Arensky, Anton Stepanovich : Six Pieces Romance Op.53-5
Work Overview
Genre:pieces
Total Playing Time:2 min 30 sec
Copyright:Public Domain
Commentary (1)
Author : Ooi, Kazurou
Last Updated: March 12, 2018
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Author : Ooi, Kazurou
Romance
This piece is not particularly difficult technically. Since the music flows horizontally, the continuous eighth notes in the accompaniment should be played quietly, without excessive volume. This is a crucial point regarding balance. The remaining points are primarily musical. It is necessary to sensitively perceive the mood created by the harmony and to vary dynamics and tone quality accordingly.
For example, when comparing measures 2-3 with measures 10-11, it becomes clear that 10-11 is far more emotional. Express this appropriately according to the character of the chords. Measures 18 and 19 change color. Use the soft pedal or other means to alter the timbre.
Here, another troublesome issue unique to Arensky arises. In the cadenza section of measure 20, pay attention to the second beat. The left hand on the second beat is again a wide chord that most people would find difficult to reach. Therefore, take only the E of CBE with the right hand. However, the melody line's A is very high, and it is impossible to play the left-hand E while holding down the A. If the A is not held, it will be cut off when the pedal is changed for CBE. Here, boldly sustain the pedal to maintain the melody line's A. The chord before CBE is FBD, so muddiness is unavoidable, but considering that the muddiness is momentary and that sustaining the A line is crucial, keep the pedal depressed.
From measure 22 onwards, the B section begins. The melody line is indicated by a single note with two stems, so balance the sound to bring out only this line.
Measure 32 is a sequence of measure 30, but the mood is entirely different, so change the color here as well.
Measures 34-36 are where this otherwise gentle piece reaches its greatest drama. Play them with FF without hesitation.
Measures 49-50 use the same material as measures 12-13, but 49-50 is a surprise in relation to 12-13. Unlike the serious 12-13, these measures convey gentleness and a sense of relief. Play them while feeling this.
Furthermore, the flow should never be like a metronome; play freely, using rubato.
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