By Diligent - Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=1905652
Harmony of the Angels Op. 100 No. 21 Burgmuller Grade 3 ABRSM 2017 – 2018
Character/story of the piece – this could potentially be a difficult piece to interpret considering that it contains very similar melodic patterns throughout the piece. As the ABRSM states ‘an ethereal quality, as if from the skies, seems to permeate this beautiful piece with its swirling, gently flowing triplets and the harmonic progressions which suggest broad phrases shapes. An unhurried, yet fluid tempo seems to suit the mood, an effective performance dependent on even finger work with gentle, subtle inflections of tone. The piece portrays the title with its use of primary broken chords, the use of the pedal, the harp-like sound with one note being played at the time and the register that is used’.
The player could imagine that there is a ‘heavenly choir’ singing in this piece consisting of bass, tenor and soprano singers. In many instances the tenor and soprano voices are triggered by one another, possibly answering each other from a distance. In this piece the player should consider how the character changes according to which register is being used at any given time.
Considering that this piece is taken from a set of etudes the player must be conscious of what Burgmuller is desiring to be learnt when studying the piece.
Form – this piece contains three sections with the final three bars being a coda. The key at the start is G major, and the first section remains in this key. However, the key changes abruptly to E minor at the commencement of the second section which contributes to an increase in the tension in the music. This is enhanced by the change in melodic material where the L.H. ‘leads’ the melody for a time. By bar 17 the key has returned to G major and in bar 27 the key is C major, followed by C minor in bar 28 before returning to G major.
Main part of the music – this should occur in bar 28 on the R.H. Eflat, not on the high G as one would expect. Subtle use of rubato in this bar will enhance the climax of the piece. Considering the dynamics employed in this piece, a mezzoforte dynamic would be appropriate at this point. There should be a definite main part in each of the two previous sections as this will enhance the cohesion required for this music.
Phrasing – this piece mostly consists of four bar phrases with the length of the phrases changing in the concluding section. The first section contains two four-bar phrases, the second section contains four four-bar phrases and the last section, one phrase being five bars in length and the final one two and a half bars in length. Many phrases flow seamlessly from one phrase to the next although at the end of bar 16 there is a definite cessation of the momentum of the music.
Tempo, time signature and rhythmic patterns – the suggested tempo of. Here is an opportunity for an explanation for the difference simple quadruple time and compound quadruple time. It is not sure why Burgmuller choose the common time signature for this piece. Rests occur at the end of the first and second sections, these must be strictly observed as the allow space into the music at these points. The triplet patterns need to be played with evenness and clarity throughout. All rests must be acknowledged, there is a danger that one hand may hold on whilst the other is playing.
Touch/articulation – a light, slightly intense and energetic touch is required when playing this piece with both hands provided with considerable support from the arms. Fluid movements are necessary assisted by suitable gestures in each hand. A little weight can be employed from the shoulder where appropriate dynamically. The L.H. notes are the beginning of any bars need to be played with a degree of resonance as this will help to outline the harmonic progressions as well as gently emphasising the first beat of the bars. A cantabile touch in the L.H. should occur in bars 13 – 16 and both hands should adopt this touch in the final piu lento phrase. A lift, for example at the beginning of bar 2 is effective as it will provide a subtle accent to the first beat of the bar. Burgmuller has marked legato slurs throughout this piece.
By Fr. Meyer - This file comes from Gallica Digital Library and is available under the digital ID btv1b8416086q, Public Domain, https://commons.wikimedia.org/w/index.php?curid=62729256
Balance between the hands – apart from bars 13 – 16 where the L.H. has the balance and the piu lento phrase, the hands are equal partners when playing this music. In the final phrase, the balance should be slightly to the R.H.
Dynamics – tone-matching is an important skill when playing this piece as the dynamics need to create a ‘ripple’ effect throughout the piece. The dynamics used should range from pianissimo to mezzoforte. It must be remembered that the highest note of a melodic pattern need not be the loudest. Also, when playing a crescendo or diminuendo there should be variation in the application of these effects. A crescendo should have a rise and fall rather than a complete increase in dynamics, for example. At times, the L.H. is the instigator of the dynamics whereas other times the R.H. is trying to break out of the L.H.’s dynamics.
Agogic effects – clearly the use of rubato in this piece will enhance the character and style of the piece. Nevertheless, the player must guard against using rubato in the same manner when playing similar material. The player should experiment in some phrases by slowing a little before balancing it with some acceleration within the phrases rather than in reverse on occasions. The player should avoid adding extra time at the end of bar 16 because the composer has written in the rubato by writing a crotchet rest at that point. Burgmuller has written in some agogic effects such as the poco riten. In bar 30.
Pedal – although it may be possible to play this piece without the use of the sustaining pedal its addition obviously will enhance the character of the music and help to highlight Burgmuller’s suggestion of armonioso at the start. He has also written con ped. At the commencement of the piece. This piece will benefit from frequent changes of pedal as well as the use of flutter pedal so that some harmonies are retained but the sound is not too heavy and dense. Clarity in the melodic line must be preserved by the player. Listening skills are vitally important (as they should be in all playing) as the listener must consider how the patterns they are playing either add to the current sound or rise above the current sound.
Considerations when playing this piece –
· The triplet patterns should be practised first in block chords as this will help the player understand the hand shape that is required.
· There should be no louder sound when the thumb is being played.
· Lateral movement is require especially considering the use of the no. 5 in both hands. These fingers must be supported by the wrist and arm.
· The top R.H. notes should be highlighted in the coda.
· An excellent example of harmonic progression, the use of chords and their inversions.
· There is a danger that notes of the chords may split when being played.
· Even though different voices are singing this piece the hands must join each other seamlessly.
· Within the triplet patterns a melodic line must be found and highlighted.
· The top R.H. G in bar 28 is an important and poignant note.
· Any repeated bars must have a change in the dynamics.
· A piece that requires subtlety and nuance.
· Bar 12 is a difficult one to play; the player must ensure that the listener is aware that a new melodic pattern is going to be heard.
· Bars 29 and 30 must have momentum and direction.
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