Minuet in C K6 Mozart ABRSM Grade 1 2021 – 2022
Character/story of the piece – obviously the characteristics of the minuet should be discussed with the player and they should watch a demonstration of this dance. A minuet is a slow, stately dance in triple time for groups of couples, originating in France. The name minuet comes from the small minute steps that are used in the dance. Considering the phrasing of the music, the first and third phrases depict the dancers moving towards and then away from each other throughout the phrase. In the second and final phrases, the dancers are dancing more closer together. The dancer that is depicted by the LH could be bowing with great flourish in the first and third phrases. According to the ABRSM notes for this piece, Mozart’s first love was dancing and his first public performance was as a dancer. The notes state, that even though the Minuet was considered a little old-fashioned for the period, the form does occupy a significant place in Mozart’s compositions.
This piece was part of the ABRMS syllabus in 1982 and could possibly been part of the syllabus between 1982 and the current one. It is interesting to read the footnotes for this piece – how this piece was written into a book by Mozart’s father, Leopold that was for Mozart’s sister Nannerl.
Form - this piece is in binary form with each section being of the same length. The music modulates at the end of the first section to C major’s dominant key, G major. The music remains in G major before returning to C major in bar 11.
Main part of the music – the main part of this piece is located at the end of the penultimate bar of the music. This will highlight the tension of the dissonance created by the appoggiatura at the start of the final bar. As is always the case, even though this main part should be played forte the level of the dynamics must be considered in regards to the fact that this music is from the Classical Period and therefore there should be a degree of restraint in regards to the dynamics.
Phrasing - there are four phrases in this piece and they are in sets of two, with the first phrase of each set being answered by the second phrase. Both phrases end with a dissonance created by the appoggiatura, which is resolved by the final beat of the phrases. In addition to this, the first phrase of each set has a slightly yearning quality, which is contrasted with the following phrase which is brighter and a little more positive in character.
Tempo, time signature and rhythmic patterns – the suggested speed of crotchet = 104 is an excellent one as it means that the gentle and elegant character of the music will be portrayed. If played any faster, this character will be affected and of course, if played too slowly, the music will drag and lack any vitality and energy. Some players may require assistance in their playing of the dotted crotchet/quaver patterns and also ensuring that the quavers are played with evenness.
Touch/Articulation – as described above, to portray the slightly yearning character in the first and third phrases, a cantabile touch should be employed. This touch will contrast with the brighter touch at the start of the second and final phrases. At the end of each of these phrases, the player could return to a more cantabile touch as they near the dissonant appoggiatura. The two-note slurs are vital for portraying the character of the music. Some players may find the two-note slur on the dotted crotchet/quaver pattern a little tricky to achieve, so it may be wise to suggest this pattern is joined to the following six quavers.
Balance between the hands – on first looking at this piece, one would think that the balance should be to the RH. However, the LH has a very important role to play in this piece. In phrases one and three, the hands are not quite matching each other in regards to their movements and in these phrases the LH therefore should sound melodic rather harmonic. It is as if the LH is ‘butting’ in at this time. In bars 4 and 12, the LH propels the RH into the following phrase and from there; the LH becomes more harmonic in character.
Dynamics – as discussed before, the overall level of the dynamics should be restrained considering the music is from the Classical Period. As is always the case, changing the LH’s dynamics will make a considerable difference to the dynamics overall. As suggested, the player should commence at a piano level and throughout the first phrase should gently crescendo towards bar 4 to a mezzo piano level. The following phrase should commence at this level and become a little louder at the end of bar 5. This dynamic level should be maintained for a time and at the end of the phrase, the dynamics should be at a mezzo piano level. Commencing at a pianissimo level at the start of the third phrase adds a degree of drama and tension to the music. The last phrase should commence at a mezzo piano level rising to forte at the end of the penultimate bar. Tone-matching is a crucial consideration throughout this piece.
Ornaments – this piece presents a wonderful opportunity to discuss with the player the use of the appoggiatura and how the music feels as if it is leading the listener to these ornaments.
Rubato – this is not an aspect that should be an overriding feature of this music however little touches of rubato will enhance this piece. The player must be careful that by applying any rubato the notes are not doubled rhythmically.
Considerations when playing this piece –
Note from the footnotes – all of the slurs, with the exception of the one in bar 4, are from the source. The editorial markings are the sharp in bar 4 and the appoggiatura in bar 16 to reflect the one in bar 8.
This piece provides an opportunity to discuss with the player the use of the chromatic notes and how they affect the character of the music.
The ABRSM notes state that the finger change in bars, such as bar 2, allow the key to rise and avoids an inelegant emphasis on the minims.
Another opportunity is provided in this music to discuss the use of sequential patterns. Notice how the pattern ascends in the first phrase but descends in the third phrase.
There is a danger that the first RH note may not sound. Here the player needs to think about how they will be using their thumb to play this note and how loud the LH will need to be played in comparison.
A range of gestures will need to be employed when playing this piece.
The playing of the repeated notes in the LH will require considerable thought – these need to be played as legato as possible and how the LH is contributing to the overall dynamics and direction of the phrase.
At the end of the second and fourth phrases the dynamics of both hands should blend together.