By Bergen Public Library Norway from Bergen, Norway - [Edvard Grieg portrait], No restrictions, https://commons.wikimedia.org/w/index.php?curid=125250559
Arietta Grieg No. 1 Op. 12 ABRSM Grade 4 1966, 2001-2002 & 2019-2020
Character/story of the piece – this is one of the most sublime pieces written for the piano with its plaintive and slightly haunting melody that doesn’t completely resolve by the end of the piece. Clearly the title Arietta is a starting point, arietta means a short aria that is not particularly complex. The player must identify the melodic line that is written as the highest voice and be able to sing this melody. Creating some words that fit this melodic line will be beneficial to understanding the character of the piece.
According to the ABRSM notes for 2019 - 2020, ‘it might be compared with his final Lyric Piece, entitled 'Remembrances’ (Op. 71 No. 7) and written more than three decades later, which recalls the melody of the ‘Arietta’, transforming it into a nostalgic slow waltz – a touching refection on this piece’s immense and enduring popularity’.
This Arietta is the first piece in Grieg’s first set of Lyric Pieces. It was published in 1867 when Grieg was only 24 years old. Grieg made a conscious effort to write music that was attractive for players who were not particularly advanced in their piano study.
Arietta is reminiscent of Schumann’s ‘Of Foreign Lands and Peoples’ from Kinderscenen, Op. 15.
Form – this piece is written in binary form with the first and second phrases repeated at the beginning of the second section. The piece commences in the key of EB major however in the second phrase, the key seems to move to C minor, although this is not entirely clear as the BB is retained. And the use of the CB in the L.H. in the first phrase creates a degree of unsettledness to the music. In the final phrase of the first section, Grieg uses the key of G minor but again, it still retains an unsettled quality key wise. In the second phrase of the second section the music has a transitory character as it moves to G minor before ending in its original key.
Main part of the music – this should occur at the start of the second beat in bar 21. This will allow the player to lower the dynamics in the penultimate bar before playing the final bar at pianissimo level as indicated in the music. Considering the character of the piece the dynamics at the main part should not exceed mezzoforte. As a contrast, the main part in the first section should occur in in bar 5 at a mezzopiano level.
Phrasing – Grieg’s use of phrasing in this piece is to a certain extent conventional. The first two phrases of each section (which are the same in both sections) complement each other with the second phrase ‘answering’ the first phrase. The third phrase of the first section is four bars long which, as well as providing the music with an unsettled quality, serves as a link between the two sections. The last phrase is seven bars long, or this could be considered as two phrases, one four bars long and the other three bars long. The lengthening of the second section helps to bring the music to a satisfactory close.
The phrases connect from one to the next, with the end of one phrase seamlessly connecting to the following phrase. In bars 8 and 16, the inner part must be slightly highlighted so that the phrases connect from one to the next.
Tempo, time signature and rhythmic patterns – regarding the tempo indication of poco andante (e sostenuto), is Grieg referring to a crotchet beat or a quaver beat? It seems logical that he is referring to a quaver beat. So, a suitable tempo indication would be 54 crotchet beats per minute. There seems to be differences of opinion concerning the tempo that this piece should be played at. Considering its character, too fast a tempo would destroy its romantic characteristics. Of course, if played too slowly, it will sound dull and labourious. It is interesting note that Grieg has written this piece in duple time rather than quadruple time. However, considering the speed and the rhythmic patterns involved it sounds as if it is written in quadruple time. There are no rhythmic patterns that could provide concern for the player, however the rhythmic pattern on beat 2 in bar 9 and the dotted rhythm in bar 12, for example are areas that require additional attention. These patterns demand a certain improvisatory quality, but this should not be at the expense of the overall continuity of the music. The player must be careful to project to the listener the fact that the pattern in bar 9 is syncopated and that there is a dotted rhythm in bar 12.
By Bergen Public Library Norway from Bergen, Norway - Troldhaugen with Edvard and Nina Grieg, No restrictions, https://commons.wikimedia.org/w/index.php?curid=35239123
From personal photo collection.
Touch/articulation – there are three voices that require attention in this piece; the upper cantabile melodic line, the quieter inner voice that is shared between the hands and the resonant bass notes. These voices demand the application of different touches so that each voice can be differentiated. The upper notes of the R.H. as shown by Grieg with the upwards stems need to be played with a gently weighted cantabile touch from the shoulder. An added complexity is the fact that the R.H. must play these notes often in conjunction with the inner part. And, whenever the upper voice is part of a chord, the upper notes will need to be highlighted. The low L.H. notes, as indicated by Grieg with the stems written downwards, require a resonant touch so that these notes provide a depth to the piece. These notes must be played with a reasonable level of dynamics so that they sound for their indicated length. This is especially the case in bars such as bars 1 and 2, as the L.H. EB must be heard for these two bars. The player must be careful to hold the L.H. crotchets, such as those in bar 5 for their correct length so that they underpin the music.
This piece requires a legato touch throughout which should be enhanced using sophisticated pedalling techniques. The player must ensure that their playing is legato, not relying on the pedal to perform this task. There are two-note slurs present in this piece, such as in bars 5 and 6, and these must be clearly articulated. It is interesting to note that these two-note slurs have a syncopated effect because of their position within the bar.
Balance between the hands – this has already been discussed to a certain extent. Taking the three voices/parts, the primary one is the upper part of the R. H. This must be projected clearly so that this voice can be heard with ease. After this part, the low bass notes require a degree of prominence so that depth is provided to the music. Lastly, the inner voice that is shared between the hands needs to be clearly heard but obviously not at the expense of the other parts. Nevertheless, the music takes on a more singular line in parts of the third phrase of each section and this needs to be highlighted for the listener.
Dynamics – as already stated, the loudest part of the piece, occurring in bar 21 should be played at a mezzoforte level. Considering this, the dynamics for most of the piece will be within the range of ppp to mp. Even though the inner part should be played with subdued dynamics, this part is crucial in providing dynamic support for the other parts.
Pedalling – a range of pedalling techniques are required when playing this piece. In the first phrase, for example, the player will need to employ a flutter pedal so that the bass note is retained however some of the other notes are removed. In the second phrase, for example, legato pedalling on each crotchet beat will suffice for the most part. The third phrase needs both legato pedalling and the use of flutter pedal. However, on the second beat in bar 9 for example, there should be no pedal except at the end so that the final note of the bar is sustained. This piece must not sound over-pedalled in any way. Having the pedal engaged at the start would be beneficial. There is a danger, for example, that the low L.H. note at the beginning of bar 6 is not caught in the pedal.
From personal photo collection.
Rubato – touches of rubato should be applied when playing this piece but as is always the case, consider ‘less is more’ in relation to rubato. It is my opinion that Grieg has written a slight rallentando in the third phrase considering the manner of his writing. The rit. at the end of the piece must be observed and the notes at the end held sufficiently long enough so that some of the sound has subsided.
Considerations when playing this piece –
· In bar 17 it sounds as if the inner voice has emerged from the previous part and taken on the role of the upper part.
· The player must employ strong fingers, numbers 3, 4 and 5 in the R.H. so that the melody is projected.
· One practice technique suggestion is to play the inner part by itself so that the player is aware of where it occurs.
· The texture changes in the bass throughout the piece.
· The player must consider how to play the repeated notes versus those notes that are not repeated.
· The player will need to have reasonably large hands to be able to play this piece successfully.
· There are times where the music feels as if the bar lines have been removed.
· The music projects as an ebb and flow, there is energy and then relaxation.
· Grieg uses different kinds of intervals throughout the piece.
· There is a danger that the playing of some of the chords could split.
· The player must consider the playing of the thumbs; there is a danger that the notes that are played by the thumbs are too loud in comparison with the rest of the inner part.
· It is interesting to note that the music ends with the same music as the opening bar.
· Notice how the inner part, for example, in bar 2 leads to the upper part in bar 3.
· At times there is a melodic line in the bass.
· There is a danger that the player may hold the inner notes for too long.