Grieg, Edvard Hagerup : Lyriske smastykker No.1 "Arietta" Op.12-1
Work Overview
Genre:character pieces
Total Playing Time:1 min 30 sec
Copyright:Public Domain
Commentary (2)
Author : Ooi, Kazurou
Last Updated: June 17, 2024
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Author : Ooi, Kazurou
Tempo Considerations
This is a piece where tempo is a crucial aspect. At the beginning, "poco andante e sostenuto" is indicated, meaning "a little andante = a little slowly, with notes fully sustained." Now, the question arises as to what tempo this implies. If the author were to offer advice, it would be:
- A tempo is desirable that ensures the bass, sustained by ties for two measures, does not become inaudible.
- Choose a tempo that allows the melody, consisting of four identical notes, to be easily shaped. For instance, the GGGG in the first measure tends to sound mechanical if all four notes are played with the same dynamics and timing. While one might wish to play these four identical notes with varied dynamics and timing, this becomes difficult if the tempo is too slow.
It is recommended to determine the tempo based on these conditions.
Cadential Figures
Cadential figures like those in measures 9-10 appear a total of four times throughout this piece. Vary the mood according to the chord in the second measure (measure 10, in the case of measures 9-10).
Final Measure
The final measure gives the impression of the piece ending mid-way. It depicts a psychological state where the scene fades away, like in a dream or trance. Please perform it as if it is truly disappearing.
Author : Kumamoto, Ryohei
Last Updated: January 16, 2025
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Author : Kumamoto, Ryohei
This is a compound single-part form based on a single theme.
- A [a / theme (measures 1-4) + b / thematic development (measures 5-8) + c / conclusion (measures 9-12)]
- A1 [a (measures 13-16) + b1 (measures 17-18) + c1 (measures 19-22)]
- Coda / thematic fragment (measure 23)
Sections 'a' and 'b' are closely related, forming a progression from the theme's presentation to its development.
The theme is characterized by vocal-like eighth-note reiterations of the same pitch, building tension towards a double appoggiatura in the following measure. The chord placed on this double appoggiatura in the second measure of the theme is a non-diatonic dominant ninth chord (with omitted root), which, along with the tension created by the appoggiatura, evokes a beautiful sense of shadow or melancholy.
Section 'c' appears to repeat a very similar melody, but its harmony differs, which is intriguing. The first half is in G minor, featuring a deceptive cadence: IVadd6 → V9 → VI. In the second half, it modulates to E-flat major, leading to a perfect authentic cadence: IVadd6 (the same IVadd6, but with different constituent notes due to the change in key) → V9/iii (dominant ninth chord on the dominant of the mediant key) → I (with harmonic resolution occurring while the dominant is sustained in the bass). The gracefully ascending motion is a noble expression, much like an arabesque in ballet.
The theme reappears from measure 13, accompanied by two sixteenth-note grace notes. Another difference from the opening theme is that the tonic E-flat is sounded an octave lower in the bass. Since these two changes serve to emphasize the character of the theme, it is advisable to take a slight amount of time within the rubato. Indeed, considering the overall nature of the piece, playing these grace notes strictly in time might not be in keeping with its character.
Finally, at measure 23, a fragment of the theme is recapitulated. It concludes abruptly, as if falling asleep, creating an extremely poetic moment.
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