By August Weger - This file comes from Gallica Digital Library and is available under the digital ID btv1b8424070h, Public Domain, https://commons.wikimedia.org/w/index.php?curid=91300135, PD - US - expired
Vivace Reinecke Grade 3 ABRSM 2023 – 2024
Character/story of the piece – even though this piece contains Classical characteristics it also has Romantic compositional qualities too. Grace and neatness were characteristics of Reinecke’s compositional style and he excelled in the playing of Mozart. Liszt described his touch as ‘beautiful, gentle, legato and lyrical’. He was a German pianist, composer, teacher and conductor who sought in his work and teaching to preserve the Classical tradition in the late 19C. The All Music website states ‘a large proportion of his work (and that for which he is best remembered for) is in the form of piano compositions, which are usually good examples of Romantic-era Hausmusik. His sound is warm, his melodies flowing and sometimes majestic and harmonically he did not stray much farther than the harmonic style of Schumann’.
In this piece the player should imagine that there are two people having a conversation where the first person in the first two phrases is outlining the concern that they have. In the subsequent two phrases the second person is suggesting a way to solve the problem. In the second section commencing at the end of bar 18, the first person has solved the problem and in the final two phrases there is a conversation between the two of them where they agree. The change of key in the second section contributes to this story.
New Zealand Herald 15th March 1890
Main part of the music – this should occur in the final two bars at a forte level as suggested by the composer. Considering that there are three sections to this music there should be a main part in each of these sections.
Form – as has already been alluded to, there are three sections in this piece. The first section covers bars 1 – 18, the last four bars of which help to join the first section to the second section. The last section typifies a long coda. This piece commences in the key of A minor; from bar 11 the music gradually moves to A major with the dominant being repeated in the R.H. The second section commences in the tonic major key of A major. In the coda, the key is a little unsettled with the music moving from D major to A major several times. In the last two bars there is an emphatic statement in A major to finish the piece.
Phrasing – there are six phrases in this piece. The first two phrases are four bars long, however the third phrase is ten bars long because of its long coda. The last two phrases are each eight bars in length. The first two phrases and the third phrase complement each other, with the third phrase ‘answering’ the first two phrases providing a balanced effect to the music. In the second and third sections the balancing of the phrases is not so apparent. Instead of completing the fifth phrase, Reinecke moves into the coda immediately providing the music with tension and drama. All of the phrases commence with a quaver upbeat; the payer must consider how this affects the character of the music.
Tempo, time signature and rhythmic patterns – clearly that since this piece is marked vivace it must be played with a sufficiently fast tempo to portray the character of the music. This though, must not be at the expense of evenness in the playing of the quaver patterns, the correct rhythmic playing of the dotted patterns and the grace note. The use of the simple duple time signature is significant as this music would sound completely different if written in quadruple time. The duple time signature provides the music with momentum and urgency. As already mentioned, the player must ensure that the quaver and semiquaver patterns are played evenly and that the dotted patterns are played correctly. And, the playing of the grace note must not alter the execution of the dotted quaver and semiquaver pattern. Some players may find it difficult to begin the music since there is a quaver upbeat at the beginning of the first phrase. The player should practice counting in, in the same manner every time. One suggestion is to count in 1 2 1 2 te or 1 2 1 m te so that the first note is played correctly in time. The rests must be strictly observed and this is especially true of the crotchet rest in the last bar.
Hawkes Bay Herald 21st February 1890
Touch/articulation – there are two types of touches than can be utilised when playing the melodic line in this piece. Firstly, an energetic and slightly intense touch should be employed in the R.H. in the first two sections with the fingers altering their level of descent according to the dynamics of the phrase. The hand must be supported by a supple wrist and a relaxed arm. By contrast in bars 26 – 36, the R.H should adopt a cantabile touch until reverting to the intense touch in the final two bars. This fact is reinforced by Reinecke’s use of con grazia. The L.H. will need to be played with some degree of resonance, according to the length of the notes and the context of the phrase. The L.H. should imitate the R.H.’s touch, for example, in bars 9 and 11. Reinecke has written in many articulation marks which must be observed. The lift in bar 7, for example is particularly poignant as it highlights the end of the phrase whereas the articulation written in bars 9 – 14 accentuates the tension that is accumulating in this phrase. From bar 26 to 30 the articulation shown contributes to the character of the phrase. In bars 15 – 18 Reinecke has marked ten above the first R.H. note of each bar. In some areas, the staccato notes will be less detached than others according to the context of the music.
Balance between the hands – this piece is homophonic in style with the balance to the R.H. However, the L.H plays a crucial role in this piece as it harmonically supports the R.H. as well as providing the basis for the dynamics. The L.H. staccato patterns in bars 26 – 33 have a melodic character; it is as if the two hands are ‘feeding’ off each other.
Dynamics – the dynamics in this piece should range from pianissimo to forte although there should be a sense of restraint in the dynamics used as dynamics that are too loud would be inappropriate for the music. The player must be very careful in the dynamics that are used when playing the repeated notes; they must be aware of where the phrase is moving dynamically speaking. A crescendo in the L.H. such as in bar 1 will increase the tension of the music.
By Alfred Naumann - http://search3.famsf.org:8080/view.shtml?keywords=Naumann&artist=&country=&period=&sort=&start=1&position=1&record=17532, Public Domain, https://commons.wikimedia.org/w/index.php?curid=8009654 PD - US - expired
Agogic effects – a few rubato effects could be added when playing this piece. For example, a slight slowing down before the commencement of the second section would be a stylish addition. And, similarly the same could be applied to the end of bar 35 and the beginning of bar 36. Any slowing of the tempo must be balanced by an acceleration elsewhere in the phrase. Nevertheless, the final two bars should be played in strict time.
Considerations when playing this piece –
· In bars 2 and 3, for example, the player must ensure that they do not use the number 4 and 5 notes to ‘push off’ from to enable the playing of the subsequent notes.
· Notice Reinecke’s use of the two-note slur across the bar line, for example, in bars 4 and 5.
· In bar 14 the player should enjoy the dissonance created between the two hands.
· The player should notice that there is no two-note slur in bars 31 and 32 and bars 32 and 33 noticing how the music lightens in character at this point.
· In bars 15 – 18, the L.H. should lead the dynamics.
· The character becomes more positive and cheerful in the second section, and this must be portrayed by the player.
· Notice how in the first phrase Reinecke has used two accents whereas in the second phrase there is only one accent applied. The accents in this music should be thought of as persuasive rather than percussive.
· Another aspect to notice is Reinecke gradually moves the melody up in register in the second half of the first section thus adding to the tension and drama of the music.
· The player must ensure that the listener’s interest is maintained through to the end.
· There is a danger that the notes of the L.H. chords could split and there is considerable use of the L.H. no. 5 in this piece.
· The player would be advised to practice the parts that are only slightly modified, for example the major and minor sections of the music.
· Although this is obvious, maintaining correct fingering is crucial in the playing of this piece.
· Some rotation of the R.H, is required when playing the pattern in bar 2 as a stretch is required between the no 4 and 5 fingers.
· The tension dissipates during bars 15 – 18.
· There is a danger that the L.H. minims may not be held for long enough.
· There is a change of character at the end of bar 8.
· Both hands must move simultaneously at bar 36. There is a sudden change of character at this point and this is reinforced with the melodic pattern commencing on the first beat of the bar.
· The ending is positive and triumphant. Prior to playing the final two bars the player must have their hands into position to play as soon as they possibly can.
· Even though the dynamics are quiet in bars 33 – 36, there must be a feeling of momentum and purpose.
· There are numerous hand position changes in the L.H.
· In bar 26 there is a sudden change of character.
· In bars 12 – 14 there should be a feeling of restraint in the dynamics, as if the player wants to player louder but shouldn’t.
· The L.H. staccato notes in bars such as 4 and 8 help to lighten the music at that point and show where the phrase ends.
· Bars 12 – 18 provide a degree of suspense to the music because the listener does not know what is going to be played next.
· The player must have quick reactions and excellent keyboard geography skills.
· The L.H. generates the dynamics in bars 26 – 33.
· · An excellent piece to illustrate major and minor tonality. Although this sounds obvious, the player must always remember which key they are playing in.
· There are a few instances where the player needs to look to where they are going to move their hands. For example, in bars 3, 21 and 24 the player only needs to look to where their thumb is going to move to in the L.H. The L.H. will need to be prepared by being in a fifth shape.
www.wikipedia.org/Carl_Reinecke
www.britannica.com/biography/Carl-Reinecke
www.allmusic.com/artist/carl-reinecke
www.paperspast.natlib.govt.nz