of African descent, organised by difficulty level as follows:
Volume 1: Early Intermediate
Volume 2: Intermediate
Volume 3: Early Advanced
Volume 4: Advanced
Volume 5: Advanced
More than a decade has passed since the publication of these books, and it is odd that so little of this music has made its way onto concert platforms or found regular use in teaching studios, exams, and homes.
Quite why more haven’t picked up this music is a mystery, because anyone with a fair mind and musical imagination will discover as soon as they explore these OUP volumes that the music of these neglected composers is consistently superb.
Melanie Spanswick enjoys a very successful career as a pianist, teacher, adjudicator, writer and blogger. In recent years she has added composer to this list, with a succession of publications beginning with easy minimalist pieces for EVC Music, and now writing for Schott Music.
There have been several remarkable piano recordings in the last month, but as regular readers will know I always particularly enjoy releases which expand our knowledge of the repertoire and take us on a journey of musical discovery.
Murray McLachlan’s latest release (and his first for Naxos) is a notable example, delivering a complete overview of the solo piano music of contemporary composer Edward Gregson.
Gregson (b. 1945) was a student of Alan Bush (who, incidentally, I met and played for as a teenager); like his teacher, Gregson combines modernity with irrepressible harmonic logic in his music, and it has a uniformly accessible appeal.
Though perhaps chiefly known for his music for brass and wind, this new recording reveals that Gregson’s piano compositions very much come from his “top drawer”, and deserve a far wider uptake.
For his part, McLachlan has added to an already raucously adventurous discography a recording which reaffirms, should we need reminding, that his name belongs in the first division of British artists.
So let’s explore this intriguing and fabulously enjoyable album…
With these striking words, contemporary Daoist author Deng Ming-Dao invites us to consider how our personal qualities can help us be the best people, and by extension, the best teachers that we can be:
“Those who follow Dao believe in using sixteen attributes on behalf of others: mercy, gentleness, patience, non attachment, control, skill, joy, spiritual love, humility, reflection, restfulness, seriousness, effort, controlled emotion, magnanimity, and concentration. Whenever you need to help another, draw on these qualities.”
Deng Ming-Dao, 365 Tao Daily Meditations, 188 (Harper Collins)
So let’s be clear from the start: what is on offer here is the secret of how to be successful in helping others, in any context. A lot of us will devote much of a lifetime to discovering the answers which are presented right here.
But how about applying this directly to our work as piano teachers?
In this post I am going to look at each of these attributes in turn, briefly exploring the powerful links that exist between a teacher’s character and the quality and effectiveness of their teaching…
Aleksey Igudesman is perhaps best known as one half of inventive and irreverent classical duo Igudesman and Joo, who have taken the world by storm with their unique and hilarious theatrical shows, combining comedy with classical music and popular culture.
Igudesman and Joo’s YouTube clips have to date gathered over 35 million hits, and the duo has appeared live and on television in numerous countries.
But there’s a lot more to St Petersburg-born Igudesman, who describes himself variously as “The World’s Most Ambiguously Inglorious Composer”, “Most Accidentally Immoral Producer” and “Most Attractively Intense Violininst”.
Insectopedia is one of Igudesman’s latest projects, a collection of ten insect-inspired solo piano pieces for the intermediate pianist which aim to be as educational as they are entertaining.
From the rear cover of the beautifully presented Universal Edition publication, global superstar pianist Yuja Wang tell us:
“Reminiscent of Bartók’s Mikrokosmos, you will have a lot of fun with this little album. In fact, the more you are involved, the more fun you will have with it. The music in Insectopedia is so vivid that you feel like you are becoming one of the insects. Well, perhaps not the cockroach, but try not to fly away after playing it!”
Enrique Granados (1867-1916) was one of the great composers to expand the piano repertoire in the twilight years of the Romantic era, and must be counted among Spain’s most marvellous writers for the instrument; so it is a shame that so much of his output remains too little-known and rarely performed.
Less than a handful of easy miniatures have been picked up by exam boards and anthologies, the same few repeatedly so, revealing not only a lack of imagination but too limited a knowledge of Granados’s music, which in fact includes a significant body of music suitable for intermediate and early advanced players.
Meanwhile, the mighty cycle Goyescas belongs aside his compatriot Albéniz’s Iberia suites, but alas, only a couple of movements appear on concert programmes with any frequency.
At the centre of Granados’s output, the twelve Danzas españolas are a fabulous collection suitable for the advanced player (around UK Grades 6-8).
And while (unlike Albéniz) much of Granados’s solo piano music is closer in tone to Schumann than to Spanish flamenco, these pieces are replete with the regional flair and the sunny countenance that lends colour and a hint of exoticism to the best Spanish music. This is Granados at his most rustic.
That much of Granados’s music is difficult to find in good, widely available editions doesn’t help. Those wanting to play the Danzas Españolas relied on old editions by IMP and Dover. Happily, these marvellous pieces can now be explored in a superb new urtext from Henle Verlag, the subject of this review…
“I love nighttime. I love the mood of night, and feeling all of New York City light up from endless skyscrapers. There’s something very inspiring and even reassuring and calming about that to me. New York at night is very romantic, I think”
So writes Ola Gjeilo in the introduction to his new album Night, available on CD from Decca (purchase from Amazon UK here) and sheet music from Chester Music/Hal Leonard (the subject of this review).
Those who’ve not yet had the joy of discovering Gjeilo’s music are in for a treat with this album and will hopefully also explore his previous work, including the earlier piano albums Stone Rose (2007), Piano Improvisations (2012) and his immensely popular choral music.
So let’s take our time and journey towards the dizzying and inviting lights of Gjeilo’s Night…
Saxophonist, clarinettist and composer Rob Hall has forged a highly individual path in music, consistently producing engaging, expressive and exploratory work that straddles genres.
He has toured widely throughout the UK and worldwide, and his performances (recorded and live) have been broadcast on BBC Radio 2, BBC Radio 3, JazzFM, BBC Scotland & BBC TV.
As an educator, Hall has extensive mentoring and coaching experience with all sectors from Primary level through to Higher and Adult education. He runs his own teaching practice The Music Workshop and his tireless commitment to jazz education over more than three decades has benefitted hundreds of aspiring and professional musicians.
18 Easy Escapes for Piano, published by Spartan Press (SP1367) offers ‘Original creations and arrangements for the contemporary pianist’ and is suitable for elementary players (UK Grades 1-3)…
In my review of Catherine Gordeladze’s Dance Fantasies CD back in 2017, I concluded,
“Dance Fantasies is a brilliant success, offering a fabulous selection of familiar and semi-familiar music in a fresh and inspired piece of programming.”
Now Gordeladze is back with an equally clever and in my view even better executed recital album intriguingly titled Caprice Brillant. Featuring a 76-minute programme of music from Bach to Kapustin, from Mendelssohn to Moszkowski, Gordeladze once again assembles an imaginative and riveting programme of too-little performed piano gems.
Let’s take a closer look at this month’s Pianodao Choice recording…
One of the most extraordinarily popular and successful British composers of his generation, John Rutter’s choral works, anthems, hymns and carols are beloved the world over for their distinctive mix of French choral, English pastoral and American popular influences.
Rutter has enjoyed a long career at the pinnacle of the English choral world, from his appearance as a chorister in the first (1963) recording of Britten’s War Requiem (conducted by the composer himself), through his time at Cambridge and his numerous prestigious appointments and accomplishments up to the present day.
Now his Piano Collection: A Flower Remembered, brings together 8 of his best-loved choral pieces in new transcriptions for solo piano.
Appearing both as a 21-minute recording by Wayne Marshall (available on the usual streaming platforms and to purchase in MP3 format here), and as a sheet music publication from Rutter’s publishers OUP, the arrival of The John Rutter Piano Album is something of an event to truly cherish!
Nathan Holder’s latest book, written for children aged 8-12, bills itself as “The Ultimate Fun Facts Guide”, and works hard to fulfil its aim.
We are told,
“From Beethoven to Billy Joel, Mozart to Mary Lou Williams, and Scott Joplin to Stevie Wonder, be inspired by some of the most interesting people who have ever played the piano. Why is my Piano Black and White? takes you on a musical journey to help you discover the weird and wonderful world of the piano, and the people who make music on it! Filled with fun fact, jokes, quizzes and music, after you read it, the piano will never be the same again!”