By Unknown author - http://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/rcmu/large/wmrii_rcmu_pphc000002_large.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=42199433
According to my spreadsheet of ABRSM examination pieces over a number of years, the first movement of Thomas Attwood’s Sonatina in G has been in the ABRSM piano examination syllabus in 1998 and 2021-2022. The notes for the 2021 - 2022 syllabus suggest ‘there should be a sense of Classical phrasing such as might be found in the vocal music of Attwood’s teacher, Mozart. It is suggested to practise the G major scale starting on any note’.
This is a quote from the ABRSM Commentary on Piano Examination Pieces 1998 written by Jean Harvey. ‘This is a cheerful and happy Sonatina movement which will rely on a strong melodic line and a supportive even accompaniment. This even touch is especially important throughout, but especially when the RH moves in quavers with tonal gradation as well’.
Character/Story of the piece - here the player could imagine a group of people going on a hike together. In the second section2, from bars 8 until bar 19, the group of people could be milling around looking at the view and deciding which way to go. And in the last part, the group of people are hiking off in another direction. The mood is happy and serene. A discussion with the player about the characteristics of the first movement of a sonatina and of how sonatinas are constructed would be advisable. The player needs to understand how the first movement fits into the context of the complete sonatina. Usually, the first movement of a sonatina contains two themes often in different keys, the second one often in the dominant key of the first key. These themes are introduced in the first section, the exposition, the following section the development, develops the themes heard in the exposition, often in new keys and a new theme could be introduced. The final section of the first movement is called the recapitulation where the themes are restated, both in the original key. This movement does not have the complexity that is described above; the exposition only contains the first theme. The second theme, commencing from bar 8 is introduced in the development. There is a transition section from bars 16 to 19, and in the recapitulation, the first theme is restated.
Form - ternary, with the first and last sections containing mostly the same material. The movement commences in G major, and apart from the transition portraying a feeling of being in D major the piece remains in G major throughout.
Main part of the music - this should occur at the end of bar 24 and the player should be aware that the forte dynamic required for this piece should not be too loud considering the Musical period from which it is from. The player should also have in mind where the focal point occurs in each section.
Phrasing - the first and third section contain two phrases, each four bars long. The second section contains three phrases, the first two phrases contain four bars. However the third phrase, the transition only contains three bars. Being only three bars, this helps to provide some tension and a little uncertainty to the music at this point. Another aspect to consider is the use of an upbeat at the beginning of all of the phrases and how this affects the character of the music.
Tempo, time signature and rhythmic patterns - the use of the title Allegro is misleading. over the years this piece has had some different tempos suggested, One copy I have, from the Grade 1 exam book for 1984, the speed is listed as 2/2 with a speed of a minim = c.76, meaning a crotchet speed of152. Another copy I have lists the speed as crotchet = 126 which seems to be more realistic and true to the character of the music. If played too fast, the character and details of the piece will be lost, however a speed of 126 will provide the music with the motoric and energetic character it calls for. It is interesting to note that an earlier exam book describes the time signature as cut time rather than common time. This is excellent advice, as the pieces is more effective with a feeling of two in a bar rather than four. There are no complicated rhythmic patterns present however some pupils may require help in the playing of the RH quaver after the tied note in bar 6 for example. Some players may find maintaining even LH quavers a little demanding.
Touch/Articulation - this piece necessitates a legato touch throughout. The LH crotchets in bar 7 and others should sound gently detached because of the observance of the rests in between each crotchet. The LH in bars 13—15 needs to be played with a gentle staccato touch. A small emphasis placed on the first note of every four quaver group in the LH will provide the music with the two in a bar feel that it requires. The LH should be played as legato as possible with the fingers close to the keys. The LH minims should be played with a degree of resonance, for example in bar 4, so that the sound continues for its full length. However, the RH demands an intense and bright touch using well-curved fingers with a small amount of energy into the keys in the first and last sections. In the second section, the RH should be played with a legato touch with a little weight provided from the shoulder so that this touch contrasts with the touch used in the first and last sections. Because of the transition occurring in bars 16 through to 19, the player should gradually change their touch from a legato one to one that is more intense, as this will indicate to the listener that a change will be occurring in the music. The short slurs that are used in this phrase also contribute to the transitional character of this part.
Balance between the hands - the balance is to the RH however this does not mean to say that the LH does not have an important role to play in this music. In bar 6 for example, the RH quaver immediately after the tied minim should be played using tone-matching, this note should be played no louder than what the tied note has faded to. In addition to this, the LH’s crotchet note should help to generate the dynamics of the RH. The LH Alberti bass provides the harmonic and rhythmic basis for the music. By placing a small emphasis on the first and third beats of the bar also provides the music with an interesting melodic pattern. In bar 6 for example, the LH continues after the RH has played and this should feel as if the melody is continuing at this time into the LH.
Dynamics - the player must remember that any dynamic level they use must be appropriate for the Classical Period. The dynamics of the second section should sound a little quieter in comparison to the first and last sections, as the character of the second section sounds a little diffident. The phrases in this piece are long, so the player must provide the listener with interest in the dynamics. The player should ensure that the peak of each phrase is not in exactly the same place in each phrase. If a phrase is more forward moving in character, the peak of the phrase should be in the middle or nearer the end of the phrase. As is always the case, the accompanying hand will contribute to the overall dynamic levels required in the piece.
Rubato - this is not an aspect that needs to be considered in this music however a little slowing down at the end of the first and second sections will be appropriate. And, a little more slowing down in the final bar will add an effective touch to the music. Nevertheless, the player must ensure that the notes are not being doubled in value in doing so.
Considerations
· There is a danger that the melodic line in bars 16 to 19 could become unrhythmical as there is no LH to accompany it. It is important that the player keeps the melodic line rhythmically taut by placing a small emphasis on the first note of each four quaver group and later on in the phrase, on the first note of every two quaver group.
· There should be direction melodically and rhythmically in patterns such as the first three beats in bar 8. The player should consider the end of this section in relation to punctuation - is the end a full stop, comma or semi-colon? And, the following melodic material should also be considered when thinking about the ending of each phrase.
· The second section does commence with diffidence however as it progresses it gradually increases in confidence.
· Notice how the increased use of crotchets in the later part of the second section helps to contribute to the increasing tension.
· The player will need to have a method of knowing how many quavers are played in the second part of the transition. It would be very easy to play too many or too few.