UK Exam Boards: The Pianodao 2021 Survey

Later this year, Pianodao hopes to publish a major feature, Which Grade Exam Board 2021-2.

The aim of the article will be to support and inform those readers who are considering taking a formal piano playing assessment, and looking for a simple comparative summary of what is available to them from the UK-based international examination boards.

To that end, I have invited the five accredited exam boards to contribute their own content, and am now also asking you to provide user feedback if you have it.

The review form is included later in this article, so if you would like to contribute, then please read on…

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LCM: In Concert 2

SHEET MUSIC REVIEW • written by ANDREW EALES
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London College of Music’s suite of LCM Diplomas have just been revised for 2019, with certification beginning this Spring, and with a crossover during which candidates can continue to use the 2011 syllabus until the end of 2019.

Alongside the Diploma syllabus revision, a new anthology of solo piano repertoire has been published, called In Concert 2. This book is the sequel to last year’s In Concert, which I enthusiastically reviewed here.

In this review I will first consider the syllabus changes, link to the full syllabus for those interested, and then offer a more detailed review of In Concert 2.

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Finchcocks Reborn

For 45 years, Finchcocks – a beautiful Georgian manor house situated in Kent – was home to Richard and Katrina Burnett’s impressive collection of over 100 historical keyboard instruments (some 40 of which were fully restored), including harpsichords, clavichords, early fortepianos, square pianos, and more.

These instruments could not only be seen by visitors whenever the house was open to the general public – they could also be heard in performances there, and even played. Finchcocks was one of the few collections where visitors could avail themselves of the chance to get a feel for playing earlier repertoire on authentic instruments.

When the Burnetts retired in 2015, and the museum closed, with many of its instruments auctioned off for charity, there was naturally some sadness among aficionados of historical performance practice.

Enter new owners, by Neil and Harriet Nichols

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