By Josef Kriehuber - Eigenes Foto einer Originallithographie, Public Domain, https://commons.wikimedia.org/w/index.php?curid=1213976
Allegretto in C No. 3 from Die ersten 12 Lectionen Op. 125 Grade 1 ABRSM 2023 – 2024
Character/story of the piece – the character of this piece could vary according to the different ways in which it is played. It has a march-like quality, however if played too heavily the piece could possibly sound laboured. It is advisable to consider that alternate bar lines are removed thus creating longer melodic patterns and avoiding the constant 2-in-a-bar feel. The player could consider this piece as a dance, which has delicacy yet a degree of vibrancy too. It is rather ‘proper’ in character. In bars 2, 4 and so on in the first two sections could be considered as moments where there is a pause, bow or curtsy before the dancers move onto another part of the dance. In the final section the dancers are moving continuously considering the quaver movement in most of this section.
Form – this piece is in three sections, with the final section containing the same RH melodic patterns as the first section. The first and third sections are in C major and there is a modulation to G major in the middle section. The player could think of the first section as setting the scene, the second section as reinforcing the ideas and in the final section there is a feeling of completion and resolution.
Main part of the music – this should occur in the penultimate bar at a forte level. Even though the composer is an early Romantic composer the player should consider that this piece is from the Classical Period. Therefore, the dynamic levels should not be as loud as those that would be used for later periods. There should be a feeling of restraint regarding the dynamics of this piece.
Phrasing – there are six phrases in this piece, each section having two phrases each. Each set of two phrases has a feeling of balance with the first phrase being balanced by the second phrase. All of the second phrases of each pair of two contain a beat rest at the end which must be strictly observed.
Tempo, time signature and rhythmic patterns – the ABRSM copy has a suggested speed of 116 crotchet beats per minute which is appropriate for the character of the piece. If played too fast, the piece will lack the elegance and delicacy that it requires. Obviously if played too slowly the music will not portray the vitality and energy of the dance. As discussed before, the player should not overly emphasise the fact that it is in duple time. Thinking of the bars as sets of two, is beneficial in avoiding the overly metronomic march-like feel. There are no rhythmic patterns that should potentially cause any concern for the player however they must be careful to ensure that the speed does not slow at the start of bar 17 where the LH commences playing quaver patterns. In addition to this the player may have difficulty in maintaining evenness in these quaver patterns. Here the player should use time names constantly and ensure that the fingers are curved and are the same distance from the keys prior to be played. There is a danger that the LH minims are not held for long enough. The rest in bar 16 must be clearly defined.
Grave of the composer and music publisher Anton Diabelli (1781–1858). St. Marx Cemetery, Vienna
By Papergirl - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=50495134
Touch/Articulation – a degree of contrast can be employed in this piece with the use of a brittle and precise touch when playing the notes that are repeated and a cantabile touch when playing the two-note slurs, the RH in bar 15 and the quaver patterns in both hands in the final section. The first note of the two-note slurs should be played with a degree of resonance before the gentle lift on the second note with the fingers in contact with the key. The articulation is marked in the music, and this must be played as written. There is a danger that the player may not lift the RH between bars 2 and 3 however this is vital in conveying the character of the piece. The only articulation mark that should not be strictly observed is the slur in the RH in bar 6, for example. The RH quaver pattern should be joined to the first note of the following bar.
Balance between the hands – clearly the balance should be to the RH in this piece, however the amount of balance can vary according to the section. At the beginning, the balance should be distinctly to the RH with the LH playing a secondary role. Nevertheless, the changing notes of the LH should be highlighted, and this is true of the LH throughout whenever it is playing chordal patterns. In the second section the LH’s role should increase only reducing in bars 15 and 16. Considering the LH Alberti patterns in the final section the balance should not be too great, as the LH has a significant role to play.
Dynamics – as stated before, the dynamics used should be appropriate for the Classical Period. To a certain extent the dynamics should be cumulative as the piece progresses. In the final section, the player should use the largest range of dynamics therefore adding a dramatic touch to the music. All the two-note slurs have a diminuendo written under them. The player must listen very hard so that the changes in dynamics are subtle, tone-matching being very important. Subtle changes in dynamics are often required when playing quieter dynamics. And, there should be careful consideration about the level of dynamics that each phrase commences at. The L.H. dictates the dynamics in the last section, especially the Alberti bass patterns. The dynamics of the two-note slurs will become more pronounced in the louder sections.
Agogic features – there should only be two areas where the music slows a little, in bars 15 and 16 and at the end. The player should notice how Diabelli has written a rest at the end of each section and by doing this, he has written a ritardando. The player must be careful to ensure that the easing of the tempo in bars 15 and 16 does not result in the beats being doubled. This is also the case in the final two bars; here the player could slow down a little more in comparison to bars 15 and 16.
Considerations when playing this piece –
The player must commence the piece with an impulse.
There is a danger that all the notes of chords are not heard, in particular the three note chords for example, in bar 1. And, some of these chords could split when being played.
Some players may find the LH Alberti patterns a little tricky in the final section. The change to the use of the Alberti pattern should be ‘seamless’. In addition to this, the LH in bar 21 requires of the player to think ahead for the change of finger. The LH could be practised in two-note patterns.
The player must consider how much the LH contributes to the dynamics.
The hands should be held over the keys to acknowledge the final rest.
An excellent piece to discuss harmonic progressions.
The player must be ready for the changeover to the Alberti bass patterns at the end of bar 16.
There is a change in character in the last section when the LH begins to play the Alberti patterns.
There is a danger that the player may play this piece too fast once they become familiar with it.
The piece has a style reminiscent of the Baroque Period; it has a cumulative character.
By Peter Stadler, Vienna, Attribution, https://commons.wikimedia.org/w/index.php?curid=635491