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Alexander Fyodorovich Goedicke 1877 – 1957
Alexander’s father, Fyodor Goedike, was a minor composer, pianist and organist who was his first teacher. His father was the pianist at the Bolshoi Theatre. Fyodor taught him piano, organ and the basics of theory. Nikolai Medtner was his first cousin, Medtner’s mother was Alexander’s maternal aunt. He was of German descent.
He attended the Moscow Conservatory in 1891 where he studied piano however, he had no formal training in composition. In 1900 in Vienna, he received an honorary diploma for his piano playing in the Anton Rubenstein competition and in the same year he won the Rubenstein Prize for Composition. The composer, Sergei Taneyev gave him informal lessons and advice regarding composing. In 1909 he became a Professor of Piano at the Moscow Conservatory and in 1920 he took on the roles of chamber music and organ tutoring as well.
Moscow Conservatory, from Alamy.com
Goedike was a contemporary of Stravinsky and Rachmaninov, however he did not embrace the modernism of the early 20C, and he remained in Russia after the 1917 Bolshevik revolution. In the 1920s he was side-lined because of not adopting the Modern style but he returned to favour once Stalin was in power. Stalin supported a more conservative style.
He became known for his performances of J. S. Bach’s organ music, he strived for stylistic authenticity. He composed operas, cantatas, orchestral works, and pieces for the piano. He composed a set of 60 Simple Pieces for Beginners Op. 36. There are two books in this opus and these contain dances, Russian songs and similar pieces in a Romantic style.
Character/story of the piece - it would be worthwhile to discuss with the player what a etude is and the technical skills that are required to play this piece with comfort. Here the player could envisage a game of tag getting underway with the first two phrases setting the scene with the question and answer scenario in these phrases. In the last two phrases the game is underway with one player being caught in the final bar.
Form - this piece is a character piece although it could be considered as being in two sections, each containing two phrases each. The piece commences in A minor and remains in A minor in the first section having used the melodic minor form in bars 5 and 6. At the end of bar 10 there is an air of expectancy as the composer leads into D minor before returning to A minor at the conclusion of the piece.
Main part of the music - this occurs at the start of 11; the highest note of the piece is found in this bar. As suggested by the dynamics that are written, a mezzoforte level is appropriate rather than a forte level. The player needs to be careful to ensure that the music does not become too heavy considering the number of LH chords that have to be played. If the dynamics are too loud, the music will lose its delicacy and elegance. A large range of dynamics should be utilised when playing this piece as this will add to the piece’s vitality, energy and dance-like character.
Phrasing - there are four phrases in this piece, the first two balance themselves, as the first two bars pose a question and the second two answer the question. The last two phrases could be considered as one, as the momentum and melodic material carry through from the third phrase to the last phrase. All phrases are four bars long.
Tempo, time signature and rhythmic patterns - as is always the case, selecting the appropriate tempo for the playing of this piece is crucial. A speed of 104 dotted crotchet beats per minute is recommended so that the character of this piece is portrayed. There may be instances where the player of this piece has not encountered very many pieces before in compound time. Considerable time must be spent with the player in understanding the feel of the compound beat and also knowing how to prepare themselves before commencing to play this piece. There are no difficult rhythmic patterns that the player has to play, however the player must observe the rests at all times.
Touch/articulation - as discussed before, the first two phrases can be divided into two parts, the question and answer bars. In the first two bars, the question area, the player needs to use a light and energetic touch using very curved fingers with energy into the keys. The subsequent two bars need to change character swiftly, with the LH chords being played with a tenuto touch and with resonance. The RH melodic patterns should be played with a cantabile touch with a little weight provided from the shoulder. However, from bars 9 and 10 the RH should be played with a cantabile touch with weight supplied from the shoulder with the LH chords providing warmth and resonance. In the penultimate bar the RH should eliminate any weight being provided from the shoulder so that the music can lighten up a little at the end.
From Alamy.com
Balance between the hands - clearly the player will learn how to change from playing a single melodic line to one that requires balance between the hands in the first three phrases. The two hands will need to be joined seamlessly together in the first two bars of the first three phrases ensuring that Etude Goedicke Grade 2 ABRSM 2021 - 2022
Character/story of the piece - it would be worthwhile to discuss with the player what a etude is and the technical skills that are required to play this piece with comfort. Here the player could envisage a game of tag getting underway with the first two phrases setting the scene with the question and answer scenario in these phrases. In the last two phrases the game is underway with one player being caught in the final bar.
Form - this piece is a character piece although it could be considered as being in two sections, each containing two phrases each. The piece commences in A minor and remains in A minor in the first section having used the melodic minor form in bars 5 and 6. At the end of bar 10 there is an air of expectancy as the composer leads into D minor before returning to A minor at the conclusion of the piece.
Main part of the music - this occurs at the start of 11; the highest note of the piece is found in this bar. As suggested by the dynamics that are written, a mezzoforte level is appropriate rather than a forte level. The player needs to be careful to ensure that the music does not become too heavy considering the number of LH chords that have to be played. If the dynamics are too loud, the music will lose its delicacy and elegance. A large range of dynamics should be utilised when playing this piece as this will add to the piece’s vitality, energy and dance-like character.
Phrasing - there are four phrases in this piece, the first two balance themselves, as the first two bars pose a question and the second two answer the question. The last two phrases could be considered as one, as the momentum and melodic material carry through from the third phrase to the last phrase. All phrases are four bars long.
Tempo, time signature and rhythmic patterns - as is always the case, selecting the appropriate tempo for the playing of this piece is crucial. A speed of 92 dotted crotchet beats per minute is recommended so that the character of this piece is portrayed. There may be instances where the player of this piece has not encountered very many pieces before in compound time. Considerable time must be spent with the player in understanding the feel of the compound beat and also knowing how to prepare themselves before commencing to play this piece. There are no difficult rhythmic patterns that the player has to play, however the player must observe the rests at all times.
Touch/articulation - as discussed before, the first two phrases can be divided into two parts, the question and answer bars. In the first two bars, the question area, the player needs to use a light and energetic touch using very curved fingers with energy into the keys. The subsequent two bars need to change character swiftly, with the LH chords being played with a tenuto touch and with resonance. The RH melodic patterns should be played with a cantabile touch with a little weight provided from the shoulder. However, from bars 9 and 10 the RH should be played with a cantabile touch with weight supplied from the shoulder with the LH chords providing warmth and resonance. In the penultimate bar the RH should eliminate any weight being provided from the shoulder so that the music can lighten up a little at the end.
Balance between the hands - clearly the player will learn how to change from playing a single melodic line to one that requires balance between the hands in the first three phrases. The two hands will need to be joined seamlessly together in the first two bars of the first three phrases ensuring that there is no accent on the first note of the RH, especially considering that these notes are played with the thumb. Immediately following this, the player is required to play the LH chords with resonance but not overpowering the RH melodic line in any way at all. The balance between the hands could be slightly reduced as the music comes to a close.
Dynamics - the dynamic markings that are present on the music provide the player with some initial ideas. The level of dynamics that a subsequent phrases commences at in comparison to the end of the previous phrase will have considerable impact on the overall dynamics and character of the music at that point. For instance, commencing the second phrase at a dynamic level slightly less than the first is appropriate. However, commencing the last phrase at a louder dynamic level than the end of the previous phrase contributes to the feeling of relentless energy at that point. As discussed before, a wide range of dynamics used from pianissimo to mezzoforte will contribute much to the character of the piece.
Rubato - considering the character of the music, the use of rubato is not appropriate. The rit. marked in the music should be observed although the music should only slow down a little.
Considerations when playing this piece -
· In bar 10, the RH A must ‘emerge’ from the melody of the bar.
· This piece would be best played by one who has a reasonably large hand considering the chords that are to be played in the LH.
· The player needs to have the confidence and bravado to be able to play the LH chords effectively. Highlighting the lower notes of the LH chords in the last three phrases and the top notes in the first phrase will help to project the fact that there is a melody contained in these LH chords. It would be advisable to write in all of the fingering for the LH chords so that there is no doubt. As is suggested at the top of the page, working out which notes are common from one chord to the next is beneficial. The player needs to concentrate on these chords when they are playing.
· There is often a wide range of dynamics within each phrase.
· Even though the music is in a minor key, the music has a bright and cheerful character.
· Even though the pieces starts quietly, it must sound purposeful and defined.
· There is a danger that the player may split the LH chords when being played. Some players may find playing the penultimate chord legato to the final chord a little tricky.
· The rest must be acknowledged at the end with the hands held above the keys.
· The L.H. has a melodic role in bars 3 and 4.
· The ending should sound slightly quieter than the beginning.