By W.carter - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=127635920
The Snow Prelude No. 3 Ludovico Einaudi Grade 2 ABRSM 2025 – 2026
Character/story of the piece – this piece is a little hard to think of a story to accompany it. The music has a cumulative effect; it is as if someone has achieved an important goal after working very hard towards it. There is an introduction followed by the first section where there is a little uncertainty however by the second section, the person is confident and assured. Nevertheless, the music is reflective rather than being bombastic or boastful. At the start of the music the composer has written, dolce. Another consideration is to think about the reason the piece is called ‘The Snow Prelude’. Perhaps another idea to think about is that in the first section the player is walking around in the snow and in the second section snow is falling. The player will need to possess a degree of daring and flamboyance.
Form – as has already been stated, this piece contains an introduction and two sections. The introduction is quite long being 8 bars in length. The music commences in C major and although the L.H. sometimes contains chromatic movement, there is little use of other keys. The keys of E minor and F minor are used on occasion. The first section, commencing at bar 9, continues until bar 24, thus being 16 bars long. In the second section, which commences at bar 25 and continues until the end, is 17 bars in length. This form contributes to a feeling of balance and cohesion.
Main part of the music – this should occur in bar 37 at a mezzoforte level; the dynamics should not be too loud considering the character of the piece. Because of the cumulative character of the piece the dynamics should reflect this, so in the second section the dynamics should be louder overall. In the second section there needs to be more drama so the player could employ a wider range of dynamics.
Phrasing – the phrasing in this piece contributes to the sense of balance and cohesion. The phrases in this piece are long, most are eight bars long, except the final phrase, which is nine bars long. The phrases have an episodic character in the first section, with the second phrase containing similar melodic material, providing the music with a kind of expansion of the first phrase. This scenario continues into the second section, however the two phrases in this section subtly complement each other.
Tempo, time signature and rhythmic patterns – the suggested tempo indication of 120 dotted crotchet beats per minute is rather fast, reducing the tempo to 108 dotted crotchet beats per minute would be advisable. The suggested tempo provides the music with a breathless and relentless character which does not seem to fit with the more reflective aspect it requires. Nevertheless, too slow a tempo would portray the music as stodgy and heavy, not a character that is appropriate. The player must be able to convey the dotted crotchet beat with ease, as it could easily become three crotchet beats in the bar in some parts. For example, in bar 11 the first R.H. quaver must be played with careful attention to tone-matching regarding the L.H. note. In this piece, the subtle emphasis on the first note of each dotted crotchet beat will convey the compound time signature character. There are occasions where it feels as if bar lines have been removed; too much emphasis on the beginning of beats should be avoided. Some players may have difficulty playing the R.H. pattern in bars, such as bar 11. If this note is played too loudly it will feel as if this note is being played on the beat. There is a danger that the player may not hold the dotted minims for their correct length.
Touch/articulation – regarding the touch, there can be contrast between the playing of the introduction and first section with the second section. In the R.H. in the introduction and first section the player should employ a cantabile touch with degrees of weight from the shoulder according to the level of dynamics required. In both hands, in this area, the L.H. should be played with resonance as this will enhance and support the R.H. However, as a contrast, in the second section the R.H. should be played with a slightly intense touch with support from the wrist, arm and shoulder. During the introduction the L.H. should be played legato so the fingering will need to reflect this. There are many legato markings in this piece which should be followed, as shown in the first section. A lift in the R.H. between bars 12 and 13 and bars 13 and 14, for example will highlight the chromatic pattern as well as the melodic leap. However, in the second section the player could join the three quaver patterns, for example in bars 25 and 26 but isolate the dotted crotchet notes by lifting before and after playing them. These dotted crotchet notes form a melodic pattern and by isolating them in this way the listener will hear how they move, for the most part, in a descending pattern.
By George Chernilevsky - Self-photographed, Public Domain, https://commons.wikimedia.org/w/index.php?curid=70385335
Dynamics – as already stated, the dynamics used in this piece should never sound strident or harsh and should be kept within the pianissimo to mezzoforte range. Careful dynamic control is required along with the constant use of tone-matching. The L.H. has an important role dynamically to play in this piece; the dynamics of the music are generated by the L.H. A small change in the L.H.’s dynamics will contribute to a significant difference to the overall dynamics. Even though the dynamics employed in this piece are in the quieter range they should never sound thin or insipid.
Balance between the hands – clearly this needs to be to the R.H. Interest could be provided by altering the amount of balance between the hands. For example, in the quieter areas the difference dynamically between the hands could be less than in the areas where the dynamics are louder.
Rubato – the rall. that the composer has provided at the end of the introduction should be observed without any acceleration prior to bar 8. The listener must be made aware of the speed of the beat and if it is altered in the introduction, this will not occur. There should be little, or no rubato applied in the first section. To a certain extent the composer has written it in by using the dotted minims in the R.H. And the application of rubato could affect the realisation of the crotchet and quaver patterns. Small touches of rubato applied in the second section is appropriate however as is always the case, less is more. In the penultimate bar there is a fermata sign over the last notes in both hands. The length of these needs to be carefully considered; the player should allow some of the sound to fade before playing the final chord. Here, the player should allow most of the sound to die away before lifting their hands off the keys.
Pedal – the use of legato pedalling will enhance the music as well ensure that the longer notes are sufficiently sustained. This is an excellent piece for the learner to acquire good legato pedalling skills. The application of pedal should not overwhelm the melodic line.
Considerations for the playing of this piece –
· The R.H. fingering of bar 26 requires careful consideration.
· In the final chord the player should highlight the top R.H. note.
· Within the arpeggiated chords there is a melodic character.
· The high notes of a melodic pattern are not necessarily the loudest.
· The R.H. D in bar 35 is a poignant note; a small hesitation prior to it being played will highlight is meaning.
· The L.H. is played in a strong register on the piano.
· There is a little awkward fingering in the L.H.
· The arpeggiated R.H. chords could be initially learnt in groups.
· The music becomes more ‘complicated’ from bar 25 onwards.
· At the end of the penultimate bar the player should wait to let some of the sound disperse.
· The dynamics of the L.H. are extremely important.
· The dotted minims must be held for the full value.
· There should be no ‘thump’ when the final bar is played.
· The dotted crotchet notes from bar 25 onwards are as if they are a separate instrument.
· On occasions the music has a ‘skipping’ quality.