Friedrich Kuhlau (1786-1832) was a German-born pianist and composer.

He achieved great success as a musician in Denmark, where he sought refuge, leaving behind numerous "sonatinas" that are a common experience for all piano students.

Among these, Three Sonatinas, Op. 20 is a work particularly frequently performed.

His works span a wide range of genres, including not only piano pieces but also chamber music, concertos, lieder, and operas.

First Movement

F major, 4/4 time, Allegro con spirito (lively, fast = cheerful)

Broadly speaking, its structure consists of an exposition, development, and recapitulation, allowing it to be interpreted as a sonata form.

It is a gentle, warm movement that evokes a sense of nostalgia and even embrace.

Exposition

The tonic chord of F major resounds, and the first theme appears. While the opening section might feel as if it's still contemplating its direction, a broad structural analysis reveals I (measures 1-4) → V7 (measures 4-8) → I (measure 9 onwards), clearly establishing the tonality.

From measure 16, the music transitions to the second theme, interweaving the sound of D minor, the relative minor of the tonic F major.

The second theme modulates to C major, the dominant key of F major, concluding the exposition. While the first theme flowed lightly with the right-hand melody and left-hand accompaniment, in this second theme, the right and left hands carry the music forward as if in dialogue.

The left hand features an ascending figure, like cautiously climbing stairs step by step, while the right hand consists of bold octave leaps and a descending figure that suggests hesitation. At measure 24, the right-hand leap expands from an octave to a twelfth, harmonizing with the left-hand chord as it moves towards the codetta.

The codetta, starting from measure 27, is played in C major, just like the second theme. Centered around arpeggiated chords in the left hand's middle register, the right hand moves between the upper and lower voices in sixteenth notes. As if joining the right hand, the same sixteenth-note figure appears in the left hand from measure 31, transitioning into the development section.

Development

In stark contrast to the exposition, the flowing harmonic progression in triplets is striking. It progresses as if wandering, reaching D-flat major at measure 41. Subsequently, using the figure of the first theme, it repeatedly modulates through B-flat minor and F minor. At measure 51, the dominant note of the tonic F major, C, resounds in the bass voice, leading towards the recapitulation. From measure 56 onwards, it is a transitional section where the right hand's octave arpeggios are combined with various chords in the left hand, as if exploring different keys. Finally, it resolves to V7 → I in F major, arriving at the recapitulation.

Recapitulation

After passing through various keys, the recapitulation returns to the tonic F major.

In the recapitulation of the first theme, it temporarily passes through G minor, the supertonic key, but quickly returns to the tonic, leading to the recapitulation of the second theme. The second theme is recapitulated on the same scale as in the exposition, moving towards the coda.

The coda, like the exposition, features an interplay between the left and right hands with intricate movements. When the V9 chord of the tonic F major resounds at measure 104, the figure of the first theme is then emphasized, and the movement concludes with a warm F major chord.

Performance Tips

Slurs and staccatos are meticulously notated. Differentiate them carefully by listening intently. Be mindful of the larger phrases and avoid stagnation.

The left hand features many slurred double stops (where two notes are played together). Practice the left hand alone slowly to achieve smooth playing with just the fingers, without over-relying on the pedal.

In the first theme, while the right hand carries the melody, it is also important for the left hand to firmly establish the musical flow and support the right hand. Play the left hand with expression, following the melodic contour of the right hand.

In the second theme, intricate sixteenth-note movements appear in the left hand, as if conversing with the right hand. Since small notes tend to accelerate, play each note carefully, as if each has a word attached to it.

The development section transforms into various keys. Listen carefully to the sound of each chord and try to vary their character so they don't all sound the same. In this section, the right-hand eighth notes are particularly prone to rushing. Be careful not to lean forward as the music builds.

Bonus Section

What image does "F major" evoke for you? If you were to describe it with a color, what color would it be?

Try to imagine not only the piano but also other instruments. It might be helpful to imagine a warm sound, like that of a French horn. Listening to various pieces in F major is also a good idea!

• Ludwig van Beethoven (1770-1827) Violin Sonata No. 5, Op. 24 'Spring,' First Movement
• Robert Schumann (1810-1856) 'Träumerei' from Kinderszenen, Op. 15
• Pietro Mascagni (1863-1945) 'Intermezzo' from the opera Cavalleria Rusticana

When performing the first movement of this sonatina, there is one thing I strongly encourage all students to do: please watch an opera. Even five minutes would suffice. This is because Kuhlau's sonatina contains operatic elements, and the entire movement needs to be understood as a "lyric drama." Its content is extremely optimistic. It must be played with a joyful and exhilarating spirit.

Students must divide the exposition, for example, into four sections, and for each section, discern the nature of the scene, and the mood and emotion of each phrase within that section. For instance, measures 16-19 might represent a light complaint or a stern remark. One could imagine that for the person in measures 16-17, another person in measures 18-19 is appeasing them or offering hopeful persuasion.

From measure 20 onwards, the emotions gradually heighten, building a sense of excitement, with the feeling reaching its climax around measure 24.

Please imagine the scenes and stories for each part. Then, play with joy and dramatic flair.