Harold Taylor, author of The Pianist’s Talent, has died
6 February 2014
Essential reading: The Pianist's Talent by Harold Taylor
The pianist Harold Taylor (1925-2014) who died on 24 January will be perhaps best remembered for his widely admired book, The Pianist's Talent (Kahn and Averill) in which he seeks to reconcile the teachings of F Matthias Alexander and Raymond Thiberge, and is a fine and precise study of the art of teaching and performing.
Taylor was born in Macclesfield in 1925 and graduated from the Royal Manchester College of Music (now the RNCM) followed by later studies in Paris under Thiberge and Alfred Cortot. He subsequently developed a career as pianist, lecturer-recitalist, writer and teacher, and as Head of Music at Bromsgrove College was responsible for running the Bromsgrove Festival.
His knowledge of pianism and pianists was encyclopaedic and he brought to his teaching both expertise and a sympathetic understanding.
Wanted: 19th century Broadwood piano for Elizabeth Gaskell’s house
5 February 2014
Novellist Elizabeth Gaskell's house during restoration© Lee Baxter
Renovators of Elizabeth Gaskell’s Manchester home are seeking a donation of a mid-19th century Broadwood demi grand piano and have called on International Piano readers to help.
The Victorian writer’s property has been authentically refurbished and will reopen to the public in October. Living at 84 Plymouth Grove for 15 years until her death in 1865, Gaskell and her husband entertained contemporaries including Charles Dickens.
Part of the £2.5m restoration has involved research into how the house looked when the family resided there. Curators are seeking a Broadwood demi grand piano because this was the model that Charles Hallé used to teach Elizabeth Gaskell’s daughters at the house. The instrument will take pride of place in the drawing room and will be used for musical and educational events. The donor will be fully credited alongside other sponsors of the house.
If you are able to help, please contact John Williams, project manager for Elizabeth’s Gaskell’s House at firstname.lastname@example.org.
Royal Northern College of Music pianists set new world record
28 January 2014
Students from the Royal Northern College of Music (RNCM) have broken the Guinness World Record for the largest number of pianists playing the same instrument simultaneously.
The musicians performed five-minute work Ticcatoccatina for 32 hands – that’s 16 pianists! – composed by postgraduate composer Tom Harrold. The performance took place at the RNCM in Manchester last Thursday. The group successfully beat the current world record set by 15 musicians in Vallouise, France on 13 June 2004.
The World Record attempt was held in aid of Your RNCM, the College’s £3m campaign to transform its 40-year-old Concert Hall into a state-of-the-art venue. The event was sponsored by International Piano magazine and witnessed by Murray McLachlan.
The pianists involved were Daria Bitsiuk, David Bainbridge, Yun Chen, Greta-Nike Gasser, David Gibson, Lee Jae Phang, Pui Lau, Silvia Lucas Rodriguez, Lok Pang, Ben Parker, Simon Passmore, Daniel Portal, Graham Proctor, Ho Kwong, Matthew Shervey and Chun So.
Newly formed Ernö Dohnányi Society seeks members
28 January 2014
Erno Dohnanyi (1877-1960)© Tully Potter Collection
A society dedicated to the music of Ernö Dohnányi (1877-1960) has been formed, with pianist Martin Roscoe named as honorary president. The group, which is currently internet-based, plans to adopt a formal constitution and organise regular meetings in due course.
Roscoe, who has been championing Dohnányi for many years, believes that the repertoire has much to offer: ‘I think he is a composer who deserves to be better known; there are only a handful of pieces that are ever played. For example, the Variations on a Nursery Song used to be a popular piece in the 1950s but it only gets a rare outing now.
‘The repertoire is beautifully crafted, it has a lot of variety and although it comes from the grand Romantic tradition of Liszt and Brahms there is an individuality that speaks to audiences. And there is a lot of piano music; I’m in the process of recording it for Hyperion – I start recording the third disc in April and the final one in May next year. A lot of it is approachable for amateur players, although some is extremely difficult.
‘There is also some fantastic chamber music – and two piano concertos,’ adds Roscoe. ‘Dohnányi was a hugely important figure in the first half of the 20th century in Europe as a pianist, conductor and composer, and as head of the Franz Liszt Academy he taught many famous pianists such as Annie Fischer. A colossal figure.’
Those interested in becoming members are invited to contact Tom Teague at email@example.com or Robert Aston at firstname.lastname@example.org.
REVIEW: Boris Berezovsky, International Piano Series 2013-14, Royal Festival Hall, London
16 January 2014
International Piano Series 2013-14
Boris Berezovsky opened his Southbank recital with an unexpected reading of Reflets dans l’eau and Mouvement from Debussy’s Images Book 1, before he embarked on the published programme.
The insertion was disarming, introducing us to the sound world through a different door from that we anticipated. Ravel’s Gaspard de la nuit picked up the watery theme of tonight’s opener and added a darker shade to the setting for the water-nymph Ondine’s other-worldliness. The contradictory elements of Ondine’s complex character – latent and then frenetic devilish power and her tragic slinking exit – were captured convincingly.
In his selection of Rachmaninov’s Preludes, Op 32 Berezovsky battled the piano’s tendency to produce a muddy texture in big chordal passages, but there was pathos when the left hand brought out the melody. The Sonata No 2 in B flat minor was also moving and the music was never secondary to the virtuosity, allowing the lyricism of the second movement and the building momentum towards the climax of the third to speak for themselves.
We were treated to encores. October from Tchaikovsky’s The Seasons contained some lovely accompaniment but the melody could have lingered more. Liszt’s Concert Study Gnomenreingen suits Berezovsky down to the ground. He took it at an incredibly fast pace with a brilliant lightness of touch; diminutive dancers darted straight out of his fingertips.