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Gurlitt, Cornelius : Der erste Vortrag　Unverzagt Op.210-6

Work Overview

Music ID : 48784
Instrumentation：Piano Solo　
Genre：pieces
Total Playing Time：0 min 40 sec
Copyright：Public Domain
pieces
Piano Solo
piano solo

Commentary (2)

Author : Ooi, Kazurou

Last Updated: May 14, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

It is no exaggeration to say that the quality of this piece's performance hinges entirely on dynamic control.

Try to achieve the widest possible dynamic range.

This piece can be considered as having four 8-measure phrases: measures 1-8, 9-16, 17-24, and 25-33 (note that only the fourth phrase is 9 measures long).

Pay close attention to the final measure of each phrase. You will notice that they invariably conclude with a crescendo leading to a forte. This implies that the musical direction consistently builds towards the final measure of each phrase. Therefore, for example, if measures 1-4 are played at mezzo forte, reduce the volume once at measure 5, starting from piano, then apply a crescendo from measure 7, concluding measure 8 with a forte, despite it being a resolution chord.

For the next phrase, apply a crescendo from measure 14. Proceed similarly for subsequent phrases.

In the second phrase, the left-hand accompaniment consists of eighth notes; therefore, be careful not to increase the volume too much and maintain balance with the right hand.

For the chords in the final three measures (31-33), a beautiful forte can be achieved by moderating the right-hand thumb and emphasizing the top note (the uppermost voice).

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: October 9, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Regarding the tonal progression, it is as follows: The main key is C major. From B, it modulates to the dominant key of G major. At measure 16, a half cadence is formed by the dominant seventh chord of C major, and from measure 17, A is recapitulated in the tonic key.

Overall Structure

The overall structure is as follows:

Ternary Form

  • A [a (measures 1-4) + a1 (measures 5-8)]
  • B [b (measures 9-12) + c (transitional section, measures 13-16)]
  • A [a (measures 17-20) + a1 (measures 21-24)]
  • Coda (measures 25-33)

In the structure of A, the four measures of theme 'a' are repeated almost identically. In contrast, the structure of B is somewhat fluid, and the 'b' section, unlike 'a', has less motion and is ambiguous.

From this, it can be said that while A is expected to have a stable and firm characterization, B creates an unstable and transitional atmosphere through a longer phrase sense, making the characters of these two large sections diametrically opposed.

The original title of the work is Unverzagt. The meaning of Unverzagt includes 'undaunted,' 'unfazed,' or 'resolute.' This seems to represent the character of the theme.

Measures 1-8 present the theme, which constantly follows an ascending melodic line while repeating the harmonic cadence of I (T) → II (S) → V (D) → I (T). This forward-moving progression likely links to the title. Furthermore, the tonic pedal point consistently present in the bass of the theme creates a sense of stable sonority.

Writer: Kumamoto, Ryohei

Sheet Music

Scores List (8)

Japanese