By Christian Müller - http://www.portraitindex.de/documents/obj/33203386, Public Domain, https://commons.wikimedia.org/w/index.php?curid=46482621
Ecossaise in G No. 23 from 50 Pieces for Beginners, Op. 38 Grade 2 ABRSM 2021 – 2022
According to my records this piece has been in the ABRSM syllabus three times in more recent decades – 1991, 1999 – 2000 and 2121- 2022.
Character/story of the piece – clearly the title is the starting point for the interpretation of this piece. The ecossaise is dance form however, as the ABRSM notes states, the player should imagine that they are tripping down some stairs. In the first phrase, the player arrives at the end of the first flight of stairs, with there being three flights in total. At the end of the second phrase, the player has descended another set of stairs to arrive at a kind of landing. In the third phrase the player has a moment of indecision – shall they climb back up the stairs or continue to the bottom? They decide to go down to the bottom in the final phrase. The word tripping is certainly appropriate, as the notes state ‘it is an enjoyable way to think of the lightness needed for the detached notes in the opening phrase’.
The ABRSM footnotes state ‘the ecossaise is a lively country dance in 2/4 time. Its name is French for Scottish, and it might have originated in Scotland. However, the dance became popular throughout Europe in the 18th and early 19th centuries’. It inspired composers such as Beethoven and Chopin.
Jane Magrath in her excellent book ‘A Pianist’s Guide to Standard Teaching and Performance Literature’ writes about 50 Pieces for Beginners, Op. 38 ‘selections in Classical-era idiom and composed in a variety of keys, progressing rapidly in level of difficulty throughout the volume. The performer needs to pay careful attention to the many different articulations present. These works are primarily of historical significance’. She also mentions two other works of Hassler’s – six easy sonatas and five sonatas.
Op. 38 is an interesting pedagogic collection of 50 pieces which progresses round the circle of fifths through all keys, starting with C major and A minor and working through the sharps and then the flats to end with F major and D minor.
Form – this piece is in binary form with the second phrase repeated at the end of the piece. The piece commences in G major and does not modulate at the end of the first section. Nevertheless, there is a brief modulation to D major at the start of the second section however at the end of this phrase, the music returns to G major.
Main part of the music – this should occur in bar 14 – 15. Considering that this music was written in the Classical period the performer must be aware of the level of dynamics used. The forte used in these bars should not be too loud, harsh or strident as it is not appropriate for the style of the piece.
Phrasing – there are four phrases in this piece, all four bars in length. All phrases commence with an upbeat and the player must consider how the use of the upbeat affects the character of the music. At the end of the first and third phrases, there is little pause before the commencement of the subsequent phrase. Players must be careful with their timing at these points as there is a danger that the last notes of these phrases are held too long. Each set of two phrases balance each other as if there is a question-and-answer format.
Tempo, time signature and rhythmic patterns – there are varying tempo indications provided for this piece in the publications that I have. One ABRSM publication states that the tempo should be 96 crotchet beats per minute however on a subsequent copy the tempo is reduced to 84. Obviously if played too slowly the piece will lack the vitality and lightness that it requires but if played too fast, there is a danger that the elegance and charm will be lost. Players need to be very careful when counting in at the start, because commencing on the second half of the upbeat requires skill and practise. There is a danger that the player may wait too long at the end of the first section before commencing the second section. The quaver/two semiquaver pattern must remain taut and always controlled. Some players may find the two semiquavers at the start of each phrase a little tricky to execute. Imagining the rest of the pattern, the quaver before playing will be helpful.
Birthplace of Johann Wilhelm Hassler. By Giorno2 - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=31257005
Touch/articulation – a contrast in the touch is required in this piece because the third phrase must be different in character in comparison with the other three phrases. In the first, second and fourth phrases the touch in the R.H. should be light, precise, energetic and delicate. It is interesting to note that Hassler has written a three-note slur, ending on the first part of the beat. The ABRSM footnotes state ‘the staccato wedges do not mean staccatissimo, but are the 18C equivalent of the present-day staccato dot’. In contrast to touch for the first, second and fourth phrases, a cantabile touch should be employed in the third phrase in the R.H. and in the L.H. in bar 10 and 12. The articulation is clearly marked and should be carefully followed. Considering that the wedge symbols are applied to both crotchets and quavers the player must hold the crotchets for longer before releasing the notes. The ABRSM footnotes state that ‘the slurs in bars 9 & 11, R.H. and 10 L.H. are editorial suggestions only’.
The ABRSM notes have an excellent paragraph concerning the articulation and touch required when playing this piece. It states that the thumb should be released immediately followed by a very slight raising of the forearm. This movement will provide lateral movement for a controlled descent for playing the subsequent notes. Also, there is discussion about using a relaxed downward drop of the arm when playing the thirds.
Balance between the hands – the balance is to the R.H. throughout this piece, except for bars 10 and 12, where the L.H. can take a more prominent role. And, where there R.H. plays fourths in bars 7 and 15 the accompanying L.H. should be played reasonably loudly. However, in saying this the L.H. has a crucial role to play in supporting the R.H. in this piece. The L.H. must be played with a degree of resonance with the player feeling to the bottom of the keys, therefore providing depth to the sound. It may be beneficial for the player to consider all parts of this piece in relation to particular instruments playing. Perhaps the L.H. could be a clarinet at times, or at other times, a French horn.
Dynamics – as already stated, the dynamics employed in this piece must be appropriate to the style and character of the music. There are few dynamic markings present so the addition of more dynamics would be appropriate. Commencing forte is possibly a little loud, and the third phrase could commence at piano or mezzopiano instead of the mezzoforte that is marked. Tone-matching is an important skill required when playing this piece; the first semiquaver of the quaver/two semiquaver pattern should be played with care – no louder than the remaining level of sound of the previous quaver. Any crescendo should be played in the subsequent notes of the pattern. Some players may find it difficult to move from a single melodic note to one that is the top note of a chord. Here, the player must be careful with the dynamic level of the notes of the chord in comparison with single melodic notes.
Agogic effects – this should be applied sparingly. Personally speaking, a short rit at the end of the piece is all that is required. There is a danger that the over-application of rubato may affect the rhythmic impulses of the music.
Considerations when playing this piece –
· The ABRSM notes state that ‘the best performance will convey the music’s good-natured bounce’.
· The top notes of the chords should be highlighted.
· Consistency of fingering is to be strived for; commencing with a R.H. 3 would be sensible.
· Notice the interplay between the hands in the third phrase.
· The largest dynamic range employed should be in the final phrase.
· There needs to be consistency of articulation throughout.
· There are some large leaps in this piece – the player must look ahead and take their hand(s) to where they are looking.
· Considering that the second and fourth phrases are the same, there must be a considerable change in the dynamics.
· An excellent piece for the use of scale passages and also keyboard geography.
· The two-note slur in the L.H. in bars 6 -7 creates a degree of tension.