By After Jacob Wilhelm Mechau - http://www.portraitindex.de/documents/obj/34804693, Public Domain, https://commons.wikimedia.org/w/index.php?curid=2214925
Allegro assai third movement from Sonata in G Benda Grade 4 2024 – 2026 & 2009 – 2010
Character/story of the piece
This piece has been twice in the Grade 4 ABRSM syllabus according to my records, firstly in 2009 – 2010 and in 2025 – 2026.
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’.
According to the notes I have for the 2009 – 2010 piece, Benda’s family moved to Prussia in 1742. Ge was Kapellmeister from 1750 to 1778 and after that he worked in Hamburg and Vienna.
This piece has elements of the sturm and drang style and is reminiscent of C.P.E. Bach’s which is in the Grade 7 ABRSM syllabus in 2023 – 2024.
The ABRSM notes for 2009 – 2010 stated that ‘the piece exudes good humour. It would be a good choice for players with a limited stretch, as it all lies neatly under the hands’.
The player could consider thinking of a story to accompany this piece that describes an event, such as a walk and the walkers are stopping at various points to admire the view. There is a degree of uncertainty in bars 33 to 40 however this is quickly resolved with the return of the recapitulation section.
Form – as already alluded to, this piece is in sonata form commencing in the key of G major. At the end of the exposition the piece remains in G major. However, at the start of the development section the music feels a little unsettled key wise. This uncertainty is resolved by bar 25 with the music in the key of D major. However, after several bars in D major Benda injects more uncertainty in the music with the use of A minor, G major and finally D major which leads into the recapitulation. The recapitulation is in the key of G major.
Main part of the music – this should occur in the final bar at forte level. Considering that the music was written in the Classical period the player should use dynamic levels appropriate for the period. Each section must have a focal point too, with the exposition’s loudest point occurring at the end of bar 6 at a mezzoforte level and in the development section it should occur at beginning of bar 41, also at a mezzoforte level.
Phrasing – Benda uses conventional phrasing in this piece with many phrases presenting in sets of two, with the first phrase being ‘answered’ by the subsequent phrase. The only place where this does not occur is at the end of the development section where there are two phrases with similar material but in different keys. These two phrases are followed by a four-bar phrase which competes the section. The phrases are four bars long with all commencing on the first beat of the bar.
Tempo, time signature and rhythmic patterns – the 2009 – 2010 notes state that the tempo range should be between 84 and 92. In my opinion, the speed of 92 crotchet beats per minute is appropriate for the character and style of the piece. The notes say, ‘the term Allegro assai is often thought of as ‘very fast’, but assai has several meanings including ‘enough’ which is more appropriate for this piece’. Clearly if played too fast some of the elegance and delicacy will be squandered and, conversely if played too slowly, the piece will sound dull and laborious, with it lacking in energy and momentum. It is interesting to note that Benda has used a duple time signature rather than a quadruple one. The use of the duple time signature provides the music with more energy and momentum however there are occasions where some of the bar lines feel as if they have been removed. The player of this piece must be certain of the speed of the beat so that they can seamlessly move from different rhythmic patterns with ease.
Touch/articulation – different touches can be employed in this piece thus providing the music with contrast and interest. Firstly, in the L.H. the crotchet notes and crotchet notes that have a tenuto mark need to be played with a degree of resonance so that they provide depth to the music. Other notes in the L.H. should be played with a tenuto touch, such as those in bars 21 – 24. In addition to this, there are some L.H. quavers that have a tenuto mark too. The staccato notes in the L.H. need to be gently detached, playing these notes too detached would not be appropriate for the piece. Some of these aspects are true of the R.H as well, as there is tenuto, and detached notes present in the R.H. too. However, a cantabile touch should be applied on a few occasions such as bars 7, 15, 16 and so on. An intense and energetic touch is necessary in the R.H. and the player will be required to highlight the top notes of the chords such as in bar 2.
By Jwaller - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=34302934
No. 5, Berggasse in Bad Köstritz (Greiz district, Thuringia), the house where the composer Georg Anton Benda spent the last years of his life
Balance between the hands – again, this is an area where contrast and interest can be accomplished with changes in the balance between the hands. In the opening melodic pattern, the balance is shared between the hands with the melodic line moving from one hand to the other. However, in the second phrase the balance is to the R.H but this does not mean that the L.H. does not take on a subsidiary role. And, then briefly in bar 7 the hands are equal in balance before returning to the melodic interest shared between the hands. So, the melodic material is constantly changing throughout the piece and there is an interesting pattern where the two hands ‘feed off’ each other such as in bars 21 and 22.
Dynamics – as already mentioned the dynamics used in this piece must be within the context of the Classical period. The dynamics should range from pianissimo to forte. The dynamics of the L.H. will be very important to the dynamic levels overall. The crescendos should have shape and interest achieved by some pulling back at times.
Considerations when playing this piece –
· The hands must be neatly and cleanly lifted off as the melodic line is moved from one hand to the other.
· There is a danger that when playing the quaver/two semiquaver patterns the player accents the first semiquaver note.
· The highest note of a melodic pattern is not necessarily the loudest.
· Thinking in relation to instruments taking different melodic patterns would be beneficial.
· There is a danger that the crotchets are not held for long enough.
· The hands should move from one to the other with no perceptible difference.
· As is always the case, sticking to the fingering that has been decided upon is crucial.
· There are a few tricky runs to play in this piece.
· It is full of scale and arpeggio passages.
· There are a few awkward hand position changes to accomplish.
· There are some tricky intervals to play in the L.H.