The UK’s biggest and best piano magazine 2017 media... · ‘Music of the Night ... RICK WAKEMAN ROCK LEGEND returns to his classical roots Your guide to 2017 SUMMER COURSES & FESTIVALS

1 www.pianistmagazine.com Contact: Sarah Ng on 01354 818012 / [email protected]

Print Online Digital 2017 Media Pack

The UK’s biggest and best piano magazine

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No 94Helping you become a better player

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Every issue, Pianist brings you 40 pages of scores to learn and a CD to listen and learn from. If your CD is missing, please call 0113 200 2929 or [email protected]

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SCORES BY BEETHOVEN MACDOWELL FANNY MENDELSSOHN DEBUSSY MOZART CLEMENTI and more performed by CHENYIN LI

PIECES TO LEARN12

ALL LEVELS AND ALL STYLES

MASTERCLASSon the serene Siloti

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EXCLUSIVE BONUS TRACKSAnna Tsybuleva plays Saint-Saëns Peter Donohoe plays Scriabin

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The Swan

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SCORES BY BEETHOVEN MACDOWELL FANNY MENDELSSOHN DEBUSSY MOZART CLEMENTI and more performed by CHENYIN LI

PIECES TO LEARN12




The Swan

EXCLUSIVE BONUS TRACKSAnna Tsybuleva plays Saint-Saëns Peter Donohoe plays Scriabin

Lesson for the beginner ‘AMAZING GRACE’


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No 93Helping you become a better player


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SCORES BY MENDELSSOHN NIELSEN HAYDN GRANADOS BAUMFELDER BACH and more performed by CHENYIN LI

MASTERCLASS

Liszt’s rapturous

Un sospiro

Learn a romantic album leaf by

SMETANAEXCLUSIVE BONUS TRACK!Fazil Say plays Mozart’s Rondo ‘Alla Turca’ Lesson for the

beginner on a

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FAZIL SAYOn improvising, composing & interpreting Mozart

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‘Music of the Night’from Phantom of the Opera

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Liszt’s rapturous

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SCORES BY MENDELSSOHN NIELSEN HAYDN GRANADOS BAUMFELDER BACH and more performed by CHENYIN LI

MASTERCLASS

Liszt’s rapturous

Un sospiro

Learn a romantic album leaf by

SMETANAEXCLUSIVE BONUS TRACK!Fazil Say plays Mozart’s Rondo ‘Alla Turca’ Lesson for the

beginner on a

BEETHOVEN SONATINA

Pianist 93 CD cover-FINAL.indd 2 20/10/2016 09:12www.pianistmagazine.com

£5.25


AP

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‘The Very Thought Of You’

LEARN TO PLAY

LA LA LAND SPECIAL READER OFFER INSIDE

No 95

RICK WAKEMAN

ROCK LEGEND

returns to his classical roots

Your guide to2017 SUMMER

COURSES & FESTIVALS

1. SAINT-LUC BOURRÉE IN G .................................................................................................................................... 0.44

2. BURGMÜLLER GRACE OP 100 NO 8 ................................................................................................................. 1.18

3. STREABBOG DISTANT BELLS OP 63 NO 6 ....................................................................................................... 1.06

4. FISCHER PRAELUDIUM HARPEGGIATO .............................................................................................................. 0.36

5. RAY NOBLE THE VERY THOUGHT OF YOU ....................................................................................................... 2.04

6. CORELLI PRELUDIO from SONATA IN E MINOR OP 5 NO 8 ......................................................................1.37

7. ALBENIZ AUTUMN from THE SEASONS OP 201 NO 3 ................................................................................... 1.47

8. RIMSKY-KORSAKOV ROMANCE OP 15 NO 2 ................................................................................................. 2.02

9. GRIEG MELODIE, LYRIC PIECE OP 47 NO 3 ......................................................................................................... 3.54

10. MOZART ALLEGRO from SONATA IN G K283 ................................................................................................... 3.14

11. SCHUBERT IMPROMPTU IN A FLAT D935 NO 2 ............................................................................................. 6.20

BONUS TRACK

12. LISZT LA LUGUBRE GONDOLA NO 2 S200 NO 2 .......................................................................................... 4.45

Pianist 95 www.pianistmagazine.com

Imogen Cooper plays track 12. Extracted from her new Liszt & Wagner release (Chandos CHAN 10938) by kind permission of Chandos Records. Read the interview with Imogen Cooper inside this issue.

Chenyin Li plays tracks 1-11 (except track 5). Copyright secured by Chenyin Li www.chenyinli.com.

Erica Worth plays track 5.

Pianist No 95 CD (April-May 2017) WGP PIA UK 1795. Producer: Iago Núñez. Editing/mastering: Steve Harrington, Royal College of Music, London. This CD comes free with Pianist No 95. It cannot be bought separately.

Cover image: © Adobestock/krsmanovic

Total Time: 29:51


PIECES TO LEARN11


Schubert Impromptu D935 No 2

IN-DEPTH LESSON Grieg Melodie

Lyric Piece Op 47 No 3

SCORES BY CORELLI ALBENIZ MOZART RIMSKY-KORSAKOV BURGMÜLLER and more performed by CHENYIN LI

Pianist 95 CD-FINAL.indd All Pages 23/02/2017 13:11

40 PAGES OF SHEET MUSICWORTH OVER £20WITH FREE AUDIO CD& ONLINE LESSONS

All you need to know

PIANO RESTORATION

BEGINNERHow to perfect

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INTERMEDIATEGet to know your trills and turns

ADVANCEDImprove your

wrist position

PIECES TO LEARN11




p01_pianist95.indd 1 17/03/2017 13:27

1. SAINT-LUC BOURRÉE IN G .................................................................................................................................... 0.44

2. BURGMÜLLER GRACE OP 100 NO 8 ................................................................................................................. 1.18

3. STREABBOG DISTANT BELLS OP 63 NO 6 ....................................................................................................... 1.06

4. FISCHER PRAELUDIUM HARPEGGIATO .............................................................................................................. 0.36

5. RAY NOBLE THE VERY THOUGHT OF YOU ....................................................................................................... 2.04

6. CORELLI PRELUDIO from SONATA IN E MINOR OP 5 NO 8 ......................................................................1.37

7. ALBENIZ AUTUMN from THE SEASONS OP 201 NO 3 ................................................................................... 1.47

8. RIMSKY-KORSAKOV ROMANCE OP 15 NO 2 ................................................................................................. 2.02

9. GRIEG MELODIE, LYRIC PIECE OP 47 NO 3 ......................................................................................................... 3.54

10. MOZART ALLEGRO from SONATA IN G K283 ................................................................................................... 3.14

11. SCHUBERT IMPROMPTU IN A FLAT D935 NO 2 ............................................................................................. 6.20

BONUS TRACK

12. LISZT LA LUGUBRE GONDOLA NO 2 S200 NO 2 .......................................................................................... 4.45

Pianist 95 www.pianistmagazine.com

Imogen Cooper plays track 12. Extracted from her new Liszt & Wagner release (Chandos CHAN 10938) by kind permission of Chandos Records. Read the interview with Imogen Cooper inside this issue.

Chenyin Li plays tracks 1-11 (except track 5). Copyright secured by Chenyin Li www.chenyinli.com.

Erica Worth plays track 5.

Pianist No 95 CD (April-May 2017) WGP PIA UK 1795. Producer: Iago Núñez. Editing/mastering: Steve Harrington, Royal College of Music, London. This CD comes free with Pianist No 95. It cannot be bought separately.

Cover image: © Adobestock/krsmanovic

Total Time: 29:51


PIECES TO LEARN11


Schubert Impromptu D935 No 2



SCORES BY CORELLI ALBENIZ MOZART RIMSKY-KORSAKOV BURGMÜLLER and more performed by CHENYIN LI

Pianist 95 CD-FINAL.indd All Pages 23/02/2017 13:11

2www.pianistmagazine.com


Contact: Sarah Ng on 01354 818012 / [email protected]

MagazineThe

Pianist is the bi-monthly magazine for people who love the piano and the only “How to Play” publication in the UK. Pianist contains interviews with star pianists, masterclasses, how-to-play articles, tips and advice from our expert pianist-teachers, news from piano manufacturers, CD and sheet music reviews and more. Every issue includes 40 pages of scores for all levels and tastes, accompanied by a tutorial CD of all the pieces featured so readers can listen to the pieces before they learn them! Since our re-launch in 2012, our circulation on the UK newsstand continues to rise, with over 450 WHSmiths stores now stocking Pianist – along with a variety of independent retailers, WHS Travel (train stations and airports), Selfridges, Harrods and more. Pianist has 20% of the UK classical music magazine market share, whilst other similar publications show just a 2% market share. Available in both a print and digital edition worldwide, we currently circulate 18,000 copies per issue. Our circulation and subscription figures are always changing so please contact our advertising team for our latest distribution information.

3 www.pianistmagazine.com Contact: Sarah Ng on 01354 818012 / [email protected]


Our audienceReaders: ABC1Men (63%), Women (36%)Over the age of 45 (68%)

96% of our readers own at least one piano, and almost all play regularly. More than half play for pleasure, and about 30% are students. Loyal to the magazine, 84% of readers say they would recommend the magazine to a friend.

Top reasons for buying Pianist: • 85% for the tips and advice• 52% for the sheet music• 50% for piano maker news and features

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Reader interests also include: Gardening, Cookery, Cycling & Golf, Reading, Walking, Foreign Travel, Arts and Culture.

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Pianist helps readers with the following:

Acoustic grand 50%

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Choosing a piano

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Finding a piano teacher

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Solving a technical or piano problem

Solving a technical or piano problem

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73• Pianist 90 73• Pianist 955• Pianist 77 5• Pianist 78

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The websitePianist Online is one of the most popular websites for piano players of all levels, with visitors from the UK (31%), USA (27%), Europe (16%), Asia (8%), Canada (5%) and Australia (4%). The site, which serves as the online home for Pianist magazine, currently attracts 11,000+ unique visitors each month with visitors spending time viewing our online tutorial videos, sheet music and online reviews as some of the most popular pages. Editor Erica Worth constantly updates the website including up to the minute news, articles, events and competitions – there is always something for everyone to enjoy. Social media, Facebook and Twitter now brings Pianist an impressive 18,000 plus followers. As well as standard banners, sponsored blog posts are also available.

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E-newsletterGoing out between the magazine, the Pianist e-newsletter is sent out to over 5,000 recipients worldwide, with 100 new sign-ups every month (March, 2017). It’s Erica’s pick of what’s new and exciting in the piano world which didn’t make it into the main magazine, along with competitions, events and links to what’s catching our eye on the web.

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Digital The Pianist award-winning interactive digital edition is enjoyed by an ever increasing global audience and is available via the following platforms: • iPad (app store)• iPhone (app store)• Android Tablet (Android)• Android Smartphone (Android)• Kindle Fire (www.pocketmags.co.uk)• PC (www.pocketmags.co.uk)• MAC (www.pocketmags.co.uk) With over 10,000 downloads, the Pianist digital edition presents the advertiser with the opportunity to really engage with the digital reader. We can include image galleries, sound files, video coverage, live web links – why not take a look at our free sample issue at www.pocketmags.co.uk. The reader experience:• Tutorial video lessons• 40 pages of sheet music• Sound files of the music scores featured• Live web links• Extensive image galleries• A truly interactive magazine, making Pianist a compelling

read for any piano enthusiast.

DIGITALPUBLICATION

OF THEYEAR

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6WINNER

Mark Tanner is a pianist, composer and writer. His work takes him to five continents, giving recitals, masterclasses and presentations. For ABRSM, Mark is an examiner, trainer, reader and international presenter: he co-authored Teaching Notes, ABRSM’s book to accompany the 2017-18 piano syllabus, and The Mindful Pianist (Faber Music) tackles many practical issues pertinent to pianists of all ages, abilities and persuasions. During 2017 Mark will be performing off the coasts of South America and Tahiti on MS Queen Victoria, presenting for ABRSM in China and examining in Turkey and Sri Lanka. His popular Piano Summer School at Jackdaws, Somerset takes place in late July.

From our first lessons at the piano, we learn the importance of striking to the bottom of the piano key in order to get the full sound out of the note. Importantly, this should

not be confused with ‘key-bedding’, a term apparently coined by veteran pedagogue Tobias Matthay a century ago, whereby the player continues to ‘dig’ pointlessly through the bottom of the key after it has produced its note. Key bedding is a knotty subject, and one passionately argued from different perspectives. Perhaps the discussion can be summed up as the difference between a sense of momentary follow-through (desirable) and pushing against the key after the event (undesirable). That sense comes more from feel than by sight, since the part of the piano key visible to us never literally reaches the bottom.

Light versus heavy actionWhen we begin to experiment with loud and quiet notes, and all the gradations in between, we get an early taste of what piano playing is all about. We quickly grasp that the weight of the keyboard is critical to our success in refining the subtle business of touch control. Then we come across other players who boldly advocate a far heavier or lighter touch. I’ve always felt that a very light action is hardest of all to finesse, though it can place us at a certain advantage when moving at speed. Similar discussions happen between golfers when comparing putters – some like a brick on a stick, others prefer a feather on a ferrule. I remember watching in awe how the Labèque sisters chose their instruments for a forthcoming televised performance – they practically ran from Steinway to Steinway in a choc-a-bloc showroom, reeling off impossibly slick chromatic scales, until finally they settled on the perfect instrument to match their individual techniques.

When it comes to piano-key weight, it’s by no means always the larger-framed player who will err towards a brutish action. At the age of ten I was taken for a consultation lesson with the Mozart specialist Allan Schiller (with whom I went on to give two-piano recitals many years later). I chanced my luck

16• Pianist 95

with something brisk, but remember recoiling when some notes failed to sound – I felt myself tighten up, and it all went to pot thereafter. At the time I put my dissatisfaction down to the piano’s treacle-like action, or so it seemed compared to my regular teacher’s ‘easy’ instrument. Years later, I realised that the issue was my incapacity to adapt on the fly. It also pointed up an inherent deficiency

in how I was imagining my fingers to be striking the keys. Although a good teacher can help to alleviate this, it is ultimately the player who must arrive at a workable psychological and physical solution.

We should remember, and remind ourselves often, that the piano’s action can only deliver a satisfying strike when properly controlled. Pianos come with their fair share of idiosyncrasies and foibles, though these are nothing compared with our own! One truth we cannot escape is that if we don’t encourage each key to reach its bed, all manner of pianistic mayhem may result. Poor attack results in ‘holes’ in the musical line, unevenness in running passages and non-speaking notes in chords.

Tickle, prod and nudgeThe term ‘tickling the ivories’ has many regrettable connotations. An unconvincing cantabile – that feeble, wispy sound – is usually a symptom of pawing indecisively at the surface. Though we may be aware of the need to attack confidently, many of our problems as pianists stem from the unguarded tickle, prod or nudge. We might fluke an occasional perfect note by jabbing at it uncertainly, but if consistency is what we’re after, we’ll need to hone a dependable, repeatable finger action. This relies upon the sensation of acceleration, for the act of reaching the key bottom cannot happen by gravity alone – just as in tennis, delicate touch-play at the net is never about flicking or swiping at the ball as if swatting a fly; there will always be a backstroke and follow-through, no matter how small.

High finger-action practicePractising with a high finger action is a good way of overcoming the tendency to play with a half-hearted attack. Ironically, even the most silvery effect, such as we would want for Debussy’s Doctor Gradus ad Parnassum or for Schubert’s Impromptu D899 No 4

SOUNDING THE NOTE

GOING ON STRIKE

A sense of follow-through is imperative, no matter how loud or quiet the note needs to sound, whereas ‘key-bedding’ slows us down, causes overlapping and an ugly sound.

Aim for a continuous, accelerated motion through to the release; this will ensure all notes speak firmly.

Counter frail tone syndrome in cantabile playing by practising the ‘roll-over and follow-through’ – avoid freezing up.

Don’t blame the piano! Whether you’re playing an 18th-century fortepiano, a perfectly regulated Steinway or a digital piano, consistency is your responsibility, so adapt and respond.

Trills, repeated notes and fioritura seem particularly prone to tightening-up and ‘key-bedding’. Try not to tickle at the surface, but play decisively and progressively.

1

23

4

5

5TOPTIPS

play HOW TO

Let’s get to the bottom of it Striking the keys with due weight and attention will produce the tone you’re looking for, says

Mark Tanner, and give you control of your sound whatever the keyboard

Be decisive, but don’t dig in!

17• Pianist 95

P16 HTP Tanner-FINALish.indd 16 15/03/2017 11:00




digitaladvertisingAdvert type Interactive options Price

Add a link • Hyperlink Link through to your website

£50

Add a Video • Video 15mb max - client to provide

£150

Add a Gallery • Picture gallery 5 pictures max - client to provide

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Add Audio • Audio file 15mb max - client to proivde

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Basic interactive

advert

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• Picture gallery 5 pictures max - client to provide

• Hyperlink Link through to your website

£315

Enhanced interactive

advert



• Audio file 15mb max - client to proivde

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Advertorial

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• Audio file 15mb max - client to proivde

• Hyperlinks Link through to multiple pages on your website

• Scrollable text Fit more text in a small area without compromising the look of your advert

• Pullout boxes Boxes holding extra information that can be pulled into the page

£2,250

All prices are before VAT

* UPDATED INTERACTIVE 17/6/15.indd 1 17/06/2015 11:43

interactiveadvertisingPlacing an advert in our interactive app is a great way for you to engage with your

potential clients. Your advert no longer needs to be a fl at image, it can be an interactive experience. This can be done using audio fi les, gallerys, videos and many other options,

some of which are show below

AUDIOLet your

reader hear a piece of music

or interview

GALLERYA great way

to show a selection of

images in your advert.

Galleries can be auto play,

swipable or, like this

example, use buttons to

navigate

MORE CONTENTUsing pull-in boxes, you can add more content to your advert without losing any visual impact.

In this example we have three boxes that can be pulled into the page. Each box contains an extra image as well as text information about the product

Got an iPad? If you have an iPad and would like to see the above example in action, download Adobe Viewer from the App Store and ask our team to share the fi le with you.

VIDEOYou can also place video content on your page to really engage with your reader.

Please note that all audio and video content is to be provided by the client. Don’t have a video? Ask our team for a quote


LEARN MORE WITH OUR VIDEO TUTORIALSNEW! Tim Stein (top) continues his series on the basics of playing the piano. Perfect for beginners and for those

returning to the piano after a long break. Tim offers three lessons with issue 73. The first is all about ‘geography of the

keyboard’ – that is, finding your way around the length of the piano. In his second lesson, he offers up some simple

warm-up exercises and talks about the importance of warming-up (and down) in general. In the third lesson, he talks

about hand and finger independence. Tim demonstrates on the Roland HP-507. Graham Fitch (bottom) continues his Masterclass series, this time on Double Notes (namely thirds and sixths). Being

able to play double notes effortlessly is something we’d all like to be able to do. Graham offers up some invaluable

exercises as well as ways to practise those double-note sections in the pieces that you are working on. Graham’s lessons

come to you direct from Steinway Hall, London, where he demonstrates on a concert grand Model D.

WATCH MORE VIDEOS ON THE PIANIST WEBSITE, AND IN EVERY ISSUE OF THE DIGITAL EDITION

p26 Vids73.indd 76

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* UPDATED INTERACTIVE 17/6/15.indd 2 17/06/2015 11:43

Documents

The UK’s biggest and best piano magazine 2017 media... · ‘Music of the Night ... RICK WAKEMAN ROCK LEGEND returns to his classical roots Your guide to 2017 SUMMER COURSES & FESTIVALS