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Burgmüller, Johann Friedrich Franz : 18 Etudes de genre (faisant Suite aux Etudes faciles op. 100) Berceuse Op.109-7

Work Overview

Music ID : 34160
Instrumentation:Piano Solo 
Genre:berceuse
Total Playing Time:1 min 30 sec
Copyright:Public Domain

Commentary (2)

Author : Sato, Takashi

Last Updated: January 31, 2022
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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

The "Lullaby" was originally a vocal piece, but eventually, lullabies for instrumental music also came to be composed. This piece introduces the general "lullaby" style, where a gentle melody is sung over an accompaniment that depicts the rocking of a cradle. The melody bears a slight resemblance to Schumann's "Lullaby," Op. 124-6.

Performance Points (Original ♪=112)

The descending arpeggio accompaniment pattern, which begins in the right hand, shifts to the left hand in the latter half of the measure. Practice the transfer between the first fingers so that it sounds like a continuous flow. Sing the melody in the right hand expressively, but be careful not to wake the sleeping child. Be careful as the third beat of the melody tends to become inadvertently strong. The diminished seventh chord in measure 21 (measure 29) and the operatic ornamentation and leaps in measure 23 (measure 31) are key points for expression. It would be wonderful if the ending could be played as if gently drifting off into slumber.

(From To-on Edition "Burgmüller 18 Etudes" (NS61))

Writer: Sato, Takashi

Author : Ooi, Kazurou

Last Updated: November 30, 2020
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Andante con moto is indicated. In the first measure, 'cantabile' is marked. This suggests the piece should be interpreted in a freely singing manner, thus necessitating the use of rubato, which involves tempo fluctuation.

How, then, should rubato be applied? One approach is to practice by isolating and playing only the melody line. During this practice, it is beneficial to play just a single triad with the left hand on the first beat of each measure.

This method allows for a free and improvisatory singing quality, unconstrained by the strictness of sixteenth notes. For instance, in measure 15, take ample time and play the thirty-second notes smoothly, without rushing. By practicing the melody line alone several times in this manner, you will gain an understanding of where to apply temporal expansion and where to maintain a steady tempo.

Consider measures 13-14: despite commencing forte, a 'dimin.' marking appears as early as the third beat of measure 13, leading to a 'p' in measure 14. When encountering such abrupt dynamic shifts, adhering too rigidly to a metronomic tempo can render the passage exceedingly difficult to execute. In these instances, it is advisable to allocate sufficient time and apply rubato in a way that allows the dynamic transitions to unfold naturally. This guidance is offered for your consideration.

Writer: Ooi, Kazurou

Arrangements & Related Works(1)