sheet music – Concerto in C Minor

20240922 Random notes

Couple of things to note:

Daniil Trifonov has a new album due next month and Apple Music is already streaming a couple of tracks from it. I can’t find his recording of it on YouTube but definitely worth checking out his recording of China Gates by John Adams. You’ll find other recordings of that piece on YouTube including by Yuja Wang (the piece is currently on my TBL list which is almost longer than my reading list). The other thing to take a look at is this:

Daniil Trifonov When I Fall in Love

Very understated. I love it. He did the transcription and from what I can see, he doesn’t publish them. This is gorgeous though.

Also on Apple Music/Apple Music Classical, Deutsche Grammophon have been good enough to curate a bunch of playlists. If you’ve any interest in classical music at all, it’s worth looking through them and my particular recommendation is their Piano Masters list which includes Yuja Wang’s rendition of Philip Glass’s Etude 6. It’s worth taking a look around their other play lists as they have some good composer specific lists.

Yuja Wang playing Etude 6 by Philip Glass

I haven’t listened to it yet but Ben Laude, late of ToneBase but now doing nice stuff on his own channel, was interviewed for Behind the Tech, which is a tech podcast. You can find a taster here:

Ben Laude taster of interview with Kevin Scott

They talk extensively about Scriabin’s Opus 8 number 12 which is to be fair, a great piece of music. I came across it on Boris Giltburg’s Instagram channel. In particular, they discuss Horowitz’s playing of said piece but personally I like Garrick Ohlsson’s recording and Daniil Trifonov played it on at a Yellow Room concert for Deutsche Grammophon and it’s definitely worth you time too.

God plays Scriabin

I see there’s a Nikolai Lugansky version as well. I must check it out at some point.

I want to learn this but it will have to be for the LRSM I guess, feel sure it would be acceptable difficulty wise. Annique Gottler had a go at it here. She said it was hard and she definitely is better than I am atm.

In other news, the Leeds Piano Competition has been running. Jaeden Izik-Dzurko won in the end and you can find his Brahms II concerto final here. I also recommend taking a lot at the second placed Junwan Chen’s Rachmaninoff 4 if and when it’s been posted. I don’t see it there yet. The competition’s YouTube is worth an exploration though so find it here.

Last two things to mention: Alexandre Tharaud has a Bach release on the way, again check it out on your streaming service of choice as a couple of tracks are already available and my little piece of joy to listen to from Vikingur Olafsson is the Bach No 4 Organ Sonata, transcribed by Stradal. It looks like IMSLP is the main source for the sheets. I hope that link eventually takes you to the right place.

Here he is on YouTube with a rather sobering video.

Sight reading practice

I set up this idea of having a target of 40 odd pieces this year and I even made a list. But although I intended to put together the pages on my iPad to have them ready to read I never got around to it, and then I was highly occupied by the Grade 6 pieces. So it’s only recently that I started looking at The Problem this was supposed to solve, ie, not being confident enough with the sight reading.

The internet is full of quick fixes to sight reading Problems. Basically, I’d like to read fluently enough to play fluently a lot of pieces. I’ve mixed feelings – sometimes I think the reduced speed sight reading helps with the memorisation. But either way, needs must.

There were a few issues of Pianist and Pianist lying around near the piano and while I would not normally bother with beginner pieces I decided to start with those and see how far I got. What I’ve learned is that even for the easy/accessible to beginners pieces, the grading is not always consistent with the way I play. I find Beginner/Intermediate easier than Beginner sometimes.

This post is really for me to trap a list of what I’ve been doing for the last week or two. Nothing very deep.

So in no particular order other than the pile of magazines beside me here:

Pianiste (FR) No 146

Czerny Les Heures du Matin op 821, no 1 (GD)
Felix Le Couppey, Op 17/3, The Alphabet (GD)

Pianist 139

Antonio Fragoso Aria (I)
Melanie Spanwick Eastern Promise (B)
Christian Gottlob Neefe Minuet in F (B)
Theodor Oesten The Echo No 14 from May Flowers OP61 (BI)

Pianist 136

Felix Le Couppey No 17 from ABC du Piano [wonder if this is the same set as The Alphabet above]
Melanie Spanwick Mountain Stream (B)
Theodore Latour First movement from Sonatina No 1 in C (BI)

Pianist 137

Mel Bonis Raindrops OP 103 NO 9 (B)
Melanie Spanwick Glorious Day (B)
Charles Villiers Stanford (BI)

I think this exercise started about 10 days ago. Maybe a week. Not sure. Anyway, the abbreviations are GD Grand Debutant, B Beginner, BI Beginner/Intermediate. I see there are 12 pieces there already. At this rate, I could probably touch my 40 pieces target provided I do 10-12 a week.

It’s the start of September. I’m missing from the piano for about 5 weeks between here and Christmas.

Sheet Music acquisitions (July 2024)

I was in Paris yesterday so had the chance to go to two sheet music shops. This is dangerous. But I got a couple of things I was looking for. So, I have the Dvorak Humoresques beside me, the Henle edition. I’ve wanted to pick these up after coming across a really nice Barenboim recording and I have this delusion I’ll have time to learn them.

I also picked up Liszt’s second piano concerto – that was something I had failed to find a few months ago, and it was never urgent, per se…I have some more Liszt to report but the last thing I got in that show was Rhapsody in Blue, which I want to do some bits of. Gershwin music is a bit odd, probably because most of it isn’t out of copyright yet so I have an Alfred edition which was apparently restored to his original manuscript. This is that fetish for “Urtext” which I think is fine for music that is two hundred years old, more recently though…it depends….a bit.

From Ariosa, a new to me shop, we have Liszt Consolations, the Budapest edition, Africa by Camille Saint Saens, and his 4th piano concerto. For Africa, it’s the Durand edition (because it was the only one there), and for the 4th concerto, it was the Henle edition, because it was 10 euro less expensive than the Durand edition. The other two books I bought was the Chopin collection of Mazurkas and Liszt transcriptions of Beethoven Symphonies 6-9. The latter is a Dover edition which seems to be easier to get than the Budapest edition.

Strictly speaking I am already learning Liszt Consolation 2 so there is some work there. From the rest, I don’t intend to work too hard any any of them in the short term except possibly the second movement of the Beethoven Symphony no 7.

Any reliable edition

I recorded and submitted Grade 6 today. Yesterday, for reasons, I had a look at TCL’s diploma lists and something interesting caught my eye.

I’ve already more or less decided what I would play for the FTCL/FRSM level provided it is compliant with the time requirements. But I still take a look at the list and what caught my eye on the FTCL list yesterday was that one of the repertoire pieces was the Volodos arrangement of Malaguena by Ernesto Lecuono. It’s a great piece of music, have loved it both as an orchestral piece and as a solo piano piece for a long time. This is the kind of thing that would pique my interest under any normal circumstances. The thing is, I don’t think it’s been published.

I can’t find it on stretta which is my go to source for any published music, it’s not on nkoda which absolutely is not. The only place it is turning up is Musescore. I don’t like their subscription model and anyway, a lot of what is there is transcriptions done by X, retranscribed by way. TCL call for “any reliable edition”.

What is a reliable edition of a transcription done by Volodos, but not published anywhere?

Newly acquired sheet music

I had a ninja trip to London last week and took a few minutes to hare up to the music department in Foyles. I was looking for a couple of things, one of which is not available at the moment but you might randomly find it somewhere that hasn’t sold all its copies yet. In Foyles, I was not so lucky. There was no copy of any of the Liszt works I want. Why I want them I don’t know; I don’t play much/any Liszt at the moment.

The other piece I wanted was Barcarolle Number 1 by Gabriel Fauré. There is an album of Fauré’s complete piano music knocking around which I don’t seem to have flagged but I will. Here’s the trailer:

Lucas Debargue – complete music for piano by Gabriel Fauré

Anyway, the taster which Apple Music released absolutely ages ago was the first barcarolle, and I want to learn it. I see it, I buy it. However, Foyles also had a transcription of Pavane, so I bought that too.

The Liszt that I am looking for are his transcription of Beethoven Symphony No 7 and the chorales. I don’t urgently need them but if I see them, I will pick them up. In any case, I will ninja to London again soon.

On Sightreading

One of the gaps I identified for myself at the start of this more recent piano journey was sightreading. I suppose in part, it was because I wanted to read music as fluently as I read English. This might be unrealistic; I’ve been reading English since I was three years old and that is now a frighteningly long time ago. But arguably, my sightreading is weaker than I would like. I imagine a world where I can read anything I want up to and including Chopin’s third Sonata which is the apex of my ambitions, apart from buying a Steinway B, that is. But I struggle with sightreading, especially lefthand because I learned treble clef a couple of years before I learned bass clef. I struggle with ledger line notes too.

So I did what any sane person does when they want to get better at something. I searched sightreading on YouTube and disappeared down an increasingly disappointing black hole. There is a huge amount of advice out there from people telling you how you can sight read better. What most of them have in common is that they are targeted at people who know absolutely no music theory at all, have no basis in reading at all. I suppose it’s the easiest place to start with pedagogical stuff on sight reading. I’m not the target audience. I realised I was not the target audience because once you got past the names of the lines on treble and bass, there was an emphasis on understanding the length of notes. I know this. Understanding intervals: I know this. Understanding key signatures. Come on!. I know most of these too. I know that five sharps tells me it’s B major or G sharp minor. I’ll possibly draw them in the wrong order but interpreting them, I get there.

So what I’ve come to understand is that I’m a better sight reader than I gave myself credit for. Still not good enough but the hints around knowing how to read are unrealistic for someone who actually knows how to read; the point is to read more and more and get faster. When you see discussions about this on Reddit, the advice is that it is a numbers game. I read a piece by Elissa Milne a few weeks ago where she noted that in general, the higher some of her students went in the graded music education system, the worse their sight reading got for the simple reason that they weren’t doing enough of it. I’m not a fan of the Numbers Game but in general, she came up with a plan to increase engagement of students and to get them to sight read a whole lot more. That’s the 40 piece project that I have going in the background (see here). I’m not really on top of it because I don’t always have the music to hand and practice time has been thin on the ground these last couple of weeks. But I have done some things outside the scope of the exam pieces I’m working on. There has been some Beethoven, some Shostakovich, some Haydn, all composers that I don’t regularly touch. I have worked on a couple of pieces by Beethoven – the infamous Bagatelle that everyone knows, and I intend to learn the second movement of Shostakovich’s piano concerto no 2 and one of his waltzes. I have sheet music for both. Haydn I tend to bypass.

Of the pieces that are being worked on for repertoire, there is Handel’s Sarabande and Variations, and Prelude in C Major from Bach’s WTC. I’m not a fan of Bach senior but there are some glorious things knocking around. I also have Siloti’s transcriptions of some of Bach’s stuff. So I may adjust the list currently here to take account of other things I want to learn.

I started learning CPE Bach’s Solfeggio during the week to replace the List A Bach that I wanted to abandon. It’s astonished me how much easier it was to sight read than I expected. I’m assuming that part of it is linked to the short pieces I work on now and again and that this has helped a lot. So yes, in short, it’s a numbers game.

New Sheet Music: Brahms 79 – 2 Rhapsodies

I listen to Brahms while working and discovered Radu Lupu’s recording of assorted opuses including Opus 79. I really like the second rhapsody from Op 79 so I bought it lately, Henle (so blue edition), nothing spectacular photowise.

It’s on the syllabus for the ARSM which is on my radar, although I was also targetting 118/2 for that (no work done on it this week). I’ll think about it. I had a look at it briefly yesterday at the end of a practice session. It was challenging to say the least.

If you ask me who my favourite composer is, I would still say Rachmaninoff. But I seem to own more music by Chopin and Brahms for some strange reason.

Some more sheet music acquisitions

I’m listening to a programme on the place of the piano in Irish traditional music, which for me is a contentious issue, and this has not started well to be honest as it’s focused on piano as an accompaniment.

But that’s not why I am here. I got a delivery of music this morning and of course there are the more recent acquisitions in bricks and mortar shops here i Brussels and in Strasbourg as well.

Karl Ekman arrangement of Passacaglia

Wege zu Franz Liszt

Czerny 599 because I don’t have it and I am not disciplined about doing these kinds of exercises.

Saint Saens – 6 Etudes pour piano OP 52

Schuman Carnaval op 9 – Wiener Urtext

Glinka-Balakirev – the Lark

Schubert-Liszt 13 songs in transcriptions

Jean Sibelius Opus 76 nr 2

Clara Schumann – Romantic Piano Music including Opus 16

A trip to Trier

Christian Sinding and Carl Philip Emmanuel Bach

I was in Trier for the first time in a few years at the weekend. It was a great weekend and since it was Trier I took the opportunity to visit two grail shops; one being Musikhaus Kessler, a place where I bought quite a lot of sheet music when I was living in Luxembourg. I also bought quite a few bits of music giftery – they are very good for that.

Anyway, my current music shopping list included the Sinding, already mentioned in previous entries, and Solfeggio by CPE Bach. I’ve since discovered that Solfeggio has previously been a Grade 6 piece for ABRSM (so I could have used it as the self selected piece for my currently stalled Grade 6 piece). It’s been mentioned a lot in r/piano and it sounds nice. So yeah, on the learning list it went, and also, not like everything on my learning list, it also made its way onto the sheet music shopping list. The Sinding was really more luck – they don’t have a lot of second hand stuff but that was there, and more importantly, this is the edition that was there; a lovely older imprint. I really wish Peters would use more beautifully engaged title pages again. I had been looking for this edition on Ebay (there were a few) but lo, here it was in my hands, and subject to being bought by my credit card. This made me happy. I haven’t started it yet although both pieces are sitting on my piano stand at the moment. This leaves only a piece of Sibelius, Opus 76.2 on my list. I don’t see many versions of it in print so I think I got it from IMSLP in the end. Incidentally, I signed up for them for a year because they are worth supporting. The current print version that I found on Stretta did not really appeal to me.

So I would like to accidentally find that too. I didn’t score on Ebay or AbeBooks yet.

The other grail shop – and I really do recommend it to anyone in the area who loves pianos – is Marcus Huebner Pianohaus. It’s about 5 minutes from the main railway station in Trier. It is a lovely piano shop, a major Steinway dealer, and the staff, and Marcus himself are really lovely people to talk to. The last time I was there (before this trip), they had two beautiful Model Ds out. This time, they had a couple of special editions, some Model Bs, some Model Os and a Model C. I played the two special editions. I tried to play one of the Bs but it was already reserved for someone and while it seems irrational, I never do well with pianos that I know are for someone else. It’s better if I don’t know.

The two special editions were a maquette Model O and a silver Model B. I spent a lot of time with the silver Model B and have to say, it’s a beautiful piano to play. It seems similarly priced to a new Model B so if the piano appealed to you and you have the money, the choice between silver and standard wouldn’t be driven by price.

The Model Os felt less light under my fingers, a little heavier. As they are a smaller piano, that would have surprised me. Nevertheless, the piano was a beauty to look at. There’s been the occasional debate of black versus not black – I have mixed feelings. It’s pretty much the case if I were buying a new piano, I would default to black polish. But for the older pianos from the earlier 20th century, the different wood casings are very attractive.

I’m not currently in the market for a piano, although I am always in the market for a Steinway B when I have sorted out an apartment. So the question of whether I would go for the marquette casing is more or less moot. I very much appreciated the opportunity to play the piano though as I don’t often get the opportunity to play unusual pianos.

Marcus Huebner has also his own range of pianos and although I’ve played one in the past, there was not one on display last weekend. This is a pity. I’m privileged in that I have played one of his, and also one of Chris Maene’s straight strung pianos.

In this way, were I ever to be in New York I’d love a trip into the Steinway Vault (see Tiffany Poon here) and the Bechstein Foundation in Berlin which I only recently found out about.

At some point, I must write some notes about special pianos, dream pianos, and our friends of the every day.

New to me sheet music

Second hand sheet music — Sheet music for The Legend of the Glass Mountain

I ordered this, and Cornish Rhapsody a couple of weeks ago. They arrived during the week, making me very happy.

It’s odd to see the pre-decimalisation price on both of them, and of the two, this is less fragile. Both lots of sheet music date from the 1940s. I intend to scan them and add them to my digital library and use forScore to do the annotations and fingering, etc.

When I was looking for this sheet music, I came across documents about how the music for this and especially for Dangerous Moonlight (Warsaw concerto, mentioned a couple of times on this site) were subject to major demand once the films were released. I know that early in the twentieth centuries, the music charts were based on sheet music sales rather than recordings – that changed of course.

It’s a rather romantic idea, this idea of buying the sheet music to play it yourself rather than buying the recording. People still do this – Interstellar is an example of one, and of course Yann Tiersen’s gorgeous music from Amelie.

The piano is a bit inaccessible at the moment so I haven’t had a change to go at this. I like to feel that these pieces come from a golden era of piano/film music. I kind of day dream about it.