Study in F Op. 65 No. 25 Loeschhorn ABRSM Grade 3 2023 – 2024
This piece has been in the ABRSM syllabus prior to this in 2009 – 2010 where it was in the B section. The footnotes from the ABRSM ‘A Romantic Sketchbook for Piano, Book II’ state the Carl Albert Loeschhorn was a German pianist and composer who studied at the Royal Institute for Church Music in Berlin. He later became a professor of piano at this institution’. The footnotes state that even though he composed salon pieces, sonatas and chamber music, he is mainly known today for his piano studies. In the 2023 – 2024 Grade 3 examination book, the footnotes state that ‘this study illustrates a texture that was popular in the Romantic period: a legato cantabile melody in the RH, singing out over a broken-chordal accompaniment in the bass’.
Both footnotes state that the dynamics are editorial suggestions only. This is interesting considering the fact that apparently Loeschhorn wished the player to focus on musical expression, he did not feel that a study should just be concerned with either introducing or ‘correcting’ a particular technical skill.
Loeschhorn’s Op.65 was a set of 48 studies divided into three groups, from easiest to hardest. This piece comes from the second set. As the ABRSM 2023 – 2024 Teaching Notes state, it is a pity that ‘this beautiful and charming piece deserves a more imaginative title than Study in F. Jane Magrath in her excellent book ‘The Pianist’s Guide to Standard Teaching and Performance Literature’ published by Alfred Publishing in 1995 states ‘Op. 65 are one-page etudes (actually short pieces in different styles) for intermediate students designed for the development of technique and expression’. In her opinion she feels that these studies are more interesting than those of Czerny’s.
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Character/story of the piece – there is considerable joy and contentment portrayed in this piece. The mood does change momentarily in the minor section in bars 9 to 11 however this is brief in comparison with the rest of the piece. Perhaps the player could imagine going on a holiday at a sunny location. In bars 9 to 11, the weather becomes cloudy and windy before a return to the fine weather of before. Loeschhorn uses the same LH pattern four times with two of the bars containing the same notes. There is slight variation in the RH in the last two repeats of this LH pattern. This pattern exudes serenity, acceptance and calm. The player should consider how to interpret these bars, noticing how they occur more frequently nearer the end of the piece.
Form – this piece is a character piece. The key briefly moves to F minor in bars 9 to 11, returning to F major in bar 13. The last four bars seem to constitute a coda.
Main part of the piece – this should occur at the start of bar 15 with the dynamics at a forte level. Considering that there are eight bars remaining to be played after the climax the player must ensure that the interest is maintained until the end.
Phrasing – there are six phrases in this piece. Some phrases such as the first, second and fourth contain a question-and-answer theme. The other three phrases are more episodic in nature. The first two phrases are four bars in length; however the third phrase is shortened and this contributes to the feeling of tension and uncertainty this phrase projects. As a result of the third phrase being shorter, the fourth phrase is extended. The last two phrases overlap to a certain extent.
Tempo/time signature and rhythmic patterns – both copies of this piece in ABRSM books provide an approximate speed of 104 crotchet beats per minute for this piece. This is an appropriate speed, and the player should endeavour to adhere to this speed. It is very easy for the player, once familiar with the piece, to increase the tempo. A faster speed than 104 would result in the music having more energy and drive than the character demands. Even though the piece is written in quadruple time, there are occasions where the music feels as if it is in cut time. Some players may find the synchronisation of the quavers a little hard to achieve. There is a danger that the player does not hold the semibreve for its correct length, for example, in bar7.
Touch/Articulation – obviously a cantabile touch is required when playing this piece. However, there are occasions where the RH should play with a slightly intense touch as this will provide some contrast. This piece requires the use of weight provided by the shoulder into the fingertips, using a supple wrist and elbow movement where needed. In conjunction with this, the RH must be loud enough so it can be heard over the LH accompaniment and pedal. This is made a little more difficult because of the LH’s register which often is around the middle C vicinity. Nevertheless, the occasional use of a more intense RH touch to provide additional interest is wise. This is not to say that the LH is merely a background player. Often the first note of a quaver pair supports the RH’s melody, and this should be highlighted by providing these notes with resonance, according to the dynamics of the phrase. Basically, this piece must be played legato, more detached articulation would not suit the character of the piece. There are two accented chords near the end of the piece, these chords should be played with a slight emphasis rather than any kind of accent. These accents highlight the dominant seventh chords; the player should ensure absolute legato from the dominant chord to the tonic chord.
Balance between the hands – obviously this must be to the RH. As stated before though, the LH has an important role to play in not only supporting the RH but enhancing the melody too. At the ends of some phrases the hands should ‘blend together’. During bars 9 – 12 there should be less balance between the hands, as if the R.H. is trying to break free at this point. And, there should be less balance between the hands in the final four bars. The LH, for most part, should be played with the fingers close to the keys.
Leipziger Strase, Berlin 1897
By Waldemar Franz Hermann Titzenthaler - Scanned from Janos Frecot & Helmut Geisert: Berlin in frühen Photographien 1857–1913. Schirmer/Mosel, Munich 1984. ISBN 3-88814-984-3 (Landesinstitut für Schule und Medien Berlin-Brandenburg), Public Domain, https://commons.wikimedia.org/w/index.php?curid=3234069
Dynamics – even though the dynamics at the climax should be at a mezzoforte level, the overall dynamics of the piece should feel restrained, yet warm and rich. In this piece the player can develop their dynamic skills in applying crescendos and diminuendos in long phrases. Careful tone control and tone-matching is paramount. The highest note of a melodic pattern does not necessarily need to be the loudest. There is a change of colour at the beginning of bar 9 and this can be highlighted by dropping the dynamics suddenly to pianissimo. On occasion, it feels as if the LH is ‘pushing’ the dynamics rather than the RH.
Rubato – clearly the application of a little rubato in this piece is to be advised however this should never result in the quaver patterns being played with lack of synchronisation or the overall tempo being changed. Small applications of ‘give-and-take’ in some phrases is appropriate. For example, a slight acceleration in bars 12 and 14 with a slight easing of the tempo at the beginning of bar 16 is effective. The tempo should remain constant in the final four bars. Here the composer has written the melody in crotchets, something he has not done before in the piece. To a certain extent he is slowing the piece down by writing in this manner.
Pedal – this piece requires sophisticated pedalling skills. Any single melodic line patterns should not be pedalled, otherwise legato pedalling, half-changes and fluttering are necessary throughout the piece. The use of the pedal should be light, too much pedal sound will destroy the character of the piece.
Considerations when playing this piece –
· There is a danger that the first notes are not heard. The player must be ready to commence the playing of this piece, with the little fingers ‘activated’ prior to them being lowered to the bottom of the keybed.
· There is a syncopated aspect in bars 3 and 4.
· In the final four bars the player should highlight specific notes of the LH chords.
· On occasion the LH is required to play a B flat with a thumb, the hand must be well forward so this note can be played with ease and comfort.
· The single melodic lines must be played with interest and direction, often these passages can become ‘flabby’ and boring.
· Careful consideration must be given to the playing of notes such as the RH C in bar 2. This note must be gently lifted with no abruptness to the end of the sound.
· The LH lift in bar 4 at the beginning of the third beat is essential. Again, this lift must be played with gentleness and subtlety.
· The LH is slightly hesitant when starting its pattern on beat 2 in bar 8.
· The use of an augmented sixth chord at the end of bar 11 adds interest and a degree of tension to the music.
· The last eight bars reduce some of the tension and drama in the music. In saying this though, the player must provide interest for the listener through to the end of the piece.
· There is a flow and ebb feeling to this piece.
· In bars 7 and 8 there is a kind of refrain character in the melodic line.
· Use of gestures when moving from one hand position to the following.
· It is interesting to note in bars 21 and 22 how the melodic fragment commences on beat 2.
· This piece has a beautiful singing melody.