Music Education Expo now open for registration
3 September 2014
The Music Education Expo, the UK’s leading exhibition for music educators, is now open for registration. The third instalment of the annual conference takes place 12-13 March 2015 at Barbican Exhibition Hall 2 in London. The two-day event is expected to welcome around 2,500 visitors and over 100 exhibiting companies. Prospective visitors are encouraged to sign up for free tickets here.
The Music Education Expo brings music educators from across the country and beyond to share ideas and meet like-minded professionals. A variety of instruments will be on display, including pianos from Schimmel and Steinway.
Organisers are currently accepting proposals for seminars and workshops at the 2015 event. If you have a proposal, please send it to Thomas Lydon, editor of Music Teacher magazine and the Expo’s head of content, by 18 September. Thomas can be reached via email on firstname.lastname@example.org.
Music Education Expo is organised by Rhinegold Media & Events Ltd and supported by Music Teacher magazine. Rhinegold Media & Events, along with Music Education Expo and the Music Teacher Awards for Excellence, also organises Rhinegold LIVE, a series of free concerts at London’s Conway Hall.
Rare instruments for sale at Conway Hall Piano Auction
3 September 2014
Two rare fortepianos will be among the instruments on sale at an auction at London’s Conway Hall later this month.
The first, a 7ft 7in Clementi forte grand in a mahogany and banded case on a trestle base, is expected to fetch between £6,000 and £8,000. The second, a five-octave forte grand Broadwood from about 1787, is expected to sell for up to £15,000.
The sale will be hosted by Piano Auctions, which holds quarterly events in the 1929 art-deco Conway Hall. The hall, which seats 300 downstairs and 180 in the gallery, also hosts IP’s Rhinegold Live recital series.
At Piano Auctions’ last sale, held in June, six pianos were displayed on the stage and a further 115 were on show in the hall and adjoining rooms. Ancient Bechsteins, Steinways and Blüthners crammed together in neat rows jostled for attention with their modern counterparts, including Yamahas and others.
There was also an unrestored 1792 Broadwood fortepiano, a Longman & Broderip square piano, an 1841 Pleyel and a rare Kolbe 1825 Viennese grand, among other treasures. There were even 16 piano stools on sale.
Only 17 pianos were not sold, including the small number in the £20,000-plus bracket (the Kolbe went for £19,000, the highest price of the day). For those on a budget, there were some real bargains – uprights for well under £1,000 and good 5’5” grands for under £2,500.
The next sale is on 25 September. Viewing takes place on the Tuesday and Wednesday before the Thursday sale. For any buyers with questions about the instruments, expert advice will be on hand. Prospective buyers should note that there is a buyer’s premium of 20 per cent on top of the realised price.
REVIEW: Jools Holland, Kew the music, London
31 July 2014
Brothers Jools and Christopher HollandPhoto by David Tickle at 255 Photography © Helicon Mountain Ltd
Photo by David Tickle at 255 Photography © Helicon Mountain Ltd
Jools Holland and his Rhythm & Blues Orchestra
Kew the music, Kew Gardens, London
‘The sun is going now so it’s time for some blues,’ calls Jools Holland from the stage outside Kew Palace, London. Picnickers abandon half-eaten sandwiches and get to their feet, as Holland picks out a plaintive melody.
Outdoor concerts in the UK are fraught with difficulties thanks to our ordinarily inclement weather. However, the organisers of Kew the Music – the five-day festival held at Kew Gardens, London – must have breathed a sigh of relief when the Met Office reports for July were revealed. The balmy evening set a jovial tone – despite Holland’s appeals to the contrary.
Holland – sometimes perched on a Jackson Pollock-styled stool, but frequently standing – plays a digital piano (a Yamaha GT7 GranTouch, in case anyone’s interested). Ever the showman, he presents from the keyboard, slipping easily between speech and song. An eclectic mix of vocalists appear – soul songstress Ruby Turner impresses, former Soft Cell artist Marc Almond does not – but it is fellow pianist and sibling Christopher Holland who is his most interesting collaborator. The Hollands squeeze together at the grand piano, flitting between three- and four-hand improvisations. Their timing is unerring, the percussive melodies transfixing.
Holland senior goes solo again, this time breaking into boogie-woogie. Talking over that famous left-hand beat, he doesn’t miss a note. Sheet music is strewn across the top of the piano, along with a discarded tambourine. He closes, as always, with Enjoy Yourself (It’s Later than You Think) bolstered by his excellent orchestra.
Twenty of the world’s most famous pianos brought together in new work
31 July 2014
Matthew Herbert’s 20 Pianos will be performed this Saturday (2 August) at Glasgow Concert Halls as part of the New Music Biennial, a celebration of new music in the UK led by the PRS for Music Foundation and linked to the closing weekend of the Commonwealth Games.
This new piece features the sounds of 20 pianos – from abandoned and ruined instruments to historic pieces such as an early square piano used by CPE Bach. The world’s most expensive piano is included – the upright Steinway used by John Lennon for composing Imagine, now encased in a Perspex shield in a museum in Arizona. From these recordings, including significant differences in the room acoustics and recording qualities, Herbert has created a new instrument, built by his colleague Yann Seznec.
Herbert is a celebrated composer, pianist, DJ and producer. Sound is his medium, and the sampler keyboard his main instrument. Recorded sound is, of course, separate from the vibrating object or body that makes it, so one of the first creative choices in using a sampled sound is whether to acknowledge the source – as a kind of ‘sound image’ – or to treat the it as abstract. The gap between the two positions offers a creative tension and an invitation for listeners to use their imagination, and it’s this that Herbert works with.
We’re all familiar with the distinction between a piano, a digital piano and a keyboard. Sampler keyboards basically use a piano-style keyboard as an interface for computer-stored sounds; in theory, they could just as easily be controlled and ‘played’ using a qwerty keyboard. 20 Pianos is fascinating not least because it uses a hybrid instrument, a sampler keyboard with recordings of 20 real pianos. It’s neither a piano, a virtual piano, nor a keyboard ersatz piano. In a way, it’s all of these together, simultaneously.
The piece introduces the sound of each instrument, but – without spoiling it for those attending the show – the real surprises are the sounds Herbert’s created combining the pianos together into different composite instruments, a kind of ‘meta-piano’ if you like. To make the point clearly and dramatically, the keyboard has been created and integrated into an ordinary table, creating a coup de theatre, a visual illusion. The result is a fascinating illusion, 20 pianos conjured into a new instrument.
Ed McKeon co-runs Third Ear, an independent agency that specialises in new music. Third Ear commissioned 20 Pianos for the New Music Biennial
New Music Biennial: 20 Pianos by Matthew Herbert
Saturday 2 August, 4.45pm
City of Music Studio, Glasgow Royal Concert Hall
Free to attend
Hyperion to launch new Classical Piano Concerto series
25 July 2014
Hyperion will build on the success of its Romantic Piano Concerto series with a new focus on Classical concertos
The Classical Piano Concerto series launches this month with Howard Shelley directing the Ulster Orchestra in works by Dušek
British record label Hyperion's Romantic Piano Concerto series (RPC), which now tops 60 titles and has restored public knowledge in composers such as Sauer, Huss, Dreyschock and Benedict, is being joined by a Classical Piano Concerto series.
The RPC line has already produced offshoots in series themed on cello and violin concertos, but it is the original that has gained most momentum – and awards. 'Series do work for Hyperion,' says Simon Perry, the label's managing director.
The classical version launches this month with Howard Shelley directing the Ulster Orchestra in works by Dušek. A second volume, with the same performers focusing on Daniel Steibelt – who is principally known for losing out to Beethoven in a test of keyboard virtuosity – is in the can, but current plans are for one Classical Piano Concerto release a year. To ensure the series' appeal remains broad, performers will play on modern rather than period instruments. And Perry hopes it will attract new soloists to the label, as the Romantic series has.
He also believes there are riches to be rediscovered. 'If you look at the classical period, it is dominated by Haydn and Mozart, but there were a lot of others, such as Clementi and Dušek, who were performing, travelling and writing their own concertos. Dušek wrote 18 concertos!'