An Introduction to the Piano – Christopher Northam
Amidst all the recordings of virtuoso repertoire comes this delightful collection aimed at amateurs and piano students from pianist Christopher Northam.
Northam takes us on a chronological journey through some 300 years of keyboard music, from Byrd to Debussy, with plenty of gems of the repertoire, as well as lesser-known works by Pachulski and Alkan.
Although described as music “for beginners”, the selection includes some challenging pieces of cGrade 6 to 8 standard, including Beethoven’s much-loved Für Elise, Field’s Nocturne in B flat and Debussy’s Golliwog’s Cakewalk. Admittedly, these are not necessarily “concert pieces”, but they certainly require a fair degree of technical and artistic facility.
We are so used to high-quality recordings of concert repertoire by leading, acclaimed pianists, it is refreshing to have a selection which is clearly aimed at amateur players. The actor and keen amateur pianist Alistair McGowan attempted something similar a few years ago with his Piano Album, though the music selection was almost as unimaginative as his playing, and I am not convinced by McGowan’s assertion that hearing someone like him playing this music will inspire others (I suspect most aspiring pianists find inspiration in high quality performances, whatever the difficulty of the repertoire). By contrast, Northam treats this music with all the authority, care and commitment one would afford virtuoso repertoire, and performs it as if in a concert rather than strictly pedagogical setting.
Remarkably, the recording was made over 20 years ago at St George’s Bristol, which boasts one of the finest acoustics for piano and chamber music in the UK. Northam’s sensitivity and attention to detail in this crystalline acoustic results in a recording which sounds fresh and immediate.
The amateur piano world is huge, and very supportive of professional players, from whom many amateurs not only drawn inspiration but also receive tuition, in private lessons, masterclasses and summer schools. Yet the amateur world is often barely acknowledged; this excellent contribution from Christopher Northam recognises the importance of amateur pianists while offering inspiration in repertoire which is accessible and achievable. If I have one criticism it is that there is not a single piece by a female composer included in this otherwise excellent selection, but I am told by the manager at the recording label that the music selection was based on the then ABRSM syllabus, which, at the time, included no pieces by women composers.
Recommended
An introduction to the Piano is available on the HOXA label distributed via Naxos. Catalogue no. HS950701
I hear this sentence from friends and colleagues all the time. Why add another obligation to our busy lives when we are in our thirties or forties? Many people seem to believe that taking lessons and practising the piano, violin or flute takes too much time and energy. They may be afraid that it could turn out to be a lonely and frustrating activity. And yet, I chose a different path… When I started taking piano lessons again several years ago at the age of 35, I didn’t know any other adult amateur musicians. An extrovert by nature, I soon started looking for like-minded people. And I discovered a wealth of possibilities: online music forums, piano summer courses – a whole new world opened up. For years, I spent lovely summer weeks together with other piano enthusiasts at workshops in Tuscany, France and Scotland. To meet fellow musicians in my home town Vienna, I founded the “Vienna Piano Meetup”. Since 2014, we have been meeting regularly to play for each other, informally and in a friendly atmosphere. And we’re not just pianists: some of us found their flute or violin partners via our group. I was thrilled to discover that there are similar activities all over the world. Over the years, our group has had visitors from Hong Kong, Canada and the UK – and I joined piano meetups when I visited cities like New York. In times of social distancing, many of these amateur music groups continue to socialise online. Occasionally, professional musicians discover our little get-togethers. Whenever they come along, they seem impressed by our spirit. What we do is not about competition – we welcome musicians at any level and encourage everybody to play. It is purely about sharing our love for music. “I envy you guys. You make music just for fun, without any purpose“, a stressed orchestral violist once said to me. In return, I can say that my admiration for any professional musician has grown tremendously since I started learning an instrument myself. Over the years, I have expanded my musical activities: Together with a software engineer and amateur flutist, I founded the non-profit association MUSEDU. We organise workshops and events for hobby musicians, like a cello workshop for beginners or a visit to a violin maker‘s studio. We offer a bilingual platform where local music teachers can promote their music lessons. And I enjoy sharing my thoughts on life as an amateur musician and other topics in our music blog. Learning an instrument takes time – that is certainly true. But it brings endless joy, energy and inspiration in return. And many new and interesting social contacts, if we‘re up for it. I‘m truly glad to have started this adventure! In fact, just earlier this year, I took up a second instrument – the lovely cello. Why wait until we’re retired?
Christine Kämmer is an intermediate pianist and beginning cellist with a degree in Asian Studies and Philosophy. In 2017, she founded the non-profit association MUSEDU in Vienna, Austria, together with amateur flutist Matthias König.musedu.at/en
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As part of the celebrations for my blog’s 10th anniversary, I asked people to submit recordings. Here are two very contrasting pieces by friends of mine, who are, like me, very keen amateur pianists and lovers of the piano and its literature. In recent years, I’ve had the pleasure of performing with Neil and Julian at the very popular and enjoyable house concerts which Neil organises in his home in West Sussex.
The Cross-Eyed Pianist is free to access and ad-free, and takes many hours every month to research, write, and maintain. If you find joy and value in what I do, please consider making a donation to support the continuance of the site
Having set up the office to be able to work from home, and been successfully working from home for a week or so, I receive a phone call to say that I have been furloughed with immediate effect. So what should an amateur pianist do to fill all these spare hours?
The answer is a no-brainer – PRACTICE! So in line with Government restrictions, a routine soon built up: two hours in the morning followed by a walk (weather permitting) at lunchtime, another couple of hours in the afternoon, and then watch the ‘Rocky Horror Show’ from Downing Street at 5pm.
I am very lucky in as much as I have a brilliant piano teacher who foresaw exactly what was going to happen and helpfully suggested that perhaps it would be a good thing to abandon what I was currently looking at and learn a Beethoven piano sonata instead; he suggested Op 110 as it was a wonderful piece and had enough to keep me occupied and on the straight and narrow (if only he knew!) for the time being. So I immediately ordered the Urtext edition, which duly arrived on my doorstep within 48 hours – and so the fun and games began.
After the initial read-through to get the overall feel for the piece and see how it was to be tackled, it was down to the nitty-gritty. Out came the notes from the various piano courses I had attended with a view to putting all these different learning techniques in place – break it down, isolate the actual problem and get out the metronome, etc., and soon recognisable strains of Beethoven were emanating from the house.
So the ambitious plan was set – try and get through the whole sonata by the time I have my next lesson, whenever that would be. The main reason I had avoided this piece like the plague was that it had a fugue or two in the last movement; however, with enough graft it should EVENTUALLY start to take shape and I was told that I couldn’t use the excuse that my hands were on the small side – so just get on with it.
The opening bars of Beethoven’s piano sonata in A flat, Op 110
Now, having a practice regime is great but my husband and neighbours are not used to the constant aural bombardment. So far they have been very polite about it and one has even provided my husband with a man-cave to retreat to. I am sure they are all looking forward to me going back to work, whenever that might be, but in the meantime, I need to be considerate about the length of time that they have to put up with the noise and also the time of day it is inflicted on them.
As well as a superb grand piano, I am very lucky to own a Roland keyboard and this has really influenced the way in which I practice. With a set of decent headphones, the sound is great but it also has a secret weapon – an internal electronic metronome which can’t be thrown at the wall when it doesn’t keep time with your constant internal clock! So I can practice day or night without disturbing anyone (although I believe you know when I am playing as you can hear the noise of the keys being depressed over the top of the TV downstairs!)
Many hours of fun and bad language followed (particularly when tackling the fugues in the last movement) and then to prepare for a piano lesson with a difference – via Skype! So a date was set and software tested with a neighbour, and come the day we couldn’t get a connection on the laptop. But where there is a will, there’s a way. Abandon the laptop by the grand piano and use the keyboard with the mobile strapped to the top of the handle of the hoover! I was more worried about our stack of towels by the keyboard being visible than Op 110….
Several weeks on and Skype has been mastered and the laptop is now behaving – shame about the pupil. I am getting used to playing to a laptop balanced on a bar stool – shame there’s no bar! – and having my lesson at home with all the distractions that brings with it. If anyone thinks piano lessons by Skype are a doddle – think again. They work in a totally different way and are very productive, although I have yet to be convinced that pedalling is totally covered. I still wonder if there is any possibility of rigging up YouTube and using a professional recording one week instead of me….nice thought!!!!!!
In the meantime, the horrendous disease that has been incarcerating us all seems to be receding and so, if all goes to plan, I will be attending piano masterclasses in France in late August. Usually, I spend months preparing and memorising what I am going to take, but this year is different: the choice has been made for me – a certain Beethoven sonata. Can I prepare it in time? Only time will tell, but due to an enforced lockdown routine, the notes are learned and it is now being memorised (slowly!).
So what have I learned over the lockdown? On the surface the answer is very easy – Beethoven’s Op 110.
However, there is a deeper answer to that question. We have all been housebound for several months and there are people I know who have really found this period very difficult. But at a time when the arts are suffering through lost performances, music is being cut from schools and rumours that it could be cut from curricula in the short term to make up for the loss in the Three Rs, music is a subject or way of life that gives you a code for living.
Music demands dedication – you have to practice. In order to practice you need patience, thoughtfulness and tolerance. In the society in which we live, we need all of these in spades – particularly now. Surely people must realise that music teaches you about life and not just the pieces for your next exam or performance?
Lisa started learning the piano at 10 and, having decided that riding professionally was not for her (or rather her parents!), she auditioned for a place on the GR Course at the Royal Academy of Music, where she studied the piano with Peter Uppard and Margaret Macdonald. On leaving the RAM, shedid a short part-time stint at the Guildhall School of Music & Drama beforegoingto work as a Director of Music at a prep school. However,the lure of thebrightlights of the big cityand her family relocating to the UK were too much of a draw and Lisa ended up moving back to London and working in the City for many years. She marriedand moved to the South West, competed in EnduranceHorseRiding atthe highestlevel both at home and abroad, and worked for a number of blue chip companies in various roles. She hasrecentlycome back to playing the piano after a gap of 30 years.Lisa isnowmaking up for lost time and tackling all the repertoire she should have looked at years ago!
The Cross-Eyed Pianist is free to access and ad-free, and takes many hours every month to research, write, and maintain.
If you find joy and value in what I do, please consider making a donation to support the continuance of the site
The Cross-Eyed Pianist 