What is the story that the player wishes to convey to the listener?
This piece would give the player a wonderful opportunity to create some words for the music that could be sung as it is being played. The music has a bittersweet character with the first, second and fourth phrases sounding a little sad and melancholic with the third phrase projecting a more hopeful character. Tchaikovsky used the theme from this piece in the minstrels' song in Act II of his opera, The Maid of Orleans. When creating the words to the music, encourage the player to reflect the change of character in bars 17-24.
What is the structure of the music?
There are two sections in this music. The first section contains two phrases, which are exactly the same. At the start of the second section the melodic material changes in the third phrase and this is followed by a repeat of the opening phrase.
Main part of the music
The main part of this piece is in bar 22. Use a little accelerando prior to the climax with some easing of the speed at the end of the phrase.
Phrasing
This piece has regular phrase lengths with four eight bar. This piece has an anacrusis opening with the second and fourth phrases commencing the same way. However, the third phrase starts on the first beat of the bar, which contributes to this phrase being stronger in character.
The loudest part for the piece could be the RH EB in bar 22.
Metronome mark, time signature and rhythm
The metronome speed chosen for this piece is very important because if it is played too fast it will lose its character. However, if played too slowly the music could tend to drag and as a result, the listener would lose concentration. Tchaikovsky's choice of a duple time signature is interesting; in the first, second and fourth phrases there are times where the duple time signature is not obvious. However, in the third phrase the duple time signature is very clear. Because Tchaikovsky uses two types of dotted rhythms in this piece the listener must be made aware of both forms.
Unexpected moments
The melodic material in the third phrase may come as a surprise to the listener. The player will need to commence this phrase with definition and confidence. Use rubato to highlight this material and ensure that this is the area where the most rubato in the whole piece is used.
By Nikolai Kuznetsov - Nikolai Dimitriyevich Kuznetsov's (1850 - 1929), Public Domain, https://commons.wikimedia.org/w/index.php?curid=3722530
Beginning and ending
At the beginning of the piece the player needs to imagine that they are enhancing music that is already playing. Perhaps the player could think of being a violin player with an orchestral backing.
The music requires a very gentle ending with the music dying away at the finish.
Details and considerations
Musical Period and composer
Romantic Period. Tchaikovsky uses very expressive melodic material in this piece. Rubato needs to be used in the playing of it and also the player can use a wide range of dynamics although the loudest dynamic used is mezzoforte.
Tchaikovsky was a competent pianist rather than a virtuoso one; nevertheless he enjoyed writing for the piano throughout his life. His piano pieces are charming and distinctive, often with lovely melodies. The Old French Song is part of a set of pieces entitled Children's Album. Tchaikovsky composed in the style of Schumann's Album for the Young and they were composed between May and July 1878. These 24 pieces are very short and a complete performance of the set lasts approximately 30 minutes. Several pieces from the cycle make use of authentic folk tunes. It includes children's games and dances and travels throughout Russia and abroad.
Touch
This piece requires a cantabile touch in the RH however in bars 17 - 21, a lighter and more penetrating touch will need to be employed. These bars should not sound as legato as the rest of the music. Once the climax is reached at the beginning of bar 22, the RH can resume its cantabile touch. The LH requires a legatissimo touch in most of the music however there is a contrast in bars 17 - 20, as the LH needs to gently detach the notes, which will help to contribute to the change of character in this phrase. In most places the fingers and thumb need to be in contact with the keys before the notes are played so there is no 'attack' on the notes.
Balance between the hands
The balance is to the RH throughout this piece. Nevertheless, small changes to the LH's dynamics will make a considerable difference to the overall dynamics. There will be less balance between the hands in the second phrase, because Tchaikovsky requests that this phrase be played pianissimo. At the beginning of the third phrase the balance between the hands can be reduced a little until the climax is reached.
Tone matching
This is definitely an aspect that the player must be aware because Tchaikovsky has not only used the dotted crotchet/quaver he also uses a double dotted crotchet/semiquaver in the penultimate bar of the first, second and third phrases.
Phrasing
As discussed above, the player can think of the phrases as being four bars in length or eight bars in length. If the player thinks in phrases of four bars, the player needs to consider that the phrases are in sets of twos because the first phrase of each answers the second phrase. When playing the pairs of phrases, the first phrase must move seamlessly into the following one. The lift in the RH for the rest is important to alert the listener to a new phrase, as is a lift at the end of bar 24.
Articulation
By Émile Reutlinger - NYPL Digital Gallery — Image ID: 1158492, Public Domain, https://commons.wikimedia.org/w/index.php?curid=118529244
Tchaikovsky has added a number of articulation marks in this piece. When lifting off at the ends of phrases ensure that the fingers are touching the keys so the sound is gentle and not abrupt. The LH has different articulation in comparison with the RH and this needs to be projected to the listener. The lift after the first beat of the bar in bars 6, 14, 22 and 30 is important as as it helps the listener follow the second part of the phrase.
Dynamics
Firstly consider the Musical Period, the style and character of this piece, when thinking about the dynamic levels that will be employed when playing it. Since there is repeated music in the first section, the dynamics should be changed to maintain interest for the listener. Essentially the dynamics are quiet in this music. The second phrase is quieter than the first phrase and this is emphasised by Tchaikovsky's use of pp at the start of it. Nevertheless, it would be best to ensure that the end of the phrase is not too quiet, as the player needs to reserve this for the ending. This needs to be followed by a change to p with the main part of this phrase at mf in bar 22. This is the only occasion that Tchaikovsky uses crescendo and diminuendo markings in this piece. The fourth phrase needs to commence at a p level however the ending could be the quietest of the piece.
Rubato
Generally speaking, less is more when it comes to rubato. The player must consider why they are using rubato in the music and how this contributes to the character and style of the music. It may be best to not employ any rubato in the first phrase as this ensures that the listener is made aware of the tempo of the piece. Perhaps the player could use a little easing of the tempo at the beginning of the second phrase and this can be balanced by a little acceleration nearer the end of the phrase. A little accelerando in bar 21 is appropriate coupled with an easing of the speed in bars 23 - 24, as this will highlight the climax of the music. This should be the most rubato used in the piece. At the final two bars a little easing of the tempo is suitable however the player must ensure the double dotted rhythm at the end is not distorted.
Use of the LH
The LH is an integral component of the piece. The player must listen to the LH and how it contributes to the music both harmonically and melodically. Imagine that the LH is the connecting element in this piece. Often dynamic changes can be achieved by carefully changing the dynamics in the LH. At the beginning of the first, second and fourth phrases, the LH sounds a little 'drone-like' with the repeated G in the bass line. The tenor contributes to the melodic line in these phrases. However, at the end of these phrases the LH takes on another role with its notes supplying the beat. In the third phrase the LH helps to add drama to this phrase as it provides some of the phrase's forward movement. In this phrase the RH should feel as if it is trying to 'catch' up to the LH dynamically speaking. There is a danger in this music that in the player's endeavour to play the music quietly some of the LH notes may not be heard or that a chord may split. The player needs to ensure that they are playing with controlled weight from the shoulder. Some players may find the part-playing and tied notes in the LH a little tricky so plenty of LH practice will be beneficial. The player will need to feel as if they are 'dropping' the weight from their shoulders into these notes. When playing the detached quavers in the LH in the third phrase the player will need to exude confidence and poise.
Pedalling
This piece would benefit from the use of dabs of the sustaining pedal, however if it were not used at all, this would not be a concern. The player could use the sustaining pedal in bars 2, 4 and other similar bars to help sustain the tied notes. In addition to this, using the pedal on the first beats of bars 7, 8, 20, 21 and other similar bars will help to sustain the chords. Nevertheless, the player will need to ensure that the pedal is depressed slowly otherwise there could be a sudden increase in the overall sound that would not be appropriate for the music.
Additional considerations
· discuss with the player the change of character in the third phrase and how Tchaikovsky has achieved this.
· think of the music being played by a three-stringed ensemble with the LH bass line being a cello. In bars 17- 21 the cello could be being played pizzicato.
· the music feels as if the Gs and Ds are dictating the piece and therefore it is very important to consider the dynamic levels when playing these notes. It would not be very interesting for the listener if these were all played at the same level.