Par KINROSS JOHN. John Kinross (b. Edinburgh 1848, d. London 1890)
John Kinross’ music has become not merely neglected – it has become virtually invisible. Contemporary reports tell that he was, firstly, an extremely
talented and successful piano teacher in Dundee, then a freelance composer and pianist in London. He wrote a substantial number of compositions for the young pianist; these works display a consistent charm and naturalness, all the more remarkable for the severe (and astute) self-imposed compositional limitations required when writing for the young pianist, especially in the five-finger position. There is real invention in both hands when they become independent, and the teacher parts explore a remarkably sophisticated harmonic range. The expressive nuances in his music give the young pianist an early taste of genuine musical gesture, and cultivate a musical confidence rare in such novice music.
Learning the piano, particularly at a very young age, can be a collaborative experience between student and teacher. The piano teacher is in a unique position to directly influence musical development through the use of teacher/student duets.
The ‘unequal’ musical experience
Much excellent duet music has been written where the student part is at a “novice” level and the teacher part at a much more advanced level. The total musical effect is considerably more satisfying than what the student can achieve on his/her own, and provides a real incentive for the student to hear and create the sophisticated sounds of more advanced music. It is a “taster” for musical delights to come.
The editing of this volume
At the beginning of each pupil part I have shown the ‘position’ to be taken by each hand. Fingering has been deliberately omitted. The student is encouraged to name notes – especially the first note – rather than read finger numbers. Some duets in this volume use the tonic-dominant notes of the key of the piece, but there are many exceptions. It is common in duet music for the dynamics to be shown the same in both parts at the same time. This has the effect of often producing unsubtle, unmusical performances. Two players producing a fortissimo sound at the same time is rarely satisfactory. Many of the dynamics have been edited to produce a sophisticated balance of sound across the four hands. I have endeavoured in this edition to offer solutions based on what I call ‘primary’ and ‘secondary’ sounds within the texture. / Date parution : 2025-10-10/ Recueil / Piano 4 Mains
