Song Gurlitt Op. 172 No. 1 Grade 3 2021 – 2022
Character/ story of the piece – clearly this music is a waltz and discussion of the waltz form will be necessary. Here the player can imagine that each hand is one of the dancers, with possibly the man being the LH. Nevertheless, there is an additional story that needs to be considered when playing this music. There are clues in the music that show that someone has a concern and that this concern becomes more pressing as the piece progresses. The change of melodic material in bar 17 indicates that the person is facing a degree of turmoil, which is not fully resolved at the conclusion of the piece. The title of ‘Song’ could indicate that someone with these concerns is singing. It is interesting to note that Schumann’s writing influenced Gurlitt.
Form – it is a kind of ternary form, although it may be best described as a character piece. There are some exquisite chromatic patterns in this music, such as the move to F major in bars 7 and 8 after commencing in Bflat major. This key movement occurs again in the following phrase, ending at bar 16. Following this phrase, there is a sense of taking its time to move to F major once again. The last phrase returns to Bflat major and it stays in this key until the end of the piece.
Main part of the music – the main part of the music should occur in bar 23 however there is a second climax in bar 28. The player should be careful to ensure that the loudest part of bar 28 does not eclipse bar 23 in dynamics. To a certain extent, the second climax in bar 28 can also be achieved by the subtle use of rubato.
Phrasing – the first two phrases, each four bars long, should be considered as a set as the second phrase ‘answers’ the first phrase. The fourth phrase is three and a half bars long, which provides drama for the climax of the piece with the fifth phrase commencing a little earlier than it should. The last phrase, also eight bars long, commences with a crotchet upbeat, which helps to link the last two phrases.
Tempo, time signature and rhythmic patterns – there are differing views regarding the tempo of this piece. One assumes that Gurlitt wrote the moderato tempo indication and in my opinion, this is the tempo that should be used for this piece. A metronome speed of crotchet = 104 is the most suitable, as at that speed the player can project the concerns that someone is going through. If played at a faster tempo, the music becomes less lyrical and more accented, which does not fit the character of the music. Gurlitt has written this piece in three time, which is a very important aspect to remember. There is a danger here that the player may accent the first of the three-quaver pattern, for example in the RH in bar 1, which would then result in the music being in compound time. There are no particular rhythmic patterns that would cause concern for the player in this piece. The poco animato indication in bars 17 and 18 is one that is not often encountered.
Touch/Articulation - here the LH’s first note of each bar should be played with a degree of resonance using weight from the shoulder. This will ensure that the LH’s note sounds for sufficiently long enough so that it can be pedalled. The following LH chord will need to be played, on the whole, quieter than the low LH note. At the start of the piece, Gurlitt has written cantabile and the RH will need to be played with some weight from the shoulder with a very flexible wrist. Every long note should be played with an accompanying gesture using the elbow. In bars 7 and 8 for example, there is an instance of two-part playing. The LH needs to be light and buoyant, except in bars 17 to 24. There are small slurs used in the RH and these should be observed, as they add interest and delicacy to the music.
Balance between the hands – considering the melodic material, this piece requires RH balance for most of it. The fourth and fifth phrases require a different approach with each hand contributing equally. It would be advisable for the player to consider the LH leading the music at this point and that the RH is always trying to ‘catch’ up. Careful consideration will need to be given in this area as to how loud each hand will need to be played in comparison with the remainder of the sound from the other hand. Finally though the RH ‘triumphs’ at the start of bar 23 with the LH enhancing the dynamics.
Dynamics – although there are two forte indications, the forte that is used should not be overly loud in my opinion. The piece should be played with a wide range of dynamics however the reflective nature of the music should always be kept in mind. Playing the climax excessively loudly at bar 23 may seem out of place in relation to the rest of the piece.
Pedalling – this piece would be best avoided if the player cannot use the pedal with ease. Sustaining the low LH notes is vital and in addition to this, the player must observe the numerous rests in the piece. Half-pedalling will need to be employed in bars 7 and 8 for example. Pedalling the LH quaver patterns in bars 17 to 24 is advisable however the player must ensure that there are no sudden ‘swells’ of sound in this section. Basically, as always, the pedal should be used with subtlety and refinement so that the listener is not really aware that the pedal is being used.
Rubato – small touches of rubato will definitely enhance this music. As is the case with rubato, the ‘less is more’ approach should be adopted and the player must ensure that the rubato employed does not become predictable. Rubato has been written in by Gurlitt in bars 17 to 24 with his use of poco animato and poco rall.
Considerations
· The high notes, for example in the RH in bars 13 and 29 need to be played with delicacy and do not necessarily need to be the loudest of the phrase. These notes will have impact, partly because of their pitch.
· The last few bars will have to be played by memory considering the melodic material.
· Where Gurlitt has marked crescendo, the player should take their time to achieve it. Look for areas where the player can pull back for a time before continuing with the crescendo.
· Playing the music at a slower speed will highlight Gurlitt’s use of poco animato.
· The piece should start with a degree of uncertainty.
· The player should notice how the LH has to lift off in bar 4 before the RH.
· Bars 6 to 8 should sound a little more legato in comparison with the previous bars.
· There is a definite change of character at the start of bar 17.
· Notice how the last two phrases commence with an upbeat.
· As is always the case, the level of the LH’s dynamics will contribute considerably to the dynamics of the music overall.