Gurlitt, Cornelius : Der erste Vortrag Tanzchen im Freien Op.210-14
Work Overview
Genre:pieces
Copyright:Public Domain
Commentary (2)
Author : Ooi, Kazurou
Last Updated: June 17, 2024
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Author : Ooi, Kazurou
This piece is in ABA form, with the A section primarily consisting of two-measure phrases. These two-measure phrases should be imagined as a conversational exchange, where one person speaks and another responds. Aim for this "multi-voice" expression, and be careful not to play in a monotonous manner. Measures 9 to 12 are written using a technique similar to a canon, but this too should be imagined as a conversation between two people. Initially, the melody emerges from the left hand, and before it concludes, the right hand enters. When the right hand enters, bringing out its melody more than the left hand will add interest and make the piece even clearer.
The B section should be considered as two 8-measure phrases. Since the atmosphere differs between the first 8 measures and the latter 8 measures, be sure to bring out this contrast.
As this piece has a very optimistic and lighthearted mood, be careful that the staccato notes do not sound heavy.
Author : Kumamoto, Ryohei
Last Updated: November 14, 2024
[Open]
Author : Kumamoto, Ryohei
Analysis of the Piece
The main key is F major.
The overall structure is ternary form:
A [I (a: measures 1-4 + a1: measures 5-8) + II (b: measures 9-12 + a1: measures 13-16)]
B [c (measures 17-24) + c1 (measures 25-32)]
A [I (a: measures 33-36 + a1: measures 37-40) + II (b: measures 41-44 + a1: measures 45-48)]
Analysis of the A Section
The structure of the A section is bipartite. While the 'a' sub-section is a bright, rhythmically active passage in the main key of F major with short note values, the 'b' section partially modulates to the parallel key of D minor, where two-voice imitation occurs. No other section in this piece exhibits polyphony apart from the 'b' section. Therefore, particular attention should be paid to the balance between the left and right hands as independent two-voice parts here.
After a half cadence in D minor in the 'b' section, the music returns to the main key of F major, and the 'a1' sub-section is re-presented.
Both the 'a' section and the 'a1' section begin with a descending motion and ascend to a cadence. The significant difference is that 'a' concludes with an imperfect cadence, whereas 'a1' concludes with a perfect cadence. Consequently, the cadence of 'a1' should convey a greater sense of stability and include the release of tension through harmonic resolution from the dominant seventh, more so than 'a'.
Analysis of the B Section
Compared to the somewhat complex structure of A, B is simply constructed. Like A, it is broadly bipartite, but the melodic motives have longer note values and less movement. Since relatively long note values (quarter notes) are arranged on the same pitch, it can be interpreted as having a vocal nuance.
The harmonic cadence from measure 17 is an imperfect cadence. Typical of the Romantic era, it does not begin on the dominant but starts from the subdominant IV. From measure 25, it modulates to B-flat major, and after a two-measure sequence from measure 29, it returns to the main key.
Re-presentation of the A Section
After the B section, A is re-presented, which is almost identical to the opening A. The difference is that the dynamics of the 'a' section are structured with forte and mezzoforte compared to the opening, making it louder than the initial mezzoforte and piano configuration.
These differences are likely intended to create a more robust sense of overall unity by making A more impactful within the piece's flow. It is also conceivable to vary the expression as if performing a finale, compared to the opening.
Concluding Thoughts on Interpretation
It is impossible to definitively ascertain the precise intentions behind these subtle differences. However, pausing to consider how to express such differences is one of the most creative aspects of piano practice.
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