You can be early, you can be late, the two hands are not in phase; then you make a compensation which re-establishes the ensemble.

George Mathias (pupil of Chopin, teacher of Raoul Pugno and Isidor Philipp)

This article examines closely three historical recordings of Chopin’s B minor Prelude Op.28 No.6, made by Vladimir de Pachmann (in 1927), Moriz Rosenthal (in 1935) and Raoul Koczalski (in 1939), with extensive audio and musical examples. Both Pachmann and Rosenthal had contact with Liszt, who could apparently imitate Chopin’s playing very well, Rosenthal in particular receiving extensive instruction from him. In addition, Rosenthal and Koczalski were taught as boys by Chopin’s disciple, Karol Mikuli.  Clearly then these pianists deserve to be taken seriously from a stylistic point of view.  The B minor Prelude is chosen for its brevity, the relative simplicity of its texture, and for the similarities of approach noted in the recordings, all of which use asynchrony as an expressive device in stark contrast to the majority of modern recordings.

Asynchrony is a general term which is used to describe playing notes in a separated or not-quite-together fashion where they are written as if they should normally be played at the same time in the score, for example a chord to which an arpeggiation is applied, or a left-hand bass note and right-hand melody note both written on the same beat but actually played with one hand being placed slightly before the other. It is apparent on many early recordings made of pianists who were born in the nineteenth century and has been the subject of detailed analysis in recent years (see Peres Da Costa’s ‘Off the Record’ cited in the bibliography).  It is an area of performance practice that I find personally very interesting for its role in some of the most exquisite and in other instances most eccentric-seeming performances recorded by such artists.  By incorporating it into my own playing I have found it of great effectiveness in realising the music of Chopin in particular.

Read the full article, with music extracts/examples

 


Dr Charles Tebbs is a pianist, accompanist and Nottingham-based piano teacher, with a wealth of experience teaching all ages and abilities.  He gives regular concerts and recitals and has made a CD of Bach’s Goldberg Variations as well as an amazing collection of over 50 YouTube videos.  His doctorate is in musicology (concerning musical endings) and he has also written prize-winning compositions and music for TV

 

http://www.charlestebbs.co.uk/

‘Petits Concerts’ is a new series of recitals at the 1901 Arts Club, a salon style venue just a stone’s throw from Waterloo Station. Inspired by concerts given by Charles-Valentin Alkan at the Erard showroom in Paris in the 1870s, and hosted by concert pianist James Lisney, Petits Concerts brings musicians together in the spirit of “music with friends and amongst friends” in an intimate setting which harks back to the 19th-century European cultural salon. Proceeds from each concert will be donated to musical/education charities.

Petits Concerts II – Chopin and Schubert

Petits Concerts III – Joy, Emma & James Lisney

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In addition, James Lisney will be giving piano lessons at the 1901 Arts Club from 2pm on the afternoon of each concert. Lessons cost £100 for 90 mins with proceeds going to charity. For further information or to book a lesson, contact James Lisney

 

 

Guest review by Mary Grace Nguyen

Extraordinary, unconventional, interactive and fun are the words I would use to describe the launch of crossover artist and classical music pianist AyseDeniz Gokcin’s new album, A Chopin Affair: Sonatas. On Friday night [March 9th] St James’s Sussex Gardens near Paddington was surprisingly packed – people had to find chairs and create their own space to sit down. The audience was a mix of savvy young artists, bright-eyed students, middle-aged professionals and family members keen to grab a glass of wine, relax and listen to some scintillating Chopin.

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The Turkish classical pianist has produced crossover albums including music inspired by Pink Floyd and Kurt Cobain from Nirvana. She recently told me in an interview, “if you look at history, Liszt was a showman and Chopin was very much behind the scenes…they were very innovative and active. We don’t have that anymore.” Breaking the mould, Gokcin sees a gap in the classical music industry, “although I do crossover projects, they have a message. There are issues that I care about.” Gokcin is on a mission to change society, one way or other, whether it’s through channeling classical works in a unique way or transmitting a social message about issues she cares about through brand new music.

Sitting on the right of the stage, by the grand piano, was street artist and Instagram star, Zabou and conceptual artist from the Royal College of Art, Tommy Ramsay. Both artists accompanied Gokcin in the art of painting as she performed Chopin’s Piano Sonatas Nos. 2 &  3. One sonata after the other, Ramsay and Zabou presented their own depiction of what Gokcin had prepared for them on the piano keys through Chopin’s music.

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As a regular concertgoer, I am used to people turning off their phones beforehand, but here photography was almost encouraged. The audience took endless photographs of the entire event and despite the usual concert etiquette standards, it felt entirely acceptable for this relaxed and quirky event.

Although a late start, Gokcin was in good spirits and beaming with excitement when she came on stage. Presenting herself in a black laced skateboard dress, she expressed her personal relationship with Chopin’s music and her interest in his relationship with female writer George Sand with little hesitation. She recalled her years as a student, learning the sonatas and discovering the deep and emotional connection she had with the music from being away from home, performing in interesting and unusual venues such as the Kremlin in Moscow or a basketball court in Ecuador.

Piano Sonata No. 2 includes the immediately-recognisable Funeral March; a slow and sombre movement with a highly lyrical middle section. Gokcin’s dexterous fingers did not lose form in this movement. In fact, she appeared more focused and attentive. From the outset, the first two movements and last (Grave, Scherzo and Finale) are a feast of lyrical themes, varying tempo and dynamics. It was marvellous watching Gokcin perform with great control and confidence, sliding her fingers across the piano and never missing a beat.

The “Funeral March” sonata contrasts with the optimism and major key of the Piano Sonata No. 3. Gokcin encapsulated the serene and beautiful melodic tones in the Scherzo – Molto Vivace, and took the pace down a notch with the Largo. With Gokcin’s playing, she takes you on an infinite journey into the unknown, but you’d happily walk the same path for ever. Where the music was uplifting, Gokcin maintained the energy and where the notes needed emotional stock, Gorkin intimately fused with the music.

Interestingly, despite the more relaxed atmosphere, no one in the audience applauded between movements. Here was another of the very few concerts that celebrate the accessibility and inclusive nature of classical music. Maybe we need to take a leaf out of Gokcin’s book and find new ways to become more innovative.


Mary Grace Nguyen is a blogger and reviewer at TrendFem focussing on opera, theatre, dance, music and art. She holds an MA in Journalism from Birkbeck College, and graduated from SOAS with a degree in Anthropology and studied Modern Japanese at the School of Oriental and African Studies (SOAS). In addition to her blog, Mary has also written for various online publications including LondonTheatre1, LDNCARD, Fringe Opera, CultureVulture.net and Theatre and Perform.

Twitter: @MaryGNguyen

 

 

 

“today I finished the Fantasy and the sky is beautiful…..”

Fryderyk Chopin, 1841

The sky was indeed beautiful on perhaps the last day of summer, August Bank Holiday Monday, when I and my concert companion escaped the city heat and embraced the cool elegance of Cadogan Hall for an hour of poetry in music.

Russian pianist Pavel Kolesnikov is still in his twenties, yet he plays with all the assurance, poise and musical sensibility of an artist twice his age. His performance of piano music by Fryderyk Chopin was one to savour, to revisit (thanks to the wonders of the Radio Three iPlayer) and to hold in the memory for a long time to come. It is rare to be so transported, to lose time, suspended in sound, such was the effect of Pavel Kolesnikov’s playing.

A pianist from another era, Phyllis Sellick, declared that a concert featuring only one composer was “a list”. But how can one say that of the music of Fryderyk Chopin, so rich and subtle, so varied yet accessible that each performer, professional or amateur, can find their own personal way into it? Kolesnikov created a programme of pieces which “cast a different light” on Chopin, revealing not only his deeply Romantic mindset but also “an extremely refined, clear, clean style” (PK), perfectly complemented by Kolesnikov’s cultivated playing.

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Pavel Kolesnikov (photo: Eva Vermandel)

Some purists may balk at his elastic tempi, pushing rubato perhaps a little too far for some tastes (though not ours). This slackening of tempo, stretching of time, was felt most palpably in the repeats in the Waltzes, proof that no repetition is the same in the hands of a pianist. There were decorations too, sprinklings of improvisation, graceful musical seasonings, though always subtle and delicate as a breath. As a great admirer of Bach, I am sure Chopin would have approved of these embellishments, especially when delivered with such sensitivity and intuition.

From the opening work, a Waltz scored in A flat major but constantly hovering in the minor key, played with a tender poignancy and a caressing touch, Pavel Kolesnikov created a bittersweet intimacy in each work he touched, even in the grander, more expansive measures of the Fantasy in F minor and Scherzo no. 4, whose skittish good-nature closed this exquisite hour of music.

As I said, it is rare to be so transported by sound, by pianist and composer so perfectly in sympathy; yet I have heard Kolesnikov before in Debussy and Schumann, and I have been moved to tears by the poetic refinement of his playing. When so many young players seem to subscribe to the louder-faster school of pianism it is refreshing to hear a pianist who does not rush, who knows how to create breathing space and dramatic suspensions in the music, and who appreciates the smallest details as well as the most sweeping narratives.

Afterwards we stepped out into the Chelsea sunshine, found a shady spot for a drink and a long conservation about music, concerts, art, writing, and had the privilege of meeting the pianist, who was dining at the same cafe, to offer our congratulations for his wonderful, transporting performance.


My review for Bachtrack here and my companion’s response to the concert here

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

I have been surrounded by music since birth. My mother is a pianist and teacher and I spent my childhood listening to her practice and being taken to concerts, the opera and ballet. I was particularly fascinated to hear and see ‘magic’ on stage, and then meet the artists afterwards, with their ‘mask’ off. I started attending the Sarajevo Junior Music School before I started main school. I do remember wanting to be an opera singer initially, but the piano somehow won, and I am very happy that it did! Although I loved being immersed in music, later, if anything, I almost tried to avoid it as a career.

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

My long-term teachers, Niel Immelman and Peter Bithell. Working with singers while I was a student – they taught me how to breathe, phrase and tell a story. Dmitry Bashkirov who taught me to listen and colour every note in a way I didn’t think possible before. Steven Kovacevich for instilling discipline in me!

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

Learning to say no.

Which performance/recordings are you most proud of?

My debut disc ‘In the mists’, because it had humble beginnings as an intended demo CD: As a coincidence, shortly after I recorded a few pieces at Champs Hill, Champs Hill Records was set up. They took my disc on, it was launched at my first Wigmore recital in 2010 and suddenly it started to receive wonderful reviews worldwide culminating in the Newcomer of the Year award from the BBC Music Magazine.

Which particular works do you think you play best?

Usually what I’m playing at the time, especially if I am revisiting a work after some time away from it.

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

Mostly, there is a thread to my programming, a story. I try to bind together works I am drawn to play, and sometimes ones I have been asked to play, into a well-structured and balanced programme.

I have realised, somewhat retrospectively, that I have been especially drawn to composers who have sought to develop a sense of a national voice through their music. It all begun with my intrigue of the Russian Mighty Five while I was still at Cambridge. I then immersed myself in Janacek’s oeuvre, and afterwards in Grieg’s. More recently, I have loved spending time with Chopin Mazurkas. Although they are very stylised and sophisticated works, some, especially the early ones, are rather rustic and jagged, and I find this quite charming.

I’m also excited and honoured that one of the most interesting living composers, Cheryl Frances-Hoad, will be writing a Piano Concerto for me next year, in homage to the Haydn D major Concerto. It’s been long-in-planning but we’re very happy to make it happen. I wish promoters were not so afraid of commissioning new works.

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

The Wigmore Hall, of course! It’s a beautiful and intimate venue.

Favourite pieces to perform? Listen to?

Favourite pieces to perform: in short, piano concertos. There is no greater feeling to me, than the thrill of playing concerti, and especially when it feels like you and the orchestra are making chamber music together, on a large scale. With listening, I usually go back to the same pieces: Bach’s Brandenburg Concerti, Rachmaninov Songs and anything written for the Ballets Russes. I’m also very fond of Ivor Cutler’ quirky recordings. Most of the time though, I just love putting the radio on.

Who are your favourite musicians?

Martha Argerich, Benno Moiseiwitsch, Annie Fischer, Ivan Fischer, Bernard Haitink, Teodor Currentzis.

What is your most memorable concert experience?

Every concert experience is memorable in some way. Performing concerts is such an intense and intimate experience, and yet over in an instant, that nothing else I know comes close.

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

Grab every opportunity. Remember that we spend our days with beautiful things.

What do you enjoy doing most?

Dancing!

Ivana Gavric will be performing at the Wigmore Hall on Sunday 23rd April at 1130am, as part of the Coffee Concerts Series. Further information here

Her new album ‘Chopin’ will be released on Edition Classics on Friday 21st April and is available for pre-order now

British pianist Ivana Gavric created a sensation with her debut disc In the mists, winning BBC Music Magazine Newcomer of the Year for ‘playing of an altogether extraordinary calibre’. Her third disc of works by Grieg, also on Champs Hill Records, was selected as Editor’s Choice in Gramophone and noted for ‘an electrifying performance’ (BBC Music Magazine). The Grieg Society has voted the CD as its ‘Recording of the Year’. Ivana has performed with the Royal Philharmonic Orchestra, Royal Stockholm Philharmonic, the Trondheim Soloists, Aurora Orchestra and South Denmark Philharmonie. She has collaborated with conductors including Rafael Payare, Nicholas Collon, Christian Kluxen and Ben Gernon.

Following her US solo debut, the Washington Post described Ivana’s playing as ‘impressive, insightful… a ravishing performance’. Ivana has been heard on the major concert platforms including The Wigmore Hall, the Barbican, Royal Albert Hall, Royal Festival Hall, KKL Lucerne, Gilmore Festival Rising Star Series, as well as across China, in Canada and Japan. Attracting considerable praise for her interpretations of Janacek’s music in particular, Ivana has curated festivals dedicated to the composer’s solo and chamber works. Also a dedicated chamber musician, Ivana performed with violinist Maxim Vengerov as part of Live Music Now, the outreach scheme established by the late Lord Menuhin.


She has partnered colleagues on the concert platform in festivals in the UK and Europe, taken part in the IMS Prussia Cove Open Chamber Music Sessions and is an alumna of the Britten-Pears Young Artist Programme. Outside the concert hall she is featured playing Chopin and Beethoven in BBC2’s adaptation of The Line of Beauty, and Bach in Anthony Minghella’s film Breaking and Entering.

Born into a musical family in Sarajevo, and raised in the UK, Ivana studied at the University of Cambridge and at the Royal College of Music. Her teachers include Niel Immelman, Peter Bithell and James Gibb. Additionally, Ivana has had the opportunity to study with esteemed musicians such as Menahem Pressler, Ferenc Rados, Dmitry Bashkirov, Boris Berman, Stephen Kovacevich and Leif Ove Andsnes. Ivana is indebted to the support of many trusts, including the Frankopan Fund (Sainsbury Family Charitable Trusts), the MBF, The Solti Foundation, The Nicholas Boas Trust, The Richard Carne Trust and the RVW Trust. Ivana is proud to be an Ambassador for the charity ‘Music Action International’.

www.ivanagavric.com

Special offer – readers of this blog can enjoy discounted tickets. Use code CEP10 when booking online or by telephone

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On 4th September 2015, British pianist Warren Mailley-Smith embarked on year-long survey of the complete piano music of Fryderyk Chopin through a series of 11 concerts at St John’s Smith Square, London.

Chopin’s life and music was a phenomenon. Unlike most composers, his music has never been out of fashion and this series is a rare opportunity to explore the reasons for his enduring popularity. The concerts focus on various aspects of Chopin’s output, including the Waltzes, the Preludes, the heroic Polonaise, the Ballades and the Scherzi.

Here Warren to explains what makes the piano music of Chopin so special and describes how he planned and prepared for this pianistic marathon.

What do you love about Chopin?  

Chopin is one of those composers whose music is equally rewarding to play, as it is to listen to. That may sound like an obvious thing to say, but it isn’t necessarily always the case. Some composers can create the most heavenly music to listen to, for example Beethoven or Rachmaninov, but it doesn’t necessarily ‘fall under the fingers’ or ‘lie in the hand’ in the same way that Chopin does.

Why is Chopin’s music so amazing to play?

His music is written in a way that allows the hand to follow a very natural movement over the keys, but is so much more than that. There is something very sensual and beautiful about the whole experience of PLAYing Chopin which is present in almost every one of his pieces. They are so driven by this ever-­present, persistent  cantabile line, which really gives you, as a performer, a feeling of singing through the piano.

Chopin also has the most amazing way of building up the most deeply felt and exhilarating climaxes in his music so that it can becomes the most overwhelming feeling when you are actually  performing  it.

Tell us more about your feelings on Chopin’s music  

For me there has always been something very exciting and gratifying about the way Chopin uses harmony to surprise and enthrall – for example, in the 2nd subject of the Barcarolle, or the transitional passage in the G-flat-major Impromptu. And in equal measure the way that he uses it to say something profound – as in the opening bar of the Polonaise Fantasy -­ and magical, for example, in the middle section of the Scherzo No. 3. But above  all, it’s the way that Chopin uses his harmonic progressions to build up to the most overwhelming climaxes,  for example in the last full statement of the theme in the 4th Ballade.

What is it like to play some of Chopin’s hardest music?

The short answer is exhilarating. Chopin rarely writes difficult music ‘for the sake  of  it’ – and there’s always an underlying musical idea, phrase or shape that  is involved. So, even when your fingers are flying around at 60 notes a second, your brain is able to focus on the bigger picture which makes it easier to make the passage sound convincing. But of course the complex passages (of which there are many!) require hours of slow, careful, repetitive practice in order to train the fingers, almost (but not quite) into ‘auto pilot’ which allows you to take your focus away from each individual note and concentrate more on the bigger shapes in the music – and of  course certain key turning points!

Concept of the programmes  

When you have an almost infinite number of possible combinations of pieces to build 11 programmes, it becomes necessary to have a structure behind it.  So I decided each programme had to:

  1. feature an important work, or group of works that stands out from his output as being exceptional or ground­‐breaking in some way.
  2. contrast well-known Chopin with lesser-known Chopin
  3. contrast early Chopin with late Chopin
  4. follow a chronological thread, through the Mazurkas.
  5. offer a sufficient contrast of moods, emotions and colour for the audience
  6. be well timed, with good key relationships

It’s actually been a lot of fun designing them over the past 3 years – and, as you can imagine, there has been a lot of tweaking, and juggling over that time.

Journey of the series  

Each individual programme is designed to stand alone as a compelling presentation of the composer’s genius. However, the series as a whole is designed to take you on a bold journey from his Op 1 in the first concert through to one of his last masterpieces, the breath-­taking Sonata No. 3.  By experiencing EVERYTHING, we can gain a fuller understanding of both the music and the man.

What is so special about Chopin  

As a man, Chopin was highly refined and reserved in manner, moving as he did in the upper echelons of society. But his music belies a highly-charged emotional and sensual depth – to the extent that, I believe he was using his music to express what he felt unable to say in words -­ or indeed actions.  It is surely the underlying emotional depth in every note he wrote that accounts for the enduring popularity of his music. 200 years on and his music is arguably more popular today than it has ever been, bearing in mind that his music has never really been out of fashion!

What does this series mean to you?

This is a truly amazing opportunity for a performer to go on such a journey with an audience.  Although it will be an uplifting experience for me to pass my hands through Chopin’s entire works, I believe it will also be a great experience to offer audiences an opportunity to get to know the music of this great genius of the piano a little better and hopefully discover some  new favourites whilst reacquainting themselves with old ones!  This is something I have wanted to do for nearly 10 years and so for me it is the realization of a great ambition.

Why take on the whole piano works of Chopin?  

When you learn a piece of music by a composer, you obviously learn a little about their style, their feelings and the composer themselves. When you learn a second piece -­ you often discover something further, something contradictory or complimentary. The more works you learn, the more you learn about how to interpret any given piece by that composer and you start to build a very comprehensive picture of both the music and the man. I’ve obviously been playing Chopin for many years – and  after a while you start to fill in the gap your repertoire and before you know it, it’s not quite such a mammoth task as it might first appear.

This also happens at a very relevant time in my life. I will be the same age when I start the series as Chopin was when he died. It is quite a humbling feeling to have absorbed so many masterpieces, written by the same person in so few years

Why do this in London? 

As a Londoner, I began my performing career here in London nearly 20 years ago, at the same venue. I was just thrilled to have the opportunity to give these concerts at St John’s as it is a wonderful feeling to return to the same stage, with so many experiences of performing now behind me. I can honestly say that I am now a very different artist as a result of the many concerts I’ve given since m  student days and the many thousands of hours of practice that I’ve undertaken since then!

Have you got any plans to take the series to Poland? 

I certainly have plans to take these pieces with me everywhere I go from now on!

How long does it take to learn the whole cycle?  

I’ve spent 4 years planning these concerts. But that certainly hasn’t been 4 years of uninterrupted practice. Other concerts and demands have often taken priority for large chunks of time.  But I could not have prepared it any sooner, as the many big, complex works simply take a long time to ‘settle  in’ and you can’t force that number of notes into your fingers all in one go!

Are you doing it all from memory?

That is most certainly my intention. Simply because I believe one can perform to one’s best without the music there, because it removes a constraint between me and the audience.  Most of all I want the audience to feel that the focus of my attention  isn’t on the pages in front of me, but that my whole attention is focused on communicating what is in my fingers, to them. That is the goal!

How many hours a day do you practice?  

It really varies so much from day to day. But it doesn’t seem to matter how many hours practicing  I  do – 2  or 12 – I  always end up wanting to do a bit more.

Why do so many pianists love playing Chopin?  

I am sure that every pianist has had a slightly different reason for playing Chopin.  But the bottom line is that people love listening to his music and to watch a pianist performing his music live takes that experience to a new, more personal and heightened level. But for pianists themselves, I think that Chopin consistently takes the performer on a satisfying journey  – whether it’s a short hop, or an epic voyage, you nearly always feel better for having played it when you reach the last bar!

What will make these Chopin recitals different from the many others before them?

Any one combination of pieces paints a slightly different picture.  I think the 11 pictures, or programmes which I’ve painted, will portray striking contrasts of the man and his music. A number of pre-concert events are also designed to paint a truly comprehensive picture of his music and influences.  There will be talks, dancing, chamber music and workshops to complement the concerts.

How do you prepare for such a marathon as this?        

A lot of careful planning, advice, preparatory performances, honest self-assessment and a good deal of ruthless goal setting! It’s quite a lot of repertoire to learn over a sustained period of time, which makes it essential that one’s love for the music you are practicing is unquestioned. Therefore, it never really feels like work, but more like an extended indulgence in your favourite chocolates.

Browse the complete series of concert