Foreword: What is Important in Piano Duet Playing

In piano duets, two distinct personalities harmonize on a single piano to create a unified sound. When performing, there is a tendency to overemphasize aligning sounds and synchronizing physical movements due to differences in the two players' personalities and techniques. This often leads to performances where, despite vertical alignment and dynamic balance being in order, the overall resonance and musical cohesion are not conveyed, or the playing sounds mechanical. It is crucial to recognize that a piano duet is chamber music for four hands and to consider how to connect the two players' musical individualities. For this, it is essential to share a common image and ideas about the music. By sharing thoughts on tempo, musical character, phrasing, dynamic balance, and pedaling, players can communicate their intentions without words during the performance. It is also important to cultivate a sense of quick responsiveness to the partner's reactions. While the musical examples are presented in score format, it is recommended to create a score-format sheet music for yourself to visually grasp the entire musical context while also knowing your partner's part. This is convenient as you can immediately start playing from any point in the piece by simply pointing to the desired section. Aim for a duet performance that amplifies the best qualities of both individuals.

About the Composer and the Work

American composer Glenda Austin, a beloved student of Robert Pace, has composed numerous lyrical waltzes with beautiful harmonies that evoke vivid scenes. "Waltz of Spring", one of the seven waltzes compiled in her Lyrical Waltzes Collection, was originally composed for piano solo in 2009, with a duet version created later. The duet version includes additional notes and melodies not found in the solo version, allowing the two players to dance a waltz within a more colorful soundscape.

The Scene Depicted by the Composer Through Sound

The Lyrical Waltzes Collection (Zen-On Music Company Ltd.) includes program notes and performance advice by Glenda Austin. Understanding the composer's intentions behind the piece can provide significant insights for musical interpretation, so please make use of them.

"In spring, buds sprout, flowers bloom, and the scent of spring begins to waft. Birds and butterflies eagerly await the warm sunlight, and all of nature awakens. Spring makes the heart joyful."

Austin provides the following advice for performance:

• The expression mark "Flowing, with lilt" indicates playing with a swaying motion, riding the wave of the waltz. Play with a swinging motion, as if on a pendulum.
• "rit. A tempo" and "poco rit. A tempo" appear frequently, so pay attention to these tempo changes. Ride not only the rhythmic waves but also the emotional waves.

Structure of the Work

The piece is in binary form, with each section in 8-measure units, consisting of an Introduction, A (a+b), A' (a+b'), and a Coda.

• Introduction: Measures 1-8
• A (a+b): Measures 9-24 (a and b are each 8-measure units)
• A' (a+b'): Measures 25-40 (a and b' are each 8-measure units)
• Coda: Measures 40-48

Performance Points

This is a light waltz in 3/4 time, celebrating the arrival of spring and evoking a colorful scene. Always be aware of the pulse, ensuring the third beat does not become heavy. Perceive four measures as one phrase, and ride the wave of the beat in two-measure units, as if swinging on a pendulum. The piece features many chromatic progressions throughout, which also contribute to the musical undulation. From measure 9 onwards, pay attention to the differences in dynamics between Primo and Secondo, aiming for a sound that not only balances volume but also unifies the harmony. Playing only the Primo's left hand and the Secondo can also serve as practice for harmonizing the two timbres and listening to the changes in harmony together. At this time, the Secondo should use the pedal while sensitively listening to the overall resonance. Furthermore, the Secondo should feel Primo's singing breath and accompany with a sense of singing together to achieve a sense of unity. In sections where tempo changes occur, such as Poco rit. at measure 23 and A tempo at measure 25, singing the melody together allows for shared tempo and performance. In the recapitulation (A'), the interplay between Primo and Secondo becomes active, allowing for an enjoyable dialogue of sounds. Express the richer, changing harmonic colors. A perfect authentic cadence finally occurs at measure 39, where the narrative thus far settles. In the Coda, at measure 43, a light eighth-note melody, celebrating the arrival of spring, reappears, bringing the piece to a swift conclusion. Even in the rests after the final note, feel the waltz rhythm and savor the lingering resonance. Rests in the piece have the effect of making the music vibrant and creating a sense of floating. While understanding that rests are "sounds without sound," consider what kind of expression the composer is seeking. It is a crucial process for both players to imagine the spring scene and exchange ideas on how to translate the emotions arising from each section into sounds and resonance. When intentions and breaths align, the sounds naturally synchronize.