This piece has been present in the Grade 3 syllabus before in the 1999 - 2000 syllabus. It is also part of the AMEB piano syllabus too. I have found it listed in the ABRSM Grade 3 syllabus in 1982.
It is an instantly appealing piece with it semiquaver runs and changes in character. One is constantly amazed at how Burgmüller can compose a piece containing only 32 bars that has such variety and nuance. It contains delicate scale passages and contains charming harmonies and these help to convey a sense of innocence.
Once the ideal speed has been reached and can be comfortably played at that speed, it is essential that this speed is maintained by constant use of the metronome on a daily basis. It is all too easy for a fast piece to gradually accelerate the more familiar a player becomes with it. Often the player will accelerate at the beginning of the second section in this piece.
One idea that has been suggested is that the RH melodic pattern in bar 2 for example, is a written out appoggiatura and should be thought of as a curtsy.
Innocence Op. 100 no. 5 Burgmüller Grade 3 ABRSM 2021 – 2022
Character/story of the piece - obviously it would be a wise idea to commence by discussing what the word ‘innocence’ means and how this meaning contributes to the character of the piece. And, it would be sensible to discuss the words grazioso and leggiero and how these indications can be expressed in the playing. As the ABRSM notes for the 1999 – 2000 syllabus state ‘the character of this piece is all about elegance, charm and innocence and to express this, the runs need to be well controlled and unflustered. Perhaps the player could imagine they are floating down a ski slope on skis in the first section and in the second section they are walking back up the ski slope for their next run. The current ABRSM notes discuss the need to recognise this pieces as a minuet and suggest listening to the simple minuets of Bach or Mozart to help students understand the style.
Form – this piece is in binary form with both sections repeated although the repeats should not be played in the exam. There is a modulation to C major at the end of the first section however Burgmüller continues in F major in the second section.
Main part of the music – this is at the beginning of bar 14 with the ending of the piece to be played slightly quieter than bar 14. Considering the piece has the title of ‘Innocence’ and overall the music is delightful and elegant, the dynamics should not be too loud.
Phrasing – there are four phrases in this piece, all four bars long. Bar 8 connects the two sections with a lovely chromatic melody at the end of the repeat. When starting the second phrase in bar 5, the dynamic level should be less than the level it was at the end of bar 4.
Tempo, time signature and rhythmic patterns – there are many varying tempo indications for this music and I have seen some as low as q = 88 and others as high as q = 120. In my opinion q = 104 is the most suitable tempo for this piece. If played too slowly, the music drags, and as a result, it doesn’t portray its elegance and vitality. However, if played too fast, many of the refined details are lost. This piece should convey the feeling of one-in-a-bar, so the player should subtly emphasise the first beat of the bar. However, there are there are a few bars where there should be a little more accentuation such as bar 7 or those at the beginning of the second section. Utmost evenness is required when playing the semiquaver and quaver patterns.
By Print made by: F Meyer. Printed by: Thierry Frères - https://www.britishmuseum.org/collection/object/P_1870-1008-1113, Public Domain, https://commons.wikimedia.org/w/index.php?curid=90262815
Touch/Articulation - in the first section, the player needs to play with a legato touch with a little weight from the shoulder trying to connect the weight from one note to the next in order to create the grazioso sound. Some editions have the sets of semiquavers standing on their own with a legato slur over them. It is best to play all of the RH notes in the first two bars legato rather than following the individual slurs. In the second section the player should play with more energy into the keys, a staccato touch within the legato touch should be thought of. Playing the LH in a light and delicate manner can enhance the leggiero indication. The articulation markings in bars 7, 9 – 13 and 15 should be strictly adhered to, although the player must ensure that the crotchet is held for the exact length, for instance at the end of bar 10. There are times where the player should imagine that they are ‘reaching’ for some of the notes such as the RH D at the start of bar 15. As the player progresses through bars 10 – 14, the fingers could become gradually a little more intense with a quicker descent into the keys.
Balance between the hands – essentially this piece has RH balance, however there are instances where the hands become a little more equal in sound such as bar 7, 12 -13 and 17. The player must consider how loud to play the LH chords at the end of bars 2 and 4 and this should be in relation to where the music is moving dynamically.
Dynamics – as stated before, this piece should not be played too loudly and even though it is marked forte in two places this could err on the lesser side of the dynamic. Considering, that in some places the RH is playing in quite a high register, the LH will need to be played with sufficient resonance so that it adequately supports the RH. As is always the case, a small change in the LH’s dynamics will make a considerable difference to the dynamics overall. In the second section there could be a greater range of dynamics used.
Rubato – a few small touches of rubato are appropriate in this piece however the use of too much pulling back will mean that the piece loses its momentum and vitality. A small hesitation at the end of bar 2, a small pulling back in the RH quaver pattern in bar 9 and a small hesitation at the third quaver in bar 15 is effective. The player must ensure that they do not become too fast at the start of the second section, as it is too easy to accelerate at this point. There should be no indulgent slowing in finding the last chord and the hands should be held over the keys in the last bar to indicate the rest.
Considerations
· Although the piece as stated should be felt as one-in-a-bar, there is a melodic line with the first notes of the semiquaver patterns in the first section. Subtly emphasising the first note of the patterns helps to ensure that these patterns are played evenly.
· Considerable work will need to be undertaken to ensure that the fast moving patterns are played evenly. One suggestion is to play the first five notes in the RH, then play the second semiquaver set followed by the first note of the set and so on. Players should look at the shape of the fingers, they should use time names in their heads and the patterns could be played in unison.
· This is an excellent piece to learn how to play it with vibrancy without the dynamics becoming harsh. It needs to sound as if it is being played with restrained energy.
· Any lifts in either hand should be accomplished with the fingers remaining in contact with the key so that the resulting sound is not too abrupt.
· There must be strict observance of the rest; the player should imagine that they are ‘playing’ the rests.
· There is a danger that when commencing this piece, the first notes are either not loud enough or not heard at all. Lift the hands whilst breathing in, and then drop the hands into the keys whilst breathing out. Controlled arm weight when playing these notes will ensure that these notes are heard.
· The first section could convey a little diffidence however in the second section, a gradual sense of confidence could be shown.
· Think of a ‘tip-toe’ bass in the LH in bars 10 – 13.
· Players must ensure that all of the notes of the LH’s chords are played together.
· Some editions suggest using a touch of pedal for instance at the start of bar 1 or on the final chord. For some Grade 3 players, this may be an aspect that they may not be able to master.