Robert Fuchs, photo in Public Domain, Wikimedia Commons. https://commons.wikimedia.org/wiki/Template:PD-US
This is a charming and delightful piece to play and many players sill be pleased to know that the third section is nearly the same as the first. There are a number of details that the player must attend to, for example the dynamic level when playing a single note followed by a chord and some complex fingering to be learnt to ensure that the melodic lines remain legato. Fuchs’ op. 47 and 32 have a Schumanesque quality.
Character/story of the piece – the title is an excellent starting point when discussing the interpretation of this piece. The first and third sections provide a gentle introduction and conclusion to the music. In these sections the player could imagine a singer accompanying the music setting the scene in these sections. There is a character of restraint and slight despair in these sections. There are more people involved in the middle section as there are often four parts present. The upper voices frequently interrupt before becoming more conciliatory as the phrase progresses. There is a sense of resolution before the return of the original music in the final section. The player should create some words to accompany the music.
Form – this piece is in ternary form, with the material in the third section almost the same as the first section. The piece commences in the key of D minor and there is no modulation in this section as is the same in the last section. However, at the end of the first phrase of the first and last sections the music has moved to F major before abruptly returning to D minor. The music starts on the dominant which provides the piece with a slightly unsettling character. The second section is in D major, and this section begins on the tonic however by the end of this section the piece has modulated to the dominant of D minor.
Main part of the music – this should occur in bar 16 and because of the character of the piece the dynamic level should be mezzoforte. A second main part should occur in bar 23 although this should be at a mezzopiano level.
Phrasing – there are two phrases in each section, all four bars long except for the one that contains the climax. This phrase is extended by one bar thus making it five bars long. All phrases commence on an upbeat and the player should consider how this affects the character of the piece. The phrases in this piece have two parts to them as if it is a kind of question and answer.
Tempo, time signature and rhythmic patterns – the tempo indication is editorial. The suggested tempo of 108 crotchet beats per minute is a little fast, a tempo of 96 crotchet beats per minute would be better suited for the character of the piece. If played too fast the player will not be able to provide the gentle and sympathetic approach required for the piece. There are no rhythmic patterns that the player should find difficulty with although there is a danger that the minims in the LH may not be held for long enough.
Touch/Articulation – a cantabile touch is required for this piece although in the second section the RH’s touch could become a little brighter considering the change of key and the different melodic material. The composer has indicated this using dolce at the start of the section. In the second section the LH should be played with a cantabile touch. In the first section the LH the repeated As require resonance so these notes underpin the music. The player must be extremely aware of tone-matching in this piece especially considering the dotted crotchet/quaver patterns. The quaver notes of these patterns must also be considered dynamically in relation to the remaining sound of the LH. The articulation that is present must be observed. The lifts as shown in the first and last sections provide the music with a serene and unhurried quality. In the second section there are several instances where the fingering employed must observe the legato melodic line. Substitution of fingers, thirds coming over the top of a previous third and thumbs on sharps are necessary skills to maintain the legato melodic line.
Franz Liszt playing a Boesendorfer piano, photo in Public Domain, Wikiemedia Commons. https://commons.wikimedia.org/wiki/Template:PD-US
Balance between the hands – in the first and last sections the balance should be to the RH. The LH minim notes must be played with careful consideration of the retention of the balance to the RH. Nevertheless, the LH connects the first and second phrases of these sections with the use of the tonic chord of F major at the end of the first phrase. There is more interplay between the hands in the middle section and the balance between the hands should reflect this. The RH should continue the melodic line that has been started by the LH. In the middle of these two phrases the RH should be more prominent for a brief time. However, at the end of the two phrases of this section the hands should merge as one voice.
Dynamics – considering the character of the piece, the dynamics should not be too loud. This though does not mean that the dynamics should not have resonance and depth. The middle section could be played with stronger dynamics although starting very quietly will mean that a wide range of dynamics can be used. Some players may find it difficult to play for a long period of time using quieter dynamics. It must be emphasised that the quieter dynamics required for this piece must be achieved by using controlled weight into the key bed as there is a danger that the sound may be thin or even worse, there is no sound at all.
Pedal – the composer has marked con Ped. at the start of the piece. It would be advisable to not pedal the upbeat but to commence pedaling on the first beat of the bar. Some flutter pedaling will need to be used in this piece. This piece requires considerable pedaling skills and will demand careful listening to the sound that the pedal is creating. The player will need to be careful when commencing pedaling at the start of bar 1 as they will need to avoid a sudden surge in sound. As should always be the case, the player should consider why the pedal is being used. As discussed before, the legato melodic line must be achieved by the use of the fingering, not from the use of the pedal.
Agogic features – there is a danger in this piece that too much rubato is used resulting in the music sounding overly sentimental. It would be advisable to use no rubato in the first section at all and that the middle section should follow with no hesitation. A small accelerando in bar 11 with balancing easing in bar 12 is appropriate. A slight hesitation prior to the playing of the RH high G in bar 15 with the balancing accelerando in the following quavers is suitable too. The player must be careful with the playing of the rit. in bar 17, there is a danger that the first beat could be lengthened to a minim. In my opinion the pause is placed in bar 17 to let some of the sound die away before commencing with the last section. Fuchs has marked another rit. at the end of the piece and holding the last chord for a little longer that a dotted minim is appropriate.
Considerations when playing this piece There is a danger that some of the chords in this piece are not played simultaneously.
The player must ensure that the LH thumb is well on the keyboard.
At the end of each of the sections and at the end of the piece the player must be careful with lifting both hands and pedal off simultaneously.
There are many repeated notes in this piece; the player must employ different dynamics so that the listener’s interest is maintained.
The repeated RH notes for example in bar 1, the second one should be played with an upward gesture. This helps these notes to not be too strident or harsh in tone.
Some players may find it difficult to control the dynamics when moving from a single note to a chord or vice versa.
This may be the player’s introduction to part-playing. The upper notes in the part-playing should be emphasised.