By After Jacob Wilhelm Mechau - http://www.portraitindex.de/documents/obj/34804693, Public Domain, https://commons.wikimedia.org/w/index.php?curid=2214925
Sonatina in A minor Benda Grade 4 ABRSM 2019 – 2020
This piece has been in the ABRSM syllabus numerous times, according to my records, 1993, 1996, 2001 – 2002 and 2019 – 2020.
Character/story of the piece
In Jane McGrath’s book ‘The Pianist’s Guide to Standard Teaching and Performance Literature ‘published in 1995 she states that Benda was close friend of C.P.E. Bach whose music ‘did much to prepare the way for the Classicism of Beethoven. His stylish characteristics include the occasional use of Mozartian melodies, strongly discernible folk elements and bold harmonies’. He was also influenced by Scarlatti. Benda composed about 34 one movement sonatas which are written in a variety of forms. The footnotes to the copy I have state that Benda ‘belonged to a large Bohemian family of musicians and was a violinist in the Prussian court orchestra, later becoming the Capellmeister at the Gotha court. The ABRSM 2019 – 2020 notes for the pieces has an interesting paragraph – ‘the keyboard output of Bohemian-born Georg Benda was enormous. His style shows the influence of his close friend C.P.E. Bach as well as dance elements that have clear roots in the Baroque suite. At the same time there are tantalising glimpses of the Viennese Classics to come. While some bars of this sonatina movement show Baroque influence in terms of texture, it begins with an arpeggiated figure that immediately evokes the spirit of the Classical style’. The earlier notes, 2001 – 2002 have this to say ‘a sonatina of contrasts, one part grumpy, reminiscent of a loved but slightly unpredictable grandfather, the other a more cheerful and slightly remonstrating grandmother. The lively grandchildren are running wild around the house and taking life lightly until they are finally told off in bars 43 – 44’.
And, the footnotes from the 2019-2020 copy state ‘the very polished, idiomatic Sonatina in A minor is designed in simple ritornello form. The tonic ritornello (bb. 1-16) is recapitulated at the end, as shown by the direction ‘Da Capo al Fine’. In the middle, it occurs in the relative major C (bb. 25-32). The two episodes (bb. 17-24 and 33-48) both make use of hand-crossing technique – left hand: downstems; right hand upstems’.
This piece has elements of the sturm and drang style and is particularly reminiscent of C.P.E. Bach’s which is in the Grade 7 ABRSM syllabus in 2023 – 2024.
Form – this piece is in ritornello form, meaning that a musical theme or section repeats between contrasting or different musical sections’. The piece commences in the key of A minor, with the first section ending in the opening key. The music abruptly moves to C major at the start of the section, providing the music with a dramatic change at this point. This key leads to a modulation to G major in bar 23, followed by a return to C major at bar 32. By bar 47 the music has returned to the key of A minor.
Main part of the music – this should occur in bar 44 at a forte level as suggested in the music by the editor. Each section must have a focal point too with the first section’s main part occurring in bar 14 and the final section’s climax should occur in the final bar. The player must be aware that the dynamics used when playing this piece must be appropriate for the style and period of the piece.
Phrasing – some of the phrases in this piece overlap, for example the last beat of the first phrase is the first beat of the second phrase. In the first and last sections there are four phrases which are presented in sets of two with the first phrase of each set balancing the second phrase of the set. And, this is also true of the first two phrases and the second two phrases, with the first two phrases representing a question and the second two phrases representing an answer. This use of phrasing is maintained in the second section, however the phrase the includes the main part of the music is extended, being eight bars in total.
Tempo, time signature and rhythmic patterns – the suggested tempo of 100 crotchet beats per minute is appropriate considering the style and character of the music. Clearly the music must have vitality, energy and a feeling of relentless momentum and a slower speed will not convey the character required. It is interesting to note that Benda has written this piece in duple time rather than quadruple time. The duple time signature provides the music with energy and liveliness. Clearly the player must be able to swap between semiquaver and quaver patterns with ease and there is a danger that the player may play the semiquaver patterns unevenly. The rhythmic pattern in bar 44 potentially be played incorrectly, effectively the pattern could be doubled. All rests must be carefully observed. There is a degree of syncopation in the theme that is presented in bars 5 and 6.
By Unknown author - Franz Lorenz: Die Musikerfamilie Benda. Band 2: Franz Benda. Wilhelm de Gruyter, Berlin 1971, Public Domain, https://commons.wikimedia.org/w/index.php?curid=46599704
Touch/articulation – a precise, slightly intense touch should be employed when playing the semiquaver patterns, with the majority of the quavers being lightly detached. However, as a contrast there are a few instances where a cantabile touch should be used such as the bars that contain the two – note slurs and the dissonances occurring such as in bar 16. The articulation that is used must be applied with consistency throughout the piece. There are detached crotchets as well as quavers and the difference between the two must be clear to the listener. Very little articulation was written in by Benda, most of what is on the copy I have is editorial.
Balance between the hands – this is not a conventional piece requiring R.H. balance throughout; the player must adjust their thoughts concerning balance frequently when playing this piece. For some of the time careful consideration must be given to how the hands connect, for example in the opening four bars. Following these bars there are tow bars where the R.H. takes precedence however the L.H. is an integral part. At the end of this phrase there are two bars where R.H. balance is required.
Dynamics – considering the time that this piece was written, the dynamics should never be too loud, there should be a feeling of elegant restraint. As already mentioned, Benda’s composing style was influenced by C.P.E. Bach and the character of this piece is mercurial and changeable, so the dynamics should reflect this. Frequently the hands are ‘feeding off’ each other dynamically speaking so that the listener is unaware as to which hand is playing at any given time in the single note passages. The top notes of the chord patterns, for example in bar 2, need to be highlighted so that the melodic line is apparent. Each section of this piece requires a focal point in addition to the main part of the music occurring in bar 44. The player must consider how to alter the dynamics wherever the melodic material is repeated or is the same but in a different key.
Considerations when playing this piece –
· There is a danger that the semiquaver patterns could be played unevenly in bars 17 – 22, bars 33 – 34 and bars 37 – 38. The L.H. notes need to be played with speed so that they can move out of the way of the R.H. A flatter R.H. will enable the L.H. to move with ease over the top of the R.H.
· The ABRSM notes state ‘the piece may be marked allegro but do not tale this as an indication to ‘drive’ the music forwards; it needs some space around the corners to communicate the tongue-in-cheek seriousness’.
· Playing a black note with a thumb – there is a danger that this note could be played too loudly as a result.
· Ensure that the L.H. crotchet in bar 2 is held for its correct value.
· The L.H. finger number in bar 17 for instance could be a number 2 rather than a 5.
· There is a danger that the playing of the chords and thirds is not co-ordinated.
· In bars 17 – 22 for example, the high R.H. must have a different sound quality to the lower R.H. Cs.
· This piece is a great example for the necessity of playing scales and arpeggios.
· The listener must be aware from the beginning that the piece is in couple time.
· The emotions in this piece swiftly change throughout.
· The single melodic lines must always have direction.
· The dissonances need to be highlighted with subtlety.
· There are constant rhythmic changes; these provide an unsettling quality to the music.
· The highest note of a melodic pattern is not necessarily the loudest.
· The lifting off at the ends of melodic patterns should not be abrupt in any way.