By Author Felix Mendelssohn-Bartholdy;Editor W. F. Alexander;Artist unknown - https://en.wikisource.org/wiki/Page:Selected_letters_of_Mendelssohn_1894.djvu/6, Public Domain, https://commons.wikimedia.org/w/index.php?curid=78698780
Character/story of the piece – the player can take inspiration from the title of this piece. There are two people singing/talking in this piece, one of whom is more interested than the other. It would be wise for the player to create some words to accompany the music. In the first and last sections, the more interested and engaged person is the RH. The LH has mostly an accompanying role in these sections although there are two parts where the LH becomes more melodic in character such as bars 4 and 8. Here the LH making their point. The characters have more equal interest in the middle section with the LH taking on a more melodic role except for at the end of the section, where it becomes more harmonic in nature. In this section it is an equal conversation between the two characters most of the time.
Form – this piece is in ternary form, with the third section being a repeat of the first section except with an additional two bars at the end which forms a coda. The music is in G minor, this being the key of the first and last sections. Although the second section commences in G minor, it progresses through Eflat and Bflat majors before returning to G minor at the end of this section.
Main part of the music – this should occur in bar 17, the end of the second section. This section is the most dramatic and the final four bars of the section culminate in a return to the original key from Eflat major. The outer two sections must have a main part too, although at a quieter dynamic than the end of the second section.
Phrasing – there are six phrases in total in this piece, four of them are four bars in length with the other two being six bars long. Each section has two phrases, and these two phrases have a question-and-answer quality to them. The two phrases that are six bars long are at the end of the second and third section. Because the last phrase of the second section is extended, it helps to contribute to the dramatic effect of the music especially considering the main part of the music occurs at this point. The last phrase is extended because of the two bars of the coda.
By Author Felix Mendelssohn-Bartholdy;Editor W. F. Alexander;Artist unknown - https://en.wikisource.org/wiki/Page:Selected_letters_of_Mendelssohn_1894.djvu/6, Public Domain, https://commons.wikimedia.org/w/index.php?curid=78698780
Tempo, time signature and rhythmic patterns – a speed of 88 – 92 crotchet beats per minute is appropriate when playing this piece. As is always the case, an appropriate speed will make considerable difference to the character. In this piece, if played too slowly the music lacks vitality and interest whereas if played too fast, details and accuracy are sacrificed. There is considerable use of the six-quaver pattern in this piece and wherever that occurs, the music must have direction. There is a danger that the dotted quaver/semiquaver pattern is played as a kind of jazz rhythm, with the first note being a crotchet and the second a quaver. In addition to this, the semiquaver must be played with delicacy and subtlety, if played too loudly in comparison to the dotted quaver, the rhythm will be distorted. In this piece the player must be careful to observe the length of the quavers and crotchets.
Touch/Articulation – the player can use both aspects to provide and interest and contrast in the music. In the first and third sections, the RH should be played with strong and intense fingers. The staccato notes do not need to be played too detached in these sections. The LH in these sections has two roles to fulfill, one as an accompaniment however it takes on a melodic role at the ends of each of the phrases. By contrast, the touch in the middle section should be cantabile in character in both hands and where the LH is playing a chord, these should be played with resonance. The last two bars should be played as cantabile as possible with the fingers close to the keys.
Balance between the hands – when playing this piece, the player must consider how to change the balance between the hands according to the context. For example, in the first and last sections, the first three bars are a traditional RH balance with a LH accompaniment. However, this changes at the ends of the phrases with both hands sharing the limelight before merging at the end of the phrase. There is a change in the second section, as the hands have, overall, a more equal partnership with the LH reverting to an accompaniment role on a few occasions.
Dynamics – at the main part of the music the dynamic level should be forte and this should be the only occasion where this dynamic is used. Overall, the dynamics should sound restrained and contained in most areas. A larger range of dynamics should be applied in the second and third sections as this will provide more dramatic effect. The quietest dynamic should occur in the final two bars. Wherever there are LH chords being played on their own, these chords help to dictate the overall dynamics.
Felix and Fanny Mendelssohn Musuem, Hamburg. By Ymnes - Own work, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=73154158
Ornaments – the acciaccatura should be seamlessly incorporated into the melodic line; it should not obtrude in any way at all. This ornament should be played expressively rather than energetically, although the tempo should not be altered to accommodate it.
Agogic features – as is so often the case, any rubato should be applied sparingly. There should be no use of rubato in the first section. Any relaxation of the tempo at the end of the phrase will distort the flow and there is a rest in the RH and a crotchet in the LH at the end of the second phrase which provides a degree of respite. There could be a small degree of rubato applied in the third phrase however no rubato should be used in the fourth phrase because, again, to a certain extent the rubato is written into the music. In the fifth phrase a small easing of the tempo at the end will be effective and of course, the rit. at the end of the piece should be observed. This though, should not double any of the notes.
From personal photo collection.
Considerations when playing this piece –
· There are some quite awkward hand positions in this piece; moving the hands well forward will be helpful.
· Also, there is some complicated fingering required to preserve the legato line.
· It is interesting how the music begins with the dominant 7th chord of G minor; this provides a slightly unsettling character at the beginning of the piece.
· The music could be thought of in relation to instruments such as clarinet and an oboe.
· The player must avoid splitting any notes of the chords.
· Some notes in the LH chords should be highlighted.
· Any patterns that are repeated, such as those in the RH in bars 1 and 2 should be played with different dynamics.
· Tone-matching is an important element of this music. The player must ensure that the first RH note, such as those in bars 11 and 15 are not played any louder than the remaining LH sound.
· Some players may find it difficult to maintain the correct dynamic level when moving from a single note to a chord or vice versa.
· The dynamics require considerable control in the final two bars.