From Alamy.com
Toccatina Kabalevsky No. 12 Op. 37 Grade 4 ABRSM Grade 4 2023 – 2024
As far as I can tell, this is the first occasion that this piece has been part of the ABRSM piano syllabus. A toccata (literally means to touch) is a composition for a keyboard instrument that enables the player to showcase their technique, speed and finger dexterity. ‘Ina’ is the Italian diminutive, so a toccatina is a little toccata.
Jane Magrath in her excellent book ‘The Pianist’s Guide to Standard Teaching and Performance Literature’ published by Alfred Publishing in 1995 states the following regarding this piece ‘an excellent work for developing the feeling of the first inversion triads in the right hand. Study in legato melody in the left hand and staccato chords in the right hand. Requires balance of left-hand melody over right-hand accompaniment. Perhaps the most memorable in this collection’.
Character/story of the piece – this piece divides into three sections, the first section introduces the melodic patterns that are present throughout the piece. There is a feeling of expectancy in this section. In the middle section there is a feeling of turmoil and confusion. The final section commences with a repetition of the opening music; this section brings the music to a relaxed and serene ending.
Form – as discussed above, this piece is in three sections. The second section commences at bar 19 and the third section begins at the end of bar 34. The first and third sections are in A minor. In the middle section seems to begin in Eflat minor however in a later part of this section the chords are very changeable which contributes to the restless character.
Main part of the music – this should occur at bar 30 at a fortissimo level. The player needs to consider where the loudest part of each section should appear, as this will help to provide some of the structure for the piece overall. There is a danger that because of the position of the loudest part of the piece, the last section will be played with very quiet dynamics. The loudest for the final section should occur at bar 40 at a mezzoforte level.
Phrasing – for most of this piece the phrases are four bars long, however there is a longer phrase at the end of the first section and a very long phrase at the end. The phrases in the first and last sections all commence with an upbeat whereas the phrases in the middle section start on the first beat of the bar. The player must consider how the use of the upbeat in the outer section contributes to the character of the music. And, how the change in the second section affects the mood of the music at that point. The connection between one phrase and the following must be considered by the player.
Tempo, time signature and rhythmic patterns – the tempo indication provided by the composer is allegretto which is in the range of 112 – 120 crotchet beats per minute. A suggested tempo of 116 crotchet beats per minute is appropriate for the style and character of the piece. Obviously, the piece must be played with a sense of momentum and speed, otherwise the character will not be portrayed. Clearly the player must feel comfortable with the playing of the R.H. chords at that speed, particularly the R.H. chords in the middle section. Nevertheless, too fast a tempo will destroy the quirky and slightly vacillating character. It is interesting to note that the composer chose a duple time signature for this piece rather than a quadruple one. The duple time signature provides an additional factor regarding the momentum required for the piece. There are no rhythmic patterns that could potentially provide concern for players; however, the hand co-ordination may give cause for concern for some.
Touch and Articulation – the L.H. requires a cantabile touch with the longer notes played with resonance so that they are heard for their full value. The notes that need to be lifted at the end of the melodic patterns should be lifted with the finger touching the key so that the sound is not abrupt and clipped. The detached notes, such as those in bars 11 and 12, should be played with a tenuto touch. The player needs to be aware that some of the detached notes are quavers and others are crotchets. The listener must be able to discern the difference between the two. Regarding articulation, some say that the articulation that is written is meaningless. In my opinion the articulation that is provided by the composer should be adhered to as the lifts and separated notes in bars 11 and 12, for example contribute considerably to the character of the piece.
Balance between the hands - clearly the balance will need to be to the L.H. This could provide concerns for some players. In one edition for this piece the L.H. is marked mezzoforte cantando e legatissimo. During the outer sections the balance between the hands should be, for most of the time, clearly to the L.H. However, at the end of the piece the hands should gradually merge. As a contrast though, the balance between the hands in the middle section, although still to the L.H., should be more changeable, except for the final four bars. The R.H. should have a slightly more prominent role in this section.
Dynamics – as with all the other aspects and details in this piece, the dynamics are a very important factor in highlighting the character of the piece. A wide range of dynamics should be employed from pianissimo to fortissimo. Sudden changes in the dynamics is appropriate; this will provide the music with the restlessness and edgy character it requires.
Rubato – apart from two small easing of the tempo at the ends of the last two sections no other agogic effects should be used. To a certain extent the composer has written in some rubato with the use of rests on the second beats in the final three bars.
Considerations when playing this piece –
· Primarily the chords used in this piece are in first inversion however there are four bars, bars 31 – 34 where the first chord is in first inversion and the second chord is in second inversion. Here the player must consider how this alters the character of the music. It is as if at this point, the music is ‘stuck’, there is a sense of anticipation for the listener as they do not know what will come next.
· Notice how the top notes of the R.H. chords play the same notes as the L.H., however an octave higher in some areas.
· There must be consistency in the use of fingering throughout this piece.
· On occasions the hands are quite close together.
· The hands need to be played in a forward position on the keys as this will make it easier to play with the frequent use of black notes.
· In the middle section there are moments of tension and release.
· The player should be aware of how the R.H. often plays the same notes, albeit an octave higher, that the L.H. has played or is playing. The player should highlight the top notes of the R.H. chords so that the listener is aware of this too.
· There is a danger that the player may not sound all of the notes of the R.H.
· The player should learn the R.H. chords separately from the music; there are only nine chords that must be played, in total.
· The R.H. chords should be played with a relaxed wrist and the player focus as much as possible on the L.H. melody.
· The accidentals in the R.H. could potentially be quite off-putting to some players. Learning them separately from the music, as suggested, as well as by their shape is beneficial. For example, the player could think of the first R.H. chord in bar 19 as black-black-black.
· If a player is experiencing difficulty with the co-ordination of the hands, especially with the off-beat R.H., the R.H. chords, where appropriate could be played with the L.H.