International Piano is a unique bi-monthly publication written for and loved by pianists and discerning fans of piano music all over the world.

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.


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Latest News

Birmingham Conservatoire to host Delius and Ireland celebration

22 May 2013

De-Wet Lee will peform John Ireland's Piano Concerto
De-Wet Lee will peform John Ireland's Piano Concerto

Birmingham Conservatoire will host a five-day festival during 17­­–21 June to showcase the work of Delius and Ireland, including performances of the complete solo piano works and piano concerto by John Ireland.

 Pianist and British music specialist Mark Bebbington, who has recorded the complete solo piano works of John Ireland for SOMM, and in many ways inspired the Festival as a piano tutor at the Conservatoire, will open the inaugural recital with two of Ireland’s most significant works; the Sonata and Rhapsody.

'It seems to me that the piano music of John Ireland is not only one of the most substantial, but also one of the most neglected legacies of any twentieth-century British composer', he explains.

'Ireland wrote for the piano throughout his life and from the outset, his natural kinship with the instrument is self-evident; whether drawing the last measure of tonal splendour from a masterpiece such as Sarnia, or evoking his beloved West Sussex countryside in his miniature Amberley Wild Brooks, Ireland's keyboard works are an unparalleled achievement in British pianism.

'John Ireland was alive to wider influences, as well – French Impressionism and the Expressionist works of Alban Berg, for example – but he evolved a bitter-sweet musical language that was all his own.  Above all, though, his piano writing conveys an undertow of wistful melancholy that lends these works a quite unique expressive intensity.'

There will be the opportunity to hear more about Ireland’s piano music when Bruce Phillips, Chairman of the John Ireland Charitable Trust, gives an informative lecture on 19 June in the Arena Foyer.    

Other pianists taking part include Katharine Lam, Duncan Honeybourne, John Thwaites, Victor Sangorgio, Yu-Fen Lin, and stalwart of the keyboard, Margaret Fingerhut, who will be performing Ireland's London Pieces. 

Tickets will be available on the door and full details of the programme can be found here


The Elgar Society releases free online archive of The Journal

10 April 2013

courtesy of the Elgar Birthplace Museum

Back issues of The Journal published by the Elgar Society are now available online and free of charge at, opening up a 15-year archive of articles, essays and research papers to all those with an interest in Elgar and his legacy.

The Elgar Society first issued The Journal as a stand-alone publication in 1999, since when it has been circulated three times a year to members of the society together with selected academic institutions. Content ranges from the findings of Elgar-related research to reviews of books and CDs. The most recent issue, edited by Elgar Society member Martin Bird, includes articles entitled ‘Thoughts on The Music Makers – a conductor’s viewpoint’ by Dr Donald Hunt and ‘Edward Elgar – a medical enigma?’ by Dr John Harcup OBE: the editorial closes with extracts from Elgar’s own diary of 100 years ago.

‘We’re delighted to make back issues of The Journal so readily accessible as a single archive for the first time,’ says Elgar Society Vice-Chair Stuart Freed. ‘They make fascinating reading and we’re sure they will prove particularly useful to students and academics both in the UK and overseas whilst adding to the body of public knowledge about Elgar’s works, life and historical context.’

Formed in 1951 to encourage the study, performance and appreciation of the music of Sir Edward Elgar and to foster research into his life and works, the Elgar Society brings members together at branch, national and international levels through meetings, lectures, recitals and visits. In addition to The Journal, all members also receive the thrice-yearly Elgar Society News, where delightful snippets of Elgar-related trivia combine with news from members, concert reports, diary dates and readers’ letters.

Barry Collett, winner of the Elgar Society Medal, wrote an article on Elgar's piano music in the September/October 13 edition of IP, issue 15.

Martha Argerich set to perform at Manchester International Festival

1 April 2013

World-renowned Argentinean pianist Martha Argerich is set to give a rare performance at the Bridgewater Hall on 12 July, as part of the Manchester International Festival (MIF).

Argerich will join Gábor Takács-Nagy, David Guerrier and Manchester Camerata for Shostakovich’s Piano Concerto No 1. French pianist David Kadouch will perform Bartók’s Music for Strings, Percussion and Celeste, and Arvo Pärt’s Lamentate.

Argerich is known for her selective concert appearances. Widely regarded as one of the greatest living concert pianists, her MIF concert is likely to be one of the pianistic highlights of the year.

Tickets £36, £30, £26, £20 (no per ticket booking fee; transaction charge applies). Concessions available. Box Office: / Quaytickets +44 (0)844 375 2013

£12 tickets for Greater Manchester residents on a lower wage, available on a first come first served honesty basis

American pianist Van Cliburn dies aged 78

28 February 2013

Van Cliburn, pianist, 12 July 1934-27 February 2013
By Alex Stevens

Van Cliburn, the American pianist, has died aged 78. He was awarded the US’s National Medal of Arts in 2010 and the Presidential Medal of Freedom in 2003, and was one of the world’s best-known performers of classical music.In 2004, he received the Order of Friendship of the Russian Federation from Russian president Vladimir Putin, reflecting the cultural impact of his playing throughout his career. He was a popular figure on both sides of the Pacific for most of the second half of the 20th century, a rare feat during the Cold War. Cliburn was taught by his mother, Rildia Bee Cliburn who in turn had been taught by Arthur Friedheim, a pupil of Franz Liszt and Anton Rubenstein and she was his sole teacher before, at the age of 17, he began studies at the Juilliard School in New York, where he studied with the great Rosina Lhevinne. At 20, he had played with the New York Philharmonic and most of the country’s major orchestras.

The quadrennial Van Cliburn International Piano Competition was organised by a group of music teachers and citizens from Fort Worth, Texas in 1962 to commemorate Cliburn’s victory at the 1958 Tchaikovsky International Piano Competition in Moscow, at the age of 23. Speaking at its 50th anniversary in September 2012, he said to the crowd: ‘Never forget: I love you all from the bottom of my heart, for ever’. It was his last public appearance.

The Tchaikovsky victory, coming in the middle of the Cold War, was a historic achievement which led him to be nicknamed ‘the American Sputnik’ by US media. He was honoured on his return to the country by a ticker-tape parade in New York. It was this success, rather than particularly strong support from the pianist himself, which allowed the competition to become the well-funded and prestigious institution it is today.

After the initial flurry of success, Cliburn’s career did not progress so easily. Doubts about classical music prompted forays into jazz and conducting which were not wholly successful and he underwent a self-imposed exile from public life from 1978 to 1987. His high-profile return to the stage saw him performing to presidents Gorbachev and Reagan at the White House, but in the subsequent decades the number of his appearances, despite being well attended, went steadily downhill. After collapsing on stage in 1998 at the inaugural concert of the new Bass Performance Hall in Fort Worth, Texas, he appeared even less.

‘Van Cliburn was an international legend for over five decades, a great humanitarian and a brilliant musician whose light will continue to shine through his extraordinary legacy,’ said his publicist and friend, Mary Lou Falcone. ‘He will be missed by all who knew and admired him, and by countless people he never met.’

Pianist Stephen Hough told the BBC that Cliburn was ‘one of the most charming and lovely men’ he had known. ‘He was very modest, gracious and generous. He was very tall, very imposing, and all of this came through in the playing and he was a major personality when he played, and he really towered over the stage in every sense.’

Harvey Lavan Van Cliburn, 12 July 1934-27 February 2013

In-depth assessments of Van Cliburn's contribution to pianism will be published in upcoming editions of International Piano magazine

New quality seal to identify German-made pianos

20 February 2013

The German Association of Piano Manufacturers (BVK) has created a new system to distinguish German-made  pianos from copycat instruments. The move comes as an increasing number of manufacturers are falsely claiming instruments to be European made, when in fact many are produced in the Far East.

‘Of the more than 300 companies active worldwide in the piano industry, 95 per cent claim their products are manufactured in Germany,’ said Burkhard Stein, chief executive of the BVK. ‘In fact, there are only 13 German companies that still manufacture high-quality uprights and grand pianos. These companies are distinguished by a high level of manual craftsmanship, centuries of experience and tradition, successful design, prestige and the particularly excellent sound and playing quality of the instruments they manufacture. This makes the slogan ‘Made in Germany’ desirable for piano manufacturers worldwide and entices them to mislead customers and suggest that they are choosing an instrument made in Germany, although it is not the case.’

The ‘Made in Germany’ certificate was recently unveiled during a music trade fairinShanghai.Inordertoacquirethe certificate, the piano manufacturer must be a member of the BVK and prove that various production stages take place in Germany. These include work such as fitting casting plates, the installation of the musical mechanisms, and tuning and intonating the instruments.

The logo of the German Chamber of Commerce will also appear on the ‘Made in Germany’ mark.

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