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

Antonio Pappano named patron of the Keyboard Charitable Trust

11 November 2014

Sir Antonio Pappano
Sir Antonio Pappano© EMI Classics

Geoffrey Shindler OBE, chairman of the Keyboard Charitable Trust, has announced that the Royal Opera House’s eminent music director, Sir Antonio Pappano, has agreed to become the Keyboard Trust’s patron.

‘Since its foundation in 1991, it has become a tradition for the Keyboard Trust to be associated with musical excellence of the highest calibre. Sir Antonio follows in the footsteps of our co-founder, the late Claudio Abbado and, like him, is totally devoted to the development of talented young musicians,’ said Shindler.

‘We are all dependent on others,’ said Pappano. ‘As a conductor, I need motivated musicians and as a pianist, a stage on which to perform. As a freshman, I was lucky enough to be given both by Daniel Barenboim.’

The Keyboard Charitable Trust was established in 1991 and its mission is to help young keyboard players reduce the element of chance in building a professional musical career. The Trust identifies the most talented young performers (aged 18-30) and assists their development by offering them opportunities to perform throughout the world.

Groundbreaking piano takes centre stage at Brighton Dome event

5 November 2014

I first tried out my idea for the Inside-Out Piano in 2008, when I dismantled an old upright. I’d been thinking about the fact that when I was learning any piece with inside piano techniques, it was always rather uncomfortable and awkward. I put the upright piano back together in a new way, with the strings going up from the keyboard and the Inside-Out idea was born, resembling old cabinet or Giraffe pianos. Playing it in performances, audiences immediately responded to the revealed insides. Audience members enjoyed being able to see what was going on when I was preparing or playing directly on the strings. The piano also had a sculptural quality that made me want to start exploring movement and I developed some short performances with Claudia Molitor.

This year, after visiting historical instrument experts Christopher Nobbs and Steven Devine to discuss other radical innovations in piano building, I had a beautiful new version of the Inside-Out Piano built for me by Pierre Malbos in Paris. He reconfigured an Erard straight-strung grand and – through a long period of testing and building – created a new back-striking action with additions to the whippen, to enable the new right angle between the keys and strings. The instrument could well be the 21st-century grand piano: it is much more suitable for modern homes, with a considerably smaller footprint but just as big a sound as a normal grand. It is perhaps even more impressive as it faces the performer.

What wasn’t predictable was the frame that Pierre and his collaborator Yann Davidal produced. It was created so that I could manoeuvre the piano from its upright position into its moving position (lying on its side on a trolley). I do this by using a ratchet and the piano gradually leans over. Because it uses a pivot system, the piano is only fixed at one point to the frame and when one removes a very small balance bar, there is an incredible side-effect: the whole piano can swing freely in mid-air! It resembles an enormous piano clock and really is something to behold.

As I had had such a wondrous instrument built, I felt it was only appropriate to make a new show: ‘Moments of weightlessness’, which revels in all of its characteristics. I will be performing this in Brighton Dome’s earsthetic – a mini-season of interdisciplinary performance – on 10 December. In the show, I use the piano as a metaphor to illustrate my experience of becoming a mum of two in the last two and a half years. I’ve ended up ‘preparing’ the piano with more than the usual nuts and bolts: children’s socks, masks, drinking straws and plastic spoons feature.

Next year I will be commissioning new repertoire for the piano and performing existing inside-piano repertoire. I hope to show the world that this shape of piano really is relevant in this day and age, both for new types of playing and for homes that may not have enormous drawing rooms.

Sarah Nicolls

The Inside-Out Piano development has been supported by Brunel University BRIEF and Athena Swan Awards, the AHRC and Arts Council England. Sarah is an Artist-in-Residence of earsthetic at Brighton Dome and a Senior Lecturer in Music at Brunel University.

earsthetic takes place 8-13 December. Sarah Nicolls' new show 'Moments of weightlessness' takes place on 10 December, while the original Inside-Out Piano will be installed in the Café-bar at Brighton Dome and members of the public are invited to come and try it out for themselves

Washington Post rebukes pianist Dejan Lazic’s request for review removal

3 November 2014

Time to forget: How the review appears via Google
Time to forget: How the review appears via Google

The Washington Post has rebuked pianist Dejan Lazic’s request for the paper to remove a review of his 2010 Kennedy Center recital from its website.

The review – which appears top of the first page of Lazic’s Google results – was penned by critic Anne Midgette. Midgette compliments Lazic’s Chopin: ‘The very first notes of Chopin’s Andante Spianato and Grande Polonaise Brillante at the start of the program signalled that he can do anything he wants at the keyboard, detailing chords with a jeweler’s precision, then laying little curls of notes atop a cushion of sound like diamonds nestled on velvet.’ However, the writer goes on to criticise Lazic’s ‘host of concert-pianist playacting gestures’ and concludes ‘there were fine moments, but they stubbornly refused to add up to anything more than a self-conscious display of Fine Moments.’

Overall, the review is carefully balanced and clearly praises Lazic as being ‘profoundly gifted’, but the pianist requested that the Washington Post remove the article under the European Union ‘right to be forgotten’ ruling.

‘To wish for such an article to be removed from the internet has absolutely nothing to do with censorship or with closing down our access to information’ said Lazic, in an email to the Washington Post. Instead, Lazic argued, he should have the right to control ‘the truth’ of his own public image.

The Washington Post flatly refused and suggests that Lazic’s request demonstrates how the ruling might be misinterpreted and potentially misused in the future. ‘It’s the first request The Post has received under the EU ruling. It’s also a truly fascinating, troubling demonstration of how the ruling could work,’ writes Caitlin Dewey, reporter for the Washington Post.

‘I can’t imagine that journalism would have to abide by such strictures,’ Midgette said. ‘Once something is in a paper, it’s a matter of public record, and then it’s on the record for better or worse; isn’t that so?’

Under the current ruling, removed articles can be deleted from the European search engine, but cannot be got rid of from the worldwide web entirely.

Dejan Lazic writes about his Piano Concerto in Istrian Style, Op 18, in the Nov/Dec issue of IP

REVIEW: Howard Shelley and the London Mozart Players at St John’s Smith Square

27 October 2014

Howard Shelley (pf); London Mozart Players
St John’s Smith Square, London
Part of Mozart Explored 2014-15
8 October, 1.05pm

It was pleasantly disorientating to sit down to a lunchtime concert that featured a chamber orchestra, particularly one as distinguished as the London Mozart Players (LMP). The ensemble has teamed up with pianist-conductor Howard Shelley to bring a six-part series of Mozart concertos to London’s St John’s Smith Square, with instalments taking place once a month until April 2015.

Pianist-conductors need to perform facing the orchestra, rather than side on, as the piano would usually be positioned during a concerto. But this means playing with the lid down, in order to maintain eye contact with the ensemble, which can affect the sound quality. The enterprising Shelley has come up with a solution: a bespoke Perspex piano lid that reflects the sound back to the audience behind him and provides a ‘window’ between him and the orchestra.

Shelley prefaced the October concert – which was well attended – with a short lecture about the concerto and its links to Haydn. Shelley discussed tonal centres and key deviations in great depth, illustrating his musings on tonic-dominant tonality with examples at the keyboard. It was interesting, but I’m not convinced a lunchtime concert was the best place for it. Perhaps this well-heeled audience is very familiar with Grade 5 theory of music, but personally I would have liked an explanation of the transparently lidded piano and how this set-up closely reflects that of Mozart’s era, which was not mentioned at all.

But it is unsurprising that Shelley feels the need to share the minutiae of Mozart’s writing, as this is clearly music that feeds his soul. This may surprise IP readers, many of whom are familiar with Shelley’s recordings of lesser-known Romantic piano concertos for Hyperion’s best-selling CD series. However, this concert, together with Shelley’s recent release of Dussek piano concertos for Hyperion’s new Classical concertos project, shows that the pianist is just as comfortable in core repertoire.

In the first movement, Shelley found a depth of colour and touch that felt completely fresh. He is enchanting to watch; at ease both on and off the stool, as the LMP wind section superbly illustrated its emancipation. The cadenza was that of Denis Matthews, which was finely calibrated and filled the hall with effortless brilliance. A sudden autumnal downpour enhanced the brooding moments in the second movement. This intense rainstorm caused a leak in the roof, and although the audience remained dry, the percussive watery addition was a momentary distraction. In the third movement we were treated to filigree melodies and impeccable phrasing and, in harmony with the music, the sun returned.

This was musicianship and ensemble-playing at its best, and it was a delight to see the LMP – who have had a challenging time of late (the group was taken over by its players after the withdrawal of council funding pushed it to the brink of bankruptcy earlier in the year) back on their feet. However, it would be incorrect to say that everything is rosy – we were encouraged to donate to the orchestra via text message after the concert (another forward-thinking initiative) and reminded that the concert would probably still make a loss of £3-4k, which seems unthinkable. But then, tickets are a snip at £10.

City workers, Londoners and day-trippers – you are warmly urged to go and see this fantastic series. At the cost of less than a round of drinks it will be the best lunch-break you’ve ever had.

Claire Jackson

Howard Shelley and the London Mozart Players present The Mozart Explored Series 2014-15: 5 November; 3 December; 4 February; 4 March; 1 April, concerts begin at 1.05pm and tickets cost £10. For more information click here

Pascal Rogé’s ‘mafia’ claims rejected as Rina Sala Gallo competition threatens legal action

6 October 2014

Pascal Rogé resigned from the jury after the semi final
Pascal Rogé resigned from the jury after the semi final© Mary Robert

Participants read Rogé’s comments about their performances, made public on social media and Slipped Disc, before the final had taken place
Participants read Rogé’s comments about their performances, made public on social media and Slipped Disc, before the final had taken place© Rina Sala Gallo Association

Rina Sala Gallo Association has called for Pascal Rogé to issue an apology after he abandoned his duties as jury member at the international piano competition in Monza.

The French pianist resigned from the jury after the semi final, accusing the Italian jury members of rigging the results.

Rogé wrote on Norman Lebrecht’s Slipped Disc blog: ‘It’s purely mathematic: you put three Italian jury members plus two more “very strongly Italian influenced” and then you have a “majority” that can manipulate the results to their whims.’ Rogé believed that the two best candidates were the Korean and Japanese candidates, who he claims were ‘far above’ the rest of the pianists.

Rogé called for more transparency within the voting system, suggesting that voting online via iPad did not provide enough information on the way the points were added or calculated. The jury comprised Riccardo Risaliti (Italy, president of the jury); Vovka Ashkenazy (Iceland-Russia); Jeffrey Biegel (USA); Nora Doallo (Argentina); Roberto Prosseda (Italy); Pascal Rogé (France); Graham Scott (UK).

Rogé said he was willing to bet ‘two magnums of Chianti’ that the top three prizewinners would be the Italian participants and concluded: ‘Does the word “Mafia” ring a bell?’ Rogé was correct: The Italian pianists Fiorenzo Pascalucci and Federica Bortoluzzi won first and second place respectively, while Japanese pianist Atsuko Kinoshita took third place. However, the results – now available in detail online – show that the marks Rogé awarded are inconsistent with his Slipped Disc statement. The competition says Rogé failed to respect competition rules, divulged false information and discredited the competition.

Prosseda told IP that the results speak for themselves. ‘In a democratic system the result stems from a combination of different points of view. All the marks are published online so everyone can check how we voted.

‘I’m not a professional juror and this was my first time on an international jury at a competition. The atmosphere was very relaxed and friendly. Mr Rogé was always on his own and I did not have any contact with him, so for this reason I was quite surprised when I read his statement. How could he know who was voting what?’

Prosseda says that it was very disruptive to read Rogé’s disparaging remarks about participants, who were mid-competition. ‘I cannot say if the competitors would have played in a different way, but of course they read Mr Rogé’s words before playing in the final. I am not here to judge any behaviour but the fact is that the rules of the competition were very clear: no juror had to say any comment to anybody about the competitors before the end. It was a strict rule that we obeyed. The jury should be at the service of the music.

‘I was astonished to see how many people on social media were commenting on this without any facts. It just lacks respect; we’re in the European Union, I don’t feel Italian, I am European. It’s stupid to equate Italians with Mafia.’

An official statement from the Rina Sala Gallo Association comments: ‘In three rounds, 46 in all, [Mr Roge] gave the highest mark 14 times and the lowest mark 21 times. However the official rules of the competition, which every juror received via e-mail, states clearly the elimination of the lowest and highest marks during the first three rounds of the competition. This also appears on the website.

‘As a result, the final outcome, which was based on the averaged combined marks for all three rounds, were entirely opposite to what he wanted and expected. He, thus, in the Third Round, managed to invalidate the votes he gave to Yano Yuta (10.00) and Yejin Noh (10.00), whereas his vote (8.50) for Atsuko Kinoshita, the candidate whose performance of Schubert and Debussy he denigrated on his Facebook page, and made known to all those who had access to it, actually facilitated her admission into the Final. Similarly, his intention to exclude Pascalucci and Bortoluzzi, the Italians he has alleged to have been “favoured” by the “mafia”, by giving them the lowest marks, also produced the diametrically opposite effect.

‘Maestro Rogé opted to turn the tables and promptly left, to discredit the work of his colleagues, who quite to the contrary, acted in accordance with the rules that they had accepted and signed.

‘In light of the above, the Rina Sala Gallo Association requires that Maestro Rogé issue an immediate, and written, apology for failing to fulfill the duties that his position required, i.e. to respect the rules, and for having abandoned the jury – unilaterally terminating the contract he had signed – and divulging false and misleading information, and discrediting the Competition, which will now make a legal claim for damages.’

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