Character/story of the piece – obviously the title of this piece is the starting point for the discussion of the interpretation of this piece. It is as if this piece is suspended in time with an incandescent and ethereal quality, a short interlude so to speak. Here the character is sad and melancholic; the player could compose some words to the music. The footnotes for when this piece was part of the 2007 – 2008 ABRSM piano syllabus states ‘this piece imitates the call of a little woodland bird’. The accompanying Teaching Notes for this examination period begins by saying ‘over the centuries birdsong has inspired countless poets and composers, and this beautiful little woodland scene is sure to be a popular choice. Here the trees are still, hardly a breath of air rustles the leaves, and, overhead, a little bird is singing’. Possibly the player could consider that there are two birds calling in this piece so that the listener can hear the change in touch and colour where necessary. The LH portrays serene and calm quality whilst the RH is the bird singing and flying from one tree to another.
By Bernard DUPONT from FRANCE - Common Nightingale (Luscinia megarhynchos), CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=48577579
Form – the form of this piece is rather fluid, it could be in ternary form, although this is not the case in the strict sense of the word. The first section introduces the first theme with one of the birds calling from a distance, as if asking for attention. This material sets the scene for the entire piece. The second section commences at bar 9 and this section continues until bar 20 with the third phrase acting as a kind of transition. This section contains two melodic themes. At bar 21 there is a reprise of the first theme.
Main part of the music - this should occur at bar 28, however considering the character and title of the piece, should not exceed mezzoforte. The player will need to carefully consider their dynamic levels throughout the piece ensuring that each section has a focal point too.
Phrasing – the phrasing of this piece is interesting, apart from the third and fourth phrases having and question and answer quality, the phrases stand on their own. There are instances where a subsequent phrase commences in the same manner as the previous phrase, however the melodic material at the end of the phrases differs in content. Considering that the music imitates birdcall, the repetition of the some of the melodic material is not surprising. There are eight phrases in total, all are four bars in length. Few of the phrases end with a ‘full-stop’, most have a continuous melodic pattern at the end which provides momentum into the following phrase.
The piece commences in E minor before moving to D minor at bar 16, after moving through A minor. In the following phrase it commences in A minor before moving to B major at bar 20. The music returns to E minor at bar 21.
Nightcap bird. By Hobbyfotowiki - Own work, CC0, https://commons.wikimedia.org/w/index.php?curid=75089702
Tempo/time signature and rhythmic patterns – the suggested speed of 104 quaver beats per minute is appropriate for the character of the piece. The tempo marking of andante con moto is good advice for the player. This piece contains a time signature that not all players will be completely familiar with. There are instances where the time signature seems to become more compound in nature, as if every alternate bar line is removed. On some occasions where the music gains intensity the music becomes more accented as a result. There may be some players who will require help with the realisation of the rhythmic patterns, in particular bar 16, 20 and 32. In addition to this, some players may find the co-ordination of the hands a little complex to achieve. Tapping the rhythm out between the hands will be beneficial.
There is a danger that the player could lift off the RH crotchets too soon, such as in bar 1.
Touch/Articulation – in this piece the player must consider using a range of touches, as this will help to portray the character of the piece. The LH has many roles to play – carrying the melodic pattern often near or at the end of a phrase, a resonant touch when playing the lower sustained notes as these notes must be heard throughout the bar and projecting particular notes in a chordal pattern. Obviously, the player must employ different touches according to the role the LH is playing. The player must ‘sink’ the LH number into the low LH notes with the subsequent notes in the pattern played with a light and intense touch with the fingers close to the keys. However, when the LH has a melodic role to play, such as in bar 4, the player should employ a cantabile touch. Particular notes of the LH chords should be highlighted, such as the descending patterns in bars 13 – 15. The RH should be played an intense touch, moving to a cantabile touch where necessary.
This piece contains numerous articulation markings that the player must be very careful to observe. Primarily this piece should be played with a legato touch however there are staccato and portato markings present. The staccato notes should be lightly detached, these notes should never sound aggressive or heavy. Also, the portato markings should be interpreted in a similar manner, these notes should be played with gentle prominence and with a little separation between the notes or chords.
Heinrich Hoffman from Alamy.com
Balance between the hands – often the balance in this piece should be to the RH however there are sections where the LH should gain prominence or where both hands have equal balance. In a bar such as bar 4, the hands should be equal in balance before leading into the second phrase where the balance will be to the RH. The LH plays a more prominent role in the fourth, fifth and final phrases, with the focus on the LH in bars 16 and 19.
Dynamics – clearly considering the character of this piece, the dynamics should be reasonably quiet and restrained, but should still contain a sweetness, clarity and intensity. There is a danger that when the dynamics are of a quieter dimension the music sounds thin- and weak. Even when playing with quieter dynamics, the player must ensure that the music has richness and warmth. As is often the case, increasing the LH’s dynamics results in an increase in the overall dynamic level, and this is certainly the case when playing this piece. There are many opportunities where the LH should subtly support the dynamics of the phrase. Whenever the music is repeated the player should consider how the listener’s attention will be held; how should the dynamics and touch be altered so that the listener’s attention is maintained.
Ornaments – the grace notes, such as in bar 9 should be played with lightness, clarity and at not too fast a speed. These notes have been written so that the subsequent note is enhanced. The grace notes should sound persuasive rather than percussive. The LH demi-semi-quaver pattern in bar 16 is a kind of written out ornament which should be played with shape and momentum.
Rubato – a few touches should be applied when playing this piece however the player should remember that any rubato used should be offset and not be predictable. The only exception to this should occur at the end where the composer has specifically requested that four of the bars should be played with a ritardando.
By Simonis & Buunk Kunsthandel - https://www.simonis-buunk.com/art/koekkoek-p-h/7563/, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=79819230
Considerations when playing this piece –
· The player must be careful with how the hands are lifted off at the ends of phrases or melodic patterns. Both hands should be lifted simultaneously with both hands in contact with the leys so that the resulting sound is not abrupt.
· In bar 15 notice how both hands contribute to the overall character of the music.
· The player must be careful with the articulation at particular points such as at the end of the first phrase. Here the RH should remain legato into the following phrase however the LH must lift.
· Sophisticated pedalling skills could be utilised in this piece, but this should be applied with subtlety, as there should never be a sudden increase in sound as a result of the sustaining pedal being used. Small touches of pedal will enhance the music but this should never be intrusive or overwhelming in character.
· Both the LH and RH thumbs are used constantly throughout the piece; the player should consider that the thumbs are fingers with the thumb being played beside the nail.
· The low LH notes help to reinforce the key of the music.
· Bar 19 has an interesting rhythmic character, with the time signature becoming three crotchet beats in the bar, momentarily.
· There is a danger that there could be some splitting of the notes in the chords in the LH.
· The player will be required to play with considerable attention to tone-matching throughout.
· Considering the register in where the piece is written, the player should position themselves accordingly.
· In the final bar, some of the sound should die away before the player lifts both hands of the keys and foot off the sustaining pedal.
· The player must ensure that the last RH notes in bar 19 is lifted and not joined into the following RH note in bar 20.
· Learning the LH in chords is particularly helpful.
· The player should know where the music remains the same and where one of the hand changes as the player could easily play the wrong part.