Impertinence HWV 494 Handel Grade 2 ABRSM

This piece was last in the ABRSM syllabus in 2015 - 2016. Its cheerful and energetic character continues to ensure that this piece remains popular amongst those learning the piano.

Impertinence HWV 494 Handel

Character/story of the piece – obviously it would be a wise idea to commence by discussing what the word ‘impertinence’ means and how this meaning contributes to the character of the piece. Handel rarely gave a title to his pieces. In this piece it would be best to consider the title providing the piece with a degree of cheekiness and disrespect, but in a funny and light-hearted way. If the character is stronger, the piece will sound heavy and less dance-like in character. The piece is a bourrée, which was originally a country dance. Its characteristics are – a fast duple metre beginning with a crotchet or two-quaver upbeat and containing flowing passages. Each hand could be considered as one of the dancers and whenever there are longer notes such as minims, the dancer at this point is more stationary than the other. Therefore, in many instances one hand or the other has prominence. Or, perhaps there is a stimulating dialogue going on between two people. The ABRSM notes for 2015 – 2016 describes it as ‘ at the first sounding as if it is going to be a straightforward canon with both voices in agreement, but the bass is always a little different, as though interrupting and contradicting the first voice’.

Form – binary form; two sections each repeated with the second section longer than the first. The piece commences in G minor and at the start of the second section the piece is in Bb major, G minor’s related major. In bar 14 the piece modulates back to G minor.

Main part of the music – as is often the case in Baroque music, the main part of the music is near the end. The loudest part should occur in bar 18 however the player needs to keep in mind that the dynamics should not be too loud considering that this piece is from the Baroque period.

Phrasing – this piece contains six four-bar phrases however only the first and third commence with an upbeat unless you consider the last LH note of some of the phrases as being the upbeat. To a certain extent the phrases overlap. The player should consider how the presence of an upbeat at the beginning of a phrase affects the character of the phrase. The upbeats at the start and at the beginning of the second section provide buoyancy to the music.

Handel harpsichord (first quarter of the 18th century) by William Smith, with an inscription Gulielmus Smith Londini fecit - Bate Collection, University of Oxford (2007-01-17 @pxhere 1344710)
By Unknown author - https://pxhere.com/en/photo/1344710, CC0, https://commons.wikimedia.org/w/index.php?curid=117473043

Tempo, time signature and rhythmic patterns – there are numerous suggestions concerning the tempo for this piece. I feel that it is best played at the speed of minim = 84. If played too slowly, the music does not have the vitality and energy that is vital for portraying the character of the piece. And, if played too fast, the music will not have elegance and poise. The cut time signature must be observed and Handel has helped outline the time signature with his use of two minims in a number of bars. This piece does not contain any complicated rhythmic patterns however the player must play the ornaments with a rhythmic sense and direction.

Touch/Articulation – as is expected, the player has much to consider in relation to the touch and articulation. This piece demands an intense and bright touch using well-curved fingers and a small amount of energy into the keys in both hands, as the music often contains contrapuntal touches. The detached notes should be played with only a slight separation rather than a short staccato. As is always the case, whatever articulation is decided on it is advisable to keep it simple and to be consistent in its application. For example, the sequential patterns in bars 9 – 14 should be highlighted by the use of tasteful articulation.

Balance between the hands – here is an opportunity for the player to learn how to highlight melodic material in both hands. Discuss with the player which parts should be featured and where one hand becomes more subservient to the other. In bars 5 – 8 the balance is more to the RH however the LH needs to be played with resonance. And, in the final bars from bars 17 to bar 20, the LH should be played with even more resonance, and as a result, there will be less balance between the hands at this point.

Dynamics - the player must remember that whatever dynamic level they use must be appropriate for the Baroque Period. The player must ensure that whenever the LH has a melodic role, the first note of these patterns is matched tonally to the remaining sound from the previous note. If a phrase is more forward moving in character, the peak of the phrase should be nearer the end rather than in the middle or nearer the start of the phrase. The loudest part of this piece should be on the second beat of bar 17 and the quietest part should be at the beginning of the second section.

Ornaments – the two ornaments, one in bar 7 and the other in bar 19 should be played as they provide momentum in an area where the melody is slowly down a little. The player should understand why the ornaments have been used at these points in the music as well as considering the dynamics of these.

By The Handel House Museum by David Lally, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=112568556. (Hendrix museum to the left).

Rubato – there should be only one place where the player uses a ritardando, and that is at the end of the piece. To a certain extent, Handel has written in a ritardando in bars 7 and 19.

Considerations when playing this piece –

· Requires independence of hands. For example, in some places, one hand may be playing with a crescendo whilst the other is playing with a diminuendo.

· There are many changes in the articulation; the player must be vigilant in their application of the articulation and be consistent in doing so.

· The correct playing of the detached notes.

· Discuss with the player the sequential patterns in the second section and how these affect the character of the music at that point.

· Evenness of the quaver patterns.

· Realisation of the ornaments.

· There are a few occasions where the hands are playing quite a distance part; some players may find this a little unsettling.

· Keeping the fingers in contact with the keys when lifting off at the ends of melodic fragments.

· The minims needs to be played with resonance so the sound can continue for the full length.

· The character of the piece is basically cheerful even though it is in a minor key.

· Consider Handel’s uses of rests and how this affects the character of the music.

· The change of articulation in bars 15 and 16 helps provide the momentum towards the main part of the music.

Piano & Theory Lessons