Frank Bridge, creator unknown, Source National Portrait Gallery UK
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The second piece in the set by Frank Bridge is a beguiling waltz which will require of the pianist the ability to play a cantabile melody with both hands, often swapping between the hands in quick succession. This piece conveys a slight sense of foreboding, but with a degree of restraint, that is not resolved at the end. The hands merge together to a certain extent in the second part of the piece and this is where the main part of the music is located. At the end of the piece, the melodic patterns change and this to a certain extent provides the music with a mini-climax. Subtle and sophisticated pedalling skills will be necessary.
According to my piano examination piece index there are only three occasions when a piano piece by Frank Bridge has been used as an ABRSM piece. In 2015 - 2015 the first one of the set that this piece is from was in the Grade 5 syllabus. And this piece was in the Grade 4 ABRSM syllabus in 2001 - 2002.
Character/story of the piece - there is also on this website a short biography for Frank Bridge. It is to be noted that Frank Bridge was a violinist at the start of his career but became an outstanding viola player. It would be best to think of this piece in relation to Bridge’s background as a string player and composer. Playing in parts is a skill that is crucial to the interpretation and performance of this music. Each part should be considered in relation to a string instrument and also to provide each part/string instrument with a particular character. And, it would be wise for the player to create some words for the music so that a story is told. In the first section up to the end of bar 16, there are two voices discussing a particular concern. In the first phrase the cello is taking the lead however in the second phrase the viola is leading. The mood has changed dramatically in the second section, bars 17 - 3, where the person with the problem becomes more agitated and the other voices try to reassure and pacify the person. The two parts in the RH are the violin and the viola and the LH part is the cello. In addition to this discussion the player must investigate the characteristics of a waltz as well. This piece was written during WW1, and the turmoil contained in this piece could be related to the news of the time.
Form - the piece is in three sections, with the first section finishing at bar 16 in the original key, D minor. The second section is 20 bars long with numerous chromatic notes present which provide an unsettling aspect to the music. This section has three parts, two outer descending chromatic parts with six bars in the middle that help to reduce the tension and drama of the other two parts. In bar 36, the last bar of the middle section, the music ends on the dominant providing a moment of expectation. There are 26 bars in the final section, or it could be considered as 16 bars with a coda of 10 bars. It takes another 8 bars at the beginning of the first section before the music returns with definition to the key of D minor.
Blue Plaque on Frank Bridge’s former home in London, created by Simon Harriyott, from https://www.flickr.com/photos/harriyott/albums/72157619697990350, Licence CC BY 2.0
Main part of the music - the composer has shown with the use of dynamic markings that the main part of the music is at bar 19, quite early in the piece. However, it would be wise to consider the another main part nearer the end however it is not achieved though the use of louder dynamics but by a change in the melodic material, agogic effects and a little rubato.
Phrasing - the first section contains four phrases, each set of two phrases should be considered as a whole as a type of statement/question and answer scenario. In the second section the first two phrases are six bars long, and this helps to contribute to the urgency and tension of the descending chromatic patterns. After these two phrase, the final two phrases of the second section are four bars long each, both containing similar descending chromatic material. The start of the third section is similar to the first section, with four phrases of four bars in length. The last ten bars should be considered as one phrase.
Tempo, time signature and rhythmic patterns - clearly the time signature for this piece is in simple triple time considering that the music is a waltz. From the copy in the Grade 4 ABRSM piano examination book for 2001 - 2002, it is noted that the tempo is stated as approximately 60 dotted minim beats per minute however the copy for the current syllabus states the tempo as approximately 54 minim beats per minute. There is not too much difference between these two speeds however it is preferable to the piece at approximately 56 minim beats per minute. There is danger that once the player becomes familiar with the piece the playing will become faster than the appropriate speed resulting in the music losing some of its character. There are no particular rhythmic patterns that could potentially cause any concern for the player; one aspect that the player must be extremely careful about is the holding of the dotted minims for their full value.
Touch/Articulation - the dotted minims will need to be played with resonance with weight from the shoulder, so that their sound is maintained throughout the bar. These occur both in the LH and the RH as the hands are constantly changing roles. The lower part in areas such as bars 17 - 22 will need to be played with a cantabile touch and careful consideration given to the dynamics of each part in these bars. It is interesting to note Bridge’s use of express. and dolce. This could be achieved by pedalling. A slightly intense touch could be employed in bars 22 - 28 and bars 53 to the end. There are many articulation marks that are provided by the composer and these must be strictly observed. Again, these can be considered in relation to string instruments. The lift at the end of bar 56 is particularly effective in providing the following RH A with an individual quality. The accents in the second section provide drama and tension to the music but must always be played in regarding the context, these should not be played in an aggressive or percussive manner. Regarding the staccato chords, these should be played in a gently detached manner and also the player must ensure that the second staccato chord is played in the same way as the first.
Balance between the hands - in the first section there is a traditional melody versus accompaniment situation with the melody swapping between the hands from phrase to phrase. This is also the case at the start of the third section. The parts are jostling for prominence in the second section in bars 17 - 22. Here the dynamics of each part will be similar however by the last two bars the lower part in the RH will have become more subservient. The parts overlap in bars 23 - 28, with each part being propelled be the other. The RH lower part and LH starts to take prominence in bars 29 - 36.
Dynamics - the composer has written a wide range of dynamics in this piece which must be exploited. However, there must always be a warmth and richness to any loud dynamics. There are numerous crescendos and diminuendos provided which add character and drama to the music. Some players may find the execution of the different dynamics, for example in bars 17 and 18 a little tricky to achieve.
Frank Bridge taken by Herbert Lambert, held by the National Portrait Gallery UK
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Pedalling - there are only a few pedal markings written in this music and although these are helpful it would be advisable to use more. One way of showing the difference between the express and dolce indications used by the composer is by pedalling the express phrases and not pedalling the dolce phrases. Flutter pedal could be employed in the second section however the use of pedal in this section should be subtle and not overpowering. Pedalling as suggested in bars 53 - 57 is appropriate however must consider how loud to play the notes regarding the overall accumulated pedal sound. The RH A in bar 57 must sing out and it may be wise to lift the pedal prior to playing this note. At the end of bar 58 the player could pedal the last note so that it is sustained into the subsequent bar. In this piece the player should examine why pedal is being used at a particular point and what its use is trying to achieve musically.
Agogic effects/Rubato - the composer has been specific concerning the use of agogic effects in this piece and these do not need to be compensated for in a traditional rubato sense. Small amounts of rubato could be applied elsewhere but as always, the less is more approach is necessary.
Considerations when playing this music -
· The repeated LH crotchets in bars 37 - 44 gradually become more menacing.
· Even though bars 29 - 36 are to be played with restrained dynamics, this section must have direction.
· Think about the music in relation to textures and layers.
· At the end some of the parts disappear.
· Bars 23 - 28, a transition area.
· There is a danger that the player may become too quiet too soon in some areas.
· There are no staccato dots present on the LH crotchet Ds in bars 37 - 44.
· There are some quite awkward hand position in the RH with the holding of the melodic line and playing another line as well.
· The tied notes must be heard throughout the bar in bars 45 - 48.