The Autumn 2025 issue of Piano Magazine is here to illuminate your studio and inspire your artistry. From vital discussions on pianist wellness to celebrating the legacies of beloved pedagogues, this issue explores the current concerns of the piano teaching community. Delve deep into the expressive artistry of Brahms’s rubato, discover accessible new repertoire by Lorenzo Fernández, and gain powerful insights to transform both your teaching and performance.

1. Celebrate the life and work of Wilfred Delphin.

The feature article celebrates the legacy of Wilfred Delphin–one half of the first critically acclaimed African American piano duo, Delphin and Romain. The duo was renowned for their technical artistry, performing traditional Western repertoire while championing works by African American composers. Beyond prestigious halls, they brought classical music to small, underserved communities, transporting their own pianos to ensure quality.

Delphin’s unique musical journey began in segregated Eldorado, Arkansas, where a “village” of teachers fostered his talent with humility and grace. At Xavier University, he met Edwin Romain, and the duo was mentored by Steven Barwick. After their 1977 Carnegie Hall debut, Delphin and Romain built a sustainable career rooted in high standards, grant writing, and commissioning new works. Delphin’s lasting legacy lives on through his humble mentorship of his university students and advocacy for young Black musicians, ensuring their important voices are heard.

2. Explore how Brahms indicates rubato through rhythmic manipulation and poetic word painting.

Student accounts of Brahms’s teaching evidence his detailed approach to rubato and other performance practices. However, these accounts detail very little of his thoughts about his own music. Asher Armstrong’s article explores how Brahms “bakes in” rubato through rhythmic manipulation, inviting a “freedom, warmth, energy, [and] passion” in performance. The article analyzes moments where the music seems to “unbutton,” or experience a “stirring of sap in the heartwood,” prompting instinctive tempo shifts—from the gentle flow of the Romanze to the emotional overflow of the Intermezzo in B Minor. By exploring his lieder, we find striking parallels that illuminate the composer’s “invisible press on the shoulder.” 

3. Engage in a conversation about arthritis–a condition affecting one in four adults.

Physical, emotional, and mental wellness continues to be a focus of the piano teaching community. What about arthritis? Kaden Larson opens the conversation by sharing his personal story of survival, where at a young age piano practice became therapeutic physical therapy, actively fighting crippling joint damage. Learn essential self-care for pianists, focusing on intentional movement, proper warm-ups, and conscious practice (softer, slower, shorter segments). The author urges those with symptoms to seek diagnosis and keep the conversation open. Don’t lose hope—the piano can be a therapeutic miracle! 

4. Discover Brazilian Gems in Lorenzo Fernández’s Music.

Unlock an expressive new repertoire for your students! Ísis Cardoso delves into the piano works of Lorenzo Fernández (1897–1948), a pivotal Brazilian composer who blended European Impressionism with Afro-Brazilian folk idioms. Fernández’s music is a pedagogical powerhouse, integrating musical storytelling with technical rigor. His clear teaching goals—whether developing rhythmic precision or voicing—allow students to build skill and confidence within musically satisfying miniatures. The post analyzes four pieces across his stylistic periods, including the lyrical “Prince Charming’s Serenade” and the rhythmically sophisticated “Yayá Dancing,” which uses Afro-Brazilian rhythmic cells to evoke a subtle, dance-like groove. Fernández’s accessible, character-rich music is the perfect bridge to Romantic and Modernist repertoire like Bartók and Tchaikovsky. 

5. The Enduring Value of International Interaction in the Profession.

Jerry Wong interviews four colleagues exploring the positive impact of international networks in music.

• Andrea Lam (Australia/US): Time abroad was crucial, expanding her focus to chamber music and collaboration, teaching the instrument to “breathe.”
• Alexandre Dossin (Brazil/Russia/US): Rigorous Moscow training and Brazilian popular music informed a creative, free approach to standard repertoire.
• Gila Goldstein (Israel/US): Stressed sound quality and variety from her Russian lineage and championed composers reflecting her Israeli heritage.
• Read Gainsford (NZ/UK/US): Highlighted the value of diverse institutions, from Guildhall’s performance focus to IU’s exposure to a multitude of pedagogical giants.

Collectively, their experiences affirm that internationalism deeply impacts artistry, teaching, and repertoire, fostering a broader, more creative approach to music

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