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“D” is for Duet, a piece for two players. In the case of piano duets the players share the instrument and enjoy closer physical proximity than was generally allowed between bourgeoisie young ladies and horny composers. Mozart and Schubert delighted in the possibilities of the form, but the next generation seriously dropped the ball – Chopin and Schumann were undoubtedly too gauche, and Liszt simply wanted the whole piano to himself. Subsequently, the duet was particularly popular with French composers, with Bizet, Fauré, Debussy, Ravel, Poulenc and Messiaen all contributing to its survival.

There are many great composers with names starting with the letter “D”, not least Jan Ladislav Dussek (1760-1812), a Czeck composer who made the mistake of not settling in Vienna at the height of the Classical Era. Instead his career ranged freely across Europe from London to St Petersburg, but subsequently his music largely dropped off the radar. He wrote 34 Piano Sonatas, which vary in style from easy-going melodic writing through to crazy experimentation. Worthy of rediscovery…

Ernő Dohnányi (1877-1960) was hailed early on in his career as Hungary’s best hope since Liszt. His works include the ridiculously gorgeous Piano Quintet in C minor Op.1, two criminally neglected Piano Concertos, about four hours worth of brilliant solo piano music and a couple of Symphonies. However, he is best remembered for the rather more facile “Variations on a Nursery Song Op.25” for piano and orchestra, and (with less affection) for his “Essential Finger Exercises”. Between composing and touring as a virtuoso pianist and conductor, Dohnanyi became perhaps the most successful piano teacher in history, with students including György Cziffra, Annie Fischer, Andor Földes, Géza Anda, Sir Georg Solti, Istvan Kantor and Joseph Weingarten (my own teacher).

“D” is also for Dampers, the little felt things inside a piano that stop a string vibrating when you release the key. The Damper Pedal lifts these across the full range of the piano so that the strings continue to sound until they fade or the pedal is released. Strings not struck are also free to vibrate “sympathetically”. With care, artistry and sophistication, use of the damper pedal can transform the instrument into an infinite magical sonic colour machine.

Claude Debussy (1862-1918), the French composer and notorious bounder, knew a thing of two about sonic magic, and although he supposedly hated the term “impressionism” it appears to have stuck to his music like superglue. Several of his pieces have established themselves in the hearts of music lovers all over the world, in spite of a temporary setback when the Japanese synthesizer freak Isao Tomita released his electronic renditions on the hit LP “Snowflakes are Dancing”, which soiled several of Debussy’s most popular works.

On the subject of French keyboard composers, Jean-Henri d’Anglebert (1629-1691), whose music nicely bridges the transition between Chambonnières and Rameau, deserves an honorable mention. Judging from contemporary portraits, had he lived a few more years he might have become the original “Cross-eyed pianist”.

Andrew Eales is a pianist, writer and teacher based in Milton Keynes UK, where he runs his independent teaching practice Keyquest Music www.keyquestmusic.com. An active social networker, Andrew founded and ran “The Piano Cloud” (2011-15), the Piano Network UK Facebook group (2014- ) and his latest project Pianodao www.pianodao.com

D IS FOR DEVIL

There’s flaming strings and smoke

From a dance at a village inn

Mephistopheles made an appearance

Grasping Faust amidst the din

There’s Prokofiev’s suggestion

And there’s Dante’s dark crevasse

There are witches, whims, and fancies

At a candle-lit Black Mass

There’s a shooting for a soul

Which Weber bravely traversed

There’s a sabbath and a bonfire

That’s Idée Fixe immersed

There’s a night atop a mountain

Where a Russian mist grows thick

“There’s Totentanz and Danse Macabre”

Chime in Saint Saens and Liszt

There’s a horseride that ends horribly

The face of death stares back

There’s destruction from an ancient bird

Who leaves an amber track

 

There’s walking to the gallows

As bells ring death and sin

There’s an eater of young children

You’ve mistakenly let in

So, before you sit and listen

With your headphones blasting sound

Lock your doors and bolt your windows

You’re going under ground

To a place that’s dark and evil

Where the devil tempts your soul

Where tritones, dims, and augs reside

Where music pays your toll

Daniel Johnson

Daniel Johnson is an Australian pianist, composer and writer. Find out more at danieljohnsonpianist.com