Khachaturian, Aram : *in preparation* *in preparation*
Work Overview
Genre:pieces
Copyright:Under Copyright Protection
Commentary (1)
Author : Ooi, Kazurou
Last Updated: March 12, 2018
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Author : Ooi, Kazurou
Ivan Sings
Many people consider Andantino to be faster than Andante, but its actual meaning is highly ambiguous, and it is a tricky term that can also mean slower than Andante. When Andantino is indicated, the performer must assess the tempo by considering various circumstances. Although this piece is also marked Andantino, if I may offer my personal opinion, I believe it should be moderately faster than Andante. This is because if it is too slow, it becomes difficult to connect the melodic line.
When performing this piece, the key hint is simply to "sing freely." Therefore, the tempo will fluctuate. The melodic line is originally marked cantabile. Performers should try playing or singing only the melody of this piece as a single line. While this should allow for free singing, the accompaniment is consistently written in quarter notes, which often leads performers to play like a metronome when the left hand is involved. Care should be taken to avoid this. For the melodic line, be careful not to make the right-hand eighth notes in measures 3-4 or 7-8 sound heavy. Conversely, notes with longer durations that have tenuto markings should be sustained fully.
The first section can be divided into measures 1-17, and these 17 measures can be further divided into four phrases:
- Measures 2-5
- Measures 6-9
- Measures 10-13
- Measures 14-17
The mood of these four phrases is entirely different. Be careful not to play them in the same manner.
From measure 18, the same phrase as in measure 2 is repeated in the same key. At this point, the right-hand melody C and the upper voice C of the left-hand accompaniment are at exactly the same pitch. Since the left hand plays this C with the first finger, it often becomes too loud and gets confused with the right-hand melody. The left-hand C should be played as ppp as possible. Furthermore, although I mentioned playing this piece "freely," ritardando should not be applied where there are no rit. or a tempo markings. At most, one might consider "broading" (emphasizing a section by playing it slightly slower and more broadly). Many people apply a ritardando at the end of this piece, but there is no indication for it. While a slight decay is natural, extreme ritardando should be avoided.
Furthermore, the pedal is essential for this piece. Even when performed by young children, the pedal is musically indispensable. Use extensions or assists to incorporate the pedal.