Copmann did this as a copy of Christian Horneman's portrait of the composer Kuhlau. In Public Domain, Wikimedia Commons
This movement was in the Grade 4 ABRSM examination syllabus in 2017 - 2018. According to Jane Magrath in her excellent book ‘The Pianist’s Guide to Standard Teaching and Performance Literature’ she states that the first three sonatinas of this set of six are well-known, while the last three are often hard to find. She carries on by saying, that this two-movement sonatina is justifiably one of the most popular. It’s cheerful and well-constructed opening movement is highly melodic. Another comment from Naxos states that the first movement could be thought of as a wind ensemble.
This set of sonatinas was published in Copenhagen in 1823 and it was composed for teaching purposes and the amateur playing market.
Sonatina in C major op. 55 no. 1 1st movement Kuhlau ABRSM Grade 4 2017 - 2018
Character/story of the piece - considering that this movement is in sonata form, the player should consider the two themes and how they are developed as characters in a story, play or opera. The first theme is decisive and robust with its use of chordal patterns, both as chords themselves and arpeggio patterns. Nevertheless, this theme has elegance and beauty. The second theme is delicate and restrained; Kuhlau has provided the marking of dolce e legato wherever the second theme is presented. At the end of the exposition there is a return to the first theme with its use of arpeggio patterns and chords in the LH. This provides strength at this point as well as highlighting the use of the notes of the dominant chord of G major. The second theme has prominence in the first part of the development prior to a merging of the two themes in bars 27 - 30. The first them dominates at the beginning of the recapitulation however the second them ‘interjects’ on a couple of occasions. In the final bars, the two themes (characters) have accepted their differences with the first theme providing one final flourish. In addition to this, the player should also consider the themes as different instruments of the orchestra being played. Kuhlau is renowned for his compositions for the flute, perhaps the second theme is a flute being played.
Form - this movement is in sonata form, with the exposition ending at bar 20. The development is not very long, ending at bar 34. The recapitulation is about half of the length of the movement. The movement begins in C major, moving to G major for the second theme in bar 8 and the exposition ends in this key. During the development, G minor is explored as well as G major before returning the C major at the start of the recapitulation. The recapitulation contains the keys of D minor, F major , G major and C major and the use of these keys provide useful examples of modulation. The move to D minor is surprising and this should be highlighted.
Main part of the music - the main part of this movement is found in the final bar; the music has a cumulative feel dynamically. A dynamic of fortissimo could be used in this final bar, but as always is the case, this dynamic level should not be harsh or strident and played at the level that is appropriate for the period of the music.
Phrasing - this movement does not contain clearly defined phrases, each containing four bars as may possibly be the case in this style of music. The first phrase is short, this is where Kuhlau introduces the first theme. In bar 3 there is a long lead-in starting on the second part of beat one to the introduction of two more melodic patterns that are utilised in this movement. And again, there is a long lead-in to the second theme starting on the second part of beat one. Not all phrases start on the first beat of the bar, some as above commence on the second part of the first beat, others commence on the second beat, others commence on the second part of beat two, others on beat three and interestingly, the phrases in the development all start on the first beat of the bar with the exception of the last phrase which starts in the second beat. By starting the phrases at different points Kuhlau provides the music with a continuity and flow as if the phrases are overlapping from one to the next.
Portrait of Kuhlau from the Royal Danish Library, in Public Domain Wikimedia Commons https://commons.wikimedia.org/wiki/Template:PD-US
Tempo, time signature and rhythmic patterns - a speed of 160 crotchet beats per minute is appropriate for this piece, if played any slower it will not project the vitality and momentum that is required. The player should consider this piece as being two minims in a bar rather than four crotchets. There may be some players who will need to work on the clarity of the quaver passages, there is a danger in these passages that the quavers are played unevenly. There are no rhythmic patterns in this music that would cause concern, however there are a number of variations in the beginnings of some phrases rhythm-wise which could catch some players unaware. For example, the player may wait too long at the end of the second phrase rather than beginning the third phrase on the quaver half-beat. Also, the player may not hold some of the LH minims for long enough.
Touch/articulation - changing the touch in this piece is one of the ways contrast can be added to the music. The LH has a number of different roles to play in this piece. The longer notes in the LH must be played with a degree of resonance, the degree of which will be determined by the character and dynamics of the music at the time. In the chords in the LH in bars such as bars 5 and 6, the chords on the first beat should be played with a subtle accent thus providing the music with a gentle attack at that point. The LH chords for example in bars 13 - 15 are required to be played with some weight and resonance and the wrist should be used effectively when lifting off them. As always when playing an Alberti bass, the notes played on the second half of the beat must be played quietly and gently and those notes that are on the first beat of the bar should be played with a slight emphasis as well as any other notes that require this. For the most part, the RH is to be played with a legato cantabile touch however the touch should become slightly more intense when the second theme is played. An example of contrasting themes, in bars 27 - 31, the first half of each bar should be played cantabile and in the second half, and intense touch which will show the two themes present in each of the bars. There are absolutely no doubts as to the articulation that is required to be played in this piece. Many of the lifts at the end of a pattern help to show the beginning and ending of a phrase. The cross-slurs in bars 7 and 8 for example are crucial for the character of the first theme as well as providing a gentle syncopated effect. The slurs that are marked in the RH in bars 18 - 20 again are necessary to project the strength of the character of the first theme. The use of staccato in bars such as bars 5 and 6 must used with discretion. The first staccato chord is at the end of a slur, so this should not be played too short and the second chord should be played lightly , as if it is on the rebound from the first.
Balance between the hands - clearly this piece demands RH balance for most of the time however the chord patterns in bar 5 for example should have both hands being played with equal dynamics. Players will need to consider very carefully how loud the LH minim chord for example in bar 1 should be played in relation to the remaining sound of the first beat. Possibly the second theme could be played with a little less balance in contrast to the first theme. Tone-matching is an important consideration in this piece.
Copenhagen City Hall by night, April 2022. By JakobSR, in Public Domain, Wikimedia Commons,
Dynamics - a wide range of dynamics should be employed when playing this piece however the player must consider the level of dynamics in relation to the Musical Period. Commencing the development at a very quiet dynamic will provide the music with drama and tension. To a certain extent the dynamics should sound cumulative. Most of the time the dynamics of the piece should sound a little restrained, at no stage should the dynamics sound brassy and harsh.
Agogic features - a few slight hesitations such as at the start of bar 29 are appropriate along with a slight slowing at the end.
Considerations when playing this piece -
There is a felling of uncertainty in bars 37 - 41.
In bars 18 - 20, the player must ensure that the RH thumbs are not played too loudly.
The top note of a melodic pattern is not necessarily the loudest of the pattern.
It is always advisable to practice any two passages that are the same melodically but are in different leys as there may be different fingering between the two.
There must be no accent on the beginning of any phrases that do not start on the first beat of the bar. There is a danger that the first note could be played too loudly especially considering the first note is often played with the thumb.
In some cases the lower notes of the LH chords should be highlighted.
In any single melodic parts the melody must have direction.
The lifting of the RH E flat in bar 24 should be gentle with the wrist and the finger still in contact with the key, the sound must not sound too abrupt.
Rests must be strictly observed.
There could be a small amount of pedal used in bar 1 and bar 7 for example.
The playing of the two-note slurs should become more defined as the music progresses.
There are a number of places where the player must look/think ahead so that the hand or hands can quickly move to the change of position.
The ABRSM notes refer to the ‘horn-calls’ at the cadences.
And, the ABRSM notes suggest the use of pedal in bars 21 - 7.