From Alamy.com
Melody in F, Op. 190 No. 27 Kohler Grade 1 ABRSM 2025 – 2026
Character/story of the piece – this piece has been in the ABRSM syllabus once before in 1989, according to my records. The notes at the bottom of the music for the 2025 – 2026 Grade 1 ABRSM examination book informs the reader of Kohler’s work as a composer, writer on music as well as a piano teacher. It states that Kohler ‘wrote numerous books and articles on music and composed many teaching pieces for student pianists’. And, lastly it states that Kohler wrote in the Romantic style that was common at the time.
It is interesting to note that the markings on the piece presented in the examination book are entirely editorial, as there are none in the source apart from the accents. It seems that there was no accent on the R.H. F in bar 13. As the footnotes suggest, considering that the music was written in a legato cantabile style, there accents should be persuasive rather than percussive when played.
The two copies of have of this piece have differing dynamic and agogic markings. The player would be best to consider how these accented notes are played considering that they often occur in the same position within the phrase.
The player will need to think of a conversation between two people when playing this piece. For the most part, the first person speaking is more prominent however in bar 13 the second person is more forceful than they have been before. It would be wise if the player thought of some words that could accompany the melodic patterns.
The Music Teacher notes from 1989 state that regarding the L.H. ‘not only does it buoy along the melody with a continuous, mainly broken-chord accompaniment (rather like the wavelets in a Barcarolle rhythm), it is also the inflections of the L.H. which point the expressive sense of the melody’.
Form – this piece is in two sections, with each section being 16 bars long. This piece commences in F major with a modulation to C major in bar 15. In the second section, the music commences in F major, but it moves through G major and B flat major before returning to its original key of F major.
Main part of the music – this should occur in the penultimate phrase in bar 27 at a mezzoforte level. Subtle use of rubato at this point and in bar 28 will highlight this main part.
Phrasing – the phrasing of this piece reflects the balanced aspect of its form. There are eight phrases in total in this piece, although it could be thought of having four phrases in total. Each set of phrases balance each other, as there is a question-and-answer character to them.
Tempo. time signature and rhythmic patterns – the two copies I have contain differing tempo markings; the one from the current syllabus states that the tempo should be approximately 63 dotted minim beats per minute, and the older copy has a tempo marking of approximately 72 dotted minim beats per minute, which is a reasonable discrepancy. In my opinion, the faster tempo is appropriate as it provides the music with momentum and a lilt that propels the music. Even thought the piece is written in simple triple time, because of the tempo indication and the speed required it has a compound duple or quadruple character. There are no rhythmic patterns that should cause concern; some players may find that the L.H. may become uneven.
Touch/articulation – as already mentioned, this piece requires a light legato touch in the L.H. and a R.H. cantabile touch that has resonance, even in the quieter areas. For most of the piece, quieter levels of dynamics are required, the player must play the R.H. with controlled weight from the shoulders. And as already discussed, the accented notes need to be played with a gentle emphasis as the ABRSM footnotes suggest. These will need to be played with weight from the shoulder, with support from the arm and elbow. There will need to be some lifts in the R.H., as these will delineate where a phrase ends and the following one commences.
Balance between the hands – this is clearly to the R.H., considering the melodic material contained in this piece. However, this does not mean that the L.H. is a secondary player in this piece. The L.H. should be played with more prominence in second phrase of each set because the R.H. is often playing melodic material that has less momentum in comparison with what it played in the first phrase of each set. In the first section the L.H., is to a certain extent, static. However, in the second section the L.H. takes on a kind of melodic role with the first notes of each bar moving in seconds, either ascending or descending. These notes should be highlighted so that the listener is aware of their melodic pattern.
Dynamics – overall, the dynamics used when playing this piece should remain in the pianissimo to mezzopiano region. As already discussed, the player should be careful to ensure that the crescendos and diminuendos employed do not always occur in the same position in each phrase or set of phrases. A wider range of dynamics could be used in the second section, thus providing the music with more drama. The L.H.’s dynamics are vitally important when playing this piece because at the end of the second phrase of each set, the L.H. continues serving as a bridge between one set and the following.
Rubato – considering that this piece is part of the Grade 1 syllabus the player would not be expected to use rubato however the application of rubato in a few places will be a stylish addition to the piece. There should be no rubato used in the first three phrases as the tempo must be solidified for the listener. A slight acceleration and easing of tempo in the fourth phrase will be appropriate. And again, the application of a little rubato in the final two phrases will highlight the main part of the music.
Pedal – the use of pedal will enhance the cantabile character of this piece however it would not be required of a Grade 1 candidate.
Considerations when playing this piece –
· The L.H. should be practiced in bar groupings.
· The hands need to be perfectly synchronised in bar 30.
· It is an unusual way to commence; it sounds as if the music has already begun.
· The player must be very careful about how loud the L.H. should be in comparison to the decaying sound of the R.H.
· There is quite an awkward stretch in the L.H. between bars 26 and 27.
· There are parts where the R.H. is repeated however the L.H. has been altered.
· The R.H. should be held above the keys even though it is not playing in the final bar.
· To a certain extent the dynamics should have a cumulative effect.