Neurdein, Étienne, 1832-1918. Neurdein, A L (Paris) :Portrait of Stephen Heller. Ref: PA2-1195. Alexander Turnbull Library, Wellington, New Zealand. /records/22739439
Study in A minor Heller Grade 3 ABRSM 1978
Character/story of the piece – this piece has an episodic feel with three themes used throughout the music. There is a sense of a discussion taking place between a group of people. The first statement is contained in the first four bars with an additional statement provided in bars 5 and 6. There is an interlude where options are considered in bars 8 and 9 with a resolution in bars 10 and 11. Following this there is a period of indecision and minor conflict before the discussion commences again. The descending pattern in the final seven bars provides a degree of calm and finality to the music.
The player must consider that this piece was written as an etude and consider what the composer is wishing for the player to gain in playing it. There are many aspects that will need to be considered – use of the sustaining pedal in some instances, the direction required in the single melodic lines, the use of accentuation in a lyrical piece, articulation, part-playing, dynamic control and the slurring required in bars such as bars 7 - 10.
Form – as already stated, this is a character piece although it could also be considered to be in binary form too. The original opening theme returns at bar 21 and this is followed by similar material as is contained in the first section. As is stated by the title, the piece commences in A minor. There are strong cadential points with the music modulating to E major in bar 11. Then there is lengthy use of the dominant seventh chord before the music returns to A minor. In bar 32 there is a surprising modulation to D minor, however Heller does not dwell long in this key. The final 15 bars are firmly in the key of A minor.
Main part of the music – one assumes that the dynamic markings that are provided are what Heller wrote himself. Although there is no dynamic indication as to how loud the player should be in bar 43, this could be the place where the music is the loudest as Heller has written the highest note of the music at this point. The player must ensure that the forte or fortissimo dynamics are not harsh or strident in any way.
Phrasing – the length of the phrasing is variable throughout this piece, and this is one of the reasons that music has an episodic feel. It is interesting how Heller has written a four-bar phrase at the beginning of the piece thus providing the music with a conventional feel. The following phrases differ in length, providing the music with an episodic character. Some phrases commence on the first beat of the bar however in other cases, the phrases begin on the second beat or on an offbeat. In addition to this, the player needs to think about how the R.H. commencing on the second quaver affects the character of the piece.
Tempo, time signature and rhythmic patterns – the tempo indication provided on the copy I have is a 100 dotted crotchet beats per minute, which seems a little fast. Dropping the tempo to 88 crotchet beats per minute would provide the music with a more gracious character as the faster tempo could make the music sound ‘breathless’ and not be able to maintain its elegance. The listener must be aware that the time signature is compound duple. A subtle accent on the first quaver of every three will help highlight this time signature. This is especially important in the single melodic lines which must portray momentum and energy. There are no rhythmic patterns which would provide any concern however the offbeat at the start of the phrase, for example, in bar 15 could potentially cause difficulty. There is a danger that the chords in bars 33 and 34 are doubled rhythmically which could result in the playing of them as being considered ‘correct’. The L.H. dotted minims must be held for their full value.
Touch/articulation – in this piece a variety of touches can be applied with the use of an intense touch in some areas and a cantabile touch in others. The first bar provides an excellent example with the first R.H. notes to be played staccato followed by a cantabile touch throughout the second beat. There is a lot for the player to assimilate regarding articulation in this piece with its slur marks, the detached notes and the use of accents of varying degrees. Some notes or chords that are to be played staccato are placed on quavers as well as crotchets and the listener must be aware of the difference between the two. It is interesting to note that Heller has used the words and symbols finforz. and fz, and again the player must be aware that there is a difference in the playing of them. All accented notes must be played with controlled weight from the shoulder.
Balance between the hands – as with the details already described the balance between the hands should be altered according to the context. Clearly the balance needs to be to the R.H at the beginning however part-playing is required in bars 5 and 6. Here the upper part should be slightly prominent with the lower parts taking a slightly less important role. In the bars where the hands move in synchronisation such as bars 7 – 11 the balance needs to be to the R.H. however th e L.H. has an important role to play too. The upper notes of the R.H. chords should be highlighted.
By Touron66 - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=33622146
Dynamics – considerable control is required of the use of dynamics in this piece as there are many changes as well as the use of long crescendos. Tone-matching is an essential skill when playing this piece as well as being able to control the dynamics in quieter areas. The single melodic lines as well as bars 35 – 47 need attention to maintaining the dynamic interest as these lines would sound bland and boring if some inflections in the dynamics are not applied. As already mentioned, any louder dynamic level must be played with resonance not harshness.
Pedal – a few pedal indications have been written into the copy that I have however a few additional touches of pedal would be appropriate. There should be no sudden surges in sound when the pedal is applied.
Agogic features – a few short rits would be a stylish addition to this piece however these should never result in the alteration of the rhythmic patterns. To a certain extent Heller has written in some agogic effects.
Considerations when playing this piece –
· Ensure that the fingering in areas such as bars 7 – 10 results in the upper R.H. part being played legato.
· The listener should be aware of the difference between the playing of the two types of accents used in the piece.
· Heller has written some diminished chords in bar 32.
· The slur patterns change in bars 27 – 31 in comparison with bars 7 – 10 and these provide an interesting change as the changes provide a tension to the music.
· This is a wonderful example of the use of broken chord patterns used in the music. It would be sensible for the player to have their hands stretched in readiness for the playing of these patterns. And, remembering to contract the hand after playing these patterns.
· There are a few instances where there could be splitting in the playing of chords such as in bars 12 and 13.
· The player must ensure that they wait for the second beat of the bar in bars 10 and 32.
· Because of the episodic nature of the writing the player should ensure that the phrases move effortlessly from one to the following.
· The accents should be played persuasively rather than percussively.
· How to provide interest and variety in the music considering the melodic patterns involved.
· It is an exercise in intervals in the R.H. in bars 43 – 47.
· The grace note must be integrated into the melodic line.