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Theme (from Theme and Variations, Sonatina No. 4 in D), Attwood, Grade 1 ABRSM 2019 – 2020
What is the story the player wishes to convey to the listener?
This piece has a cheerful and relaxed atmosphere. Perhaps the player could imagine a group of people going for a walk. In the second section the walkers could be taking a break to enjoy the view and have some refreshments before continuing with their walk in the last section.
What is the structure of the music?
This piece is in ternary from, with the first and third sections being exactly the same as each other with the exception of the LH in the final bars. Attwood employs the use of Alberti bass patterns throughout the piece.
Main part of the music
The main part of this music is at the beginning of the penultimate bar. As this music is from the Classical Period the dynamics should not be too loud.
Phrasing
There are six phrases in this piece with each section containing two phrases each. The player should consider each set of phrases complementing each other. Attwood has connected each section using quaver movement in either the right or left hand.
Metronome mark, time signature and rhythm
As stated in the footnotes, the metronome mark is editorial. This speed should be observed as it provides the music with the relaxed and optimistic character that it requires. There is a danger in this music that over time with familiarity the player could play this music too fast. However, this will affect the character of the piece. Conversely, if played too slowly, the music will feel cumbersome and colourless.
This piece is in duple time and this must be conveyed to the listener. The duple time signature is more apparent in the outer sections. It seems as if Attwood has changed the time signature in the second section by using different melodic patterns and the use of a number of quaver patterns in the RH in bars 13 to 16.
This piece presents few problems in regards to the rhythm however some players may have a little difficulty in maintaining evenness in the quaver patterns. To achieve the evenness that is required, the player should ensure that their fingers are equally curved and that they use the time names in their head as they are playing.
Beginning and ending
Before commencing, the player should think through the last two bars of the piece so that the character and speed are in the mind from the start. In this piece, the player should imagine that the music starts with aplomb and assurance.
At the end the player should slow a little in the penultimate bar and also wait on the last notes for three counts at the slowing speed before lifting off their hands. The ending should sound grand and emphatic.
Details and consideration
Musical Period and composer
Classical Period composer. The footnotes of this piece state ‘ Thomas Attwood was an English composer and organist who sang in the choir of the Chapel Royal from the age of nine. He studied in Naples and then with Mozart in Vienna (1875 – 7). After his return to England, he became music tutor to the royal family and was later the organist of St Paul’s Cathedral, London and composer to the Chapel Royal. This piece illustrates his melodious style, which often seems to owe much to Mozart. When he was studying in Vienna, Mozart said of him ‘He partakes more of my style than any scholar I ever had; and I predict that he will prove a sound musician’.
Touch
The RH requires a bright, slightly intense touch with well-curved fingertips played with energy into the keys. The RH should be well supported by the shoulder, the elbow and arm and the shoulder should provide a little weight whenever the dynamics demand it. Nevertheless, the player must be fully aware of the sound that they wish to create, so that the result is poised, elegant and balanced. As a contrast, the second section requires the player to reduce the energy into the keys and to adopt a more cantabile tone.
The LH demands a lightness and delicacy in its playing so that it does not over-shadow the RH. The player would be advised to play the first note of each Alberti pattern within each bar with a slight emphasis.
Balance between the hands
The RH has the balance throughout this music however in the second section the balance could be reduced, as this will provide a contrast to the first and last sections.
Tone-matching
In this piece the player will need to consider how loud to play the second of each of the repeated notes as in bars 1 – 3. This will depend on the dynamics of each phrase.
Phrasing
As stated before, the phrases need to connect each other with continuity and ease. Often it is the LH that is providing the forward movement from one phrase to the next. Apart from a slight ritardando at the end of the second section, the phrase should connect from one to the following with no hesitation. Some players may find the LH hand position move from bar 8 to bar 9 in time, a little tricky to execute.
Articulation
All of the dynamic, articulation and other markings in this piece are editorial. It would be advisable for the player to adhere to the articulation that is written in, in most cases. In bars 6 – 8 the RH should be played legato without the breaks at the end of bars 6 and 7. This, of course, applies to the same bars in the third section. In the middle section, the RH should be played legato from bars 13 to the end of bar 15. The lift at the end of bar 15 adds a lovely touch to the music. In the LH, the player should play each phrase legato apart from what has been marked in bars 6 and 22, as well as the detached notes in bars 7 and 23. The detached notes should not be played in too detached a manner.
Dynamics
As this music is from the Classical Period, the overall dynamics should not be too loud. Since the same music is played at the beginning and the end, the final section’s dynamics need to contrast with those of the first section. In the final section the overall dynamic level needs to be a little louder in contrast to the first section. In this section the player could play the LH a little louder than in the first section as this may provide the difference that is required. And, the peak for each phrase should be in a different location. The middle section should have a different character to the outer sections. The quieter dynamics will help to achieve this change in character.
Rubato
There are only two instances of the use of a ritardando in this piece.
Use of the LH
As discussed before, the LH needs to be played with a lightness and delicacy. And, the player should place a small emphasis on the first beat of every bar although this could be reduced in the middle section. There is a danger when playing Alberti patterns that the note that the thumb plays is played too loudly in comparison with the other notes of the pattern. Discuss with the player how the thumb should be played in a situation such as this. The thumb needs to be played just beside the thumbnail and the wrist should ensure that the thumb does not drop down too much. It would be advisable for the player to first learn the Alberti patterns as chords before playing individual notes. The player should play the LH notes in bars 7, 23 and 24 with a little resonance. In the bars where the LH has to stretch to be able to play the notes, the player must ensure that their hand returns to a usual five-finger position so that tension does not occur.
Use of the RH
This is an excellent example for the player to learn how to switch between playing notes of different lengths and therefore adjusting the amount weight into the keys that is required. Also, the need to learn how to adjust the height at which the fingers descend to play the keys and ensure that there is an easing of the energy when the quaver patterns are being played. Some players may join the second of the detached crotchets to the following note. In bars 4, 8, 20 and 24 there is danger that the player will lift their RH a little early. These notes should be played with a little resonance so that they sound for the entire bar.
Additional considerations
· Some players may find the co-ordination required between the hands in bars 14 and 15 a little difficult to achieve. It would be advisable to suggest to the player to listen to the LH when playing these bars.
Bars 1 – 4
· Start this phrase at p level. The loudest dynamics should be reserved for the final section.
· Let the peak for the phrase occur at the beginning of bar 3 at mp level.
· The dynamics should not drop too much at the end of bar 4 as the forward momentum must be maintained.
Bars 5 – 8
· Start this phrase at mf level, this being the loudest for the first two phrases.
· Let the peak for the phrase occur at the beginning of the phrase, as discussed above.
· The player should provide a little focus on the lovely melodic part in bar 6. Here the player should ensure that the thumb has a ‘soft’ landing on the thumb on the second B in the bar.
· There should be no pause at the end of this section.
Bars 9 – 12
· Start this phrase at p level.
· Let the peak for this phrase occur at the beginning of bar 10 at mp level.
· There will be less balance between the hands in this phrase.
Bars 13 – 16
· Start this phrase at pp level as if it is an echo of the previous phrase.
· Let the peak for the phrase occur at the beginning of bar 15 at p level.
· The player must ensure that the LH rest is observed in bar 16.
Bars 17 – 20
· Start this phrase at mp level, which will be louder than the end of the previous phrase. The return of the original music should sound positive and optimistic. This will be louder than the dynamic at the start of the music.
· Let the peak for this phrase occur at the end of the phrase at the beginning of bar 20 at mf level.
Bars 21 – 24
· Start this phrase at mf level.
· Let the peak for the phrase occur at the beginning of the penultimate bar at f level.
The footnotes of this piece state ‘that the piece illustrates Attwood’s melodious style, which often seems to owe much to Mozart. When he was studying in Vienna Mozart said of him: ‘He partakes more of my style than any other scholar I have ever had; and I predict that he will prove a sound musician’. All the dynamics and slurs are editorial additions in the ABRSM Grade 1 exam book. In their accompanying notes for the pieces is states ‘the attractive flow of the RH melody of this Theme appears to owe much to Attwood’s years as a chorister in the Chapel Royal and to his time studying with Mozart’.
Apparently, Attwood conducted some of Mozart’s symphonies at concerts in London.
The British Library, according to information online, acquired some of the Attwood papers in the 1970s. One of these is the manuscript that contains exercises in theory and compositions that Attwood completed whilst he was studying with Mozart in Vienna in 1785 to 1787. This manuscript was used by Attwood in his own teaching and upon his death, the manuscript was passed to his pupil, John Goss. The manuscript was then given to a pupil of John Goss’, Frank Bridge who made use of them in his writings, public lectures and in his own teaching.
Subsequently, Cecil Bernard Oldman, who was Principal Keeper of Printed books at the British Museum from 1948 to 1959 (he also held other posts in the same area prior to this appointment) acquired the manuscript in 1924. Oldman was a bibliographer. According to Wikipedia a bibliographer is ‘is anyone who writes about books. But the accepted meaning since at least the 18th century is a person who attempts a comprehensive account—sometimes just a list, sometimes a fuller reckoning—of the books written on a particular subject’.
Oldman was born on the 2nd April 1894 in Deptford, London. His father, Frederick, was a builder with his own business.
According to some information available online, Cecil Oldman attended City of London School and Exeter College, Oxford. I can locate a record that shows that he attended Waller Road School for a brief time; this school is now called Edmund Waller School. He started at this school on the 10th April 1899 and he left on the 31st July 1901, his destination is ‘Boys School’.
In the 1911 Census he is living in Brockley with his parents, brother, sister and a domestic servant. He is listed as being at school and his father is a builder with his own business.
He passes his final Classical Studies Class 11 exam at Oxford University in 1917.
In 1921, Cecil Oldman is living with his parents, sister and a servant in London. He is working at the British Museum in Bloomsbury as an Assistant Librarian.
In 1938 Cecil Oldman published one of his many books, The Letters of Mozart and his family, chronologically arranged, translated and edited with an Introduction, Notes and Indices by Emily Anderson. Emily Anderson stated that Mozart’s letters are characterised by spontaneousness, wit, extreme gaiety, humanity and timeliness. Some of the letters written by Mozart’s father Leopold are written whilst visiting Belgium. Other items that the family were given are cloaks, coats, snuff boxes, Leopold stating that they could rig out a stall. He writes that his son received two swords and his daughter some Dutch lace. In Versailles Mozart junior was given a gold snuff box and a gold watch and he was also presented with a silver travelling case. The family visited England in 1764 and Leopold complains that they were given only 24 guineas, clearly not as much as he was expecting.
In the 1939 Register he is living with his wife in Cromwell Road, Kensington which is said to be named after Richard Cromwell, son of Oliver Cromwell, who owned a house on the street.
Cecil Oldman is promoted to Deputy Keeper of the Printed Books at the British Museum in 1943.
The University of Edinburgh awards Cecil Oldman with an honorary degree of Doctor of Music on the 6th July 1956.
Amongst some of the awards he received was the Commander of the Royal Victorian Order in 1958.
Cecil Bernard Oldman died on the 7th October 1969 and his ashes were interred at the Brockley Cemetery on the 30th January 1970. Probate was granted on the 9th April 1970 and his estate was worth £28026.
Mike Guilfoyle, Chair of the Friends of Brockley and Ladywell Cemeteries contacted me on the 6th October 2022. He informed me that Cecil Oldham died at Flat 3, 37 - 43 Gower St in Bloomsbury in London, WC1. He told me that his cremated remains were interred in the cemetery (possibly the family grave) on the 30th January 1970 without service.