Tag Archives: Alan Rusbridger

Interviews with amateur pianists

Inspired by Alan Rusbridger’s book Play It Again, I am launching a new series of interviews with adult amateur pianists. The overriding theme of Rusbridger’s book is its celebration of amateur pianism and music making in general, as a convivial social activity and one which can provide ‘therapy’ in our busy lives.

I meet many amateur pianists in the course of my musical life, many of whom play at an advanced, or quasi professional level, but who have chosen to follow a different career path, for whatever reason. All of them express a love for the instrument and its literature, and this is their main motivation for playing the piano.

This series will celebrate the joy of amateur pianism, at whatever level. If you would like to take part in the series, you can either:

Download the Adult amateur pianist questionnaire and answer the questions, or

Write your own text and submit it to me (use the Contact page to get in touch initially)

For an idea of the kind of text I am looking for, please take a look at these interviews from Alan Rusbridger’s website:

Interviews with amateur pianists

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Playing at Steinway Hall, May 2012

Can you master Chopin’s Ballade No. 1?

Hot on the heels of the publication of his book ‘Play It Again’, Guardian editor and keen amateur pianist Alan Rusbridger and publisher, Jonathan Cape, are organising a competition for amateur pianists to showcase their talents to the world.

If you have what it takes to play Chopin’s ‘Ballade No.1’, submit a video of your performance to YouTube, to be in with a chance of winning:

  • A trip to London
  • A piano masterclass
  • A chance to meet Alan Rusbridger
  • A tour of the Guardian offices
  • A year’s subscription to BBC Music Magazine

Judges:

  • Alan Rusbridger (Editor of the Guardian)
  • Oliver Condy (Editor of BBC Music Magazine)
  • Andrew Clements (Guardian Music Critic)
  • Erica Worth (Editor of The Pianist)
  • Lucy Parham (Concert Pianist)
  • Alex Bowler (Editor at Jonathan Cape)

Pianists of all standards and levels of experience welcome

DEADLINE FOR ENTRY: March 8th 2013

Further information, entry form and full terms & conditions here

Check out the Play It Again website for piano and Ballade-related content, including interviews, video clips, articles on the brain and music, and much more

Murray Perahia plays Chopin’s Ballade No. 1:

Book review: Play It Again – Alan Rusbridger

In April 2010, in the elegant sitting room of a large Victorian family home in north London, a young man, painfully shy and awkward, sat quietly composed at an antique Blüthner grand piano before proceeding to pull off a convincing, profound and highly polished performance of Chopin’s fourth Ballade. The day before I had played, somewhat tentatively due to anxiety, the C-sharp minor Étude from Chopin’s Opus 25. It was the first Chopin Étude I ever learnt, and the first time I had performed in “public” since my school days. Compared to the flamboyant Ballade, my effort seemed insignificant.

When the young man, whose name was Stephen, finished there was an appreciative silence from the tiny audience before the applause, the greatest accolade one can give a performer. I went home after the second day of what Alan Rusbridger in his book Play It Again calls “piano camp” – my piano teacher’s weekend course – inspired and terrified. Everyone else on the course was better than me, and Stephen, at just 17, was way, way ahead of the rest of us (I later learnt that he had only started playing the piano seriously at 14). On the last day of the course there was a concert for the participants, at which I played the Chopin Étude. When my teacher told me how well it had sounded, how much I had improved in the eighteen months since she first took me on, and turned to my husband to announce “Fran played really well today”, I burst into pathetically grateful tears, but when I got home, shattered after three days of intensive masterclasses and trying to remember what a Neapolitan Sixth was, I remembered Stephen’s Ballade. I Googled “piano diploma” and within two days I had downloaded the syllabus from Trinity College of Music: eighteen months later, I passed my Performance Diploma with Distinction, and felt I could claim to be “a Liszt player”.

Alan Rusbridger’s “piano epiphany” was similar to mine. At piano camp in the Lot Valley in France, he heard one of the other students play Chopin’s first Ballade in g minor, a performance notable for both its profound musicality and technical assuredness. Back home in London, Rusbridger decided he too would learn the first Ballade, in the space of just one year, but his hectic life as editor of The Guardian precluded lengthy practice sessions, so he set about learning it on only 20 minutes practising a day (if possible).

His new book, Play It Again, written in the form of diary extracts, charts not only his adventures with the Ballade, a project he likens to George Mallory attempting to climb Everest “in tweed jacket and puttees”, but also an extraordinarily busy year for his newspaper and the world in general: the year of the Arab Spring and the Japanese Tsunami, Wikileaks and the UK summer riots, and the phone hacking scandal and subsequent Leveson Enquiry.

Chopin’s first Ballade is not some piffling little drawing room piece any old pianist can pick up and play. It is complex in its structure and meaning, physically and emotionally demanding, requiring advanced technique and musical understanding. It is a proper virtuoso work (as are the other Ballades), perenially popular with performers and audiences around the world. It is considered one of the high Himalayan peaks of the piano repertoire and is most definitely not for the faint-hearted. No right-minded pianist, whether student in conservatoire, professional, or advanced amateur, would set themselves the task of getting to grips with such a monster on anything less than two hours practice every day.

In the course of his study of the piece, Rusbridger meets other pianists, amateur and professional, who discuss their attraction to the piece and why it continues to hook them in. All the professional pianists he interviews (including Noriko Ogawa, Stephen Hough, Murray Perahia, Emmanuel Ax, the late Charles Rosen, and William Fong – Rusbridger’s tutor at piano camp) admit to learning the work as teenagers: its vertiginous virtuosity is a huge attraction for the young piano student, and the work often finds its way into end of year recitals in conservatoire, and diploma programmes. But the work continues to fascinate mature pianists as well.

Much of the book is a glimpse into Alan Rusbridger’s “practice diary”, his day-to-day responses to learning the piece. For the serious amateur pianist and teacher, Rusbridger’s analysis, virtually bar-by-bar, is very informative, but you would want to have a copy of the score beside you as you read. There is also plenty of useful material on how to practice “properly” – something Rusbridger has to learn almost from scratch – and how to make the most of limited practice time. Alongside this, we also meet piano restorers and technicians (Jeffrey Shackell, Terry Lewis) to peer into the rarefied world of high class grand pianos (Steinway, Fazioli), as well as neurologists (with whom Rusbridger discusses the phenomenon of memory), piano teachers, pianists all over the world who have played or are studying the piece (with whom Rusbridger connects thanks to the wonders of social media), other journalists, celebrities, politicians, dissenters, and Rusbridger’s friends and family. Rusbridger interweaves his journey into the heart of the Ballade with his daily travails at The Guardian, offering fascinating insights into his working life, at a time when the very future of British journalism was being called into question as a consequence of the News of the World phone hacking scandal.

Another aspect which comes across very clearly throughout is the pleasure of music making and its therapeutic benefits, for performer and listener, and the book is very much a hymn to this. Like the Ballade itself, the book hurtles towards its finale: will Alan learn the piece, memorise, and finesse it in time for the concert?

The final section of the book contains extracts from the score and insightful commentaries from top class international pianists, essential reading for anyone who wishes to study the work seriously.

This is an inspiring read for the competent amateur who aspires to play some of the “greats” of piano literature. The book is a celebration of the dogged persistence of the determined ‘amateur’ (in the French sense of the word – “a lover of….”), which will give hope and support to pianists seeking a challenge from new or more complex repertoire. The fact that Rusbridger pulled it off will doubtless inspire others to follow his example: I certainly hope so.

Redefining the “amateur pianist”

I am very much looking forward to reading Alan Rusbridger’s forthcoming book Play It Again: Why Amateurs Should Attempt the Impossible in which he describes the monumental task he set himself to learn Chopin’s First Ballade in just one year. The Ballades are considered some of the most challenging pieces Chopin wrote and are amongst the most popular with concert artists and audiences around the world. While he was studying the piece, Rusbridger was also kept exceedingly busy by his day job, as editor of The Guardian newspaper at a time when a number of major stories broke, including Wikileaks and the phone hacking scandal, so the book is also an account of how Rusbridger balanced his day job with his love of the piano.

Alan Rusbridger at the piano (photo: Graeme Robertson)

Rusbridger is a keen and very competent amateur pianist. A hundred years ago the word “amateur” was a compliment: indeed its Old French origin is “lover of” (from the Latin amator). But the meaning of the word has changed and has come to mean “hobbyist” or a certain cack-handed incompetence.

I have met plenty of “amateur” pianists – at courses, masterclasses and other piano events – and many of them are very fine pianists, who play to a near-professional standard and with the same commitment and devotion as the seasoned pro. Some studied at music college or conservatoire but decided not to pursue a career as a professional musician, some learnt as children and continue to learn, as adults. Others have come later to the instrument, or returned to it after a long pause (as I did). But all of the amateurs I have met (and I include myself in this description) love the piano and its literature. Some of us perform, many of us are studying for exams or diplomas, others are happy to play purely for pleasure. We don’t really like the tag “Sunday pianist”, because many of us practice every day, often for several hours. We are incredibly committed and we love every minute of the time we spend at the piano. I very much hope that Alan Rusbridger’s new book will redefine the word “amateur”, casting it in a positive light and proving that it needn’t be synonymous with ineptitude or lack of skill.

More about amateur pianists here

I will be reviewing Alan Rusbridger’s Play It Again after the book is published on 17th January.

Alan Rusbridger goes to piano boot camp