Penelope Roskell has performed as soloist at major concert halls throughout Britain, including concertos in the Barbican Concert Hall, Bridgewater Hall and Queen Elizabeth Hall and recitals in the Wigmore Hall and Purcell Room. She has also travelled widely throughout the world, playing recitals in over thirty countries in Western and Eastern Europe, the United States, Africa, Asia, and the Middle and Far East.
Her artistry was recognised early and she undertook her first professional tour aged eighteen with the Bournemouth Sinfonietta with Sir Simon Rattle conducting. She won second prize in the National Piano Concerto Competition and first prize in the British Contemporary Piano Competition, which resulted in the offer of over fifty engagements, including eight recitals in Hans Werner Henze’s festivals in Munich and Montepulciano. Her numerous broadcasts have included programmes for BBC Radio, W.F.M.T. Radio in Chicago and Hong Kong radio and British, Polish and Greek television. She has played Mozart Concertos with numerous orchestras, including the London Mozart Players at the Barbican Concert Hall with Daniel Harding conducting. She has also played both Shostakovich Concertos in the Queen Elizabeth Hall with the Docklands Sinfonietta. She also has an interest in contemporary dance, and her work with dance companies has included a season of solo piano performances with Twyla Tharp at Sadlers Wells Theatre.
Penelope Roskell is a committed chamber musician and has played with many distinguished artists. Over the last fifteen years she has played piano quintets regularly with the Fitzwilliam String Quartet. She also performs regularly with the Roskell Piano Trio with Heather Tuach and Colin Scobie from the Fitzwilliam Quartet and with flautist Anna Noakes. She has recorded for Virgin records with Aquarius.
Alongside her performing career, she is Professor of Piano at Trinity Laban Conservatoire of Music and Dance (formerly Trinity College of Music) and she has also taught regular classes for postgraduates at the Royal Academy of Music. She frequently gives masterclasses and lectures at conferences, conservatoires and summer schools, including Dartington Summer School and Chethams Summer School. Her Advanced London Piano Course attracts students from all over the world. Her book, the Art of Piano Fingering (click here), is published by London College of Music. Her DVD on Yoga for Musicians (click here) has been highly reviewed in the music and yoga press. Her new book on all aspects of piano playing will be published shortly by Edition Peters in print as well as digital versions.
From 2000 to 2002 she was Director of the European Piano Teachers’ Association Piano Pedagogy Course. She has been Artistic Director of the Sutton House Music Society since 1990. She has also been jury member of numerous competitions and festivals, including the BBC Young Musician of the Year.
Author links and publications
Chapter 4 - Scales in Thirds, Tenths, Sixths and Contrary motion
These scales are all variations on the normal diatonic scale, so the fingering for each hand is the same as for unison scales. Detailed fingering charts, therefore, are not given, as the charts for major and minor scales can always be referred back to. As the two hands are not... Read >>
Tags: technique, fingering
Chapter 3 - Harmonic Minor Scales
As in the case of the melodic minor scale, the harmonic minor scale is also derived from the ancient Aeolian mode. The harmonic minor scale, as its name suggests, is derived more from harmonic than from melodic usage. In harmonic writing, the seventh (‘leading’) note is usually raised to give... Read >>
Tags: technique, fingering
Chapter 2 - Melodic Minor Scales
Both melodic and harmonic minor scales are derived from the ancient minor (Aeolian) mode which is made up of the following series of intervals: tone semitone tone tone semitone tone tone Example 9 Note that the notes of the C minor mode are the same as those of E♭ major scale, its... Read >>
Tags: technique, fingering, scales and arpeggios