Sibelius, Jean : 5 Pieces "The fir" Op.75-5
Work Overview
Genre:pieces
Total Playing Time:3 min 00 sec
Copyright:Public Domain
Commentary (1)
Author : Ooi, Kazurou
Last Updated: March 15, 2018
[Open]
Author : Ooi, Kazurou
This piece requires an improvisational approach. Therefore, one must move away from the metronome and play freely. However, without a good understanding of the flow, it will merely become a continuous series of arpeggios. By always grasping where the goal is, where the peak is, and where the music is currently heading, one can unify the piece.
Let's begin by examining the first measure. Although Stretto is indicated, allargando already appears in the first measure. This signifies a rapid change in tempo. It is advisable to use the allargando to transition naturally into the Lento of the second measure.
Now, regarding the six arpeggios in the first measure, what is noteworthy are the highest notes of each arpeggio. If we extract only those, they are F#, E, E, D, D, C#. They descend in three pairs of seconds. Let's keep this in mind.
A more melodic line begins from measure 3. All eighth notes in measure 3 are accented. Play them clearly, marcato, and improvisationally. The melodic line in measure 3 is B in measure 4, C# in measure 5, and C# in measure 6. The next phrase begins from measure 7, with D in measure 8, C# in measure 9, and C# in measure 10. The subsequent phrase starts from measure 11, with B in measure 12, F# in measure 13, and B in measure 14, revealing that only this last phrase is an arpeggiated line. Let's consider this as one section up to this point. Thus, if we extract only the dotted half-note melodies, excluding the eighth notes, from the four phrases within measures 3-15, we get:
- B C# C# D C# C# B F# B
Let's look at the next section: measures 16-22. Similarly, if we extract the dotted half-note melodies, we get B, E, A, G, C#, F#, which indicates progressions of fourths or fifths, rather than following a scale.
Next, let's examine measures 24-30. If we extract only the dotted half notes in the same way, the melodic line is D, C#, C#, B, B, F#, B, which almost matches the melodic line starting from measure 8 in measures 3-15. Measures 31-39 are merely an octave lower than measures 16-22.
The next section, measure 40, is a cadenza. If we extract only the highest note from each arpeggio peak here, we get D, C#, E, D#, F#, E, A, G, B, A#, D, C#, leading to a fermata. Can you see that they are paired in seconds?
There are two approaches after the fermata. The first approach is to extract the highest notes of the arpeggio peaks, as before. In that case, we get:
- F#, B, E, A, D, G, C#, F#, B, A, G, F#
Excluding the last four, they progress in fifths and fourths. The other approach is to follow the high notes, skipping one arpeggio peak after the fermata. First comes F#. Next would be B, but we skip this peak and move to E, then skip the next peak again. The result is:
- F#, E, D, C#, B, A, G, F#, which forms a clear octave scale.
Further on, if we again extract the highest note of each arpeggio, we get F#, E, E, D, D, C#, which matches the line from the first measure.
Directionality
Now, it is natural that having analyzed this far, we can establish a direction and proceed based on this information. For example, while F#, E, E, D, D, C# descends, one can also consider it as moving towards the final C#.
For D, C#, E, D#, F#, E, A, G, B, A#, D, C#, one approach is to crescendo while maintaining the order of making the second note weaker than the first, e.g., C# weaker than D, D# weaker than E.
Ultimately, the specific interpretation or direction is up to the performer. However, this discussion assumes an understanding of these general guidelines. Learners are encouraged to consult with their instructors to determine how to shape the music.
About Sibelius
By the way, as for the composer Sibelius, he is so unique that one might think there is no other composer quite like him. His very ideas differ significantly from of other composers. It is highly recommended to listen to many other works by Sibelius.
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