From personal ephemera collection.
The Hofball or court ball marks a representative ceremony which was organized by a court of a ruling family in Vienna, Austria. During the reign of Emperor Franz Joseph I (1848-1916) was the second highest ball during the carnival season . The court ball took place in the Hofburg, for example in the ceremonial hall. The evening was led by the court ball music director. Painting by Wilhelm Gause (1853-1916), a German-Austrian painter. From Alamy.com
Fritz Spindler was a German pianist and composer who wrote chamber music, symphonies and other large forms, however he is best known for his piano pieces, numbering over 300.
Jane McGrath state ‘he is best known for his salon and character pieces in a style that is a mix of Classicism and Romanticism’.
His music was very popular in the 1870s, 1880s and 1890s. Spindler died in 1905.
Waltz in A minor Spindler Grade 2 ABRSM 2021 - 2022
Character/story of the piece - obviously discussing the features of a waltz will be an important starting point. This waltz contains the usual waltz features such as being in simple triple time, has a beautiful melodic line, uses one chord per bar and the first note in each bar (the second section is different) is played in a low register on the piano and the subsequent two chords are played higher and contain notes of the same chord. In the first and last sections of the dance, the player should relate the melodic line to what the dancers are doing, for example in bar 4 the female dancer could be twirling. The second section requires a different approach, as it is more defined and robust in character. Perhaps in this section the player could consider that there is only one dancer performing in this section with the other dancers are looking on. Each of the phrases in the first section portray a melody that has a beautiful rise and fall shape and this needs to be projected using subtle rubato and dynamics.
Form - this piece is in ternary form with the first section repeated exactly the same at the end. The B section is complete contrast to the first and third sections with its change of key, dynamics and use of thirds.
Main part of the music - this should occur at the end of bar 13. This bar should be played at a forte level however the sound should not be harsh or too loud, rather the sound should be warmly resonant.
Phrasing - there are two phrases in each section making six phrases in total. Each set of two phrases should be considered as a whole as these two phrases have a question and answer character. The phrases in the first and last section are connected by the forward quaver movement in the last bar of the first phrase.
Fritz Spindler, from Alamy.com
Tempo, time signature and rhythmic patterns - a tempo of 96 crotchets per minute is advisable. The speed needs to be reasonably fast as this will help to contribute to the rise and fall aspect of the melody of the first and third sections. It is advisable for the player to place a small emphasis an the first beat of every bar as this will help to project the triple time signature. There are no rhythmic patterns present in this music that would provide any concern.
Touch and Articulation - the first LH notes in every bar in the first and third sections must be played with a degree of resonance so that these notes can be highlighted by the use of the pedal. The subsequent LH chords on beats two and three need to be played with lightness and delicacy although some of these are required to be louder according to where the phrase is moving dynamically. The music is marked Moderato Cantabile. The second section demands a rich cantabile touch in the RH, with the top notes highlighted, if at all possible. However, the first and third sections, although necessitating RH balance require a more delicate cantabile touch. It is advisable for the player to follow the small slurs that are marked as these provide space and lightness to the music. The lifts at the ends of bar 1 and 2 for example, are crucial. The rests that are used in the RH in the second section must be strictly observed, as these provide space and lightness too.
Balance between the hands - the LH is clearly playing a supporting role in this piece, so it is necessary for the player to project the RH over the LH. Nevertheless, the LH is not an inactive partner in this piece; it helps to provide the beat and momentum, contributes to the harmonic movement and helps to direct the dynamics.
Dynamics - considering that this piece was written in the Romantic period and also the character of the piece, a wide range of dynamics can be used. And, the dynamics employed in the third section should be different to those used in the first section. The third section should project a little more drama than the first section, so using a larger range of dynamics is desirable. The dynamics are generated by the L.H.
The loudest the dynamics should be is forte and this should occur at the end of bar 13 and the music should only stay at this dynamic level for a short time.
Pedal - there are a number of pedal markings inserted into this music however some may result in too much build up of sound. The pedalling that is required to fulfill what has been inserted may be a little complex for a Grade 2 candidate. Nevertheless, the use of some staccato pedalling is advisable. The first beat of each bar should be sustained of the first and third sections however the rest of the bar should remain unpedalled. And, the pedal that has been inserted in bars 15 and 16 should be followed as written.
Rubato - this piece provides an excellent opportunity to introduce the concept of rubato. It may be helpful for the player to think of each phrase as a wave, thinking about the rise and fall. It would be prudent to avoid adding rubato in most of the second section as it would be best played in strict time.
Considerations -
· Some players may be a little uncomfortable with the range of LH notes that have to be played.
· There could be a tendency for some players to lift the minims and dotted minims too soon.
· The RH notes C and B, for example in bars 1 and 2, should not be accented in any way at all.
· The highest note of a melodic fragment need not necessarily be the loudest.
· It is interesting to note that Spindler does not start his phrases with the tonic chord. The player should consider how this contributes to the character of the music.
· The rests in bars 10, 12 and 14 must be strictly observed.
· The arpeggiated chord in bar 16 should be played quite quickly, it should not sound as if each notes is the length of a beat.
· The rests in bar 8 are very important.
· The player should ‘enjoy’ the suspension at the beginning of bar 4.
· Eye movements are crucial in this piece, the player must look for the low L.H. note and once the hand has reached where the player is looking they must immediately look back to the music. There is a danger that the player could play this piece entirely from memory.
· The player must hold their hands over the keys at the end of the music, as this will acknowledge the rests.
· The player could imagine that their hands are ‘waltzing’, their hands need to be relaxed and also be using a graceful gesture when playing the two-note slurs and the leap in the L.H.
· Again, the player should ‘enjoy’ the dissonance at the beginning of bar 13.
· Changing the articulation in the penultimate bar, lifting at the end of each beat adds a graceful and attractive touch to the music.
There is a danger that the player will learn this piece entirely from the aural memory of it.