Wilhelm Kümpel Portrait Cornelius Gurlitt 1848, from Alamy.com
This is a piece that I have taught many times over the years. It never fails to impress both the young and the older. It has been part of a number of examination syllabuses and this is a credit to its appeal. These are some notes that I have written that will help with the playing of this piece and the interpretation of it.
Night Journey, Gurlitt
Character/story of the piece - this piece describes a horse and rider galloping through a forest at night. The repeated chords in the LH depict the sound of the horse’s hooves. The dynamics illustrate the rider and horse coming from a distance, drawing closer and then galloping away from a person standing still in the forest.
Form – this piece is a character piece, a genre that was common in the Romantic period as composers wanted an individual compositional style. There is no structure to this music as such however there are aspects that provide cohesion to the music.
Main part of the music – the loudest part of the music is at the start of bar 14 where the LH commences the quavers/dotted minim pattern. The dotted minim notes will need to be played with a reasonable degree of resonance.
Phrasing – the first three phrases contain four bars each and the final phrase is six bars long. The length of the last phrase is significant. All of the phrases commence with an upbeat and the player should consider how this affects the character of the music.
Tempo, time signature and rhythmic patterns – in my opinion the speed should be q = 126. The player should place a small emphasis on the first RH chord of every set of four quavers. In addition to this, the player must make the listener aware of the anacrusis beginning of every phrase.
Touch – the player is required to have the ability to play the LH with a cantabile touch. Here the player will need to use a weighted touch, with the weight provided by the shoulder and then transferred to the hand via the relaxed arms, supple wrists and fluid elbows. The use of the pads of the LH’s fingers is to be advised to ensure that the sound created is warm and expressive. The RH’s chords should be played with firm and well-rounded fingers.
By Unknown author - Self-scanned, Public Domain, https://commons.wikimedia.org/w/index.php?curid=40843795
Balance between the hands – clearly the balance is to the LH in this piece however there will be some areas of the piece where the hands will have less balance than others. At the end of the piece the hands should blend together.
Articulation – the lifts that Gurlitt has marked in this music must be observed, as they outline the melodic patterns. In addition to this, they add drama and excitement to the music. The lifts should be accomplished by using the wrist and elbow and the fingers should remain in contact with the key as it is lifted.
Dynamics – this is a piece where a wide range of dynamics can be employed. There is a danger that the dynamics could become a little harsh in the louder section, so the use of supple wrists, fluid elbows and arms is necessary. A slight change in the RH’s dynamics will greatly enhance the dynamics in the LH.
Rubato – the use of rubato in this piece will enhance its character. As is always the case, a ‘less is more’ approach is advisable. Apart from at the end of the piece, the use of rubato should always be balanced, so if there is some easing of the tempo there should be an acceleration within the phrase. And, the player should ensure that the rubato is never the same from one phrase to the next because this would result in it becoming predictable. It would be advisable at the end of the music to not slow down too much because Gurlitt has written longer notes, which to a certain extent slows the music anyway.
Practice/interpretation suggestions
Use of the RH
the player will need to employ firm and well-rounded fingers that only just lift off the keys in between playing each chord. There is a possibility that some of the notes in these chords do not sound. By maintaining firm and well-rounded fingers throughout will ensure that all of the notes are heard.
· the player must also ensure that their wrist does not become stiff and tense due to the playing of the repeated chords. The player should use a supple wrist and also look for opportunities where the RH can relax.
· there are occasions where the RH plays a very important role in this music such as where the LH is playing long notes in bars 8 and 12. In these bars, the RH propels the music, maintaining interest and momentum. Here the player should focus on the changing chords. These chord changes affect the character of the music; it may be changing key or the music is gaining or losing tension and urgency in character.
Balance between the hands
· the player should sing the LH’s phrases whilst playing the RH chords so they hear the balance between the hands.
· in the areas where the dynamics are louder, the balance should be more pronounced.
· in the areas where the dynamics are quieter, the balance between the hands should not be as pronounced.
· as is always the case, careful listening to the sound that is produced is vital.
Musical Period and composer
· Gurlitt was a German composer and some of his music is reminiscent of Schumann’s style. He wrote a number of delightful and charming pieces for the piano. Encourage the player to learn other music by Gurlitt, as he wrote many distinctive yet unique pieces.
· because the piece is written in the Romantic Period, the player can use a wide range of dynamics and rubato. Gurlitt uses very expressive material in this piece along with some leaps, which help to heighten the character of the music.
· the character piece is a brief composition, often for the piano, which expresses a specific mood. It is usually relatively simple in design and it emphasises melody and harmony. This genre allowed the Romantic composer an individual compositional style.