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Allegro in B flat K.V.3 Mozart Grade 3 ABRSM 2023 – 2024
Character/story of the piece – this piece has had an interesting history within the ABRSM piano examinations. According to my records, it has been in the syllabus six times since 1952. In 1952, 1961 and 1971 it was listed as Grade 1, in 1990 it was listed in Grade 2 and in 2005 – 2006 and 2023 – 2024 it is listed as Grade 3. Mozart composed this piece in Salzburg in July 1762 when he was six years old. It would have been written for the harpsichord or clavichord and this needs to be taken into account when considering the interpretation of this piece. The player must ensure that the sound created is light and crisp, and even when the dynamics are louder there should be no harshness. The player should imagine that there is a conversation taking place, with some voices speaking for longer at different times. It would wise for the player to create some words that fit with the melodic patterns. The conversation changes often, at times the voices are controlled and confident, at other times, uncertain and confused. The dynamics, balance between the hands and the touch should be altered according to the character of the conversation. There are fleeting moments of different emotions throughout the piece and there must be a feeling of light and shade. It is mercurial and changeable in a Classical way.
Form – this piece is in ternary form although the first and third sections are not of equal length, the third section being two bars shorter than the first section. By the end of the first section, the music is in F major, however at the start of the second section, Mozart moves to C minor. At the end of the second section the key has returned to B flat major.
Main part of the music – this should occur in the penultimate bar at a forte level, however, as discussed above, this dynamic should be considered in relation to when the piece was written.
Phrasing – this is not entirely predictable, as some of the phrases are longer than four bars in total. In the first section, the first phrase is six bars long and this phrase is balanced by the second phrase, also six bars long. In the second section, there are two phrases each consisting of four bars. And, in the third section, the first phrase is four bars long however the final phrase is six bars long. All phrases commence with an upbeat; the player must consider how this affects the character of the music.
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Tempo, time signature and rhythmic patterns – an appropriate tempo suggestion is 100 crotchet beats per minute. Clearly, if played too slowly the vitality and energy of the piece is not conveyed, however, if played too fast some of the details and nuances will be lost. The player should note that the piece could have been written in quadruple time; does the use of duple time project a more march-like quality? The quavers and semiquavers must be played with evenness, control and clarity. For some, the change from quavers to semiquavers at the end of the first and third section could be cause for concern. There is a danger in this piece that the rests are not strictly observed. When playing this piece, the player must ensure that both hands are lifted with precision at the same time at the end of the melodic patterns. The player must know how long they are going to wait on the final notes.
Touch/articulation – there are many changes in both the articulation and touch that need to be observed in this piece. There are three melodic ideas in this piece and each melodic idea should have its own character. The first melodic idea is the one introduced at the start of the piece; this theme or idea is used on many occasions throughout the piece. It always contains two-note slurs, either descending or ascending. Whenever this melodic idea appears in the music, the conversation moves forward. The two-note slurs add buoyancy and energy to the music. This theme should be played as one would a two-note slur with a cantabile touch on the first note of each and the second notes should be light and lifted off gently, once played. The fingers releasing the second note should remain in contact with the key as it is being lifted. The LH pattern that is playing at the same time as this theme should always be played with a legato touch; these notes being played with a gentle resonance. A light, delicate touch should be used when playing the second theme or idea; the one that is played in bars 2 – 4, for example. Here the player should play with a slightly intense touch with energy into the keys. This melodic pattern should convey a feeling of hesitancy and uncertainty. And the final theme or idea is the one at the end of the first and third section; this theme reinforces a particular idea. This theme should be played with a degree of cantabile playing, according to the context. The penultimate note of this theme needs to be played detached in both hands; this lightens this theme at the end.
Balance between the hands – often the LH is providing a supporting role in this piece however in the second theme, as discussed above, the balance should be nearly equal in both hands considering the hands share similar melodic material.
Dynamics – as discussed before, changing the dynamics in this piece will provide contrast where required. Sudden changes from one dynamic level to another are appropriate when playing this piece. Considering when this piece was written and the instrument(s) it was written for, the forte dynamic at the end of the piece should not be too loud. Obviously, an increase in the LH’s dynamics will contribute to a change in the overall dynamics. The dynamics help emphasise the modulations. Increasing the level of the L.H. dynamics in bars 18 – 20 will make a considerable difference to the overall dynamics.
Ornaments – the acciaccaturas in this piece should be played with lightness so that they are incorporated into the melodic line. These ornaments add a ‘bite’ to the music at that point.
Considerations when playing this piece
· The sequential pattern in bars 13 – 20 needs to be highlighted by the player.
· A small rit at the end is suitable.
· Even though the piece consists of three melodic ideas it is important that the player ensures that these ideas are all part of a cohesive whole.
· There are a few awkward stretches and ‘corners’ in this piece that will require additional practice to accomplish the playing of them.
· The repeated melodic ideas add poise to the music.
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· Consistency in the playing of the staccato notes is essential.
· The player must ‘reach’ for the RH E in bar 16 and RH D in bar20. These notes should be played with a slight delay and with an intense touch; these notes should be poignant in sound. And these notes do not need to be played the loudest in the melodic pattern.
· Even when the music is quiet, the music should still project a jaunty and energetic character. The piece must always have delicacy, grace and elegance.
· The semiquaver pattern provides a little ‘flourish’ to the music. These seem to be a written-out ornament.
· If the dynamics are increasing, the player could provide the music with more accentuation although this should be applied with gentleness and subtlety.
· This piece has a speech-like aspect to it.
· At bar 8 the player must be conscious of not allowing this bar to sound as if it is at the end of the piece.
· At the end the player must consider how long to wait before lifting their hands off the keys and also, how to lift their hands off.