This is a photo of six of Robert and Clara Schumann’s children - from left, Ludwig, Marie, Felix, Elise, Ferdinand and Eugenie.
By W. Severin - Ernst Burger: Robert Schumann. Schott Verlag, Mainz 1999, S. 317., Public Domain, https://commons.wikimedia.org/w/index.php?curid=23648479
Melodie No. 1 from Album for the Young Op. 68 Schumann Grade 1 ABRSM 2021 – 2022
As the footnotes state in the Grade 1 exam book ‘ Robert Schumann composed his Album für die Jugend (Album for the Young) in less than a month in 1848. At the time, the composer wrote: “I don’t remember ever having been in such good musical form… the pieces simply poured out, one after another’. Some of the 42 pieces in the collection were dedicated to Schumann’s eldest daughter Marie on her seventh birthday’.
This is quite a difficult piece for the grade; the player must possess the ability to control the dynamics of a phrase over a length of time as well as being able to play with a cantabile RH touch. This piece could easily sound boring and pedantic and it requires a sensitive player to be able to portray the character of the music.
Character/story of the piece - to begin with, the player should look at where the themes are repeated in the piece. The first theme that is present in bars 1 - 4, reappearing in bars 9 - 12 with alterations and when it appears again in bars 17 to the end, the final two bars are altered so that the piece ends in the key of C major. The second theme of bars 5 - 8 and 13 - 16 remains the same. Using this structure as a basis, the player could imagine that one singer sings the first theme and another singer sings the second theme. Obviously altering the dynamics whenever these themes are played again, will engage the listener. It would be all too easy to play each theme in exactly the same manner and the end result could be a little boring to listen to. Considering that it is a song, the player should create some words to fit the melody.
Form – a character piece with an ABABA structure. If the first phrase of bars 1 – 4 is repeated (not required for the exam), there would be 24 bars in total. The piece is in C major and at the end of the first phrase it moves to G major. Throughout the piece, there is considerable emphasis on the dominant of C major.
Main part of the music – this should occur in at the start of bar 15. For a very brief moment at the start of bar 15, the music could be at a forte level. Overall, the dynamics of the piece should range from pianissimo to mezzoforte.
Phrasing – all of the phrases are four bars long and all of them commence on the first beat of the bar. The rests, for example in the RH in bar 4, must be strictly adhered to as these highlight the end of the phrases in some instances. The player should consider whether there is a comma, a semi-colon or a full stop at the end of a phrase. The second and fourth phrases should contain more drama and the other phrases could be considered as an interlude.
Robert and Clara Schumann, from Alamy.com
Tempo, time signature and rhythmic patterns – as is known, Schumann’s tempo marks are not always appropriate for the character of the piece. Clara Schumann, Robert Schumann’s widow revised some of the tempos of her husband’s work and in many cases, her tempos were slower than her husband’s. It is thought that Schumann did not check his metronome markings against his actual performance of them. The tempo that is suggested of a crotchet = 88 is appropriate for the character of the music. Certainly, if played too slowly the music will sound pedantic and a little boring whereas if played too quickly, some of the piece’s drama and gravitas will be lost. The quadruple time signature contributes to the phrasing and there are times where it should be played as if some of the bar lines are not present. This piece does not contain any complex rhythmic patterns however some players may have difficulty in maintaining the evenness of the quaver patterns.
Touch/Articulation – here the player must employ a cantabile touch in A sections, making sure that the arms are relaxed and the wrists are supple. In the B sections, although the legato touch must be maintained, the player could use a slightly more energetic touch so that the listener will be able to distinguish between the two voices. The lifts, as shown in the music, should be followed, as these help to highlight the breaths that a singer would have to take to sing the song. The fingers should be gently lifted off the notes when observing these slurs with the fingers still in contact with the keys.
Balance of the hands- clearly the balance needs to be to the RH throughout the music. This may be the first occasion where a player has had to consider this aspect. The player must be able to maintain the balance throughout the piece. The LH has an important role to play though, as it needs to assist with the RH’s dynamics and in some instances, help to propel the music forwards. In addition to this, there are some phrases that are ‘completed’ by the LH.
By Adolph von Menzel - Robert Schumann, photo by Michael Sondermann Presseamt Stadt Bonn, Public Domain, https://commons.wikimedia.org/w/index.php?curid=26545189
Dynamics – as stated before, the music should mostly be at a mezzopiano or mezzoforte level. At times, the music will need to be played at a quiet dynamic and some players may find it difficult to control this aspect with its tone matching and speed of the music. The signs above the first notes of bars 5, 6 and 7 for example, may not be encountered before. As the footnotes state ‘and accent sign would not have been suited to the smooth, singing style of the music, so Schumann writes a sign that implies a gentle emphasis, rather than an attack’. These notes must be played with considerable care; they should be played with weight from the shoulder according to the dynamic level and this should be accompanied by the use of the elbow. More variation in the dynamics could be employed in the latter phrases of the piece.
Rubato – considering that this is a Grade 1 piece, it would not be expected that a player at this level would be using sophisticated rubato. Nevertheless, a few touches of rubato would enhance the piece considerably. It must be realised that any small hesitation at the end of a phrase does not result in the doubling of the final notes of the phrase. The music must always feel as if it has forward movement.
Considerations when playing this piece
Finger substitution is required; quite a complex skill for a Grade 1 player.
There is a danger that some of the notes of the chords are not played together.
The last phrase of the music should contain the most drama even though it does not contain the loudest part of the piece. It should contain the widest range in dynamics as well as some rubato.
As is always the case, a change in the LH’s dynamics will make a difference to the RH’s dynamics. The player must think about how the LH contributes to the music overall.
Some players may not be used to having their hands playing close together in some parts.
A descending pattern does not necessarily need to be played with a complete diminuendo.
The player should notice how the sequential pattern provides tension to the music.
The player must be ready to start with the fingers ‘active’, as there is a danger that the first notes are not heard.