Chopin Berceuse Op. 57 Autograph Manuscript

Published in November, 2021 in the category Piano Maestro

Chopin Berceuse Op. 57 Autograph Manuscript Pag. 2
Chopin Berceuse Op. 57 Autograph Manuscript Pag. 3






The articulations in Schubert Sonata D960

Published in November, 2021 in the category Interpretative Pills

Articulations can actually help us understand the phrase’s form that the author had in mind. 

In the first eight bars of the first movement of Schubert's Sonata D960, the author indicates many things through the slurs.  

For example, it is evident that the first part of the initial phrase arrives at bar two, at D, where there is a dissonance in the left hand which creates a resonance with the right hand.  …

"Art Case" Fazioli Pianos

Published in November, 2021 in the category Piano Maestro

Any aesthetic variation to the Fazioli piano applys to the shape, the surface and the decoration of the instrument, according to the client’s specific request or original project.  Any modification of the casework does not compromise in any way the acoustic characteristics of the instrument.


Origami 

Commissioned by the owners of the Fairmont Pacific Rim Hotel in Vancouver, the “Origami” piano was originally designed by a team of renowned architects (McFarlane / …

Classical Composers’ Favorite Keys

Published in October, 2021 in the category Piano Maestro

Classical composers’ key data are displayed as a heat map with the shape of a piano keyboard.

The top half of each note represents percentage of minor compositions in that key, and the bottom half of each note corresponds to major compositions in that key.

The highest percentage for each composer is labeled.  Each composer’s heat map is scaled the same (0 to 20%), so you can compare one composer to another. 

The …

Legato touch in Chopin's Etude Op. 25 N. 7

Published in September, 2021 in the category Interpretative Pills

It is well known that the notes of the piano decay in intensity, losing resonance.  The impossibility of sustaining a sound with a crescendo is in fact a limitation of the instrument.  And it is precisely this limitation that makes the making of the legato so difficult. 

Chopin's Etude op. 25 N. 7 begins with a melodic line entrusted to the left hand, apparently simple because it lacks other notes to …

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