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Edition Peters: Piano, Pedagogy, Studies and the Influence of Carl Czerny

Guest post by Christian A. Pohl, Professor of Piano and Piano Methodology, Head of Piano Department, University of Music and Theatre ‘Felix Mendelssohn Bartholdy’ Leipzig 

The start of the nineteenth century saw a seismic shift in the world of domestic keyboard playing as the piano rapidly displaced the harpsichord and clavichord as the instrument of choice in homes across Europe. Seizing on this new opportunity, a series of piano instruction methods were swiftly published, followed by methods and studies over subsequent generations that covered the rudiments of piano playing, technique and performance practice. A huge number of these studies are represented in the Edition Peters Piano Catalogue.

Major names in the field of piano pedagogy were quickly established – including Beyer, Burgmüller, Hanon and Clementi – but it was one who followed behind them that arguably defined the shape of piano pedagogy for generations to come. Indeed, even today – nearly 200 years after this educational “meteorite” first struck the German-speaking piano world – the waves of his impact are still being felt. There is no getting around Carl Czerny when it comes to pianistic exercises or didactic approaches to building a virtuoso pianist.

Carl Czerny

Czerny’s lifetime was shaped by three phases or key words: Beethoven, pedagogy and composition. Beethoven had already established a considerable reputation in Vienna when, in 1800, a certain nine-year-old boy – Carl Czerny – made such an impression on the composer that he took him on as a pupil. This pupil became a colleague, and an apprentice relationship became a friendship, which – unusually for Beethoven – lasted right up to the composer’s death.

It is hard to imagine what the encounter with Beethoven must have meant for the young musician: how the intensive, decades-long contact with one of the greatest geniuses in music history must have affected his own artistic formation. It can be assumed that Czerny not only played all of Beethoven’s works, but also to some extent contributed to their development with Beethoven. However, although he was extremely talented as a pianist and could have pursued a career as a virtuoso, the young Czerny decided, on the advice of his father, that he would instead pursue a career as a teacher.

The second phase of Czerny’s life was characterized by an almost inhuman teaching workload, where he taught 10-12 hours a day for more than 20 years. The fruits of this labor decisively shaped the pianistic development of all subsequent generations and continue to have a major influence on pianists today. Just as Johann Nikolaus Forkel attests in his Bach biography that the compositional mastery of the St. Matthew Passion could only be achieved amidst a backdrop of an enormous corpus of works, so, too, does this reasoning applies to Czerny. Thanks to his exceptional educational talent, Czerny produced a multitude of students, including Liszt, Kullak and Leschetizky, whose educational lines extend to the present day and are associated with legendary names such as Van Cliburn, Artur Schnabel and Leon Fleisher.  It is only when we understand what kind of influence Beethoven made on Czerny, and what educational impact Czerny then went on to achieve, that his piano pedagogical work can be properly assessed and adequately appreciated.

In the third and final phase of his life, from 1836 to his death, countless compositions and educational works were created, including Czerny’s iconic études. These works do not claim to be mentioned in the same breath as the musically outstanding études by Chopin or Liszt, since they are largely designed for a different pianistic level and with a focus on the training aspect. Yet they are so musically composed that they bring real pleasure both to listen to and to play.

Czerny’s études are an almost inexhaustible source of inspiration for pianists and piano teachers, isolating and condensing musical and technical skills into a series of attractive musical miniatures. For these, and for so much more, we remain evermore indebted to this pedagogical and musical giant.

Chopin: Poland’s “Cannons Buried in Flowers”

Between 1772 and 1795, the Russian Empire, the Kingdom of Prussia and the Habsburg Monarchy divided and annexed the Polish-Lithuanian Commonwealth amongst themselves in a series of three partitions.

Though one of the largest and most populous countries in 16th– and 17th-century Europe, decades of protracted political, military and economic decline led the country to the brink of civil war, made it vulnerable to foreign influences, and ultimately rendered it unable to withstand the onslaught brought by the encroaching powers, even in spite of a revolutionary new constitution, a war in its defense and an uprising led by Tadeusz Kosciuszko. (As a side note, Kosciuszko was also a decorated hero of the American Revolutionary War and an accomplished military architect who designed and oversaw the construction of state-of-the-art fortifications, including those at West Point.)

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A Little Jazz Piano: Exploring the Building Blocks of Music with Bob Chilcott

Bob Chilcott
(Photo: John Bellars)

You know him as one of the world’s preeminent choral composers and conductors, as well as a former member of the King’s Singers, but like so many of us, even Bob Chilcott was forced to put down his baton this year and find other ways to make music.

Chilcott focused his musical attention on teaching piano and theory to his eleven-year-old daughter, Becky, and her friend, and ended up also writing a set of three short jazz-style pieces for the piano to help show his students and other early intermediate learners explore the technical building blocks of music and develop their musical instincts in a way that would also be fun.

The results, A Little Jazz Piano, is a short piano suite featuring Chilcott’s celebrated jazz style in three movements: “Bobbing along,” “Becky’s Song” and “Walking with Ollie.”

Watch Chilcott play excerpts of the suite here:  

VOCES8 Premieres Six New Commissions during LIVE From London – Christmas Festival

On December 5, 2020, as part of its LIVE From London – Christmas online festival, British choral ensemble VOCES8 premiered six new pieces by composers Jocelyn Hagen, Taylor Scott Davis, Ken Burton, Roderick Williams, Paul Smith and Melissa Dunphy.

The 6 New Commissions

Now Winter Nights

Roderick Williams
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Now Winter Nights” by British composer and baritone Roderick Williams uses an evocative poem by Thomas Campion as its text, helping him to pinpoint the excitement of Christmas he felt as a child and still holds onto.

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Beethoven’s Violin Sonatas: Setting the New Performance Standard

Ludwig van Beethoven

Ludwig van Beethoven’s ten violin sonatas are among the most famous works of chamber music history and represent, together with Mozart’s works for this instrument duo, the core of violin repertoire from the Viennese Classicist period.

Though composed in a short span in Beethoven’s creative life (nine of the ten were written between 1798 and 1803, with the final one appearing in 1812), these sonatas bear all the marks of Beethoven’s compositional innovation: the breaking of formal tradition, a vast emotional scope, skillful musical manipulation, and, of course, the trademark urgency and power.

The new Bärenreiter edition of the violin sonatas — or, as more appropriately titled by Beethoven himself, sonatas for the pianoforte and violin — offers a revolutionary editorial approach to the music that does more than simply hand down the text.

These new volumes, edited by historical performing practice expert Dr. Clive Brown, present an approach to performance that is quite different from what most of today’s musicians are accustomed to. This approach not only falls much more in line with what Beethoven would have expected, but also imbues the music with a renewed vigor and offers musicians an incredible array of opportunities for creativity.

“This is the highest quality of academic scholarship, but it is not only that: this edition has enabled me to bring these sonatas to life in a way that has not been possible before – this is historical research in the service of living and breathing music!”

Viktoria Mullova, Violinist

Here violinist Viktoria Mullova and pianist Alasdair Beatson demonstrate some of their most illuminating discoveries from the “Spring” Sonata (Op. 24) and show us why they’re excited to work with these new editions:

The Editorial Approach

Dr. Brown’s new editions of the Beethoven violin sonatas combine a traditional scholarly Urtext approach with a wealth of information on historical performing practice informed by the thorough study of recordings and editions made by 19th-century musicians, many of whom had direct contact with Beethoven himself or with others that did.

These historical sources reveal a striking discrepancy between performance and notation. Composers in Beethoven’s era, including Beethoven himself, simply did not write down a large swath of the expressive gestures that they would have expected musicians to make, including rhythmic and tempo flexibility, piano arpeggiation and asynchrony, portamento, cadenzas, and ornamental, rather than continuous, vibrato effects.

By not including these details in the text, composers created a space bursting with potential for the creative performer to exploit in what could and, most importantly, would be wildly distinctive and thrillingly emotional performances. In many respects, it was a creative freedom much more akin to jazz than to today’s renditions of classical music.

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Sheet Music Plus Now Has 2 Million Titles for Sale Worldwide: Here Are Our Favorites

We now have more than 2 MILLION titles for sale worldwide!

Focusing on our mission to make the world’s music more playable, we’ve doubled our catalog in the last five years by forging critical relationships with sheet music publishers, creating pathways to sell and ship editions worldwide and aggressively expanding into digital sheet music available for instant download and printing.

We started Sheet Music Plus in 1997 with a commitment to serve musicians like ourselves with a full spectrum of sheet music, fast delivery and music experts filling our ranks in every department.

We’d like to celebrate this milestone by introducing ourselves (in alphabetical order!) and sharing some of our favorite items with you.

AMY, General Manager

Amy, General Manager, Sheet Music Plus

 

 

I have fond memories of playing through the duets in the Album of Flute Duets with my amazing flute teacher, Patty Lazzara.  Making music together with others has brought me joy throughout my life.

Album of Flute DuetsFlute Music by French ComposersJazz & Blues Play-Along Solos for FluteTwenty-Four (24) Flute Concert Studies

Continue reading ‘Sheet Music Plus Now Has 2 Million Titles for Sale Worldwide: Here Are Our Favorites’

Piano Music of Africa and the African Diaspora: The Best-Selling Anthology by William Chapman Nyaho

William Chapman Nyaho

While teaching at the University of Louisiana at Lafayette from 1991 to 2002, Ghanaian American pianist William Chapman Nyaho was struck by the utter lack of available piano scores by composers of African descent. To the extent that he could find any at all, they were mostly out of print or in manuscript form.

Shortly thereafter Nyaho found himself wandering the exhibition hall at an MTNA conference. He asked publisher after publisher for music by Florence Price. Publisher after publisher responded, “Who’s that?” Nyaho told them that she was an African-American composer and was told time and time again, “We only have Scott Joplin,” with the excuse being that there didn’t seem to be any demand for Price’s music. Nyaho replied, “The chicken or the egg: which comes first?”

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Frank Sikora’s Jazz Harmony: The Best-Selling Practical Approach to Jazz Now Available in English

“There is no truth in theory – only in music!”

Frank Sikora

That’s Frank Sikora‘s creed.

Frank Sikora is also in charge of the theory department and the Master’s program in Jazz Composition & Arrangement at the University of the Arts Bern and is the author of a best-selling and widely acclaimed jazz theory book, Neue Jazz-Harmonielehre, that is now available in English: Jazz Harmony: Think – Listen – Play – A Practical Approach.

While this coincidence might seem puzzling or even contradictory at first, it is exactly what lends Sikora’s approach the nuance and balance to successfully bridge the gap between theory and practice. In Jazz Harmony: Think – Listen – Play – A Practical Approach, Sikora sets out to mold musicians who can adapt to anything, regardless of how novel and unexpected it may be. To achieve this, he establishes a close relationship between theory, the ear and our instrument, forging a dialogue between theory and spontaneity that helps musicians connect with music both intuitively and analytically.

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New Instrumental Play-Along Series for Young Musicians from Editions Marc Reift

Editions Marc Reift, founded in 1983 by noted trombonist and conductor Marc Reift and offering a wide selection of music for bands, orchestras and solo instrumentalists, has two series of repertoire books with accompaniment CDs that are designed for young musicians.

Melodies for Beginners (Level 1)

The new Melodies for Beginners collection from Editions Marc Reift allows young beginners to build up a small repertoire of short, simple pieces. Arranged into several volumes for both solo instrumentalists and small ensembles, these Level 1 books are useful for small concerts or auditions.

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Let’s Begin to Ring Again! Hope Publishing Handbell Choir Selections: Fall 2020

A message from Brenda E. Austin, Handbell Editor at Hope Publishing

Hello friends!

Brenda E. Austin

Have you noticed how grumpy many people are today? I sure have. I believe with all of my heart, that is in part because no one has been to the symphony, seen a broadway show, sang in their church choir or rang in a handbell festival in months and months. Our souls are crying out to be part of a musical experience again.

There are so many challenges facing us today. We need to keep the safety of our communities as our top priority. With that being said, I believe that we also need to consider our spiritual and emotional health as well. Where and when it is possible to do so safely, let’s begin to ring again. It may look different from what we “normally” do. But, what would it look like to ring today? Ringers wearing masks, each ringer at their own table or music stand at a safe distance from one another, no shared equipment. Perhaps ringing outside?? What are the possibilities?

Wishing you well!

Ring with 6: Year-Round

Arr. Martha Lynn Thompson

Martha Lynn Thompson adds another set of six settings to her highly successful series of Ring with 6 collections. Each arrangement uses 14-22 bells and is easily playable by six ringers. Three pieces have optional handchimes. A “Bells Used Chart” for each piece provides suggested assignments. No four-in-hand ringing is required but, because some ringers have more than two bells, it is necessary to have a table or a place to put the additional bells. Three of the hymns are suitable for general occasions, one is appropriate for either Palm Sunday or Advent, and rounding out the collection is Natalie Sleeth’s beautiful “Were You There on That Christmas Night?”

Continue reading ‘Let’s Begin to Ring Again! Hope Publishing Handbell Choir Selections: Fall 2020′


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