P i a n o f f o r t e | 2 0 1 6 / 7 F e a t u r e s

Pianoff orte editor and Faber Music Marketing Coordinator, Rachel Topham introduces Faber Music Piano Anthology and

explores what draws pianists and musicians to printed music in the modern age.

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F e a t u r e s P i a n o f f o r t e | 2 0 1 6 / 7

Stephen Lotinga, chief executive of The Publishers Association,

said in May 2016: “Those who made predictions about the

death of the book may have underestimated just how much

people love paper.” This sentiment extends to musicians

and our relationship with printed music books. Even in

this digital age with the convenience of downloading and

printing music at home, there’s nothing quite like the feel of

getting your hands on a brand new piano book and deciding

which piece will be the first to hit the keys. Everything from

opening the book, running your fingers down the first crisp

sheet, scanning the music for surprises, to placing the first

pencil scribblings on the page – all turn the sometimes

daunting task of learning a new piece into a joy.

For me, an anthology is much more than just sitting at the

piano with an exciting new collection. It’s a book to dip into

when the mood takes you, to discover exciting new pieces,

to be cherished for years, and to pass on to students or

family. I love the idea of having something on my shelf that

I can always trust to provide me with the piece of music I

need in that moment. It could be a simple and familiar piece

to warm up to, an old favourite for entertaining friends, a

challenge that I’ve always fancied having a go at or a hidden

gem that I’d never even thought to try.

I’m delighted that The Faber Music Piano Anthology

contains many of my favourite piano pieces, such

as Träumerei (Schumann), Une Larme (Mussorgsky),

Beethoven’s Moonlight Sonata and Gymnopédie No. 1

(Satie), alongside some that I have never played before.

These new discoveries include works from lesser-known

composers such as Charles-Valentin Alkan, Martin Peerson,

Alexander Ilyinsky, Déodat de Séverac and Samuil Maykapar.

Melanie Spanswick has done a stellar job in expertly

selecting the pieces – 78 in total. I look forward to

enjoying this anthology for many years to come.

One thing is clear about The Faber Music Piano Anthology:

it is a beautiful book. The way in which the sewn spine

falls open on the page you need – and stays there! The

high-quality premium paper, hardback cover and the page-

finder ribbon all add to the exclusive feel. I’m captivated

by the 1935 linocut cover image of ‘The Concerto’ by Cyril

Edward Power. This work of art, which was inspired by

a Henry Wood concert in London, features a solo pianist

surrounded by orchestra, all under the baton of an

animated Sir Henry and serves as a stunning cover for

this treasure trove of music.

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The Faber Music Piano AnthologyISBN: 0-571- 53957-2 £22.00

Andante con moto q = 100

5

10

13

17

dolce

2 1 5 2 1 2

2 3 5 2

2

p

2

5 2

mf

2

f

5

2

5 4

1 3

p

2 2

1 4 1 5 1 1 2

2

p

5 5 1

525

SONGOp. 183 No. 1

Carl Reinecke

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Largo q = c.60

Andante con moto q = 108

5

9 ritard.

a tempo13

17

p

legato e cantabile

pp senza sordino

5

2

5 2

4 3 1 21

2 1 3 4

3 4

1 2 4

pp con sordino

2 1 4 3 1

1 4 2 2 1 4 4

UNE LARME (A Tear)

Modest Mussorgsky

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“I had a wonderful time selecting all

the pieces for this beautifully presented

volume from Faber Music’s extensive

catalogue. My intention was to include

a variety of well-known masterpieces

peppered with a smattering of lesser

known gems, introducing pianists to

new repertoire alongside old favourites.

From early Baroque through to the

mid to late Twentieth century, there

will hopefully be something for

everyone to enjoy.”

Melanie Spanswick