By George Inness - Princeton University Art Museum, Public Domain, https://commons.wikimedia.org/w/index.php?curid=105195519
Idylle Chaminade Grade 4 ABRSM 2023 – 2024
Character/story of the piece – the footnotes for this piece state ‘it seems to describe a picturesque pastoral scene – a common meaning of the word ‘idyll’. The player could imagine two activities taking place in this piece; perhaps the player is the person walking along a country lane towards an outdoor event such as a fair. The person is partaking in some of the activities of the fair before leaving the fairground and walking back along the country lane. The piece is episodic in character and the player must ensure that the listener’s interest is maintained throughout.
Main part of the music – this should occur on the second beat of bar 31 with forte dynamics. The poco rit. and fermata used at this point will also contribute to the climax of the piece. The outer two section must contain a main part too so that it will sustain the interest for the listener.
Form – as alluded to above, this piece is in ternary form with the first and last sections being the same. The outer sections are in C major however the middle section is in G major, the dominant key of C major. This change of key creates a degree of uncertainty in the middle section which is only resolved by the end of the section. In the first and third sections the composer modulates to G major and F major before returning to C major at the end of the section.
Phrasing – each section contains four phrases all containing four bars each. In the first and third sections the phrases are in pairs with the first of each balanced by the second phrase. Cohesion in these sections is provided using the same material at the beginning of the first and third phrases. By contrast, the second section has a more episodic feel phrasing-wise although the first and third phrases of this section are identical. All phrases commence with an upbeat and the player must consider how this affects the character of the music.
Tempo, time signature and rhythmic patterns – the suggested tempo of c72 dotted crotchet beats per minute is appropriate for the character of the piece. The player must ensure that the listener is aware that the piece is written in compound time. There are no rhythmic patterns contained in this piece that could potentially cause the player any anxiety. There is a danger that the player may not release the L.H. notes as shown in bars 17 – 20 for example.
By Unknown author - Henrici, L. O. Representative Women. Kansas City, Mo.: The Crafters Publishers. 1913Original source: What We Hear in Music, Anne S. Faulkner, Victor Talking Machine Co., 1913., Public Domain, https://commons.wikimedia.org/w/index.php?curid=864492
Touch/Articulation – the composer has written the word bien chante at the start of the piece, dolce in bar 8 as well as in bar 32. Clearly the player must employ a R.H. cantabile touch, and this is often the same for the L.H. too in the outer sections. Often in these sections the melody is being passed from one hand to the other and the listener must be unaware of which hand is playing the melody at any given point. The L.H. reverts to a more traditional role to a certain extent in the middle section although the L.H. will need to maintain its cantabile sound most of the time. Chaminade has written many slurs in this music, and these must be observed as they provide delicacy and lightness to the music. Sophisticated pedaling skills must be used to highlight these lifts. Any accents that are written in this music should be persuasive rather than percussive. The player must consider the context in which these accents are written.
Dynamics – the composer has written little in the way of dynamics, so the player needs to utilise a wide range of dynamics in the playing of this piece. In the first section the dynamics should never exceed mezzoforte. Chaminade has requested that the dynamics commence at forte dynamic at the commencement of the second section however this must be amended because starting this section at a forte level will leave little room for contrast and interest. The largest range of dynamics should be reserved for the playing of the final section as this will create interest for the listener.
Balance between the hands – in the first section there are parts of the phrase where the balance is to the R.H. however it is not a conventional melody and accompaniment situation. In the R.H. opening melodic line, the L.H. contributes by supporting the R.H. very closely. During the second section the R.H. has more balance and the L.H. adopts more of an accompaniment role.
Pedal – as briefly discussed before the player must have a range of pedaling skills at the ready when playing this piece. Some modification of the pedal markings present in this piece would be beneficial. If applied as they are, in some cases the music may sound ‘choppy’. When considering how the pedal should be applied in this piece, many aspects must be thought of. For example, the slurs require careful attention, and the pedal application must not in any way blur the lift between one slur and the following. Also, the player needs to consider the rests in the L.H. as these must be acknowledged and not covered by a long pedal. At the start legato pedaling should be employed however the upbeats should remain clear of any pedaling. Nevertheless, the pedal markings in bar 7 for example, should be used as these will highlight the L.H. patterns. Some half-pedaling and flutter pedaling will be required in this piece. Nevertheless, any pedaling applied in this piece must project an aura of simplicity and supports the music rather than overpowering it.
Rubato – it would seem nonsensical for this piece to be played without the application of any rubato. Nevertheless, it would be wise to consider why rubato is applied in any situation. Any rubato used must be subtle and unpredictable so, for example, not all phrases should have a rallentando at the end of them. Apart from the two poco rits. that the composer has written in bars 31 and 46, any rubato applied must be balanced.
Considerations when playing this piece –
· There are numerous details to absorb when playing this piece – part-playing, pedal, tone-matching, the articulation, the use of the L.H. and so on.
· There are occasions where the melody moves from a single note to being part of a chord. The player must ensure that the chords are not played significantly louder than the single notes.
· The highest note of a melodic pattern need not be the loudest. For example, in bar 1 there could be a tendency to over-emphasise the second dotted note, the R.H. E.
· The second section contains shorter melodic fragments; the player must consider how to thread these ideas together.
· The part-playing that is present in the middle section must be highlighted with different dynamics so that the listener can easily distinguish the two parts.
· An increase in the number of slurs can result in more tension in the music.
· Staccato pedaling in bars 15, 16, 31, 32, 47 and 48 will call attention to the ending of the phrase; the gaps between pedals could be more pronounced in the final two bars.
· There is an accent on the R.H note F in bar 37 and this accent does not occur on the same note in bar 5 however this bar has a crescendo which bar 37 does not.
· The holding of the L.H. dotted crotchet notes in bars 29 and 30 is quite difficult for some players.
· There is a sudden ‘interruption’ in bars 21 and 22.
· The music has an ‘ebb and flow’ effect.
· The player must be ready to start to play as there is a danger that the first note may not sound.