Ludovico Einaudi’s legion of fans worldwide are no doubt already enjoying his latest release; Seven Days Walking: Day One was released in mid-March, and is to be followed by six further albums, each offering fresh variants on the first, culminating in a boxed set later in the year.
Hot on its heels comes the sheet music publication of the album, brought to us by publishers Chester Music and distributed by Hal Leonard.
In his recent interview for Pianodao, concert pianist Martin Roscoe enthusiastically discussed his long-held ambition to record a complete series of the solo piano works of the great Hungarian composer, teacher and polymath Ernő Dohnányi (1877-1960).
Now that ambition reaches its fulfilment, culminating in the fourth and final release in Roscoe’s recorded Dohnányi cycle for Hyperion Records, released this month, and an easy choice for Pianodao’s Recording of the Month.
I’ve been a fan of Dohnányi’s music for several years, not least knowing that my own teacher Joseph Weingarten had been one of his students in Budapest Academy. I’ve been collecting Roscoe’s recordings since the series started, and have been eagerly awaiting this final issue.
Before reviewing the CD itself, here’s a short introduction to the composer and music…
That’s the first word that came to me as I unpacked the advance review copy of Lang Lang’s Piano Book when it arrived back in February, and it is rightly the first word of this review.
Because Lang Lang’s Piano Book is without question one of the most lush sheet music publications I have ever seen. So, right away a huge round of applause goes to Faber Music for a job magnificently done.
But beyond the opulent presentation, what actually is Lang Lang’s Piano Book? Let’s take a look…
Schott Music have recently been developing a new series of publications called the Schott Student Edition, presenting core pedagogic repertoire in an attractive, affordable and contemporary format for today’s learners.
With several editions already in the pipeline for string and wind players, pianists can now also start their collection, thanks to the arrival of an excellent new edition of favourite pieces by Daniel Gottlob Türk, edited by Erich Doflein and with new Teaching Notes written by Samantha Ward.
Exclusive Interview with concert pianist Martin Roscoe
As Hyperion Records release the fourth and final disc in Martin Roscoe’s survey of the solo piano music of Ernő Dohnányi it was a delight to have the chance to ask Martin about his Dohnányi odyssey, which has taken so much of his time over recent years.
I was keen to know more about how this extraordinary project came about, and the impact it has made on pianist and audiences alike …
Wonderful news: the latest figures from the BPI reveal that sales and streaming of recorded classical music grew by 10.2% in 2018 compared to the 2017 figures.
This compares to the much lower 5.7% growth in other genres. In fact, classical CD sales grew by 6.9%, while most other genres actually saw a decline in sales.
And online streaming of classical music grew by a whopping 42%, compared to the 33% rise in the overall market. These figures are presented and discussed in this BBC News article.
Some will no doubt quibble over the specific artists and composers featured in the statistics, and we must admit that the categories formulated by salespeople and marketeers rarely tell the whole story. But those of us who really believe in classical music won’t be surprised by its upsurge and enduring popularity. We know that once people encounter good music, it can wield its transformative power.
It is odd, then, that so many piano teaching colleagues seem to largely avoid classical music unless and until it is specifically requested by a student or required for an exam. Why is this?
“Since my youth I have been fascinated by sonata form and, over a period of some forty years, all the programmes I have performed have been centred on works in that form. Therefore this book is a labour of love as much as, hopefully, a useful guide to some of the most marvellous music ever conceived.”
So writes Michael Davidson of his superb book The Classical Piano Sonata, which has since its publication in 2004 become something of a classic itself, and an indispensable guide for every serious pianist and music-lover.
Let’s take a closer look at the book, and evaluate what it is which makes it such an essential addition to the pianist’s library…
Yuja Wang’s meteoric rise to global stardom has been one of the most extraordinary stories of the piano world over the last decade.
When her debut CD for Deutsche Grammophon was released back in 2009 she was barely in her 20’s and many (me included) raised their eyebrows at her choice of programme, opening with Chopin’s monumental B flat minor Sonata and squeezing in performances of Scriabin’s 2nd Sonata and two Ligeti Etudes before finishing with Liszt’s Sonata in B minor. As it turned out, she performed all these with aplomb, her Liszt in particular being among the very best readings recently committed to disc.
Since then, the Chinese virtuoso has recorded concerti by Rachmaninov, Prokofiev (perhaps the most emotionally gripping performance I’ve yet heard of his grief-ridden 2nd Concerto), Ravel and Mendelssohn. Her solo discs Transformation and Fantasia have delighted fans, and she has lit up the world’s greatest concert halls with her technically explosive and musically rapt playing.
Now she’s back with a new recording. The Berlin Recital was recorded live at the Berlin Philharmonie Kammermusiksaal in June 2018, and features a bedazzling programme of music by Rachmaninov, Scriabin, Ligeti and Prokofiev.
Bartók’s seminal collection For Children is, in my view, one of the few absolute essential classics of the piano pedagogy repertoire: a work which has in equal measure both charmed and challenged generations of young pianists, and seems as popular with my students today as ever.
Two new versions of this milestone have appeared in recent months: a single-volume complete edition from Boosey & Hawkes, and a brand new urtext edition from Henle Verlag in partnership with Editio Musica Budapest.
In this review I’m going to present each, with some concluding thoughts on their relative merits, and recommendations of which edition will suit whom.
Bartók’s Mikrokosmos has – since the first half of the 20th century – been a potent force in the pianist’s repertoire, hugely impacting pedagogy worldwide, while his charming collections of pieces For Children have delighted elementary to intermediate players of all ages. But what of his other little collection, The First Term at the Piano?
Largely overlooked, except as a curiosity for completists to consider, this seemingly innocuous sequence of 18 short pieces has passed under the radar of most piano teachers, and even though some of the pieces are brilliantly inventive and melodic, they have too rarely surfaced in other collections, exam syllabi or student performances.
Now the US-based pianist, teacher, lecturer and editor Immanuela Gruenberg is looking to turn the tables, resurrecting this work for a new century, and for a new audience.
Her stunning new edition of the pieces – which comes with complete commentary, imaginative lesson plans, and a series of online videos – has recently been published by Hal Leonard in association with Boosey & Hawkes. And as we shall see in this review, it is a genuine must-have purchase for anyone who teaches beginners.