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International Piano (IP) incorporates International Piano (formally International Piano Quarterly) and Piano magazine. It is written for pianists and discerning fans of piano music.

Each bi-monthly issue includes interviews with top pianists and rising talent, performance tips, news, features, analysis and comment. You will find exclusive tutorials by concert artists, in-depth articles on piano recordings and repertoire, masterclasses on piano technique, and festival, concert and competition reports from around the globe.

Every edition includes a five-page Symposium, hosted by Jeremy Siepmann, which brings together leading experts and international pianists for a round-table debate.

Our comprehensive reviews section examines the latest recordings, books, DVDs, sheet music and concerts.

Plus, each issue includes free sheet music – often rare or newly released works – for readers to add to their collections.


Music Pages

Latest News

Win an advanced version of Pianoteq Pro worth nearly £500!

17 September 2013



Modartt’s Pianoteq is a forward-thinking virtual piano that offers a practical solution for discerning and tech-savvy pianist-composers. IP has teamed up with Modartt to offer one lucky reader the advanced version of the software – Pianoteq Pro – PLUS the piano add-ons: U4 upright, Blüthner Model 1 and YC5 Rock Piano, worth nearly £500.

According to its makers Modartt, Pianoteq is the world’s first ‘fourth generation’ piano, after the acoustic, electro-acoustic pianos and present-day sampled instruments where each note has been separately pre-recorded at different dynamic levels. Pianoteq relies on physical modelling with real time response – but at the same time, the entire package is only 20MB in size, making it economical in terms of space. You can use Pianoteq on any laptop and connect it to your MIDI compatible piano keyboard.

There’s the freedom to adjust multiple setting – from the tuning, shape of the soundboard, hammer hardness and damper control to the position of the lid and even the mic placement – as well as the facility to edit the parameters of each individual note, allowing for almost limitless variation.

To be in with a chance of winning the software, answer the following question:

In what year was Pianoteq first released?

Answers should be sent via email to competitions@rhinegold.co.uk with ‘Pianoteq giveaway’ in the subject line.

The competition closes 28 November. Good luck!

 

Yamaha announces piano selection sessions at London's Southbank Centre

16 September 2013

The CFX
The CFX

Following the success of the inaugural piano selection sessions last year, Yamaha has announced a second event to be held at London's Southbank Centre during 11–12 October.

The sessions are aimed at individuals and institutions interested in Yamaha's extensive high-end upright and grand piano ranges and allow people to book 45-minute slots to view and evaluate the latest instruments in privacy, while taking advice from leading technicians and piano specialists. 


Over 40 pianos will be available – including the acclaimed Yamaha CFX concert grand, pictured – plus a wide range of Yamaha's CX series grand pianos. The CX range has been developed directly with the CFX and the pianos offer exceptional sound, durability and stability at a range of prices. The CFX and CX range will be augmented by Yamaha's professional YUS and SE Series upright series and the SU7 upright and CF series of handcrafted grand pianos. Many of the models are also available with Yamaha's SH silent technology allowing private 'silent' practice on headphones – these instruments will also be on display. 

The selection weekend coincides with Yamaha's popular 'piano upgrade' initiative which offers private customers and institutions a guaranteed part-exchange value on their existing instrument, thus making a possible purchase more affordable.

The sessions will run between 9am and 7.30pm on both days. To find out more and to book your private session please email Craig.Hughes@gmx.yamaha.com or call 01908 369224.

BBC Radio 3 includes two pianists in latest line-up of New Generation Artists

10 September 2013

BBC Radio 3 has named pianists Louis Schwitzgebel and Zhang Zuo among its next batch of New Generation Artists.

The scheme, now in its fifteenth year, supports a group of young artists via a series of BBC Radio 3 broadcasts, fronted by BBC Young Musician of the Year presenter Clemency Burton-Hill. Previous participants include Benjamin Grosvenor, Gwilym Simcock, Christian Ihle Hadland, Ashley Wass, Martin Helmchen and current IP cover artist Igor Levit.

Schwitzgebel secured second prize at the Leeds International Piano Competition, where his performance of Beethoven’s Piano Concerto No 4 with the Hallé Orchestra under Sir Mark Elder in the final round was broadcast live on BBC Four and BBC Radio 3. At the age of 17 he was the winner of the Geneva International Music Competition.

Zhang Zuo (pictured) has garnered a host of awards, including first prizes at the 3rd Shanghai International Piano Competition, the 7th International Franz Liszt Piano Competition, and a ‘Vendome Virtuoso’ award from Vendome Prize competition. In 2013 she won fifth prize at the 2013 Queen Elisabeth International Piano Competition. 

Martin Roscoe to perform the Beethoven piano concertos in one night for charity fundraiser

22 August 2013

Intrepid soloist Martin Roscoe
Intrepid soloist Martin Roscoe© Eric Richmond

This October sees Martin Roscoe perform all five Beethoven Piano Concertos in a single evening, in aid of the Musicians Benevolent Fund. Conductor and organiser Daniel Parkinson explains why

About 18 months ago I came up with a idea for a charity fundraiser – to perform all five Beethoven Piano Concertos over two nights with five different pianists. I approached a couple of pianists with my idea. At this stage it was really only a concept and I wanted to do some research to see whether anyone would be interested in partaking in such an event. One of the pianists came back and suggested an alternative to the original idea: had I thought about doing all five concertos in one night, with one pianist? This person was none other than international concert pianist, Martin Roscoe. Sure, I thought it was a bit crackers – but – that’s me all over, and I pretty much said yes straight away.

Ever since then this event has been in the planning. I decided that the Musicians Benevolent Fund would be the recipient of the money we raised. The Musicians Benevolent Fund provide the highest quality help for musicians whenever they need it, with specialist programmes dedicated to supporting artists hit by crisis, life-changing circumstances or terminal illness, as well as those facing the challenges of growing old and emerging musicians entering the profession. The next thing was to create a brand. In some ways, putting on something like this is just the same as starting a company. I knew that the brand was going to be very important – you have to catch people’s attention. The Beethoven Piano Concerto Project was what I came up with. As some paint brand or other regularly states: it does what it says on the tin!

With the organisation well under way and a fantastic venue in the shape of the RNCM Concert Hall booked, it became apparent that with the scale of the event, we needed someone to host the evening and to act as a thread across all three parts. John Suchet immediately sprung to mind. Not only is John a high profile presenter for Classic FM, but he is also a Beethoven expert, having written several books on the composer and I was absolutely delighted when John agreed to be part of the project. The orchestra will be made up of past and present students of the RNCM – many have been helped by the Musicians Benevolent Fund and are doing their bit to give something back. We will be starting the first of three parts at 5pm, with the event finishing about 10pm! It is quite a marathon for all involved  – but we are all there for one single reason – to raise money for a fantastic charity. It certainly promises to be an unforgettable evening of great music and we hope to see as many people there as possible!

 

The Beethoven Piano Concerto Project
RNCM Concerto Hall, 5 October

Part One: 5pm
Beethoven: Piano Concerto No.1
Beethoven: Piano Concerto No.2

Part Two: 7pm
Beethoven: Piano Concerto No.3
Beethoven: Piano Concerto No.4 

Part Three: 9pm
Beethoven: Piano Concerto No.5

Martin Roscoe, Piano
Daniel Parkinson, Conductor
John Suchet, Presenter

Tickets from £12 

www.rncm.ac.uk

 

Former student of Denis Matthews (1919-1988) marks 25th anniversary of his death

19 August 2013

Young musicians deserve to be nurtured by responsible musical mentors, writes pianist Sarah Beth Briggs, who has dedicated her latest recording to the memory of her teacher Denis Matthews

It is hard to believe that the great pianist and musicologist, Denis Matthews, died 25 years ago this Christmas Eve. There isn’t a day when I sit down to play the piano that I don’t think of him, in my mind hearing what he said when I played certain pieces (and being very aware of what he would have said when playing others!) Although I was only 16 when he died, I feel incredibly lucky to have benefitted from Denis’s breadth of musical knowledge for eight of my formative years and to have grown so close to someone who really awakened my love of Bach, Mozart, Beethoven, Schubert and Brahms, in particular.

I am commemorating this anniversary by dedicating my fourth release for Semaphore to his memory. It includes Schubert’s final piano sonata – the only piece of solo piano music that Denis chose when he featured on Desert Island Discs in 1967. It was also the first piece of music to move me to tears (aged just nine) when Denis performed it in Newcastle.

He was a great scholar pianist, always more interested in serving the interests of the composer than the performing self. In him, one found not only an interpreter who brought pure magic and freshness to every performance, but also a brilliant, questioning musical mind. The combination was exhilarating.

Was Denis an exceptional teacher? In my case – without reservation. An honest appraisal would probably suggest that he was superb if one could get onto his wavelength. Compromise wasn’t something that he embraced easily. For many a talented eight-year-old pianist, the notion of listening to Mozart operas, Beethoven string quartets and Brahms symphonies in lessons and relating them to what they were studying might seem odd, if not utterly bewildering. For me, the idea of being brought into piano music from a wider musical perspective worked extremely well. Denis was someone who refused to become too bogged down by issues of technique. Asked whether he believed in scales and exercises, he would simply say that one should make exercises within the repertoire that one was studying. It was essential to have strong self-discipline to work well with him. But for eight years, I was inspired by him, shared his musical passions and was introduced to and guided through so much of the music that has become central to my performing repertoire. He and my family became very close friends and we shared the ups and the downs of his life.

Recent revelations about a small but significant number of disgraceful, irresponsible (albeit highly talented) people who have abused their role as mentors have inevitably made parents fearful of teaching situations like the one that I was fortunate enough to enjoy with Denis. It would be a travesty if these people’s misdemeanours ruined the possibility of children developing that very special guiding relationship with a mentor in the future. The foundations of artistry are built within this context and, to a musician, it is almost as significant as the bond with a parent or other close relative. A chaperone would certainly have been one person too many in my lessons. I can only hope that future generations are not prevented from experiencing that sort of artistic interplay.

When preparing the Schubert D960 for my recording, I looked back at my old Associated Board edition which I had studied the sonata from while learning with Denis. The tiny number of markings (Denis wasn’t one for writing on the music, preferring his students to process his thoughts and accept or reject them) were enough to remind me of the way he brought this, and so much other great music, to life for me. It is a great sadness that Denis’s account of this glorious piece wasn’t saved for posterity. I can only hope that this recording will be a fitting tribute to the memory of a truly great musical mentor.

Sarah’s CD of Mozart, Beethoven and Schubert will be released in September

Sarah will give concerts commemorating the 25th anniversary of Denis’s death on 3 October at the King’s Hall, Newcastle University (where he was Professor of Music from 1971-1984) and on 8 December at The Craxton Studios, London, NW3. Particularly appropriately, the latter is the Craxton Memorial Trust Fund-Raising Concert so the concert will celebrate both Denis’s memory and that of his mentor, Harold Craxton

 


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