June 12, 2021
We have a rare and exciting opportunity to join our expert acoustic piano sales team.
Forsyth has a national reputation as a high quality piano specialist. We stock a wide range of pianos both new and second hand representing the best value available in different price ranges. We are looking for a salesperson, who can play the piano, to join the expert team. The successful candidate will be joining a leading sales team, working in a fast-paced environment selling with integrity a wide range of pianos from world class concert grands to pre-owned upright pianos. Prior knowledge of pianos and sales of high value items would be an advantage. You will be joining a team with an in-depth knowledge and appreciation of pianos who would be able to educate and inform about the instrument’s design and manufacture and their many and varied musical qualities.
Forsyth provides excellent opportunities for future career development. We are seeking someone who possesses strong communication skills, has a hunger and a drive for sales (preferably with a proven retail background), can work as part of a team, and has a positive, ‘can-do’ attitude.
To read more about this role and how to apply click here.
June 7, 2021
MATTHEW McLACHLAN (PIANO) PLAYS CHOPIN, PROKOFIEV & SCRIABIN
A free socially-distanced evening recital in the Forsyth piano showroom!
Friday 18 June 2021, 6.30pm – 7.30pm
FREE ENTRY! Advanced booking required: [email protected] | 0161 834 3281, ext. 204
We are thrilled to be returning to live in-store performances with a recital from concert pianist Matthew McLachlan! A former student of the Chetham’s School of Music here in Manchester, Matthew is currently studying at the Royal College of Music in London and is already a seasoned artist with numerous awards, solo recitals and concerto performances throughout Europe to his name.
This is a wonderful and hitherto rare opportunity to hear a brilliant young artist perform in the beautiful acoustics of our vast piano showroom. This space has been little-used for concerts in recent years as the sheer number of pianos on display makes it impossible to accommodate a traditional audience seated close together. But the size and layout of the room actually make it ideal for a socially-distanced performance!
Audience members will be asked to spread out throughout the room, so we can’t guarantee everyone a good view, but it will certainly be a great sound! Those able to stand may wish to do so for a better view, but piano stools will be available for everyone who wants one, and anyone who needs a seat is encouraged to inform us when booking so we can reserve one for them nearer the piano.
Returning customers will see that we are part-way through a series of refurbishments to our piano showroom, with the work completed so far including newly carpeted and decorated stairs between the ground and second floors, and beautiful strand-woven bamboo flooring throughout the first floor piano showroom – see photo on our Events page!
(approximately 1 hour)
Frédéric Chopin, Fantaisie in F minor Op. 49 (1841)
Sergei Prokofiev, Piano Sonata No. 5 in C Major Op. 38 (1923)
Alexander Scriabin, 24 Preludes Op. 11 (1888–96)
May 18, 2021
We are looking for a new person to join our accounts team here at Forsyths. It is a rewarding role based in the heart of the business. This part-time position (25 hours per week Monday-Friday) is suitable for a numerate individual, preferably with accounts (Sales Ledger) experience and an interest in music. We are flexible employer and are willing to try and fit around other commitments such as childcare to make the role work.
To find out more click here.
Deadline Monday 31st May 2021
April 1, 2021
Refresh your repertoire with new music by Taylor Swift, Ian Higginson and Nikki Iles, plus an invaluable resource for diploma candidates, and a stunning contemporary music collection from Faber!
Out today! The popular and award-winning pianist and composer Nikki Iles commissioned this wide-ranging collection of new compositions and arrangements of classic songs to “reflect the breadth of jazz from its African American roots, through fusions with folk, classical and world music”. Book 1 is ideal for pianists of about Grades 4-6 standard, and Book 2 for those at Grades 6-8.
As beautifully-presented as the preceding collections in Faber’s series of piano anthologies, this excellent value 192-page collection offers 52 pieces, many of them never published before, including music from Aphex Twin, Einaudi, Enya, Philip Glass, Imogen Heap, Jóhann Jóhansson, Max Richter, Yann Tiersen and Nobuo Uematsu – all bound inside a striking reproduction of a Jackson Pollock!
Following the format of the Grade 8 Piano Anthology released every two years by Edition Peters for the ABRSM syllabus, Trinity have for the first time produced an anthology of 21 pieces selected from their ATCL diploma syllabus, edited with performance notes by acclaimed pianist Steven Osborne. Candidates can create a programme from this volume alone, and non-candidates too will enjoy both the stylistic scope and Osborne’s expert insights.
Taylor Swift: Folklore & Evermore – £16.99 - £19.99
Awarded Album of the Year at the 2021 Grammy Awards, Folklore was the first of Swift’s two surprise releases of 2020, both written and recorded since the start of the Covid-19 pandemic and both reaching No. 1 in the US and UK. Now Folklore and its “sister record” Evermore are available in attractive sheet music albums, in versions for piano, voice and guitar, and for easy piano.
Forsyth is delighted to distribute the music of British composer Ian Higginson, whose extensive catalogue of choral music – “expertly crafted, imaginative, practical”, according to John Rutter – is already popular with choirs around the world. This is his first album of solo piano pieces, largely written during lockdown, and one of them has already been featured in the January/February issue of International Piano magazine!
To discuss these or any other publications speak to our Sheet Music specialists on 0161 834 3281, option 1
March 8, 2021
We contine to staff our premises with a ’skeleton’ staff 6 days a week (Monday - Saturday) during the National Lockdown #3 and several staff working from home. This in affect is therefore a continuation of the Tier 4 restrictions from Thursday 31st December 2020.
We are closed to customers, We will, however, remain open to help you and provide our services ‘mail-order’ over the phone, email and via our website.
We are planning to reopen as soon as Covid-19 National Lockdown restrictions are lifted - which is currently scheduled for Monday 12th April.
To read more on how we will operate click here.
Initially in lockdown #3 we decided to suspend our piano tuning service given the continued rise in infection rates across the region. We had not been required to do so, but felt this is in the best interests and safety of our staff and customers. Now that infection levels have decreased significantly and we have had many enquiries from customers about when we will resume our service we have restarted tuning in customers homes (from 8th March 2021). If you would like to book in or have any queries about piano tuning and repair please contact Natalie on 0161 834 3281 ext 5.
Our guitar tech Danny will continue to work during this period as will Pete our woodwind and brass repairer so please phone to book in a service/repair (0161 834 3281 ext 4)
Our opening hours for help over the phone or ‘click and collect’ will be Monday to Saturday 10am -5.30pm. We will remain closed on Sundays.
During these hours, you can talk to our friendly staff by phone and email, collect your orders and/or drop off and collect your guitar repairs:
0161 834 3281
1 for printed music and musical gifts | [email protected]
2 for recorded music | [email protected]
3 for acoustic pianos | [email protected]
4 for guitars, digital pianos, and all other instruments and accessories | [email protected]
5 for piano tuning and repairs | [email protected]
6 for all other enquiries | [email protected]
March 6, 2021
Here at Forsyths we pride ourselves in having a wide selection of pianos available from a range of makers offering something a little different and special as well as the tried and tested modern day ‘best sellers’. We always like to have some fully rebuilt pianos on offer that are both a beautiful piece of furniture as well as a superb musical instrument. We are in the final stages of restoring one such fine piano - this Steinway Model A in rosewood dating from 1898.
Our French polisher has been painstakingly restoring the casework to its former glory.
In the second picture you can see the piano pre-restoration. We have had to rebuild the bottom of the ‘elephant’ legs to how Steinway originally intended with the castors hidden beneath. The faded rosewood has been returned to its true glory.
Please do get in contact if you are interested in this piano or something similar - we often have pianos waiting to be restored that may not yet have made it to our website. We can also help source appropriate pianos if you have a specific make or style in mind. You can see a selection of our antique restored pianos here. Otherwise please do give us a call to discuss your needs on 0161 519 1996.
December 29, 2020
By popular demand, our own music-themed face masks and snoods are now available to buy.
Here at Forsyths we’ve designed a range of musically themed face masks and snoods. Initially, these were for our staff to wear, but due to popular demand we have now had further supplies made to offer for sale.
Here, Emma is wearing one of the sheet music designs and you can see our staff modelling other designs in store, all to stay in line with our COVID-19 protocols.
We ask that all staff and customers wear masks in-store, so why not make them musical and washable!
December 20, 2020
The Barber Violin Concerto is a relatively short concerto with a performance time of c.22minutes for the three movement work. A young Samuel Barber was commissioned by Samuel Simeon Fels to write a piece for his ward Iso Briselli, who - like Barber - was a graduate of the Curtis Institute of Music. In 2010, letters between the three parties became available for public reading and revealed quite a story for the work.
Barber started working on the first two movements in Switzerland during the summer of 1939. He hoped to complete the concerto in the early fall to meet the October 1st deadline but his plans were interrupted due to the impending war when all Americans were warned to leave Europe. In late August, he travelled back to the USA through Paris arriving in early September. After spending a short time with his family in West Chester, PA, he went to the Pocono Mountains to continue working on the concerto. The first two movements were presented to Briselli in mid-October and they were met with great enthusiasm and ,after suggesting a substantial and virtuosic third movement, he took the unfinished work to his coach in NYC, Albert Meiff. Meiff, however, was less impressed and (with Briselli’s best interests in mind) sent as letter to Fels explaining that the work would need serious work, that the embellishments were not those of a modern violinist, and that if Briselli were to play the piece his reputation would be seriously hurt. He then claimed he was going to re-write the work to make the violin part more acceptable and that he, Briselli and Barber should meet to discuss changes. Barber obviously took Briselli’s criticism to heart and proceeded to write one of the most challenging pieces innthe violin reperatory.
When Barber finally completed the work, Briselli was disappointed with the final movement Briselli asked Barber if he would rewrite the finale; he could premiere it at a later date to give Barber more time if needed. He suggested possible ways in which the movement could be deepened or expanded; perhaps even changing its form altogether such as a sonata-rondo; that perhaps he might expand the third movement while possibly retaining the Moto perpetuo as the middle section and giving it more clearly defined structural parameters. Briselli felt that only then would it be a complete, first-class concerto.
Despite Briselli’s prodding, Barber was dismissive of his suggestions and declined to alter it. This was a big disappointment for Briselli, who believed that with a substantial third movement, the work could stand as a great American violin concerto. Briselli decided to hold his ground regarding the finale and chose to forego the concerto’s premiere and relinquish his claim on it. On December 14, Barber wrote Fels that, as he probably already knew, Briselli had decided the piece was “not exactly what he wanted, and has given it back to me.”
Then ensued a debate of pay between the two parties. Fels claimed that the third movement was far too difficult and impossible to play, and Barber claimed that despite this work being difficult it was only 4 minutes and he had another violinist from Curtis to play it and check the playability and practicality, finding it was playable. It is in debate as to whether the playthrough was meant to be a “demonstration play-through”, however Barber’s letter suggest it was for his own personal reassurance. What do you think?
Find the Sheet Music here