A Breton Gavotte.
By Théophile Deyrolle - Die_Gartenlaube_(1897)_141.jpg, Public Domain, https://commons.wikimedia.org/w/index.php?curid=8133880
Gavotte Handel Grade 1 ABRSM 2023 – 2024
Character/story of the piece – the title is obviously a sensible starting point concerning the interpretation of this piece. A gavotte is a courtly dance for couples, often with more than one couple, incorporating small hops. The speed of a gavotte is usually at a moderate speed, the time signature is two minim beats in the bar or four crotchet beats in the bar. There is an upbeat to the phrases, usually consisting of two beats in the case of quadruple time. It is advisable for the player to watch some dancers perform the gavotte, so they understand the character of the dance. The player should consider what the dancers are doing at any given time in the music. Considering that the first, second and fourth phrases are the same, the player should consider how the dance is altered within each phrase. The third phrase must contrast the other three phrases entirely.
Form – this piece is in binary form in C major, with the key remaining in C major throughout. If the repeat of the second section were played, the second section would be double the length of the first section. Each section consists of two phrases, each being four bars long. All commence with an upbeat of two beats.
Main part of the music – considering that this is a Baroque piece and the character of the music, the main part should occur in the penultimate bar. The player must be aware of the level of dynamics to be used considering that it was written in the Baroque period. In the penultimate bar the second R.H. D should be played forte, however this forte should be at a level that is appropriate for the period.
Phrasing – as discussed before, there are four phrases in this piece all beginning with an upbeat. The third phrase ends on the dominant, providing the music with a sense of urgency for its completion. The phrases in this piece are quite long; the player must always provide the listener with a sense of forward movement even when the dynamics are at a quieter level. There are two parts to every phrase, the first part has a stately and elegant character, and the second part is livelier with the crotchet bass notes.
Tempo, time signature and rhythmic patterns – this player must play this piece with dignity and stateliness. The impression the listener must sense, is a piece of music that has ‘room to breathe’. Maintaining an andante speed is paramount; if played too slowly the music will sound dull and lacking in vitality and if played too fast, there will be a feeling a breathlessness and triviality. There are differing views on how fast this piece should be played. A speed of 116 crotchet beats per minute is appropriate. Handel has cleverly written this piece with contrasting accentuations within the phrases. In the first, second and fourth phrases the first part of the phrase has a sense of two beats in the bar. However, this is contrasted with a sense of four beats in a bar in the second part of the phrase. The third phrase is a contrast to the other three phrases with a sense of four beats in the bar throughout. This provides this third phrase with a sense of urgency and additional momentum. The only rhythmic pattern which could potentially cause concern for the player is the co-ordination of the hands in the dotted pattern in the penultimate bar in the first, second and fourth phrases.
From Alamy.com
Touch/articulation – changing the touch and articulation will provide the listener with additional aspects to listen to. In the first part of the first, second and third phrases the hands should be played with a legato touch with interest provided by the two gentle lifts in the R.H. In the second part of these phrases the R.H. should gain intensity touch-wise with the accompanying L.H. crotchets being gently detached. Again, the third phrase must provide contrast to the other phrases. In this phrase the changes occur more frequently between the legato and intense touch. Both hands are playing these touches simultaneously.
Balance between the hands – obviously the balance is to the R.H. in the first, second and fourth phrases. The level of balance between the hands will be determined by the dynamics used. In the first phrase, the difference between the hands should be noticeable. However, because the dynamics will decrease in the second phrase the balance between the hands should decrease. Considering that the melody is primarily moving in thirds in the third phrase there should be little difference between the hands dynamically. In the final phrase, the balance to the R.H should be maintained, although in the final three bars the L.H. should increase its dynamics.
Dynamics – as discussed before, the player must be aware that this piece was written in the Baroque period and the dynamics employed should be appropriate for this period. As is always the case, increasing the dynamics in the L.H. will have a considerable effect on the dynamics overall. To a certain extent, the L.H. dictates the dynamics.
Agogic effects – these should be kept to a minimum, a ‘less is more’ approach should be employed. A very slight slowing down at the end of the second phrase is appropriate and a small slowing down at the end is effective too. Nevertheless, these changes should not be at the expense of the correct playing of the rhythmic patterns especially considering the placement of the dotted crotchet/quaver pattern.
From personal photo collection.
Considerations when playing this piece –
· Tone-matching is a very important consideration.
· The player must think about how one phrase moves to the following dynamically. The end of each phrase determines the dynamic level of the subsequent phrase.
· Considering the length of each phrase, there must be momentum and direction within each one.
· Both arms should lift simultaneously at the end of each phrase.
· The L.H. minims should be played with resonance.
· The lifts at the ends of the phrases and the short slurs should occur with the fingers in contact with the keys.
· When the L.H. is detached, it should be barely detached with the fingers lifting just before the following note is played.
· The third phrase must have contrast too and this can be achieved dynamically with the last half of the phrase with shoulder weight.
· The highest note of a melodic pattern is not necessarily the loudest.
· There is a danger that the notes in the third phrase split, synchronisation is vitally important.
· In addition to thinking about the characteristics of the gavotte, the player could also think of instruments playing different parts of the melody and the L.H.
· The player must be fully prepared when starting as there is a danger that both notes are not heard and/or split in the playing of them.
· It would be advisable to omit the ornament in bar 3 and the other similar bars if there is a danger that the playing of them will distort the beat.