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Comments on some of the pieces in the ABRSM Grade 3 Piano Exam 2021 – 22
A1 Beethoven Ecossaise in E - (No. 4 from Six Ecossaises, WoO 83)
As an individual piece it does feel as if it starts a little abruptly as there doesn’t seem to be enough preparation for the melody it contains. To a certain extent the melody contains layers at times where the melody moves from one register to another. Its style, although being a dance, has a degree of restraint and delicacy, especially in the first section. It is cheerful and energetic in mood and although it sounds unchallenging for the player this is certainly not the case with a LH that leaps on a continuous basis. In this regard the player will need to possess the confidence to negotiate these leaps. In the second section there are some octaves to be played in both hands. In this section the player will need to increase the dynamics however they need to ensure that the sound does not become too harsh.
A2 Burgmüller Innocence No. 5 from 25 études faciles et progressives, Op. 100
This piece comes from a set of pieces composed by Burgmüller, which are not only studies but also character pieces. Innocence contains an often sparse texture and frequently uses a higher register of the piano in the RH which helps to convey the feeling of innocence. This piece demands of the player the ability to convey the grazioso and leggiero indications within the melodic patterns that often contain semiquaver and quaver patterns. It is an effective and charming piece to play.
A3 Handel Gavotte in G HWV 491
Handel’s Gavotte in G is a satisfying and rewarding piece to play with its energetic melodic patterns supported by a LH that provides the momentum for the piece. Obviously, discussing with the player the aspects of the gavotte dance will be beneficial. In this piece there will be the opportunity to experiment with different articulations providing there is consistency in their application. It is important for the player of this piece to have confidence in their knowledge of the geography of the piano, as there are leaps in the LH’s patterns.
A5 Mozart Leopold Angloise (from Notebook for Wolfgang)
This Angloise, written by Leopold Mozart, has elegance and poise and the player needs to convey an air of delicacy. The application of articulation in regards to two-note slurs and detached notes helps to portray this mood. It is reminiscent of a few pieces from the Anna Magadalena book. There are four ornaments present, two of which have been written out. Considering that part of the first section is repeated at the end of the piece, the player must ensure that the dynamics have been altered in the second playing so the listener’s attention is maintained to the end of the piece.
A6 Vitalij Neugasimov Gigue (from Piano Sketches, Book 1)
What a lovely and enchanting piece Vitalij Neugasimov has written. I imagine its title is derived from the constant changes from minor to major throughout the piece. it ends in a cheerful manner with a satisfying coda in a major key. Certainly throughout the piece there are Baroque touches with its use of imitation and use of articulation in the middle section. It is a piece that will appeal to many candidates.
A8 Reinecke Vivace (4th movt from Sonatina in A minor, Op.136 No. 4)
Reinecke has written an jaunty piece which is full of vitality and will be instantly appealing to players and listeners alike. The player will need to ensure that the dotted quaver/semiquaver pattern is meticulously maintained as it could become less taut rhythmically. There are numerous detached, accented and repeated notes and chords to play in this piece and all of these aspects must be played with utmost care with attention to detail. However, as is always the case, the accented and repeated notes and chords should never sound harsh and/or strident. Even though the LH has an accompanying role it is vitally important for the overall dynamics, support for the RH and on a few occasions providing the link for the RH. There is an undercurrent of tension and turmoil in this piece however the A major section dissipates some of this turmoil. Dynamic control is vital and the unexpected ending, considering it plays the highest notes of the piece, must sound brilliant so that the piece ends with a flourish.
A9 Seiber Jazz Etudiette (from Easy Dances II)
Matyas Seiber’s Etudiette is a charming and delightful piece which sounds uncomplicated however in reality, there are some challenges for the player. It may not be the best choice for some players as there is a danger that the tension may occur. The player will need to find opportunities for relaxing any of this tension. Adding a few touches of rubato will ensure that the playing does not sound robotic in any way. Strict adherence to the fingering, once decided, is paramount. This piece is reminiscent of some of Scott Joplin’s Rags, so listening to or playing some of his pieces will help to understand the style.
A10 Weber Scherzo
This energetic and lively piece has a feeling of ‘storm und drang’, storm and stress, with its constant changes of mood in the melodic patterns and keys, both major and minor. It commences in A minor and this opening pattern is suggestive of Burgmüller’s Arabesque. The player will need to play the accented notes within the dynamic context and also to bring out notes in the chordal passages. The application of the details of articulation will contribute considerably to the character of the piece. The RH single line in bars 30 - 32 must have direction so this passaged doesn't not lose its rhythmic impulses. The LH is constantly changing - some of the time it is supporting the RH with chords or mirroring the RH’s patterns or taking on a more melodic role. Accumulation of tension could be a concern when playing this piece.
My favourite pieces in the A set
Innocence Burgmüller
Gavotte Handel
Angloise Leopold Mozart
Moody Gigue
Vivace
B1 Elgar Salut d’amour Op. 12
Elgar’s Salut d’amour is a beautiful and expressive piece, which requires sophisticated pedalling skills, the use of thoughtful phrasing and the ability to control the dynamics of the phrases and the piece as a whole. The arranger has written in some exquisite details in regards to the articulation and these enhance the music considerably. In comparison with other pieces in this grade, I personally feel this piece is more complex, considering its use of articulation, the pedalling skills required, the holding of the LH notes, the maintenance of the legato and the bringing out of the top notes of the melody in the RH. However, any player who masters this piece will learn a great deal by doing so.
B2 Haydn Andante (2nd movt from Trumpet Concerto in Eflat, Hob. VIIe:1), arr. White
Haydn’s second movement of his Trumpet Concert in Eflat, Hob. VIIe:1 is a calm, and on the whole, undemanding piece. It may appeal to those students in particular who appreciate having some repetition in their music considering the second and fourth phrases are repeated. It would be best to think of this piece in regards to instrumentation, especially considering it was originally written for the trumpet. The foot-note for this piece explains that this piece was composed in 1796 and it was written for ‘the new keyed trumpet, which made pitches available that were missing on the old natural trumpet at that time. The slow movement illustrates the lyrical, melodious style that is often found in Haydn’s late works’. Players will need to ensure that the LH is ling enough especially when playing the crotchets. And, there may be a danger that a player, once familiar with the piece, starts to play it too fast. Focussing not he changing notes in the LH is wise and also the player must consider tone-matching in the RH in some areas. Considering that the main part is in the middle, the player will need to ensure that the listener’s interest is maintained to the end of the piece.
B3 Ailbhe McDonagh Anastasia, from It’s a Piano Thing, Book 2
This is a stunning and elegiac piece and is truly a joy to play. On first listening to it, one is struck by its sheer simplicity, however it conveys so much even though this is the case. Some players may be a little unaccustomed to some of the harmonies that are present in this piece, still it is well worth getting to know. The sweeping phrases will require much attention to the dynamics and there is an opportunity, in some cases, to learn how to use the pedal.
B6 Bartók Andante (No. 2 from For Children, Vol. 2)
This is a beautiful Slovakian folk-song, the melody of which is first played in the LH. Here the LH has a rich and resonant tone which is subtly supported by RH chords and some low bass notes which have to be played by the RH. There is a danger here that the player may not hold these low bass notes long enough as they may be prematurely lifted considering the distance the RH has to return to, to be able to play the chords. The RH has a full and rich cantabile melody (same as the LH’s melody an octave higher) in the second section. Bartók has provided numerous indication for the player in regards to dynamics and articulation. Whilst playing the piece, the player should take into account the timbre of particular instruments or voices that could play each hand.
B7 Carroll Spraymist (No. 3 from In Southern Seas)
Spraymist, a lush and evocative piece, is unmistakably written by Walter Carroll. Carroll provides the indication of ‘slowly drifting’ to this piece. At the start, the sea is not stormy however it becomes more turbulent as the piece progresses. It closes with the sea as calm as it was at the start. Here the player will need to possess the ability to create a rich sound using arm weight and also be able to control the dynamics, often a quiet level. The phrases are long, and this is the case for the pedalling too. Careful listening will be required to ensure the sound is blended on occasions in regards to the pedal. In addition to this, the player will need to highlight particular notes of the chords so that the melodic line is projected. There is constant melodic swapping between the hands and the player will need to adjust their arm weight accordingly. The fermatas and retards. should be scrupulously observed and no other rubato should be introduced, of it it is, it should be limited in its application. It is interesting to note that the photo not he front cover of Southern Seas is a photo of a beach in Samoa or Rarotonga. The photo was reproduced by permission of the High Commissioner for New Zealand. Walter Carroll’s music books had beautiful illustrations on their front covers.
B8 Gurlitt Song, Op 172 no. 1
Gurlitt wrote such lovely pieces, and this one is no exception. If a player chooses to play this piece, it may be their first opportunity to learn how to use the pedal. Even though the pedalling required in this piece is mostly of the staccato nature, some players may find ensuring the sustaining of the first LH note of the bar, for example in bar 1, a skill that will require work. Gurlitt has written an expressive and rewarding piece to play and even though it is only 32 bars long, there are many dramatic and contrasting moments. A piece that is definitely worth considering even though it is in a separate book.
B9 Paul Harris Indigo (No. 6 from Rainbow)
This piece would most probably appeal to the more sensitive and reflective player. It comes from Paul Harris’ Rainbow Suite and the pieces have titles of the colours of the rainbow. Its opening is reminiscent of the song, ‘Feelings’. The LH, on the whole, plays a rolling Alberti-bass type pattern and this hand provides the power for the music. It has a beautiful soaring RH melody which at times can be sparse and it conveys a degree of torment. There are a number of parts where the music comes to a complete standstill and the player will need to skilfully integrate these form one section to the next. The music contains some lovely harmonic shifts. It is one of the longer pieces of the set.
B10 Trad. Irish She Moved Through the Fair, arr. Hall
This piece is adapted from the song of the same name and the song is in the Mixolydian mode which creates a sparse and sorrowful mood. When sung, it is often sung unaccompanied or with little backing. It is a traditional Irish love song and the narrator watches his fiancée walk “through the fair” after telling him that her parents have let them get married even though her father won’t “slight him for your lack of kind”. She tells him that “it won’t be long, love, till our wedding day”. Later in the song she returns as a ghost and repeats the same words foretelling of her death (presumably at the hands of her disapproving family) and talks about their potential reunion as a couple in the afterlife. This no doubt would be more suitable for on older player considering the emotions that are contained in the song. The arrangement of the song is short, so to a certain extent it is condensed. And, some of the harmonies in the arrangement make it sound less foreboding and as a result, it doesn’t have quite the same impact as a singer singing it.
My favourite pieces in the B set
Salut d’amour Elgar
Anastasia Ailbhe McDonagh
Andante Bartók
Spraymist Carroll
Song Gurlitt