Kleiner Walzer No. 3 from Jugend-Album, Op. 25, Korganov, ABRSM Grade 3 Piano Exam 2011-2012

Kleiner Walzer No. 3 from Jugend-Album, op. 25, Korganov

Although a potential player may be discouraged from playing this piece because of its length, do point out that 16 bars of it (a third), is repeated at the end.

What is the story the player wishes to convey to the listener?

In the first and third sections imagine that there is a group of dancers dancing the waltz. In the middle section though, there is more focus on individual dancers; a man in the first two phrases and woman in the second two phrases.

What is the structure of the music?

The music is written in ternary form with each section being 16 bars long. The first and last sections contain the same material. The player must ensure that the third section is played with different dynamics and rubato to the first section so that the listener remains engaged to the end.

Main part of the music

In my opinion the main part of the music is in bar 43 however the dynamic level in the LH in bar 20 is only just a little quieter than that of bar 43. If the main part is in bar 20, it may be difficult to maintain the listener's interest, considering there is over half of the piece still to play. The loudest for the first section is in bar 12.

Phrasing

The music is divided into sets of four bar phrases throughout the music. The player must consider that the phrases are in sets of two. In the first section the first and third phrases begin the same way and this is present in the third section too.

Metronome mark, time signature and rhythm

The metronome speed chosen for this piece is very important because if played too quickly its delicate and charming character will be lost. And, if played too slowly the music will be ponderous rather than being light and charming.

The player must be absolutely sure that the triplet rhythm is played in correct time.

Let the LH underpin the music rhythmically and ease the tempo using the LH when playing with rubato.

As the music is a waltz, the triple time signature needs to be shown for the listener. Ensuring that the LH holds the dotted minim note in the bars where it is present is very important.

Unexpected moments

In the first and third sections the player needs to prepare the listener for the changes in melodic material that occur. The player needs to draw attention to them using changes in dynamics or with small touches of rubato. Without some of these subtle changes the music could sound 'mechanical'.

Beginning and ending

Imagine that you are adding into music that is already playing. The first LH note needs to be played with resonance and the RH needs to sound as if the LH has generated it. From there, the RH can become a little louder than the LH. Some players may need to practice the beginning quite a lot because there is a danger that the first note may not be heard. The LH no 5 should be played with a little weight and control so that this note sounds.

Take a little longer lifting off the final note in comparison to the ends of the first two sections.

Details and consideration

Musical Period and composer

Korganov was born on the 12th May 1858 at Kvareli, Georgia. He was a pianist, teacher and composer, dying young at the age of 31 years old. He studied at the Leipzig Conservatory with Reinecke, Judasson and Wensel. In 1877 - 78 Korganov lived in St Petersburg and the following year he settled in Tbilisi, working there as a teacher and writing reviews on music. At times he used local folk music in his compositions. He died whilst touring on the 1st March 1890. This waltz is from Korganov's Album for the Young, Op. 25, which contains eight short character pieces for children to play. These pieces are mostly two pages in length. Some of the titles are - no. 2 Game of Patience, no. 5 Prayer, no. 6 By the Brook and no. 8 Russian Dance.

Touch

The piece requires a cantabile touch most of the time, although as discussed there are many touches of other types of articulation that need to be added. Bars 17 - 24 require a less cantabile touch as a contrast to the rest of the music. Play the staccato notes in these two phrases with a quicker lift to achieve a more detached sound.

Balance between the hands

The balance is primarily to the RH, with the exception of bars 17 - 24, where the LH has the limelight. As always though, small changes in the LH's dynamics will help to project the RH.

Phrasing

Notice that in the first and third sections the RH begins the first and third phrases on the second beat. The player needs to be aware of how this affects the character of the music. The RH needs to take its cue from the LH at this time. All of the phrases need to be considered as a set of two. There needs to be a feeling of flow from one phrase to the next. The player must think carefully of how each phrase connects to the following one dynamically.

Articulation

The detached notes add lightness to the music. The staccato notes should not be too detached; play lifting off these notes with the fingers touching the keys. Do consider how the two-note slurs, which are used for example in bar 3, contribute to the character of the music.

Dynamics

Korganov has provided many dynamic details in this piece. The overall dynamic level for this piece should not be too loud otherwise it will destroy the character of the piece. Keep bars 17 - 24 most of the time within an mp level, reserving a slightly stronger dynamic for the climax in bar 43.

There are areas within this music that will require quiet dynamics and the player will need to ensure that all notes are heard. Discuss with the player the use of controlled weight into the keys to enable this to happen.

Rubato

This piece benefits from the use of short touches of rubato. Generally speaking it is best to not use too much rubato at the beginning, as the beat needs to be well established. Think of the dancers taking a breath at the end of a particular part, which will help to illustrate the use of a little rubato. Some phrases will require a little forward movement too. At the ends of each section imagine that the dancers are bowing/curtsying.

Use of the LH

There are many two-note slurs present in this music in the LH. The LH dotted minims must be played with resonance so that they sound throughout the bar. The player must use their shoulders to provide the weight when playing these notes. These notes in themselves provide an interesting melodic line. The listener needs to listen carefully to these notes so that they continue sounding throughout the bar. These help to enhance the two-parts in the LH. The player will need to keep the LH dotted minims as legato as possible, except at the ends of phrases. And, there needs to be consideration in regards to tone-matching when the LH plays the dotted crotchet/quaver pattern.

Use of the RH

Korganov uses the word grazioso at the beginning. Discuss with the player how this is going to affect the character of the music and how the player needs to highlight this.

There needs to be consideration in regards to tone-matching when the RH plays the dotted crotchet/quaver pattern. Notice how Korganov often places this pattern at the end of a phrase.

There are some notes that have a heart-rending and/or poignant character to them and as such, need to be given special attention.

Pedalling

Discuss with the player the reasons why the pedal is being used in this piece. Touches of pedal can be used throughout the piece. Too much pedal in this piece could potentially conceal some of the dynamic and articulation details.

In bar 16 (and others), use the pedal to ensure that the LH chord to the final single note is played legato. Lift the pedal whilst playing the low B flat.

The player needs to ensure that the pedal is not pushed down too far and/or too quickly, as this could result in sudden surges in the sound. And, if depressed to quickly, there is a danger that notes from the previous bar may be caught in the pedal.

Additional considerations

There are some notes in the music that require special attention, for example, the RH D at the beginning of bar 6. This note needs to be played with a little more pressure so that it is given emphasis. This will highlight its dissonance and its poignancy.

In addition to this, the player needs to ensure that they know bars 3 and 11 very well, as it is easy to get lost when playing these bars. This is the same in the third section too with the analogous bars in that section.

Bars 1 - 8

·      start this phrase at p level.

·      let the peak for the phrase be as Korganov suggests on the second G in bar 3.

·      blend the hands together at the end of bar 4.

·      use touches of pedal to help sustain the first beat in bars 1, 3 and 4.

·      In bar 3 the two-note slurs contribute a little tension to the music. Bar 4 should sound calm after the more intense bar 3. Begin bar 3 quieter than bar 2 as this helps to add tension to the music and heightens the crescendo and diminuendo.

·      as stated each phrase is part of a two-phrase group; the player needs to show the contrast between bars 1 - 4 and bars 5 - 8. Bars 1 - 4 are more intense with more changeable articulation. The following four bars balance this phrase because its character is more legato.

·      the lifts, for example in bar 2, are gentle rather than being quite short in sound.

·      start bar 5 at the same level that bar 4 ended at.

·      play with a small slowing in bar 8 however do not play this excessively. Bar 40, as a contrast, could be played with a little more rubato.

·      there is a change of LH position between bars 6 and 7 so the player must ensure that the LH does not 'thump' out the LH E natural in bar 7.

Bars 9 - 16

·      start this phrase at ppp level to provide contrast with the opening music.

·      let the peak for this phrase be at the beginning of bar 12 at mp level, this being the loudest part of the first section.

·      let the hands blend together at the end of the section.

·      lift the RH off at the end of these two phrases with a flourish.

·      although this phrase starts in the same way as the first phrase, bar 11 is altered in comparison to bar 3. It has a different character; there is a less tension here. Let this phrase lead into the main part helping to increase the dynamics.

·      use the pedal to join the LH chord on the first beat to the low B flat.    Let the LH lift off on the low B flat.    In addition to this, it is easy for the player to split the chord on the first beat of bar 16. Work with the player on using controlled weight into the keys to ensure that this does not happen.

·      in bar 13 the player needs to be very conscious of the repeated Ds as they should not sound all the same. The player must think about where these notes are leading.

·      at the end of bars 14 and 15, the player needs to lift both of their hands as shown by Korganov, as this helps to ease the music at the end of the phrase, and in this case, section.

Bars 17 - 24

·      start this phrase with mp dynamics, which should be a contrast in comparison to the end of the previous phrase.

·      let the peak for this phrase be in bar 20, and this is the loudest for the section too.

·      a little forward moving rubato prior to bar 20 is appropriate.

·      there needs to be a sudden change of character here as a male dancer now has the limelight.

·      notice that the RH chords are not as staccato in the second part from bars 21 - 24.

·      the articulation is very important in this phrase. It is of course important throughout the music, however the articulation used in this phrase helps to highlight the change of character.

·      notice how the changing RH dynamics in this phrase contribute to the overall dynamics of the music.

·      do use the changes of fingering as suggested in bars 21 - 24.

Bars 25 - 32

·      start this phrase slightly louder than the previous phrase at a p level.

·      let the peak for the phrase be in bar 28 at mp level.

·      let the hands blend together at the end of the section.

·      let the RH start this phrase with a degree of confidence that has been held over from when the LH has had the melody. At bar 29 the player must convey a complete change of character, as if the dancer is becoming hesitant and uncertain.

·      the player needs to be thinking ahead in the previous bars so that the change of melody from the LH to the RH is easily accomplished.

·      notice how the LH plays on the second beat from bar 25 - 28. Again, the player must consider how that affects the character of the music. It helps to lighten the music and brings the RH into more focus.

·      lift the RH off at the end of these two phrases with a flourish.

·      in bars 29 and 30 there are two parts to the music, firstly the high RH note on the first beat and secondly the quavers that are played on the second and third beats. The player should let the high crotchets be the focus.

 Bars 33 - 40

·      start this phrase a little hesitantly with pp dynamics.

·      let the peak for the phrase be on the first G in bar 35 at p level.

·      start bar 37 at p level. Start bar 37 at a louder level dynamically than bar 36. Keep bars 37 - 40 fairly quiet without any rubato as these bars must contrast with the subsequent bars, which contain the climax of the music.

·      notice the use of the word grazioso again. These two phrases should not be overstated; let the music gain a little equilibrium after the more dramatic second section. This will also contrast with a wider range of dynamics used in the final two phrases.

·      do not play with too much slowing down in bar 40, there needs to be forward movement as the main part of the music is in the next few bars.

Bars 41 - 48

·      start at bar 41 slightly louder than the end of the previous bar at p level.

·      let the peak for this area be in bar 43 at f level however do not let the music remain at this level for too long.

·      start bar 45 with fairly loud dynamics however there needs to be a considerable diminuendo to the end. There is more drama in these two final phrases.

·      some easing of the tempo in the final bars is appropriate. Do though ensure that the quavers are not becoming doubled in doing so.

·      lift the RH off at the end of these two phrases with a flourish. Hold hands over the keys for the last beat rest before lowering them gently back into the lap.