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Guest post by Frances Jones

In the days before self-service machines, when library books were issued by hand and date-stamped, I would feel sorry when I opened a book to see it last stamped more than a decade before. I thought of the volume standing slightly lop-sided on the shelf, waiting for a person to stop and take it home. I’ve been feeling a similar way recently, as I take down off my shelf music that I haven’t looked at for years. One such collection is Francis Poulenc’s Three Novelettes, speckled with a scattering of pencil markings and an old PIN for a bank card. So last year I sat down and learned the first of the Novelettes, playing it in an informal concert for my students (they are very forgiving of my significant lapse in regular practice).

Even as I discover more of Poulenc’s piano music, Novelette No. 1 remains one of my favourite works by this French composer. Written in 1927, when Poulenc was about 28, it’s a joyful piece and full of character. The opening melody is serenely beautiful, and it always gives me a sense of calm. Enjoy this for its own sake, it’s saying; just listen, and stop rushing around. It floats over an arpeggiated bassline in C major and although there are discords, they are so subtle as to pass almost unnoticed. There’s then a minor section, where the discordancy becomes more obvious, but it’s over with quickly and after a lyrical passage we’re into a bawdy dance; I can just imagine drinkers stomping round the bar in days gone by. A reflective passage follows and we head away from the party back into the peaceful serenity of the opening theme, with the thick chords near the end sounding bell-like in their brightness.

Novelette No. 2 is, on first hearing, very different. It brings to mind, for me, a company of elves, cavorting around a woodland fire. The upbeat tempo, staccato articulation and use of the piano’s range helps conjure up this image. The melody is so dance-like, but light and quick, suggesting something other than even the most agile of human dancers. Introduced to this revelry is a stately tune that threatens to calm the festivities, but it lasts merely a few bars before tumbling down and jostling with the opening pixie theme, eventually succumbing in a ff glissando. The opening music returns, and the elves dance away into the night, sans relentir.

There is a third Novelette, which was written many years later, in 1959. For me, it feels like a separate piece; it’s based on a theme by Manuel de Falla, and is beautiful, yes, but also nostalgic and reflective with a tinge of melancholy. To me, it’s another example of Poulenc seeming to make the task of composition so easy. The melody soars above the bass and then appears in the middle of the piano before flying up again and ending at peace, or so I like to think.

I was introduced to Poulenc’s music through the ABRSM; Improvisation No 13 by Francis Poulenc was on the Grade 8 piano list around the turn of the millennium and I still have the collection. Written in 1958, this Improvisation is wistful and yearning; a composer looking back, perhaps. Poulenc had a playful nature, but there was a deeply serious side to his character, which is evident in so much of his work (his piano pieces are just a small part of his output). Poulenc’s writing is so expressive, and although there’s a melancholy air scattered across his piano music, somehow I always find it uplifting (with the possible exception of Mélancolie itself, written in 1945). It’s the ability to seemingly pluck a melody out of the air that I love; his writing is both graceful and perfectly formed, and with bursts of humour that show a different side of his personality.

Replaying the Novelettes has spurred me on to find more of Poulenc’s piano music. I love the first Nocturne but haven’t looked properly at the other seven, nor learnt the Impromptus. Despite the fact that attempting any of the above will be a challenge, I can’t wait.

Frances Jones read music at York University followed by a PGCE at Cambridge. She teaches piano in SW London.

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This article in The Spectator https://spectator.com/article/the-joy-of-the-little-things/, and a Facebook post by a good friend of mine, celebrating the little or simple things in her life which give her pleasure or fulfilment, set me thinking about the pleasure of simplicity in music. This might be a beautifully intonated note on the clarinet or violin, a perfectly executed C-major scale, or the elegant simplicity of a slow movement from a Mozart piano sonata.

The title of this article captures a core truth about music: what feels most satisfying to play and/or hear is often not the most complex, but the most clear, intentional, well-understood, and beautiful. This applies to both music practice and performance.

Simplicity in Music Practice

Mastery before complexity: Focusing on simple material – scales, basic rhythms, short phrases – allows a musician to build control, accuracy, and confidence. Simple exercises reveal weaknesses clearly, making improvement more efficient. Practicing a slow scale with even tone and perfect intonation develops more skill than rushing through advanced pieces, and a well-played simple passage is more valuable than a poorly executed difficult one.

Pleasure and fulfilment come from progress – and progress is most noticeable when working with manageable material.

Mental clarity and reduced frustration: Overly complex practice can lead to tension, fatigue, and discouragement. Simplicity helps break down difficult pieces into small, clear sections and allows one to focus on one goal at a time (for example, rhythm, tone, articulation).

Deep listening and awareness: Simple music leaves space for attention to detail, such as quality of tone, timing and balance, breath, bow, or touch. This awareness strengthens musical sensitivity, which is harder to develop when attention is overwhelmed by technical difficulty.

Simplicity in Musical Performance

Clarity over complexity: In performance, audiences respond most strongly to clear musical ideas, not technical display alone. Thus, a simple melody played with expression, shaping, and conviction can be more moving than virtuosic passages played to display technical prowess but without meaning. Simplicity allows the musical message to come through without distraction.

The pleasure lies in communication, not complication.

Confidence and presence: Simpler interpretations often lead to fewer mistakes, greater freedom of expression, stronger connection with the audience. When a performer is not struggling with difficulty, they can be fully present in the music.

Emotional honesty: By not hiding behind complexity, the performer reveals emotion, vulnerability, and authentic musical intent. Such honesty is deeply satisfying for both performer and listener.

Balance, not avoidance of difficulty

“The pleasure in simplicity” does not mean avoiding challenging music. Instead, it means: developing complexity from a simple, solid foundation; stripping music down to its essentials – melody, rhythm, harmony, expression; and remembering that difficulty should serve musical meaning, not replace it

In both practice and performance, simplicity brings pleasure by fostering clarity, control, confidence, and emotional connection. When music is approached with simplicity, it becomes more human, more expressive, and ultimately more enjoyable – reminding us that music’s power often lies in how little it needs to say to express something deeply meaningful.

We often overlook the beauty of simplicity. Some of the most profound insights are found in the elegant and uncomplicated.

Professor Richard Feynman, physicist

Images: Photo by Jason Gardner on Unsplash and Ivona Rož on Unsplash

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Introducing Zenezen – a “creative ecosystem for musicians, by musicians.”

[ze-neh-zen]

Zene [noun, Hungarian] music

Zen     1. [noun] A state of meditative calm, in which one uses direct, intuitive insights as a way of thinking and acting

2. [adjective/colloquial] Wise, enlightened, relaxed, capable

Zenezen is an emerging initiative and digital platform designed to support the professional and personal development of musicians. Founded by British concert pianist and educator Ashley Wass, it brings together a global network of artists, educators and industry professionals to share knowledge, mentorship and resources aimed at improving the sustainability and wellbeing of careers in music.

I spoke to Ashley Wass to find out more about Zenezen and his motivation for establishing it.

What inspired you to create Zenezen, and what gap in the music profession are you hoping to address?

It’s something that’s been building for a long time – over three decades of experience in the profession (plus the years of study at a specialist music school before that) have ultimately led me here. And it’s not only my experiences; the countless conversations I’ve held with friends and colleagues over the course of my career are part of it too.

What’s clear is that many musicians traverse their entire careers without fully understanding how the industry works, and that’s often a source of intense frustration, loneliness and instability. Zenezen aspires to promote greater transparency, deepen knowledge, and champion a culture of sharing. I’m a big believer in peer-to-peer support, and everyone who contributes to Zenezen does so because they want to help their fellow musicians.

How would you describe the core mission of Zenezen to someone encountering it for the first time?

Quite simply, we want to make the world of classical music a happier and healthier place. Our platform will be a safe space where people can share their expertise and experience for the benefit of their peers. It will be a place where musicians can access beautiful content that supports their wellbeing and professional development. We will promote live events, both online and in-person. And there will be opportunities for mentoring and networking. With the desire to promote togetherness at its heart, Zenezen will be a community.

Musicians often face pressures that aren’t always visible from the outside. What kinds of challenges is Zenezen trying to help address?

For such a communal activity, a life in music can be surprisingly lonely. Many musicians feel unable to express their vulnerabilities for fear of damaging their reputations, but deep down, most of us are facing the same challenges. As mentioned above, there’s a general lack of knowledge about the industry, and we want to break down those barriers. And we also aspire to support musicians across the wide range of skills that are required to manage oneself effectively and healthily in the profession. Of course, the nature of those skills is constantly evolving – who would have predicted 15 years ago the role that social media would play in our careers, for example? – and we need to ensure that appropriate and contemporary training is available, such that musicians are well-equipped to keep pace.

The data is deeply worrying – a 2020 survey of musicians around the globe found that 71% reported stress and anxiety, 76% had suffered playing-related injuries, 66% faced discrimination, and 82% felt the industry provided inadequate support for their mental health. Since 2019, no doubt partly due to the pandemic, there has been a 396% increase  in consultations for musicians with mental health concerns. There are all sorts of factors at play – unsociable working hours, poor pay, inconsistency of bookings, accessibility, etc, etc. What Zenezen can do is raise awareness of the challenges, offer help and guidance through them, champion togetherness as a core value, and serve as an advocate for positive change whenever the opportunity exists.

Zenezen brings together artists, educators and industry professionals. Why is this kind of cross-disciplinary community important for musicians today?

The music industry is made of lots of moving parts, and for too long, there hasn’t been enough transparency and understanding between them. It’s vital that educators hear from artists about the demands of the industry so that they can evolve their offerings accordingly. It’s crucial that artists hear from promoters and agents what it is they’re looking for. And it’s important that promoters work more closely with artists to find ways of developing the audiences of the future. Without that, the industry – and everyone in it – will continue to struggle.

At Zenezen, we keep repeating the slogan “Making music together”. It’s not a trite piece of marketing text – we really mean it. Positive change will only happen if we work together.

Can you share an example of a project, activity or conversation within Zenezen that has had a particularly meaningful impact?

It’s difficult to single out any one thing, to be honest. What I will say is this; the support and enthusiasm with which the idea of Zenezen has been embraced – by individuals and institutions – has been truly humbling. So often, the response has been, “this is not just important, it’s essential”. We live in a fascinating time – where people are questioning how we interact with one another – and there’s no doubt the appetite exists for a stronger sense of community.

How does Zenezen aim to support both emerging musicians and more established artists?

I’ve mentioned the word “community” several times already, and that’s the key. Zenezen exists to support our fellow musicians, and we will take direction from them as to what they want us to produce. Everyone who engages with Zenezen has a voice and the opportunity to help shape the platform. So, with that in mind, we would love to hear from musicians at all stages of their careers; their feedback and suggestions will be invaluable as we seek to create the resources that they find helpful.

What role do wellbeing, resilience and sustainability play in the philosophy behind the platform?

For so long, there’s been an attitude that the suffering of great hardship is a requisite to becoming a great artist. It’s a myth that exists in our worship of musical idols, it has been a fundamental part of certain pedagogical traditions for decades, and it pervades our psychologies such that we tend to ‘muddle on’ in the face of unjust, unfair practices. The profession of music lags massively behind other industries when it comes to caring for the wellbeing of its constituents, and we want that to change. Music has an astonishing power to bring joy, hope, healing and redemption to our societies, and we are blessed to be the practitioners who have the talent to deliver it. But there’s an imbalance which is demonstrated by one startling statistic; recent surveys reveal that 71% of people who listen to music report a positive impact on their wellbeing, yet as mentioned above, the very same percentage – 71% – of people who perform music professionally are citing depression and anxiety. There will always be ups and downs – successes and failures – no matter what your job, but we believe that fundamentally, the classical music industry can, and must, become a happier and healthier place.

Looking ahead, what are your hopes for how Zenezen might grow or influence the wider musical community?

We will strive for Zenezen to become an influential voice in the push for positive change, and we will listen to our community members and champion their causes as much as we can. But perhaps I can best answer the question by sharing a little story from my past.

The year was 2016 and the world felt like a turbulent place. The UK had just voted for Brexit, elections around the world had thrown up worrying results, and conflict and division raged throughout our societies. At the time, my first child was 4 years old, and I worried desperately about what the future held in store for her. Late in the year, I was invited to give a concert in an abbey. It was a beautiful place, and in between rehearsal and concert, I decided to explore. It was then that I met a resident monk who was keen to chat. At some point during our conversation, I expressed my concerns and told him I felt helpless in my desire to bring harmony to the world around me. He thought for a few moments and then offered a word of wisdom that’s stayed with me ever since. “Don’t try to change the whole world”, he said. “Focus on making the world a better place for one person at a time”.

And that’s where I stand with Zenezen. Yes, we have grand ambitions. But ultimately, if we can become a space where fellow musicians find things that resonate and reassure – just one at a time – then it will all be worthwhile.

Find out more and explore Zenezen resources here: https://zenezen.net/

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Guest post by Thomas Taaffe

Buying a piano has never been a simple decision, but in recent years it has become noticeably more nuanced. Through running an online piano marketplace and directory, I’ve had the opportunity to observe hundreds of enquiries from buyers across the UK, from complete beginners to experienced pianists returning to the instrument.

What stands out is not just what people are buying, but how they are approaching the process. The priorities have shifted in subtle but important ways.

One of the most consistent themes is a growing desire for reassurance. Buyers are more cautious than they once were, particularly when navigating online listings. Questions around condition, history, and authenticity come up time and again. People want to know not only what a piano is, but where it has been, how it has been maintained, whether it has been restored, and who is standing behind the sale.

This has naturally led to increased interest in trusted sellers and verified businesses. While private sales still play an important role, there is a clear preference emerging for some level of accountability. Buyers are often willing to travel further, or spend slightly more, if it means dealing with someone they feel they can rely on.

At the same time, there is a noticeable return to acoustic instruments. While digital pianos remain popular for certain situations, many families and students are actively seeking out upright or grand pianos for the long term. This is particularly evident among parents of younger students, often guided by teachers who recognise the musical and technical benefits of an acoustic instrument early on.

In fact, a significant proportion of enquiries are for well-maintained second-hand instruments. Buyers are increasingly aware that a carefully selected used piano can offer exceptional value, provided it has been properly prepared and supported. Many begin their search by browsing a wide range of pianos for sale in the UK (https://pianosphere.com/ads/), comparing options across different sellers before making contact. This is where clear information and transparency become even more important.

Another shift is the level of research buyers are doing before making contact. Many arrive with a strong understanding of brands, models, and pricing. It’s not uncommon for someone to enquire about a specific Yamaha or Kawai model, already having compared multiple options. However, despite this preparation, there is still a need for guidance, particularly when it comes to interpreting condition, tone, and long-term suitability.

For teachers, this presents both an opportunity and a challenge. Students and parents are more informed, but also more exposed to conflicting information. Helping them navigate those decisions, especially when buying remotely, has become an increasingly important part of the teaching role.

Location and logistics also play a bigger role than they once did. Delivery, access, and aftercare are frequently discussed at an earlier stage in the process. Buyers are not just purchasing an instrument, but thinking about how it fits into their home and daily life. Practical considerations, such as space and placement, often influence the final decision just as much as musical ones.

What all of this points to is a more considered and deliberate approach to buying a piano. The impulse purchase has largely disappeared. In its place is a slower, more thoughtful process. One that places equal weight on trust, information, and long-term value.

Platforms such as PianoSphere (https://pianosphere.com/) have emerged in response to this shift, aiming to bring together buyers, sellers, and piano professionals in one place. The goal is not to replace traditional routes, but to support them — offering a clearer, more connected way to navigate what has always been a complex purchase.

For those advising students or considering a purchase themselves, the key takeaway is this: today’s buyers are not just looking for a piano. They are looking for confidence in their decision.

And perhaps that is no bad thing.

Thomas Taaffe is the founder of PianoSphere, a UK-based piano marketplace connecting buyers with trusted sellers and piano professionals across the UK. He is a classically trained pianist and a graduate of the Royal Birmingham Conservatoire.