On 8 July I gave a joint concert with my pianist friend José Luis Gutiérrez Sacristán for my local music society based at the National Physical Laboratory, Teddington. It was Jose’s idea to present a joint concert and the result was a varied programme which reflected our personal and quite wide-ranging musical tastes. We closed the recital with the ‘Berceuse’ from Faure’s Dolly Suite.
The complete programme:
Mozart – Fantasia in C minor K475 (Frances)
Shostakovich – Prelude & Fugue in C, Op 87 (José)
Part – Für Alina (Frances)
Haydn – Andante with variations in F minor, Hob XVII/6 (Frances)
Villa-Lobos – Cirandinhas W.210 nos. 6, 8, 12 & 11 (José)
Ginastera – Danza de la moza donosa (José)
Fauré – Berceuse from ‘Dolly Suite’ (duet)
The final concert in the South London Concert Series Spring 2014 season has a special accent on music from Russia and the east, and features guest artist Australian-Armenian pianist Vatche Jambazian in music by Galina Ustvolskaya (a pupil of Shostakovich), Mozart’s popular Fantasia in D minor, and a selection of Preludes & Fugues from Dmitri Shostakovich’s Opus 87. Supporting artists Jose-Luis Gutierrez Sacristan, Lorraine Liyanage (SLCS co-founder), Alex Ewen (violin) and Frances Wilson (AKA The Cross-Eyed Pianist & SLCS co-founder) will perform works by Granados, Villa-Lobos, Rachmaninoff, Khatchaturian, Auerbach, de Falla and Takemitsu. This promises to be an exciting and eclectic evening of music, held in one of London’s most beautiful and intimate small venues, the 1901 Arts Club, close to London’s Waterloo Station. The elegant bar and sitting room at the club will be open before and after the concert for the exclusive use of ticket holders, and guests are invited to join the performers afterwards for drinks and socialising.
“A wonderfully creative idea”
Peter Donohoe, internationally-acclaimed concert pianist
A stag with an impressive set of antlers surveys the room, while a white-tuxedo’d Tony Curtis keeps watch over the proceedings from his niche in a corner near the piano, a John Hopkinson baby grand with a rosewood case. Glittering chandeliers hang from the ceiling, illuminating the exposed brickwork on two walls of the room and highlighting the colours of the stained glass panels in the elegant sash windows. Exotic oriental rugs are draped over vintage British Rail first class seats, and at the back of the room, a glass cabinet is filled with antique pharmacy jars. Welcome to Brunswick House, part of the London Architectural Salvage and Supply Co, a Georgian mansion just five minutes from London’s Vauxhall Station, flanked by the brand new 5-star hotel and luxury apartments of One Nine Elms. Brunswick House is a treasure trove of antiques and salvaged curiosities, and on Thursday night last week, it provided a wonderful and eclectic venue for a fine evening of music making and conviviality.
“A superb evening – huge fun was had with a mix of musical genres in a delightfully decrepit and stylish Georgian mansion. Best of luck promoting these salon recitals, the way music is meant to be played and heard.”
Rosalind, audience member
The concert was part of the South London Concert Series, and featured a recital by BBC Music Magazine’s “rising star” Emmanuel Vass, together with supporting performances by three talented members of the London Piano Meetup Group, who despite not being “professional” pianists, played with equal poise, musical sensitivity and professionalism. The diverse programme matched the unusual setting, with music by Bach, Chopin, Turina, and Mozart together with Emmanuel’s own transcriptions of pop songs by Queen and The Prodigy. In keeping with the SLCS ethos of recreating the nineteenth-century musical salon, an hour of music was followed by much conversation and socialising in the ante-room next to the Saloon, and continued downstairs in the restaurant adjacent to the house.
“The South London Concert Series is both innovative and traditional. Events blend an appreciation of fine music and music making with conviviality, and blur the artificial distinctions between professional and amateur”
James Lisney, international concert pianist
The final SLCS concert of the 2013/14 season is on Friday 16th May at the 1901 Arts Club. Entitled ‘Eastern Accents’, the concert includes music from Russia and Japan, and features a performance by guest artist Vatche Jambazian. Further details/tickets here
Returning to old repertoire can be extremely satisfying, and one often discovers new things about the music when returning to it after a break. I also recall all the reasons what I like about the repertoire and why I selected it in the first place.
My teacher has cautioned me about reviving repertoire I learnt as a teenager. This is good advice, for despite a gap of over 30 years, all the impetuous errors of youth seem ingrained in the piece and the fingers, and undoing these problems can be nigh-on impossible. Against my teacher’s advice, however, I revived Schubert’s E-flat Impromptu for my ATCL Diploma in 2011, because I needed a “fast piece” in the programme. I had not touched the piece seriously for over 30 years, yet I was pleasantly surprised at how much of it I could remember (it must be said that this is not a particularly difficult piece to memorise, being constructed from repeating patterns and motifs). But working from the old Editions Peters score I had as a teenager meant that all the errors were still there, as well as my then teacher’s annotations. In order to learn the piece carefully, I ditched the dog-eared score and purchased a new Henle urtext edition. In effect, I started again from scratch with the piece: I learnt new fingering schemes, thought carefully about the structure and atmosphere of the piece, and was delighted to have it described as “an assured and stylistically accurate performance” by the diploma examiner. Having taken the trouble to re-learn the work carefully, it is now very securely lodged in fingers and memory.
People often ask me whether it is “hard” to revive old repertoire. In general, I have to say I have found it relatively easy to return to previously-learnt repertoire, though this isn’t always the case (the ‘Toccata’ from Bach’s 6th Partita will take some careful work if I want to revive it). However, one can take steps to ensure that once learnt a piece can be revived and made ready for performance relatively quickly.
Lately, I have been enjoying revisiting some of Szymanowski’s Opus 50 Mazurkas, the first two of which I played for my ATCL recital. The pieces felt different without the pressure of an exam hanging over me, and I felt I was playing them in a freer way as a result. I am also working on Rachmaninov’s G minor Etude-Tableau (Opus 33, No. 8), for my debut in the South London Concert Series in May (the piece will be paired with Szymanowski’s Mazurka no. 1). It is a mark of how carefully I practised the piece in the first place that within an hour of practising earlier today, I felt it coming back together nicely. Of course there are elements that will need some careful, detailed work (the cadenza, for example), but overall, it is still in pretty good shape. Getting it “concert ready” should not take too long.
Professional pianists will have many pieces “in the fingers” which can be downloaded and made ready for performance in a matter of days. This may include 20 concertos or more, most of Beethoven’s 32 Sonatas, many of Bach’s 48 Preludes and Fugues, plus other pieces which are ‘standard’ repertoire: Mozart and Schubert sonatas, works by Chopin, Schumann, Brahms and Liszt, much of Debussy and Ravel etc., and popular ‘standards’ from the 20th Century repertoire by composers such as Messiaen, Bartok, Stravinsky, Ligeti, Berio, Berg, and Schoenberg. Careful learning and preparation mean that repertoire can be learnt, revived and kept going simultaneously. It is this kind of deep, thoughtful practise that is essential for ensuring repertoire remains in the fingers (and brain) even if one is not practising it every day.
Some thoughts on reviving repertoire successfully:
Recall what you liked about the pieces in the first place. What initially attracted you to the pieces? Rekindle your affection for the pieces when you revisit them
Don’t play through pieces at full tilt. Take time to play slowly and carefully.
Trust your practise skills. Be alert to issues as they arise and don’t allow frustration to creep in.
Look for new interpretative and expressive possibilities within the music. Try new interpretative angles and meaningful gestures.
Don’t hurry to bring the piece up to full tempo too quickly. Take time to practise slowly and carefully.
Schedule performance opportunities: there’s nothing better to motivate practise than a concert date or two in the diary.
Catalogue Number: TOCC0179 EAN: 5060113441799 Release Date: 2 September 2013
Christopher Guild, piano
Sometimes described as “the Scottish Bartok”, composer Ronald Center (1913-73) was born in Aberdeen, the youngest member of a musical family. Despite his active working life as a soloist, accompanist, organist and teacher, his music was somewhat overlooked during his lifetime and after his death, and the centenary of his birth was rather lost amid the furore of last year’s composer anniversaries of Britten, Wagner and Verdi.
Fellow Scotsman and pianist Christopher Guild is a crusader for the neglected Center, and makes a persuasive case for Center’s piano music in his new disc on the Toccata Classics label. There are intimations of the percussive spikiness of Prokofiev, the folk idioms and harmonies of Bartok, the simplicity of Poulenc, the wit and humour of Shostakovich, and the sensuality and stately parallel harmonies of Claude Debussy (in a work entitled ‘Hommage’ which is dedicated to Debussy). Hints of Scottish airs make intriguing appearances in the music, reminding us of the composer’s heritage. There are moments of haunting beauty and wistful lyricism, such as in the ‘Larghetto’, the middle movement of the ‘Sonatine’, the ‘Impromptu’, or the first of the Six Bagatelles. Meanwhile, the Piano Sonata opens with a sprightly Bartokian Allegro molto,
Alert to the musical and emotional cross-currents in the music, Guild offers a sensitive reading of these interesting and varied works that is insightful, colourful, brimming with rhythmic vitality, and meticulously presented on this high-quality recording. An excellent introduction to Ronald Center’s oeuvre.
This week I had the pleasure of a “house concert” at my home, during which the pianist Anthony Hewitt played Alexander Scriabin’s Preludes, Opp 11, 13, 15, 16 and 17 on my lovely antique Bechstein. This was an opportunity for Tony to put the programme before a small invited audience of friends ahead of public concerts and a recording. It was a very enjoyable evening of “music amongst friends”, enlivened by beautifully rich, textural and colourful playing.
Scriabin was following in a great tradition of prelude writing which stretches back to Bach, and beyond to the Renaissance, when musicians would use an improvisatory Praeludium (Prelude) as an opportunity to warm up fingers and check the instrument’s tuning and sound quality. Keyboard preludes began to appear in the 17th century as introductory works to keyboard suites. The duration of each prelude was at the discretion of the performer and the pieces retained their improvisatory qualities.
German composers began pairing preludes with fugues during the second half of the seventeenth century, and of course the most famous of these are Bach’s ’48’ from the Well-Tempered Clavier, which influenced many composers in the following centuries, most notably Fryderyk Chopin who based his 24 Preludes op 28 on Bach’s model, traversing all the major and minor keys. Chopin freed the Prelude from its previously introductory purpose, and transformed these short pieces into independent concert works, which are widely performed today, both in programmes and as encores, and remain amongst Chopin’s most popular and well-known pieces.
Other notable composers of Preludes were of course Debussy and Rachmaninov, as well as Olivier Messaien, whose Huit Preludes hark back to Debussy in atmosphere and titles, but also look forward to his later piano music in their colourful harmonies and unusual chords. Shostakovich followed both Bach’s and Chopin’s models by writing sets of Preludes and Fugues and Preludes, and Nikolai Kapustin has written 24 Preludes in Jazz Style, Op 53, and a set of Preludes and Fugues. It seems the genre is alive and well.
Scriabin wrote some 85 Preludes, and his Op 11 set (1896) follow Chopin’s in their organisation (cycling through all the major and minor keys) and even make direct reference to Chopin’s music. Indeed, such is their closeness to Chopin’s model in style, texture and harmonies, many could easily be mistaken for Chopin’s own music. Some appear to “borrow” directly from Chopin – one opens with the unmistakable motif of the Marche Funebre from Chopin’s B-flat minor Piano Sonata – while others seem more akin to Chopin’s Études in their technical challenges and sparkling passagework. The Opp 11, 13, 15, 16 and 17 are sometimes called The Travel Preludes, though they were not explicitly a travelogue by the composer; rather examples of how his travels around Europe allowed him to absorb different musical styles. (It is easy to forget, given Russia’s turbulent history in the 20th century, that at the end of the 19th century, the country was a major player in western European culture.) These Opuses also demonstrate how rapidly Scriabin’s musical style was developing at that time. The later Preludes are more redolent of Scriabin’s piano sonatas and show the influence of French music in their sensuous colourful harmonies and lush textures. All share one distinct characteristic: they are, in true Prelude style, short works, some so fleeting they last barely a minute.
In our house concert, Tony presented the Opus 11 set in the first half of the concert, and the Opp 13, 15, 16 and 17 in the second. As my husband commented afterwards, what was so charming about this programme, was that one was able to enjoy a huge variety of music in one sitting, and the programme was sufficiently involved not to require any additional material, such as an Etude or other short work.
Anthony Hewitt performs Scriabin’s Preludes at the OSO Arts Centre, Barnes, on Tuesday 18th March. Further details here. He will also be recording the complete Preludes of Scriabin, for release in 2015, the centenary of the composer’s death.
What better way to start a new year at the piano with some new repertoire? But where to start? Perhaps the greatest joy – and frustration – of being a pianist is the vast and wonderful repertoire available to us, from Baroque arabesques to über-contemporary fancies. One could spend a lifetime exploring the piano music of Beethoven or Chopin and still only scratch the surface. For many of us, our tastes are shaped from our earliest days at the piano, usually by our teachers, and they continue to form and develop as we learn and expand our musical horizons.
With such a vast repertoire available, it can be difficult to know where to start when selecting new music. For me, a constant source of inspiration is concerts. You hear it live, which gives a wonderful sense of the music – and don’t think that just because the pros are playing it, it must be impossible. Many concert pieces are not nearly as complicated as they may sound. The radio is also a useful source of ideas, as are music streaming services such as Spotify and LastFM, which offer recommendations based on your listening habits. Spotify has a particularly large archive of classical music, with some wonderful rarities, including recordings of both Rachmaninoff and Ravel (and others) playing their own piano music – wonderfully inspiring. YouTube is another good resource.
Recommendations from friends and colleagues can be very useful too. For example, a pianist friend of mine flagged up the recordings from the annual Rarities of Piano Music festival, which have proved a rich source of potential new repertoire for me. It is also interesting to explore lesser-known repertoire.
It’s important to keep variety and spice in what we choose to play, whether we are studying for exams and diplomas, preparing for a concert or competition, or simply playing for pleasure. If we grow bored of our repertoire, we can get lazy about it and silly errors and hard-to-erase mistakes can creep in. I always have quite a broad range of music “on the go” at any given time, and lately I have tended to focus on one or two quite challenging works (LRSM/FRSM standard), music that lies easily within my playing “comfort zone”, and some easy pieces (for example, Elgar’s Dream Children, which I enjoyed playing during the autumn and which found its way into a couple of concert programmes). I like to have wide chronological sweep too, and at the moment I am working on music by Bach, Mozart, Liszt, Bartok, Messiaen, Britten and Cage. I am also looking forward to tackling some piano music which has only just been written (Portraits for A Study by Jim Aitchison).
Even if you are busy with repertoire for an exam or Diploma, I think it is important to supplement your main learning with other pieces to guard against boredom (it is also a good idea to “rest” pieces on which you have been working for some time). Maybe consider some “lateral repertoire” – by which I mean, if you like the music of Chopin, for example, why not explore the piano music of fellow countryman, Karol Szymanowski? And if you like Debussy, and would like to try some later French piano music, how about Olivier Messiaen? His ‘Preludes’ (1929) show Debussyan influences and also look forward, in their harmonies and idioms, to his greatest piano work, the Vingt Regards sur l’enfant Jesus. These kind of musical explorations can often throw an interesting new light on existing repertoire and offer useful food for thought.
There is plenty of copyright-free music available on the internet, which can be downloaded and printed out, or saved on a tablet device. Always remain open to new ideas and inspirations, and you will enjoy a wealth of fabulous piano music.
“My music is like a garden – and I am the gardener”
Toru Takemitsu (1930-1996)
It was rather wonderful to wake to the sounds of the music of Toru Takemitsu on BBC Radio 4’s ‘Today’ programme on Friday morning. An unexpected pleasure, as such music is usually reserved for the wilder shores of Radio 3.
Takemitsu was a composer, but he was also a writer on aesthetics and musical theory. His music is delicate and refined, as beautiful as Hokusai print or a carved jade netsuke. Largely self-taught, his music combines elements of Japanese and western philosophy with the subtle manipulation of instrumental and orchestral timbre, using both western and traditional Japanese instruments, and the use of defined silences to create a unique and extraordinary soundworld.
Takemitsu admired Debussy and Messiaen, as is evident in his piano music, and was drawn to composers who were themselves deeply influenced by the musical and philosophical culture of Asia, including John Cage. After my very positive experience with Messiaen for my ATCL Diploma programme, and my love of the piano music of Debussy, the desire to explore the piano music of Takemitsu seemed a natural one.
Takemitsu composed his Rain Tree Sketch II in 1992 in memory of Oliver Messiaen (1908-1992), the French composer who had a strong influence on Takemitsu. The work was composed for a concert “Hommage à Olivier Messiaen” at Les Semaines Musicales Internationales d’Orleans, France, and was premiered by Alain Neveux on 24 October 1992. The name of the work was probably inspired by a quotation from a novel by Kenzaburo Oe about the miraculous rain tree, whose tiny leaves store up moisture and continue to let fall raindrops long after the rain has ceased. The work is also a dreamy meditation on the flow of life, and was the last piano piece Takemitsu wrote (his first Rain Tree Sketch was written in 1982). It is in a clear ABA (ternary) form, with a rhythmic opening which is reprised, in shortened form, after the melodic middle section. Its tonal language is redolent of Debussy and Messiaen, with chords used for colour and timbre rather than strict harmonic progressions, and, like its dedicatee, Takemitsu employs recurring motifs (such as an ascending three-note broken chord figure) and well-placed silences to create a carefully nuanced atmosphere and colouristic shadings. Directions such as “celestially light” and “joyful” contribute to the metaphysical nature of this work.
There are some written in pedal markings, and these should be adhered to as the composer directs. Elsewhere, use of the pedal is at the discretion of the pianist. I tend on the side of restraint and use half or one-third pedal to avoid obscuring the clarity of the chords and melodic figures. Regarding the bars of silence, these should sound expectant and anticipatory, rather than dead; using the pedal to allow sounds to “ring” will help achieve this.
The metronome markings in the piece are somewhat ambiguous. On the dedication page of the score, the duration is given at 5 minutes, but if one adheres to the metronome markings exactly, the piece comes in at around 3 minutes. I have opted for a calm moderato, a sense of the music moving forward, but without pressing ahead. In my Diploma programme, this piece comes between the Bach D minor concerto BWV 974 and Mozart’s Rondo in A minor K511. The contrast is, to me, rather special, and I feel it works well.
While researching the programme notes on this piece for my Diploma, I came across an interesting piece of research in which the author discusses the suggestion of traditional Japanese instruments in this work, and other piano works by Takemitsu, specifically the Taiko drum (the low D pedal point at the opening of page 2), and the long zither koto and the short-necked lute biwa (the ascending arpeggio figure suggests the plucked sound of these instruments). The article contains many interesting thoughts about Takemitsu’s piano music, and is definitely worth exploring further.
As for performances of this work, when I heard Noriko Ogawa perform it at the Wigmore last autumn, I was struck by the incredible soundworld she managed to achieve, producing “droplets” of notes and really evoking the miraculous rain tree (my review here). The recording I have been using for reference in my study of this piece is by Ichiro Nodaira: I particularly like the relaxed tempo of the opening melody.
The pianist Paul Crossley has recorded Takemitsu’s complete piano music, sadly, now out of print, though available via some music streaming services and Spotify.
An intriguing envelope, postmarked from Ireland, dropped through my letterbox this morning, a welcome change from the daily deluge of Christmas mail. The A4 sheet of text, which accompanied the enclosed CD, immediately caught my attention when I saw the name Joyce Hatto, and initially I misread the text, thinking I’d been sent a recording to review by one of the artists Joyce and her husband ripped off in the course of their great classical music scam.
In fact, the CD, a collection of works by Chopin, performed by pianist Archie Chen, relates to the upcoming BBC biopic of Joyce Hatto, Loving Miss Hatto. Written by Victoria Wood and starring Francesca Annis and Alfred Molina, the film will be aired on Sunday 23rd December on BBC One.
Archie Chen is indeed the pianist “behind the hands” – in that he provides the music for the film, under the direction of the musical director Niall Byrne. Chen himself is the pianist playing in the film, and he was also charged with teaching the actress Maimie McCoy, who plays Joyce as a young woman, how to play convincingly for the camera. The challenge for Chen was to learn some of the most difficult works in the repertoire in a very short space of time. As Chen himself says of working on the film: “I’m in such a privileged position to be involved in this project……I really relished the challenge of learning the most fiendishly difficult Godowsky Studies…..The hardest part was putting in the mistakes!”.
The release of the film coincides with the launch of Chen’s new CD ‘Chopin’, which features some of the composer’s best loved works, including the Ballade No. 3, the Scherzo No. 2 in B-flat minor op. 31, and all of the Impromptus, as well as the B minor Sonata. The opening Impromptu, in A-flat major, is a joyful outpouring, Chen opting for a more relaxed tempo than some performers, with restrained rubato and a thoughtful middle section. The Ballade No. 3 is graceful and elegant, with tasteful rubato and an enjoyably lilting tempo, which calls to mind the chime of a carriage clock (perhaps on the mantelpiece at Nohant?). In the Scherzo, once again a more spacious tempo allows us to enjoy all the contrasting elements and drama of this work. Likewise in the Sonata, tempos are measured and well thought out, in particular in the final movement (marked Presto non Tanto, far too many pianists, in my opinion, take this movement at such a gallop many of the details of the music are lost). Clean and expressive playing throughout, coupled with considered tempos and spare use of rubato, make this a CD to enjoy over several listenings.
Archie Chen ‘Chopin’ is available on CD or as a download
Call me a philistine, but I have never liked Wagner. I tried watching Tristan and Isolde on DVD and gave up – the shrill of an over-bearingly loud soprano hovering somewhere between Romanticism and atonality almost sent me into convulsive fits. The thought of sitting through the entire ‘Ring Cycle’ made me shiver with boredom. I found his style over-indulgent and lacking substance, and since I never really understood the appeal of the composer or what he was trying to achieve, I never really got to understand or enjoy the compositions – that is, until I found his piano works.
Turns out Richard Wagner’s earlier exploits into composition were not as overly expansive and luxurious harmonically as we’ve grown to expect when we hear the name. His Opus 1, it turns out, was a piano sonata, and even more surprisingly, one you could well be forgiven for mistaking at first for early Beethoven/late Haydn, despite the odd Romantic turn of phrase in places. In fact, by the very nature of the key it is written in (B flat was a particularly favourable of Beethoven’s, the key of both his ‘Grand’ Sonata, op. 22, and the famous ‘Hammerklavier’, op. 106) and some tongue-in-cheek quotes from other works (within a few bars of the second movement, note the reference to the beginning of Beethoven’s Eb major sonata, Op. 31/3) show that Wagner clearly had a far deeper respect for the Classical era than most people credit him with.
This new side to Wagner got me interested: if he was not so outlandishly Romantic and over-expressive as I had first considered him, what other gems of his piano music were out there and why hadn’t we heard of them? Next, I stumbled across the Fantasia in F sharp Minor, written in the same year (1831). The opening ringing of the chords instantly struck a resemblance to the famous Mozart Fantasy in D Minor and so I was fascinated and continued listening. The lyrical and poignant recitative passages interspersed with expressive melodies and tormented chordal cries grabbed me as something incredibly beautiful, but also well-crafted and poised. I continued looking: the delightfully cheeky Polka, so full of character given its brevity, the stately Polonaises, the sentimental Albumblatt for E.B. Kietz (interestingly subtitled a ‘Lied Ohne Worte’ – maybe his respect was abundant towards Mendelssohn as well, though the more Romantic lilt to this piece might suggest otherwise!) all struck me as wonderful music that’s been brushed under the carpet.
So why, if this music is so fantastic, do we not play it or hear it anymore? Why is this side of Wagner kept hidden? The answer to that, I would hazard a guess, is that most of these piano works were fairly early in Wagner’s output – in his 70 years of life (1813-1883), the majority of his piano works were composed in the first half, and once his success in the world of opera kicked in, he seemed less inclined to compose piano music, instead favouring more expansive mediums of composition. Since his style then blossomed into a much more experimental breed of High Romanticism, the simplicity of his earlier works became unduly neglected by listeners. Despite being less outlandish, I think the pieces themselves are absolutely charming, and deserved to be remembered, if not only for their artistic merit, but also to give us an insight into the thinking of a clearly multi-faceted composer, who is most certainly not insensitive and over-indulgent as I first thought. Now I have a far better appreciation of his genius, I might even hazard giving Tristan another go…
Sonata in Bb, Op. 1, WWV 21 (1st movement)
Fantasia in F sharp minor, WWV 22
Albumblatt to E.B. Krietz
Madelaine Jones is currently a student at Trinity Laban Conservatoire of Music and Dance, studying piano and harpsichord with Penelope Roskell and James Johnstone respectively. She was the winner of the Gladys Puttick Improvisation Competition 2012 with duo partner and dancer, Adam Russell. Her ensemble experience as a pianist has included working alongside the BBC Singers, the Medway Singers and the Walderslade Primary School Choir, and she has performed as a harpsichordist and chamber organist in the Greenwich International Early Music Festival alongside Trinity Laban’s various Early Music Ensembles. Madelaine is a recent recipient of an LCM London Music Schools and Teachers Award, and is also a keen writer in her spare time.
Frances Wilson blogs on pianism, classical music and culture