By Yinan Chen - www.goodfreephotos.com (gallery, image), Public Domain, https://commons.wikimedia.org/w/index.php?curid=33635796
Character/story of the piece – the title of this piece is clearly the start of any interpretation of this music. The player could imagine that they are walking alongside a fast-flowing river. Perhaps the player is awed and inspired by the beauty and grandeur of the flowing water. Bars 1 – 7 represent the fast-moving water, the interlude covering bars 8 – 16 is where the water has slowed a little, possibly negotiating a gorge or several rocks. This form is repeated in the second section finishing with a short triumphant coda as if the water has found where it needs to go. There is an ebb and flow or a rise and fall character portrayed in this piece.
An excellent comparison piece for Rushing River is Harmony of the Angels Op. 100 No. 21 by Burgmuller.
Form – as has already been stated, the piece is in two sections with a short coda concluding the music. The music commences in D minor, however by bar 10 the music has modulated to F major followed by a surprise move to D major in bar 12. From bar 13 the music gradually moves back to D minor with the dominant chord heard at the end of bar 16. At the beginning of the second section the music has returned to D minor then the music gradually moves higher in bars 25 and 26 reaching D major in the final two bars.
Main part of the music – there are many helpful dynamic markings present in this piece. There is a fortissimo in the final two bars and considering that the music at that point has moved to D major it seems appropriate that the main part of the music is in this position. The player must ensure that the dynamic level at this point is not harsh or forced in any way as it would not be appropriate considering the character of the piece. A secondary climax has been placed at the beginning of bar 9 in the first section. Possibly this could be at a mezzoforte level rather than a forte level as it would be best to reserve the forte and fortissimo dynamics for the second section and coda.
Phrasing – this piece contains seven phrases that are all four bars in total. The first two phrases in the first section do not contain a question-and-answer format although the first and second phrases do ‘flow’ between the two providing a connection. The second phrase connects to the third phrase. Nevertheless, the following two phrases have a question-and-answer format with less momentum at the end of each. The last three phrases are continuous, as the first two phrases are. Considering the difference between the types of phrases present in this piece the player should consider how the changes affect the character of the music.
Tempo, time signature and rhythmic patterns – the tempo indication on the piece is 132 crotchet beats per minute which seems a little fast for the character of the piece. At this speed, the quavers feel rushed, and the crotchets lose the grandeur and space that they require. An appropriate speed is 112 crotchet beats per minute, however, even at this speed it sounds a little ‘breathless’. The rhythmic patterns present in this piece should not, on the whole, cause concern for the player. Some players may find it difficult to play a set of two quavers and triplets in the same piece. Spending time clapping the rhythms, articulating the rhythms verbally and using the metronome will be beneficial. There is a danger that the triplet patterns could be played unevenly.
Touch/articulation – a contrast in touch is required between the bars that contain triplets and those that do not. The triplet patterns require a delicate and energetic touch supported by a fluid wrist and arm. Selected notes will need a slightly weighted touch such as the notes at the beginning of the bar. In contrast, the bars that do not contain triplets need a cantabile touch. The player will need to be aware of how the melodic line in these areas moves from single notes to a note at the top of a two or three note chord. In these instances, the chords should not be played excessively louder than the single melodic line notes. There should be no difference touch-wise in the bars that contain the triplet patterns, it should sound as if only one hand is playing. However, the L.H. plays an important supporting role in the non-triplet bars. Here, the player must play the chords with resonance. There are two bars where the L.H. has the focus where its quaver movement connects the bar to the subsequent one. The articulation has been marked in this piece, and as can be seen, the articulation is legato throughout. Nevertheless, a few lifts at appropriate places provide additional interest to the music. For example, a lift at the end of bar 4 is appropriate because it highlights the fact that the melodic pattern is repeating, albeit an octave lower than the original. A break in the pedal at that point is necessary too. Also, a lift at the end if bar 11 provides the L.H. with a subtle accent which helps to underline the fact that the music is in D major at that point. In bar 13, a lift before commencing the bar creates a small amount of tension. The lift at the beginning of bar 27 is dramatic and effective. as it outlines the new key and the fact that the music is coming to an end.
By The rushing waters of the River Dee by Peter S, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=114344805
Balance between the hands – the L.H. has two roles to play in this piece, firstly it is part of the melodic line in the triplet sections. Here, as stated before, the melody should sound as if it is being played by one hand. In the other sections, the balance is clearly to the R.H. although the L.H.’s resonant tone will provide valuable support for the R.H.
Dynamics – a wide range of dynamics should be employed when playing this piece. In some cases, it would be advisable to lessen the dynamic levels that are suggested in the music. The player should remember that the highest note of a melodic pattern need not be the loudest. This occurrence is best left until the climax of the piece. Regarding the dynamics required in the playing of the triplet patterns, the player should consider whether the first note is the loudest of the pattern or whether the last note is the loudest. The position of the loudest note will determine the dynamic progression of the phrase.
Agogic effects – to a certain extent the composers have written in some rubato by placing longer notes at the ends of some phrases. Considering that some phrases end with a crotchet and others with a minim, the use of rubato at these points may affect the length of the notes too much. A small rit at the end is appropriate.
Pedal – clearly this piece requires the use of pedal. If a player is unable to use pedal effectively when playing this piece, it would be best to avoid it for an examination. To a certain extent the triplet melodic bars can have a slightly blurred pedal sound however the subsequent chordal/homophonic sections must be clearly pedalled using legato pedalling. The pedal applied in the bars which contain the triplet patterns should be minimal and both bars for example, bars 5 and 7 should sound the same regarding the pedal even though bar 7 is in a lower register. The player must have an array of pedalling skills at their disposal and of course, be listening carefully so that subtle changes can be made where necessary.
Considerations when playing this piece –
The player must be extremely aware of how loud the notes are that are played with the thumbs. For example, in the penultimate bar the L.H. thumb commencing the triplet pattern on beat three should not be over-emphasised.
The player must ensure that the L.H. is as legato as possible overall. Some finger substitution may be necessary to enable the L.H. to be legato. This is also true of the R.H. in many areas too.
There are notes of chords that need to be highlighted in both hands.
There is a danger that the notes of the chords could be split when they are played.
The player must consider how the two melodic ideas can be connected – it shouldn’t sound as two separate entities.
The repetitive triplet melodic patterns must always have interest and momentum. The player should notice that in these bars it is the L.H. that changes whilst the R.H. remains the same.
There should be no ‘thumping’ in the playing of the chordal patterns.
The music becomes more insistent as the piece progresses.
There is a danger that some L.H. notes could be held down unnecessarily.
There should always be some residual L.H. sound in the bars that contain the triplet patterns.
This is an excellent opportunity to discuss the difference between compound quadruple time and simple quadruple time.
The player must consider how the changes of register affect the character of the music.
The pianist must be looking ahead so that they can easily move into a new hand position and/or hand shape with ease.
There must always be a delicacy and lightness to the music.
The player must consider how long to wait at the end before lifting off their hands.Also, the player needs to consider what to do with the L.H. when it is not playing.
In bar 16 the player should check that they are holding the correct notes on beat 3.