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Ballade Burgmuller Grade 4 ABRSM 2023 – 2024
This piece has been in the Grade 4 ABRSM syllabus a number of times according to my records, the years being 1984 and 2003 – 2004. It is in the current piano syllabus.
Jane Magrath in her excellent book states ‘a mysterious and dramatic work for a young student. Rapid sixteenths in the left hand provide the primary technical consideration. Highly patterned and predictable writing. Excellent for recital or competition performance’.
Character/story for the piece – as Lang Lang rightly states in his book ‘Mastering the Piano Level 4’ – ‘there is lots of character to bring out in this piece’ He goes on to add that there must be a clear difference between the hand that has the melody and the hand that is playing the accompaniment’. Burgmuller’s title of Ballade is an interesting one considering most of the piece has an energetic and slightly sinister character. Burgmuller has marked misterioso at the start of the piece. There is only one section that one could describe as being song-like, this being bars 31 – 56.
Perhaps the player could imagine paddling down a fast-moving river in the first and third sections with the second section allowing the paddler a moment of relaxation and calm before embarking down the river again. At the end, the paddler could have reached a town where they intend to leave the river.
Main part of the music – this should occur in the penultimate bar as indicated by the composer. The player must ensure that any loud notes or chords do not become harsh or strident in tone. Each section must have a focal point too with the first section’s main part occurring at bar 17. In the following section, the main part should occur at bar 52. These main points though should be quieter than the dynamics applied in the penultimate bar.
Form – as already indicated there are three sections in this piece. The first section covers bars 1 – 30, the second section covers bars 31 – 56 and the final section covers bars 57 to the end. The sections are clearly delineated because the key changes at the beginning of each section. The piece commences in the key of C minor with Burgmuller using the ascending melodic form of C minor however by the end of the first section the music has moved to G major. The following section is in C major with the second section ending on the dominant. The Key of C minor returns in the final section. The use of key in this piece helps to provide the music with a restless and unsettled quality in the outer sections.
Phrasing – often the phrases are long in this piece although considering that the time signature is three quavers in the bar, the bars are quite short. In the first section the three phrases are of different lengths. Again, in the second section the three phrases are of varied length. There are four phrases in the final section, also of differing lengths. These differing phrases lengths contribute to the character of the music as they provide an unpredictability to the piece.
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Tempo, time signature and rhythmic patterns – clearly the tempo that this piece is played at is crucial for its effectiveness in conveying the character. On consulting a few copies there is a variance in the suggested tempo. Lang Lang suggests a tempo of a dotted crotchet beat c = 70 – 80, another copy advises c = 72 and another suggests c = 104. This last suggested tempo would be unachievable for most players, and when played at that speed, will not allow for the mysterious and dramatic aspects to be conveyed. The speed of a dotted crotchet of c = 72, is appropriate. On occasions, it feels as if the music is written in compound duple time, as if every alternate bar line has been removed. Perhaps Burgmuller choose the 3/8 time signature as this would provide more accentuation. The player must think of the rhythmic patterns in relation to a compound beat rather than a simple beat. There should be a slight emphasis on the first beat of the bar. There are no particularly complex rhythmic patterns in this music however some players may find it difficult to play the semiquaver patterns fast enough in comparison with the quaver patterns. Obviously, it would be wise to determine the tempo based on the speed of the playing of these semiquaver patterns. The most difficult of the semiquaver patterns occurs in bars 87 – 90 where both hands are playing in unison.
Touch/articulation – Throughout this piece Burgmuller has been very particular in writing the articulation that is required when playing this piece. He uses staccato dots, staccato dots in conjunction with slurs, sf indications, tenuto marks, two-note slurs and strong accent indications. This is a lot for the player to assimilate however without the application of these articulations the piece would not have the vitality and vigour it demands. Whenever there are staccato dots in the accompaniment part the player should ensure that the fingers should stay close to the keys and that there is a gentle bounce from the wrist. The degree of staccato applied should differ according to the context; when part of a slur the notes should be gently detached however when on their own the notes or chords should be played with a more detached touch. The strong accents should be applied with weight from the shoulders and the notes or chords must be held for their full value. However, there must be no harshness in the sound. Burgmuller has marked marcato where the L.H. commences in bar 3. This should be interpreted as an indication to the player to play this hand louder than the R.H. The melodic pattern as in bars 3 – 5 should be played with a cantabile touch which will provide a contrast to the detached notes in the accompaniment.
Dynamics – clearly a wide range of dynamics will need to be employed when playing this piece as the music demands drama and mystery. Tone-matching in the dynamics is an important skill considering the length of the phrases. Diminuendos will need to be carefully graded as often these are played with the dynamics lowering immediately rather than gradually. As stated before, any louder dynamics must have resonance and fullness with no harshness or stridency. There is repetition in this piece, so changes the dynamics in the repeats will provide interest for the listener.
Balance between the hands – this is another aspect that provides the music with a changeable and mysterious quality. Obviously at the beginning, the balance is to the L.H. but later in the section that hands are equal in balance considering the music that they are playing. There is a change in the second section with the balance to the R.H., however again the hands are equal in balance at the end of the section. The final section commences in the same manner as the first section however there is a kind of an extended coda in this section where the hands are equal in balance.
Rubato – the application of poco rit in bar 42 I assume is original as are the fermata signs at the end of each section. Some copies have animato applied at bar 45. The application of rubato in this piece is to a certain extent written in; for example, in bars 28 – 30 the music is slowed down with one note in each bar followed by a quaver rest. There is always the danger that the use of rubato may distort the rhythmic patterns.
Pedal – small dabs of pedal could be applied to notes such as the L.H. A natural in bar 7 as this will highlight the sf, however this should not alter the detached R.H. And the accented notes should be played with the application of pedal, but the subsequent rests must be strictly observed. Subtlety in the application of pedal is key, sudden surges in sound would not be appropriate.
Considerations when playing this piece -
· In bars 87 – 90 the player should listen closely to the L.H. as this will assist the co-ordination between the hands.
· There are no staccato dots applied in the middle section in the accompaniment part.
· It is interesting to notice howe Burgmuller has used a fermata sign above the quaver rest at the end of each section. Perhaps he wants the listener to allow what has been played to ‘settle’ in their mind before commencing the following section. At the end, the player must leave their hands above the keys so that the quaver rests are acknowledged.
· In the ABRSM notes for 2003 – 2004 it suggests that the chords ‘would also benefit greatly from a balance towards the top to help convey brightness and energy’.
· There is a danger that not all the notes of the chords will be heard.
· The leap of seventh in the R.H. in bars 37 – 38 is effective and dramatic.
· The L.H. note in bar 27 should be played with resonance.