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A recent conversation with a pianist friend of mine (who, incidentally, is probably the best advocate I know for amateur pianism, such is her devotion to the piano and its repertoire), during which my friend described a festival adjudicator who implied that she should not be playing works like a Chopin Ballade, reminded me of an attitude which exists, and persists, amongst some professional musicians (and indeed a few amateurs too) and teachers that certain repertoire is for professional or advanced pianists only. This is of course rubbish: no repertoire should be considered “off limits” or the exclusive preserve of the professional. The music was written to be played, whether in the privacy of one’s home or to a full house at Carnegie Hall

Prior to the nineteenth century, most music was written for and performed in the court or the church but there was also instructional music (for example by JS and CPE Bach) to help the keyboard player improve their understanding of technique etc (later taken up in the nineteenth century by Chopin, for example, in his Études). J S Bach’s Clavier Übung (literally ‘Keyboard Practice’) includes the six keyboard Partitas, the Italian Concerto and Overture in the French Style, and the Goldberg Variations – all wonderful works which regularly appear in concerts and are enjoyed by pianists the world over. All these works were written to be played at home as part of one’s keyboard study, and I cannot imagine Bach would consider his splendid music to be “off limits” to amateur players – nor Chopin either!

By the nineteenth century, the piano had improved significantly and by the mid-nineteenth century advanced manufacturing techniques meant pianos could be produced more quickly and cheaply. The instrument became an important member of the household and composers responded to its popularity by writing smaller scale works, “albumblatt”, miniatures and duets, specifically aimed at the “at home” or amateur player. Many of these works are now staples of concert programmes.

As pianists we are terribly spoilt for choice. We have a vast repertoire to explore, and today composers continue to add to that repertoire, which means we also have brand new music to explore and play. And in my experience, composers are pleased if you actively seek out their music to play (and preferably purchase it too). OK, so it’s not as prestigious as having it premiered by a leading artist, but that the music is being played and perhaps shared with others via piano clubs, self-organised recitals etc means the music is getting out there.

Don’t let anyone tell you you’re “not worthy” of this fantastic repertoire, that you shouldn’t attempt a Chopin Ballade, a late Beethoven or Schubert Sonata, Liszt’s Dante Sonata or Ravel’s Gaspard de la Nuit.

The music is there to be played – just go and bloody well play it!

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All ten of these pieces have moved me, inspired me or comforted me at some time in my life. Having placed them together into a playlist I realise many of them are quite melancholic! But, for me, they also contain hope and beauty, which I find is a magical combination in a piece of music

 

Alexander’s music has become known for its striking beauty and originality. Described by Positive News as “not jazz, not classical, not improvised, but a glimpse of something new”, and by ClassicFM as “refreshingly original”, it isn’t easily described or placed into a genre. 

Born into a family of artists, he moved at the age of nineteen from the central lowlands of Scotland to the north coast, and it was here on the windswept shores of the Moray Firth that he completed his debut collection for solo piano, Sketches Of Light. Discovered by ClassicFM in 2013 and placed as Album of the Week, the Sketches became instantly popular and have since been aired extensively across the station. The album was re-released by Decca Records in 2014 and has featured widely across TV and Radio.

In 2016 he released Portraits of Earth, his second collection for solo piano, “dedicated”, in Alexander’s own words, “to the beautiful place we all share; the living world we call Earth”.

April 2018 saw the release of his much-awaited third album ‘Journey to Nidaros’. The album was composed spontaneously during a 650km solitary pilgrimage across Norway, offering a remarkable musical journal of his experiences:

“I imagined it to be a time of swimming in rivers, exploring mountains and deep-green forests. It ended up being all of these things, but with the added unimagined discovery of music, which gradually emerged from the pianos I found on the path.”

Meet the Artist interview with Alexander Chapman Campbell

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The Royal College of Music (RCM) has a strong tradition of pianists who have established themselves on the international stage in song and chamber music. Perhaps the most famous is Benjamin Britten who is often remembered for his duo performances with Peter Pears. Other song pianists who studied at the RCM include Julius Drake and Malcolm Martineau whilst Roger Vignoles is the current Prince Consort Professor, a position that Geoffrey Parsons also held.

In recent years both Gary Matthewman and Alisdair Hogarth have distinguished themselves as song pianists of note and there is a long list of former RCM students who have excelled as chamber musicians including Katya Apekisheva, Alisdair Beatson and Danny Driver. More recently, students have had successes in national and international competitions including Ian Tindale who won the pianist prize at both the Wigmore Hall Song Competition 2017 and Ferrier Competition and Gamal Khamis who won the pianist prize at the 2017 Ferrier Competition.

For those wanting to specialise in piano accompaniment, the RCM has a robust Masters course led by pianist Simon Lepper. During the two years of training, pianists not only develop a broad knowledge of the instrumental duo, chamber and song repertoire but they are introduced to the skills of being a répetiteur, ballet pianist, continuo player, orchestral pianist and vocal coach.

Previously-named the Masters in Piano Accompaniment, those beginning the course in the 2019/20 academic year will be following the Masters in Collaborative Piano. The renaming reflects the diversity of the course and the changing perception of what it is to be a pianist who follows a predominantly ‘non-solo’ career. For many years it has been thought that the term ‘collaborative piano’ was coined by the American, Samuel Sanders. However, it appeared much earlier and closer to our shores in a paper written in 1930 by the Irish pianist and composer Hamilton Harty. Below is a quote from ‘The Art of Pianoforte Accompaniment’ which offers a compelling argument for the change of name.

‘The chief cause for the neglect of the art of accompaniment is to be found in the absurd and unfortunate title of ‘Accompanist’, with all that it implies. Whatever may have been the justification for this name in the darkest early Victorian ages, it is now nothing but a stupid and misleading misnomer for a musician who is called upon to exhibit very rare and special qualities. “Collaborator” would be more explanatory and a much more desirable description…’

He goes on to expound both the practical and artistic benefits of following such a career path.

‘It is only common sense, then, to study a branch that will not only furnish one with at least a sufficiency to live on, but which will bring to one’s life the utmost musical pleasure and interest.’

ffwuzu-ySimon Lepper, Collaborative Piano Co-ordinator at the RCM, explains: ‘The renaming of the Royal College of Music’s piano accompaniment course reflects the evolving role of the collaborative musician, recognising their breadth of skill and acknowledging the diversity of opportunities on offer to those pursuing this rewarding career.’

Applications for the Royal College of Music’s Masters programme are open now. Information on courses and how to apply can be found on the RCM website at www.rcm.ac.uk/courses/postgraduate.

For further information about Collaborative Piano at the Royal College of Music please contact Simon Lepper (Collaborative Piano co-ordinator) simon.lepper@rcm.ac.uk

www.simonlepper.com

 

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Who or what inspired you to take up the piano, and pursue a career in music?

Actually no one in my family is a musician; I never had pressure from my family, and the start of my adventure with music was one of the most natural processes – so natural that I still don’t know if I chose the music, or if the music chose me.

Who or what have been the most important influences on your musical life and career?

Definitely some things I’ve read – philosophical essays, some big German, French, Italian and Russian novels. And of course the holy books.

What have been the greatest challenges of your career so far?

Every time disenchantment has made its way into my heart.

Which performance/recordings are you most proud of?

Always the next one!

But I’m still touched by some unbelievable experiences, such as my debut at the Royal Albert Hall in London with the Royal Philharmonic Orchestra.

Which particular works do you think you play best?

The new one I’m going to practice!

But Mozart is without any doubt a great friend of mine.

How do you make your repertoire choices from season to season?

I try to understand the changeable directions of my artistic wishes, and follow them. A concert programme should be a coherent spiritual journey, where different composers and music works interact and connect with each other, reaching a common vision at the end.

Some composers, however, are like lights in the dark for me: things may change on the surface, but deep inside they are always there. I can think of Mozart, Beethoven and Schumann, who have always been very close to my soul.

Do you have a favourite concert venue to perform in and why?

The Amsterdam Concertgebouw: that staircase seems to be the stairway to heaven!

Who are your favourite musicians?

Arturo Benedetti Michelangeli, Grigory Sokolov and Sergiu Celibidache.

What is your most memorable concert experience?

A concert with Maestro Gergiev in St. Petersburg. The concert was at 10pm, he arrived at 9.55pm. No rehearsal. Rachmaninov’s Piano Concerto No.3 on the menu. My debut with him and his orchestra. Live broadcast in all Russia. I wouldn’t wish those first five minutes on my worst enemy!

As a musician, what is your definition of success?

To me, this kind of success simply doesn’t exist. Art is a never-ending creative process, and for this reason it will always be ahead of us, moving infinitely, and as finite humans we will never catch up!

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Just one: that there can be no Beauty if it’s not connected to the Truth.

Where would you like to be in 10 years’ time?

I don’t know where I’d like to be, but I certainly know where I’d like not to be: in the land of illusion. I wish to always remain devoted to the Truth.

What is your idea of perfect happiness?

When a human being is able to connect with all his own innermost feelings.

What is your most treasured possession?

My will.

What is your present state of mind?

Restless.

Federico Colli appears at this year’s London Piano Festival which runs from 2-6 October at King’s Place. More information

Italian pianist Federico Colli is internationally recognised for his intelligent, imaginative interpretations and impeccable technique, praised for his ‘crystalline brilliance and translucence that takes you to the heart of everything he plays.’ (Gramophone)
Federico first came to prominence after winning the Salzburg Mozart Competition in 2011 and the Leeds International Piano Competition in 2012. Since then, he has been performing with orchestras including the Mariinsky Orchestra, St. Petersburg Philharmonic, Accademia Nazionale di Santa Cecilia, RAI National Symphony, BBC Symphony, Royal Scottish National, RTÉ National Symphony, Royal Liverpool Philharmonic, Hallé Orchestra, Philharmonia Orchestra, Vienna Chamber, Camerata Salzburg, Klassische Philharmonie Bonn, Polish Radio National Symphony, Philharmonie Zuidnederland, Pomeriggi Musicali Orchestra, Orchestra della Toscana, National Philharmonic of Ukraine and Orquestra Sinfônica Brasileira; at venues such as the Vienna Musikverein and Konzerthaus, Berlin Konzerthaus, Munich Herkulessaal, Hamburg Laeiszhalle, Beethovenhalle Bonn, NDR Landesfunkhaus in Hannover, Amsterdam Concertgebouw, Muziekgebouw Eindhoven, Barbican Hall, Queen Elizabeth Hall, Glasgow Royal Concert Hall, Usher Hall in Edinburgh, Liverpool Philharmonic Hall, Dublin National Concert Hall, Salle Cortot in Paris, Rudolfinum Dvorak Hall in Prague, Auditorium Parco della Musica in Rome, Teatro degli Arcimboldi in Milan, Lingotto in Turin, Philharmonic Concert Hall in Warsaw, Teatro Municipal in Rio de Janeiro and the Mariinsky Concert Hall in St Petersburg.

Read more about Federico Colli