By Basile Morin - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=93941175
Fontanna Agnieszka Lasko Grade 1 ABRSM 2023 – 2024
Character/ story of the piece – perhaps the player could imagine that they are paddling in the pool where the fountain is as illustrated on the page. During the phrases, except for the second and the fifth, the person is moving around the pool gently kicking the water around. In the second and fifth phrases the player has stopped moving around the pool because the fountain is spouting more water at that time. The piece should have a cyclical and relaxing character.
It is a pity that the player cannot play the repeat of the first and fourth phrases as this would provide more balance to the music.
Form – this piece is in binary form considering that the opening music is repeated at the beginning of the second section. The second section is a little longer than the first section, as there is a coda from bars 33 to the end. The piece commences in G major however the music has a fluid feel key wise with the use of chromatic notes. Nevertheless, the piece ends in G major.
Main part of the music – this should occur as the composer has designated in bar 31 at a forte level. The music should remain at a forte level for a very short time. Considering that there are two phrases after the main part to conclude the music, the player must ensure that the listener’s interest is maintained to the end of the piece.
Phrasing – even though some of the phrases differ in length there is balance in the way phrasing is used in this piece. For example, the first two phrases are four bars in length which require the third phrase, ten bars in length, to balance them. This occurs again in the second section however the balancing phrase is shorter this time. The coda has two phrases, the first phrase being four bars in length and the last phrase being six bars in length. However, if the repeats were played the phrasing balance would be quite different.
Tempo, time signature and rhythmic patterns – an appropriate tempo for this piece is 126 crotchet beats per minute. If played too slowly, the cyclical feel of the water coming from the fountain would not be portrayed however if played too fast, the peaceful and relaxing quality will be lost. The simple triple time signature is appropriate for the character of the music however there are occasions where some of the bar lines have been removed. For example, this occurs in the third phrase where the music is moving towards the arpeggiated chord. There should be no rhythmic patterns which could cause any difficulty however the held chord in bar 15 coupled with the fermata may be complex for some to play. Using the metronome will help in this regard, initially playing it in correct time without using the fermata.
By Jiaqian AirplaneFan, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=55058963
Touch/articulation – a light, delicate legato touch in R.H. (and on occasion in the L.H.) will be appropriate for the style and character of the piece. By contrast though, a cantabile touch can be used in areas such as bars 11 to 18. For most of the piece the L.H. will require a resonant touch considering the longer notes it has to play. There are a few occasions where the L.H. takes on a melodic role, such as in bar 11, bars 29 to 32 where a cantabile touch should be employed. Observing the lifts is a crucial and vital element of this piece, and the player must be extremely careful to show the rests in the R.H.
Balance between the hands – this is an interesting piece balance-wise, as the L.H. plays an integral role in the music. Often the L.H. plays the first note of the bar individually, with the R.H. playing on the second beat. Nevertheless, the balance is mostly to the R.H. In the coda though, the balance will be to the L.H. Often at the ends of phrases the hands will ‘merge’. The balance aspect may be complex for some players considering that the L.H., at times, is in a resonant register of the piano.
Dynamics – as already mentioned, the dynamics of this piece should have a feeling of restraint and control. A wide range of dynamics can be used, with the quietest dynamics used at the end of the piece. Often the L.H. is generating the dynamics in this piece. The crescendo that is written in bars 11 to 15 should be graded, rather than becoming louder with every note. Considerable tone control will need to be used throughout. Tone-matching from one phrase to the following is very important.
Pedal – this has been written in by the composer and must be observed. The player should be careful to ensure that their foot does not completely relax on the pedal; the overall sound should be controlled and not overbearing. During these pedalled sections there is often a crescendo or diminuendo to be played, so careful pedalling and sound control is required. Careful lifting of the pedal will need to be observed. The player will need to have their foot ready for the pedalling. What does the player do with their right foot when they are not pedalling?
Agogic effects – the composer has written in some agogic effects with the use of rit, rall and a tempo markings, as well as the use of a fermata. As is always the case, the rall at the end should not result in the doubling of these notes. Apart from what has been written in, little other agogic affects should be employed considering that the composer has written in some slowing down with the writing of some long notes at the ends of some of the phrases. The player must consider why the fermatas are present in the piece and what is their purpose. The rit. in bar 16 is difficult to use because the player must not affect the rhythm of the dotted crotchet/quaver.
Considerations when playing this piece –
· The highest note of a pattern is not necessarily the loudest. When playing these notes, the player should consciously ‘pull back’ on these notes. These notes are often quite poignant and impactful in character.
· The final note in the R.H. is going to fade very quickly. This note must be played with a reasonable degree of dynamics with considerable use of the elbow.
· Tone-matching is vital in bar 16.
· For most of the piece, the player is playing in a higher register than usual. Should the player move slightly to the right on the stool to cope with this? This is especially true of the final notes in the R.H.
· The coda provides a charming ending to the piece.
· There is a constant feeling of energy and then relaxation.
· In bar 32 the R.H. D is a continuation of the L.H.
· Bars 1 – 4 and bars 19 – 22 are like an interlude or a connector.
· The lift of the pedal in bar 32 is quite complicated.
· What does the player do with their foot when the pedal is not being depressed?
· There needs to be use of gestures when moving from one hand position to the next.