Character/story of the piece – the first theme of the exposition is strong and sturdy and portrays a feeling of strength and decision. However, the second theme is delicate and a little indecisive considering that it commences on the third beat of the bar and changes registers often. At the end of the exposition, the two themes appear to become more in unison with their thinking as the exposition concludes with definition and determination. The player could think of a person of authority singing the first theme suggesting an activity. The second theme could be someone who is not sure whether they wish to partake in the activity that is being suggested. Continuing with this theme in the development, the activity is taking place. At the beginning of the development, the person who is portraying the first theme is urging the other person to take part. The rising sequential pattern of bars 17 – 22 shows that the person of authority is becoming more and more intense in their exhortations. The second person continues from bar 23 and the melodic patterns show that this person is very uncertain about the activity. The recapitulation is similar in character to the exposition (of course) and here the two people have not really resolved their issues even though there is a moment of solidarity in the final bars where the people accept their differences. Also thinking in regards of instrumentation is helpful when interpreting this piece too.
Form – this movement is in sonata form, with the piece beginning in G major. By the end of the exposition, the piece is in D major. At the start of the development, the piece moves to the key of G minor, with this section ending on the dominant of both G major and G minor. As would be expected, the recapitulation is in the key of G major.
By Josef Kriehuber - Eigenes Foto einer Originallithographie, Public Domain, https://commons.wikimedia.org/w/index.php?curid=1213976
Main part of the music – each section must have a focal point, however the dynamics must be thought of in regards to the whole piece. The loudest of the piece overall should occur at the end in the penultimate bar at forte level. The loudest for the development section should occur in bar 21 and for the exposition, the loudest should be placed in bar 7, both at mezzoforte level.
Phrasing – both the exposition and recapitulation contain four phrases, although the last two phrases of each of these sections commence on the third beat rather than on the first beat as the first two phrases do. This means that the second phrase is shortened and this heightens the tension of the music at this point. The phrases are in sets of pairs, with the second phrase of each pair providing an ‘answer’ to the first phrase. In the development, there are only three phrases and again the third phrase commences on the third beat of the bar.
Tempo, time signature and rhythmic patterns – a suitable speed for this piece is crotchet = 132, as the music needs to have energy and vitality but it should not be played too fast. The music is in Common time and there are no particular rhythmic patterns that are cause for concern. Unevenness may occur in the quaver patterns, saying the time names, ensuring that the fingers are well curved and the thumb is tall as well as placing a small emphasis on the first of each group of four quavers, will help maintain evenness in these patterns.
Touch/Articulation– changing the touch employed in regards to the two themes will provide contrast for the listener. The first theme requires a bright and intense touch supported by the arm and shoulder using curved fingertips, with energy being played into the keys. As a contrast, the second theme should have a cantabile quality with some weight being applied from the shoulder, more or less according to the dynamics of the phrase. Because of the drama in the development section, the first theme could be played with a cantabile touch at the start before the brighter touch emerging later in the section. Primarily this music should be played legato, however the repeated notes, such as the RH Gs in bar 1 should be played detached. Also, the RH chords in bars 23 and 24 should be detached. There is a kind of two-note slur occurring in the RH in bar 2 and this pattern is used throughout the music.
Balance between the hands – the balance should be to the RH throughout this piece however the LH provides the drive and momentum for the piece. Whenever the LH is playing on its own, the player must determine what the dynamics should do at these points. Considering how the LH leads into the following RH melodic line is important for the overall dynamics of the piece. In both bars 16, 44 and 45 the chords should be played with both hands sounding equally.
Dynamics – this music was written in the Classical Period and therefore the dynamics should not be too loud overall. There is tone matching to think about wherever the dotted crotchet/quaver pattern occurs, as the quaver should not be played too loudly in comparison with the remaining sound of the dotted crotchet. There are notes in the chords in both hands that need to be highlighted.
Schubert, Grand Duo Op. 140 (Sonata in C major for piano four-hands, D 812), title page of Diabelli's 1st edition (1837)
By Anton Diabelli - https://schubert-online.at/activpage/manuskripte.php?top=7&werke_id=1203&herkunft=gattung_einzelansicht, Public Domain, https://commons.wikimedia.org/w/index.php?curid=100271984
Ornaments – there are two ornaments in this piece, one written out in bar 15 and the other shown as an ornament in bar 43. These ornaments are the same, although the first one is in D major and the second is in G major. These ornaments should have a rhythmic direction and in no way should the LH notes being played on the beat, be disrupted at all. The player needs to ensure that they have the space to execute these ornaments.
Rubato – a very few subtle touches of rubato can be applied however these must be kept to a minimum. In bars 27 and 28, an lovely touch would be to slow a little at the end of bar 27 before slightly accelerating at the end of bar 28.
Considerations
The use of changes of registers is important to consider when playing this piece.
Notice the use of the word dolce at the start of the second theme.
The player does not need to always emphasise the top note of a melodic pattern, in instances where the dynamics pull back on the top note of a melodic pattern, tension and interest is added to the music.
There is a large leap to negotiate in the LH from bar 1 to bar 2. Here the player must have the number 5 finger ready to play the low C.
Whenever the LH is propelling the music forward, as at the end of bar 2 for example, it feels as if the RH is trying to ‘catch up’.
The sudden change of dynamics to piano will alert the listener to the change of key.
The sudden change to piano in bar 26 is not what the listener may have expected.
The music becomes a little more personal in bars 26 to 28.
The player must change the dynamics so that the listener does not become bored when the melodic material is repeated at the start of the recapitulation.
Notice how the LH plays chords at the end of both the exposition and recapitulation.
By Papergirl - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=50495134