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ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE VARIATIONS IN B FLAT MINOR, OPUS 3 OF KAROL SZYMANOWSKI:
AN ANALYSIS OF PERFORMANCE CHALLENGES AND SOLUTIONS
D.M.A. DOCUMENT
Presented in Partial Fulfillment of the Requirements for
the Degree of Doctor of Musical Arts in the
Graduate School of The Ohio State University
By
Yung-Ching Yang, M.M.
*****
The Ohio State University 2002
Document Committee: Approved by Dr. Caroline Hong, Adviser
Dr. Arved Ashby Adviser Dr. Laurel Butler School of Music
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 3039437
__ ___ ® UMI
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ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT
Karol Szymanowski (1882-1937) ranks as the most important Polish composer of
the first half of the twentieth century. His early musical influences from the composers
he most admired, especially Chopin, early Scriabin and German Romantic masters,
formed the foundation of his own personal musical language. Throughout his three
creative periods, the piano works occupied a prominent position. The relatively unknown
Piano Variations in B flat minor, Op. 3 (1901-1903) was written during the composer’s
first creative period, in the style of late nineteenth-century romanticism. It is an excellent
example of Szymanowski’s pianistic writing and contains most o f the salient features of
his early piano works.
The main objective of this document is to analyze the performance challenges
found in the Variations in B flat minor, Op. 3. First, I will offer musical and technical
suggestions in the areas of hand position, tone quality, motions, musical expression, and
solutions to specific technical problems. Second, I will supplement my suggestions with
opinions from prominent pedagogues who, in some cases, agree with my analysis and, in
others, provide alternate solutions. I have consulted four major sources on piano playing:
Heinrich Neuhaus’s The Art of Piano Playing: Josef Hofmann’s Piano Playing with Piano
ii
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Questions Answered: and Gyorgy Sandor’s On Piano Playing: as well as Seymour
Bernstein’s With Your Own Hands.
Chapter I will provide insight into Szymanowski’s musical background,
education, social circle, pianistic career and influences on his style, especially during his
early period. An overview o f the Variations in B flat minor, Op. 3 will present the
background information o f the piece, overall form, stylistic characteristics and
compositional developments in the composer’s early piano works. This chapter will
conclude with musical examples showing the similarities of Szymanowski’s pianistic
writing to that of other composers. Chapter 2 will provide a frame of reference with
regard to general piano technique, which will help in understanding the analysis offered
in the ensuing chapter. Chapter 3 will discuss in detail each variation of Op. 3 in terms of
its musical and technical challenges, and provide solutions and suggestions to the pianist.
iii
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS
I wish to express my great appreciation and gratitude to my adviser, Dr. Caroline
Hong, for her intellectual guidance and encouragement throughout the process of this
document. Her support and inspiration have instructed and motivated me during my
years of doctoral studies.
I would also like to thank my reading committee, Dr. Arved Ashby, for serving on
my D.M.A. committee throughout the four recitals and general examinations.
Sincere gratitude is expressed to Dr. Laurel Butler for her kindness to be a
substitute committee member on short notice and for time spent in reading my document.
I am grateful to my fiance Jeng-Peng Wang for his continued support and
assistance.
Ultimately, I owe my deepest gratitude to my parents for their endless love,
encouragement and support during my years of abroad studies.
iv
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VITA
January 9, 1972...... Bom—Hsinchu, Taiwan
1994...... B.A., Piano Performance, Fu-Jen University, Taipei, Taiwan
1995-1997...... Graduate Teaching Associate, School of Music, The Ohio State University
1997...... M.M., Piano Performance, The Ohio State University
1998-2000...... Graduate Teaching Associate, School of Music, The Ohio State University
2001-Present...... Piano Lecturer, School of Music, Denison University
FIELDS OF STUDY
Major Field: Music
Studies in Piano Performance: Professor Caroline Hong Professor Nelson Harper Professor Steven Glaser
Studies in Piano Pedagogy: Professor Kenneth Williams Professor Jerry E. Lowder
Studies in Piano Literature: Professor Caroline Hong Professor Donald Gren
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Studies in Piano Accompanying Professor Caroline Hong Professor Nelson Harper Professor Rosemary Platt
Studies in Piano Theory: Professor Burdette Green
Studies in Piano History: Professor Arved Ashby Professor Lois Rosow
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS
Page
Abstract ...... ii
Acknowledgments ...... iv
Vita...... v
List of Figures...... ix
Introduction...... 1
Chapters:
1 Karol Szymanowski...... 3
1.1 Biographical Background...... 3
1.2 Szymanowski and the Piano...... 9
1.3 Overview of the Variations in B flat Minor, Op. 3...... 10
1.3.1 Form...... 10 1.3.2 Compositional Developments in the Early Piano Works...... 11 1.3.3 Stylistic Characteristics...... 12 1.3.4 Influences of Other Composers...... 14
2 Piano Technique...... 27
2.1 Introduction...... 27
2.2 Piano technique...... 28
2.3 Preparation...... 30
2.3.1 Position...... 30 2.3.2 Tone Quality...... 31 vii
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2.3.3 Weight Playing...... 32 2.3.4 Avoiding Tension...... 33 2.3.5 Fingering ...... 35 2.3.6 Pedaling ...... 35
2.4 Playing...... 37
2.4.1 M otions...... 39 2.4.2 Basic Touches...... 40 2.4.3 Basic Technical Patterns...... 42
2.5 Conclusion ...... 47
3. The Variations in B flat Minor, Op. 3: An Analysis of Performance Challenges and Solutions...... 48
Theme Andantino tranquillo e semplice...... 49 Variation I L ’istesso tempo...... 54 Variation II Agitato...... 60 Variation IS. Andantino quasi tempo di mazurka...... 64 Variation IV Con moto scherzando...... 71 Variation V Lento dolce, cantabile...... 74 Variation VI Scherzando. Vivace molto...... 79 Variation VII Allegro agitato ed energico...... 84 Variation VUI Meno mosso. Mesto...... 89 Variation IX Maggiore. Tempo di valse. Grazioso...... 92 Variation X Andantino dolce...... 99 Variation XI Andantino dolce...... 101 Variation XII Allegro con fuoco...... 105
Conclusion...... 120
Bibliography...... 122
viii
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES
Figure Page
1.1 Szymanowski, Variations, Op. 3, Theme, mm. 1-4...... 14
1.2 Brahms, Intermezzo, Op. 117, No. 3, mm. 1-5...... 15
1.3 Szymanowski, Variations, Op. 3, Variation I, mm. 1-2...... 15
1.4 Liszt, Un Sospiro, from Three Concert Etudes, mm. 55-8 ...... 16
1.5 Szymanowski, Variations, Op. 3, Variation n, mm. 8-12...... 17
1.6 Chopin, Etude, Op. 10, No. 12, mm. 10-14...... 17
1.7 Szymanowski, Variations, Op. 3, Variation IV, mm. 1-4...... 18
1.8 Brahms, Paganini Variations, Op. 35, book 1,Variation XIII, mm. 1-4 ...... 19
1.9 Liszt, Paganini Etude No. 6, Variation IV, mm. 1-4 ...... 19
1.10 Szymanowski, Variations, Op. 3, Variation V, mm. 1-3...... 20
1.11 Brahms, Handel Variations, Op. 24, Variation V, mm. 1-2...... 20
1.12 Szymanowski, Variations, Op. 3, Variation VI, mm. 1-10...... 21
1.13 Schumann, ‘Paganini’, Camaval, Op. 9, mm. 1-4...... 22
1.14 Szymanowski, Variations, Op. 3, Variation Vm, mm. 1-5...... 22
1.15 Brahms, Handel Variations, Op. 24, Variation XHI, mm. 1-4...... 23
1.16 Chopin, Piano Sonata, Op. 35, 3rd movement, mm. 1-6 ...... 23
1.17 Szymanowski, Variations, Op. 3, Variation X, mm. 1-5...... 24
ix
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1.18 Brahms, Handel Variations, Op. 24, Variation II, mm. 1-2...... 24
1.19 Schumann, ‘Eusebius’, Camaval, Op. 9, mm. 1-4...... 25
1.20 Szymanowski, Variations, Op. 3, Variation XII, mm. 1-4...... 25
1.21 Schumann, Toccata, Op. 7, mm. 1-10...... 26
1.22 Brahms, Paganini Variations, Op. 35, book 1,Variation I, mm. 1-6 ...... 26
3.1 Theme...... 49
3.2 Pedaling suggestions, Theme, mm. 9-12...... 53
3.3 Variation 1...... 54
3.4 The choreography the right hand, Variation I, first half, m. 1...... 56
3.5 Keynotes of the right hand, Variation I, mm. 1-3...... 58
3.6 Variation II ...... 60
3.7 Variation DI...... 64
3.8 Fingering suggestions, Variation m, mm. 1-7...... 66
3.9 Descending bass line of the left hand, Variation HI, mm. 4-7 ...... 68
3.10 Fingering suggestions, Variation HI, mm. 14-22...... 69
3.11 Phrase shaping, Variation DI, mm. 3-7...... 70
3.12 Phrase shaping, Variation DI, mm. 23-26...... 70
3.13 Variation IV...... 71
3.14 Variation V ...... 74
3.15 Fingering suggestions, Variation V, mm. 1-4 ...... 76
3.16 Pedaling suggestions, Variation V, mm. 1-2 ...... 78
3.17 Variation VI...... 79
x
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 3.18 Schumann, ‘Paganini’, Camaval, Op. 9, mm. 1.4...... 81
3.19 Beethoven, Piano Sonata, Op. 110, first movement, mm. 9-13...... 82
3.20 Variation VII...... 84
3.21 Placement o f ornaments, Variation VII, m. 1-2...... 85
3.22 Placement o f ornaments, Variation VII, m. 1-2...... 86
3.23 Fingering suggestions, Variation VII, mm. 5-12 ...... 87
3.24 Variation VUI...... 89
3.25 Variation IX ...... 92
3.26 Rhythmic complexities, Variation EX, mm. 1-8...... 94
3.27 Variation EX, mm. 1-12...... 96
3.28 Fingering suggestions, Variation EX, mm. 13-23...... 97
3.29 Variation X...... 99
3.30 Variation X I...... 101
3.31 Canon voices, Variation XI, mm. 27-32...... 104
3.32 Variation XII...... 105
3.33 Schumann, Toccata, op. 7, mm. 1-5, Sandor’s On Piano Playing, p. 152.....110
3.34 Physical groupings, fingering suggestions, Variation XII, mm. 9-15...... 112
3.35 Variation XII, mm. 21-26 ...... 114
3.36 Keynotes, Variation XII, mm 26-33 ...... 116
3.37 Variation XII, mm. 45-7 ...... 117
3.38 Variation XII, mm. 48-52 ...... 118
xi
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INTRODUCTION
Composer and pianist Karol Szymanowski (1882-1937) is considered the most
important contributor to Polish music during the first half of the twentieth century.
Scholars and performers have started, in only recent decades, to show respect for his
work, and to give it the attention it deserves. His compositional styles range from late
nineteenth century romanticism to the individual styles of modernism found during the
twentieth century. The inherited musical influences, from the composers he admired,
formed the foundation of his own personal musical language. The piano was always his
favorite medium of expression. Throughout his three creative periods, the piano works
occupied a prominent position.
Among Szymanowski’s output, the piano works of his first compositional period
(1899-1914) have received little attention from scholars and performers alike;
consequently, they have been played infrequently on the concert stage. After studying
and performing his Preludes, Op. 1,1 was so struck by the beauty of the music that I
developed a great interest in knowing the composer’s other early piano works, and in
discovering the roots of his musical language. During my research it became clear that,
even in his early works, we can hear Szymanowski’s individual style and musical
expression. For several reasons, I have chosen the Variations in B flat minor, Op. 3
(1901-1903) as a focus of this document: this set of variations embodies most of the I
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. strong stylistic characteristics of his early period, and shows the diversity of his pianistic
writing; it is an appealing work o f sensuous beauty and forceful energy. Thus, it is my
wish to bring this noteworthy composition to the attention of pianists. This document
will provide an analysis o f the Variations in B flat minor, Op. 3 with regard to its
performance challenges and solutions. This analysis includes a discussion of the music
and the practical application of technique, such as hand position, motions, avoiding
tension, weight playing, pedaling and fingering. The views o f four selected prominent
piano pedagogues, Heinrich Neuhaus, Josef Hofmann, Gyorgy Sandor and Seymour
Bernstein, will also be considered in the discussion of piano technique.
As outlined in the abstract, Szymanowski’s musical background, education, social
circle, pianistic career, and influences on his style, particularly during his early period,
will be presented in Chapter 1. An overview of the Variations in B flat minor, Op. 3 will
examine the background information of the piece, the overall form, stylistic
characteristics and compositional developments in the composer’s early piano works.
This chapter will conclude with musical examples showing the similarities of
Szymanowski’s pianistic writing to that of other composers. Chapter 2 will offer a
synopsis of general piano technique, which will serve as a frame of reference in
understanding the analysis. In Chapter 3, an analysis o f the musical and technical
considerations of the Variations in B flat minor of Szymanowski is provided. Solutions
and suggestions to performance challenges are offered.
2
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 1
KAROL SZYMANOWSKI
1.1 Biographical Background
Szymanowski was bom on October 3, 1882 at Tymoszowka, a family estate in the
Ukraine. The Szymanowski family considered themselves Polish, even though their land
had been annexed to Russia in the partition of 1793 (Palmer 9). As wealthy landowners,
the Szymanowskis occupied an important position in social, intellectual and artistic
activities in Tymoszowka. Poetry, literature, and especially, music stimulated
Szymanowski’s childhood. The entire family of Szymanowskis, including close relatives
from the Blumenfeld, Neuhaus and Taude families, was thoroughly musical, and created
the “enclave of great music: the House of Szymanowski” (Golachowski 6). Frequently,
as remembered by Marceli Nalecz-Dobrowolski, “Almost every family get-together
transformed the drawing-room at Tymoszowka into a concert hall” (qtd. in Golachowski
9). Also, according to Bronislaw Gromadzki, a friend and frequent visitor of the families,
the house of Szymanowski was “an oasis of culture, so elevated, so subtle, in plain words
so enthralling, that not only in the Ukraine, but in the most cultured parts of the world, it
would have formed an island, different from and superior to the general environment”
3
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. (qtd. in Wightman 5). It was this intellectual and musical surrounding that formed the
fundamentals of Szymanowski’s creativity.
Because of a leg injury at the age of four, the young Szymanowski received most
of his education from private tutors at home, and reading and music took the place of
more active games. At the age of seven, Szymanowski started piano lessons with his
father Stanislaw Szymanowski, a talented pianist and cellist. His musical education was
based on the traditions of European masters, especially Mozart and Beethoven
(Golachowski 5). Three years later, he was sent to a music school in Elisavetgrad, run by
his uncle, Gustav Neuhaus, under whom he studied piano and theory. It was Neuhaus
who first discovered Szymanowski’s talent for composition, and he introduced to him the
music of Scriabin, Bach, Beethoven, Brahms, and of course Chopin, Karol’s “daily
bread” (Maciejewski 17); he also passed on his admiration for Wagner to Szymanowski.
The music of the German classical and romantic masters, as well as of Chopin, created
the early musical influences of young Szymanowski. Neuhaus’s influences on
Szymanowski were not only musical, but he also helped to form Szymanowski’s
predilections for German literature and art in his early years (Wightman 9). (It is
interesting that Heinrich Neuhaus, son of Gustav and cousin of Szymanowski, was a
distinguished pianist and pedagogue who was a professor at the Moscow Conservatory,
where he trained Sviatoslav Richter, Emil Gilels and Radu Lupu (Wightman 9). His book
The Art of Piano Playing will be consulted in this document).
In 1901, Szymanowski was sent to Warsaw, the city which was considered the
most important cultural center of Polish life, for professional musical training. He took
4
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. private lessons in harmony with Marek Zawirski, and later, lessons in composition and
counterpoint with Zygmunt Noskowski, a professor of the Music Institute (the forerunner
of the Warsaw Conservatory), from 1901 to 1905. Interestingly, he did not pursue piano
lessons because he considered practicing a waste of time; rather, he devoted himself to
composing (Chylinska 30). Before Szymanowski moved to Warsaw, he had already
composed several works including piano pieces, operas and songs. But he said:
“At the age o f 18,1 did not know any orchestral music at all, and very little theatrical. Only a year before coming to study in Warsaw did I realize that I could not begin with opera. In the meantime I threw myself full speed provisionally into piano music” (qtd. in Chylinska 30).
During his student years in Warsaw, Szymanowski focused on the mastery of
compositional techniques, seeking the sources and examining the piano works of
Romantics, such as Chopin, Scriabin, Schumann and Brahms, in order to be familiar with
the instrument for which he composed during that time. The Variations in B flat minor,
Op. 3 (1901-03), the main focus of this paper, was composed during this period. The
other piano compositions are: Preludes, Op. 1 (1900), Four Studies, Op. 4 (1901-02),
Piano Sonata No. 1 in C minor, Op. 8 (1903-04), Variations on a Polish Folk Theme in B
minor, Op. 10 (1904) and theFantasy in C major, Op. 14 (1905). It is interesting to
know how Szymanowski composed. Ludomir Rozycki, a composer, once remarked:
“He [Szymanowski] was not able to work with bureaucratic regularity, but once he had started on a composition or a part o f it, he could spend hours sitting over his music-paper in deep concentration, covering the whole sheet with minute notes.... When he was composing his piano sonata (the first), how often I found Szymanowski at the piano studying the structure of piano passages by Chopin and Scriabin with the utmost thoroughness! For him this music contained the secrets of piano style, and he knew how to unravel them. In fact, every one o f his piano passages already possessed excellent pianistic qualities even at that time. When he showed me the 5
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. music he had already composed, I was impressed both by the solidity and maturity of the structure and by the concentration o f his invention” (qtd. in Golachowski 13).
These early piano works of young Szymanowski are romantic in style, continuing
the musical tradition o f the late nineteenth century. But they already show the hallmarks
of his individuality: “A strong emotional tension... sometimes intensifies into ecstasy.
This ecstasy is probably the most tangible characteristic of Szymanowski’s music and it
was preserved even when the style of his compositions underwent radical changes”
(Golachowski 14).
Besides piano works, songs (with piano) were always a favorite genre for the
composer, because of their association with poetry, which he loved, and of which he had
“a somewhat instinctive and faultless knowledge” (Chylinska 32). It was in 1904 that he
composed his first orchestral work, the Concert Overture in C minor, Op. 12. His
perception of composing orchestral music certainly benefited from his attending
rehearsals and concerts of the Warsaw Philharmonic (now called the National), founded
in 1901. In later years, he expanded repertoire to include operas, oratorio, ballet, choral
works, songs with orchestra and chamber music (string quartets and violin music).
During the Warsaw years, Szymanowski made friends with Artur Rubinstein, a
pianist who frequently played his music; and Pawel Kochanski, the violinist for whom he
composed the two violin concertos andMyths .; and Grzegorz Fitelberg, the composer and
conductor who persuaded the Viennese publisher Universal Edition to publish his music.
These lifetime friends played an important role in Szymanowski’s life; they inspired and
6
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. stimulated each other musically, and they gave many premieres of Szymanowski’s
compositions.
Disappointed by the conservative musical taste in Warsaw which leaned rigidly
towards the national idiom and the “classical tradition of Mendelssohn and Chopin”
(Palmer 11; Samson 16-7), four talented young composers: Szymanowski, Fitelberg,
Ludomir Rozycki and Apolinary Szeluto, formed themselves into a group called ‘Young
Poland in Music’ in 1905. The aim o f this association was to update Polish music and to
absorb contemporary European musical trends. Through Young Poland, Szymanowski’s
early music was performed and published in Poland and Germany. On February 6, 1906,
Young Poland gave a concert including the first public performance of Szymanowski’s
works, featuring the Concert Overture in E major, Op. 12, the Variations in B minor, Op.
10 (performed by Heinrich Neuhaus) and the Etude in B flat minor by Szymanowski, as
well as works by others. The leading Warsaw musical critic Aleksander Poliriski praised
the performance:
“Listening to yesterday’s performance of the works by Mr. Karol Szymanowski, I did not doubt for a moment that I was confronted here with a composer of outstanding merit if not of genius. For, everything he has created so far has been stamped with the mark of genius. In his Piano Variations on a Folk Theme as much as in his extraordinarily beautiful Etude in B flat minor—which Chopin himself might have claimed as his own—and in his Overtime there is a wealth of beautiful melodies of unquestionable originality, of excellent-sounding harmonies, and the appropriately applied effects of a rich polyphony, and all these attractive components are transfigured by poetry and enlivened by youthful imagination, and the whole of this is joined together by a healthy guiding principle” (qtd. in Golachowski 16).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This praise from Polish critics lasted for a short period, after which Szymanowski was
criticized o f having been heavily influenced by German music at the time. During 1907-
14, Szymanowski traveled extensively to Berlin, Paris, Rome, Algeria, and Morocco.
These years, he studied intensively the music of the ‘New German School’ (Samson,
Grove Dictionary Vol. 24, 894). Besides the music of Wagner and Strauss, with which he
was already familiar during his student years in Warsaw, he was influenced by the music
o f Mahler and Reger. The Second Symphony and Second Piano Sonata and operaHagith
were the major works during these years.
Two trips to Italy and Sicily in 1910 and 1911 played an important role in
Szymanowski’s life. He was fascinated with Sicily’s mixture of Greek, Roman, Norman
and Moorish cultures (Samson, Grove Dictionary, Vol. 24, 894). He started to question
the influence of German music on his writing. In 1914, Szymanowski visited Italy again,
and North Africa, journeys which renewed and increased his interest in Mediterranean
and Arab cultures. His interest in exotic cultures, together with his awareness of French
impressionism and Russian music, especially Stravinsky’s balletPetrushka (1911) and
other works, convinced him to make a break with the late German romantics (Samson,
Grove Dictionary. Vol. 24, 894; Golachowski 29).
The inspiration of foreign cultures stimulated his creative ability and eagerness to
change. In Szymanowski’s middle period, the ‘Impressionist’ period (1914-18), he
explored new textural, coloristic and harmonic devices associated with the influences of
Debussy, Ravel and late Scriabin. He blended those elements with his own original ideas
to form a unique and individual style (Samson 79, 99). The major works of his second
8
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. creative period are:Myth, Masks, Metopes, Songs of a Fairy Princess, Third Symphony
and First Violin Concerto. In Szymanowski’s last period, from about 1921 to 1933, he
rediscovered his folk roots. This spirit of nationalism parallels Bartok’s research of
Hungarian folk music (Samson 206). Stravinsky was also a great influence at the time,
inspiring him to experiment with new ways of treating folk material (Samson, New Grove
Dictionary. Vol. 24, 897). Szymanowski started to collect Polish folk music, especially
the exotic music and dances of the Tatra Mountains in Southern Poland, and he created a
new musical language for himself. The major works in this period are King Roger,
Slopiewnie, Mazurkas, Op. 50, Stabat mater, Hamasie, Second String Quartet, Second
Violin Concerto and Symphonie Concertante for piano and orchestra. Suffering from
tuberculosis, he died at the age of 55 on March 29, 1937 in Lausanne, Switzerland.
1.2 Szymanowski and the Piano
Throughout Szymanowski’s three distinct creative periods, the piano was always
his favorite medium of expression. It was the first instrument he learned and the only one
that he played. He was not considered an outstanding pianist, because he devoted himself
to composing rather than practicing. However, because of financial problems during his
final years, Szymanowski reluctantly agree to undertake a series of concert tours
throughout Europe, playing only his compositions (Chylinska 30).
From the age of ten and throughout his musical life, Szymanowski always
composed for the piano. His first and last published works were for the piano: Nine
Preludes, Op.l, and Two Mazurkas, Op. 62 (1934). He also used it in different types of
9
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. music besides solo repertoire: in songs and violin pieces (as an equal partner), and even
orchestral compositions. Szymanowski chose to write in the genres favored by romantic
piano composers. Like Chopin, Szymanowski composed a set of preludes, variations,
two sets of studies, three sonatas, and one large set of mazurkas. He was influenced both
by Chopin’s musical style and favored genres for which he also composed.
1.3 Overview of the Variations in Bb Minor, Op. 3
The Variations in B flat minor, Op. 3 (1901-03) were composed under the
guidance of Noskowski during Szymanowski’s student years in Warsaw. According to
Teresa Chylinska, the Polish scholar, “The Variations exemplify the great individual
talent of Szymanowski” (32). Variation was one of Szymanowski’s favorite
compositional techniques; he wrote two sets of piano variations, and included the
variations in Second Symphony and Second Piano Sonata. The piece was dedicated to
Artur Rubinstein, whose masterful playing was a great inspiration to Szymanowski.
1.3.1 Form
Both the Variations in B flat minor, Op. 3, and the Variations on a Polish theme in
B minor, Op. 10 belong to the type of character variations favored by composers during
the nineteenth and early twentieth centuries. Character variations have a sharply
contrasting succession of variations in terms of character and mood, and often depart
from the basic structure, elements and the expression of the theme. Also, character
variations emphasize the development of motives from the theme rather than the theme in
10
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. its entirety (Nelson 90). The beautiful sixteen-bar theme in binary form begins this Op. 3
set, with twelve succeeding variations in different characters and moods. However,
compared to character variations of other composers, Op. 3 is more conservative in
preserving the four-bar phrase scheme and harmonic structure of the theme. Only
Variation in has a distant relation to the four-bar phrase, and only Variations HI, XI, and
XII escape the sixteen-bar plan. Variations IV and IX have eight and thirty-two bars
respectively, and represent the diminution and augmentation of the formula (Graining,
140). However, Szymanowski sometimes treats the theme so freely that it is difficult to
recognize; and a few variations develop only a small portion of the theme, the first eight
notes. The composer likes the idea of continuous variations, and in Op. 3 he links all
variations with attaca.
1.3.2 Compositional Developments in the Early Piano Works
The early piano works of Szymanowski were influenced by many nineteenth
century composers: Chopin, Scriabin, Schumann, Brahms, Liszt and Reger. Throughout
these works, the texture becomes thicker, the rhythm and harmony more complex, and
virtuosity more pronounced. Stylistically influenced by Chopin and early Scriabin, the
Preludes Op. 1 and Studies Op. 4 express Szymanowski’s particular lyricism and
emotionalism within the scope of a relatively light texture and greater accessibility.
Then, he became more ambitious in exploring piano sonorities and the demands of piano
technique in the Variations in B flat minor, First Sonata, Variations on a Polish theme in
B minor, Fantasy and Second Sonata. In these works which show the influences of
It
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Schumann, Brahms, Liszt and Reger, we find exploration o f massive, widely spaced
chords and octaves passages, thick chordal textures, variety of rhythmic figurations,
demanding piano writing and use of the entire range of the piano (Breckenridge 62-73).
We can also see an increasing use of chromaticism and polyphony~for example, in the
fugues in the fourth movement of the First Sonata, in the final variation of Op. 10, and at
the end of the Second Sonata. Szymanowski’s musical trademarks, sensuous beauty and
emotional intensity, remain intact throughout these early piano works.
1.3.3 Stylistic Characteristics
Op. 3 demonstrates many stylistic characteristics of Szymanowski’s early piano
compositions, especially the influences of late nineteenth-century chromaticism. He uses
chromatic dissonance in an expressive way without implying “modulation or even
harmonic tendency” (Barroll, The Journal o f the American Liszt Society. Vol. 19, 51).
Immediately, we can hear this chromatic dissonance in the theme. By using either
appoggiaturas, suspensions, or chromatic bass descents, Szymanowski creates expressive
intensity and coloristic effects (Barroll 51-3). The composer writes in an improvisatory
and highly ornamental way, as in the right hand accompaniment of Variation I, all of
Variation V, and in the right hand melody o f Variation IX. He often writes clever
rhythmic and metric ambiguities as in Variation XI, in which the composer combines 3/4
and 6/8 meters. The use of cross rhythms, syncopations and beat displacements is
common in his music (Ewen, 235-6), as in Variations n, V, VI, X and XI. He writes
sequential passages to build the intensity to the climax, as in Variations VII and XII. In
12
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. addition, he enhances this intensity by increasing the density of the texture by adding
octaves, full chords and by using a wide range of the keyboard.
Szymanowski gives many expressive, dynamic and tempo markings in his music.
This heavy editing reflects his desire to impart to the performer a very special and specific
musical approach. For example, within sixteen bars of the first variation of Op. 3, he
writes eight tempo changes (ritardando or rallentando) and a dynamic marking in every
bar. He uses special words to “denote some kind of ultra-intense feeling (just in case the
performer missed his intent)” (Barroll 53). For example, he uses mesto in variation VIH,
a special instruction which Beethoven and Brahms used twice and Chopin only once
(Barroll 53); and affettuoso in Variation XI, and other unusual words in different
compositions, such as sospirando, qfflitto, strepitoso, disperato. He skillful reserves
these instructions for special moments in his music. Only a careful study of his detailed
instructions leads us closer to the composer’s musical intentions and to his particular
lyricism and emotional intensity.
The treatment of texture is the most striking feature in this set (Wightman 37): for
example, the rich three-voice texture of Variation I with the theme in the middle,
accompanied by triplet figures in the treble and a syncopated bass; the imitative writing in
Variation V “where the theme is combined with a diminution of itself’ (soprano vs. alto),
with a chromatic accompaniment (Wightman 37); the waltz in Variation EX, with a new
melody against the theme; and the three-part canon at the end of the variation XI; and the
toccata-like final variation with its dense texture. Szymanowski has a remarkable ability
to integrate melody and accompaniment, and to use contrapuntal technique in his writing.
13
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1.3.4 Influences of Other Composers
The Variations in B flat minor, Op. 3, was composed during the time when
romantic German music was Szymanowski’s main interest and source of influence. This
set owes much to the piano music of Brahms and Schumann, in terms of texture, rhythm,
and technical idiom. The nature of the variation form allows the composer to display a
diversity of influences. Interestingly, we can find works of other composers that contain
« similar writing to almost every variation and the theme of this set.
The stark opening of the theme (Figure l.l) recalls the unison beginning of the C
sharp minor intermezzo, Op. 117, No. 3 of Brahms (Figure 1.2).
Tem* Andantlno tranquillo e leraplice rlt-
Figure l.l: Szymanowski, Variations, Op. 3, Theme, mm. 1-4
14
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Andante con moto m
motto p e sotto voce Isempre
J3,- m
Figure 1.2: Brahms, Intermezzo, Op. 117, No. 3, mm. 1-5
Variation I has polyrhythms, a strong element in the music of Brahms. This
richly-textured three-voice writing (Figure 1.3) reminds us of Un Sospiro, from Three
Concert Etudes by Franz Liszt (Figure 1.4). Liszt’s audiences thought that it was magic
to hear a pianist who sounded as if he had three hands!
Var.I L'istesso tempo
11 tema
Figure 1.3: Szymanowski, Variations, Op. 3, Variation I, mm. 1-2
15
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. * St
Figure 1.4: Liszt, Un Sospiro, from Three Concert Etudes, mm. 55-8
The romantic and tempestuous section in Variation n, measures 9 and 11 (Figure
1.5), reminds us of Chopin’s Revolutionary etude (Figure 1.6). Both passages have
melodic chords or octaves in the right hand accompanied by brilliant sixteenth-note
passages in the left hand (Graning76).
16
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 1.5: Szymanowski, Variations, Op. 3, Variation II, mm. 8-12
Figure 1.6: Chopin, Etude, Op. 10, No. 12, mm. 10-14
17
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The rapid octaves and scherzando character in Variation VI (Figure 1.7) recall
Brahms’ Variation XIII from the Paganini Variations, Op. 35, book 1 (Figure 1.8); also
Liszt’s Paganini Etude No. 6, the fourth variation (Figure 1.9).
V n rJV C o n n o l o tchtnando peco tit. & iLe-ffr f p n g (eggiero pp crtsc. ttaceato i , ff if if n y if j
Figure 1.7: Szymanowski, Variations, Op. 3, Variation IV, mm. 1-4
18
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Var. X H I J;J> 8:
p uiuoceejchmando I
Figure 1.8: Brahms, Paganini Variations, Op. 35, book 1,Variation Xm, mm. 1-4
-U*L*11«|S. « » * fe^i | L. * 4 * * 4 . • •
«j p ataccatoeleggiero
j j j y! ij i
Figure 1.9: Liszt, Paganini Etude No. 6, Variation IV, mm. 1-4
19
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The beautiful Variation V has cross rhythms throughout (Figure 1.10), just like
the first variation. This use of polyrhythms reminds us of many works of Brahms.
However, Variation V of his Handel Variations, Op. 24 (Figure 1.11), with its regular,
stable rhythm, is similar to Szymanowski’s Variation V here; both of them share the same
key, B flat minor.
Var.V Lenfo dolce cantabile
Figure 1.10: Szymanowski, Variations, Op. 3, Variation V, mm. 1-3
Figure 1.11: Brahms. Handel Variations, Op. 24, Variation V, mm. 1-2
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation VI (Figure 1.12) is similar to Schumann’s ‘Paganini’ in the Camaval,
Op. 9 (Figure 1.13), especially when the right hand plays the broken octaves.
Var.Vl Scherzando. Vivace moito
Figure 1.12: Szymanowski, Variations, Op. 3, Variation VI, mm. I- 10
21
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. intermezzo. P a g a n in i.
JT
Figure 1.13: Schumann, ‘Paganini’, Camaval, Op. 9, mm. 1-4
A funeral-march quality is suggested in the Variation V m (Figure 1.14). It has a
heavy texture with dense chords; it reminds us of the Variation XDI in Brahms’ Handel
Variations, Op. 24 (Figure 1.15), and the Funeral March from Chopin’s Sonata in B flat
minor, Op. 35 (Figure 1.16). All of them are written in B flat minor key and begin in the
same register of the piano.
V.r.VIlI Meoo mosio. Mesto ten.
petante ben tenuto PPP .
Figure 1.14: Szymanowski, Variations, Op. 3, Variation VIII, mm. 1-5
22
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Largamente, ma non pm J m f i j i
Figure 1.15: Brahms, Handel Variations, Op. 24, Variation XIII, mm. 1-4
Marche fnaebre.
J j j.
Figure 1.16: Chopin, Piano Sonata, Op. 35, 3rd movement, mm. 1-6
The delicate Variation X again has across rhythm (two against three) throughout
(Figure 1.17). Variation II in Brahms’ Handel Variations, Op. 24, parallels it perfectly
23
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. (Figure 1.18). The ‘Eusebius’ in Schumann’s Camaval, Op. 9 also has a similar quality
(Figure 1.19).
Var.X Andantino dolce
n f t
Figure 1.17: Szymanowski, Variations, Op. 3, Variation X, mm. 1-5
Figure 1.18: Brahms, Handel Variations, Op. 24, Variation II, mm. 1-2
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Adagio.
mua^i).
Figure 1.19: Schumann, ‘Eusebius’, Camaval, Op. 9, mm. 1-4
Szymanowski’s Op. 3 reaches its climax in Variation XII (Figure 1.20). It is
energetic, forceful and vigorous. As Wightman describes, ‘The densest texture is
reserved for the climax of the final variation, where the ‘perpetuum mobile’ movement,
perhaps a distant descendent of Schumann’sToccata , Opus. 7 (Figure 1.21), is overlaid
with the main theme itself.” (37). The first variation of Brahms’ Paganini Variations,
Book I, is also similar in texture, rhythm and pianistic figurations (Figure 1.22).
Var.XII Allegro con fuoco
/ non - fegato v -
Figure 1.20: Szymanowski, Variations, Op. 3, Variation XII, mm. 1-4
25
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 1.21: Schumann, Toccata, Op. 7, mm. 1-10
Figure 1.22: Brahms, Paganini Variations, Op. 35, book 1, Variation I, mm. 1-6
26
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 2
PIANO TECHNIQUE
2.1 Introduction
The subject of piano technique is significant and worthy of attention. Pedagogues
have devoted decades to writing treatises, which have provided valuable advice and
suggestions on the art of piano playing to succeeding generations. Naturally,
discrepancies can be found between these sources. Those differences show that the
mastery of piano technique is an all-encompassing task involving various approaches and
personal experience, rather than fixed rules. The most important and helpful concepts in
piano technique, the ones which I have attained through experience and knowledge
gained from my teachers, will be discussed in this chapter. The chapter is designed to
serve as a frame of reference in understanding the analysis of musical and technical
aspects of Szymanowski’s Variations in B flat minor, Op. 3 in Chapter 3. This document
will consult several recognized sources on twentieth century piano pedagogy. Each of
these books represents the culmination of the author’s knowledge after his lifelong study
of the piano. I have chosen these for the valuable insights and comprehensive
explanations which they contribute to the field of piano pedagogy. The selected sources
are: Gyorgy Sandor’s On Piano Playing. Heinrich Neuhaus’s The Art of Piano Playing.
27
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. and Josef Hofmann’s Piano Playing with Piano Questions Answered, as well as Seymour
Bernstein’s With Your Own Hands.
2.2 Piano technique
When discussing piano technique, it is difficult to separate the physical aspects of
technique, such as skill and dexterity, from its musical requirements, such as musical
interpretation and expression, beautiful tone quality, and various color changes. Because
a well-formed piano technique represents art, the original meaning of the term technique
comes from the Greek word TEXVE (Neuhaus 2). Technique should not serve as an end
in itself. It encompasses a variety of dimensions including not only the traditional
pianistic skills involving mastery o f scales, arpeggios, double notes and chords as well as
the qualities of velocity, precision, evenness, but also an ability to convey the beauty and
meaning of the music; in other words, any elements that can lead to an artistic
performance. To be simple, concerns about ‘balance’ and ‘control’ are high priorities in
a good piano technique. Balance of every aspect in playing is important: balance of
musical expression and skills, balance of voicing, balance of coordination of the fingers,
hand, arm and body. As important as balance, one should cultivate an ability o f control:
control of tone quality, control of energy use, and control of physical movements. Proper
balance and control are essential in forming a good piano technique.
Physical difficulties in passages frequently create distractions in an artistic
performance. Having a separate discussion of the skill level of technique is unavoidable
in solving problems in passagework. Pedagogues admit that musical expression should
be considered hand in hand with the skill level of technique. However, they too have 28
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. chosen to stress technique in a separated and detailed way in order to define issues of
muscular dexterity, velocity, precision, or evenness. As observed by Neuhaus, “any
improvement of technique is an improvement of art itself and consequently helps to
reveal the ‘content’, the hidden meaning; in other words it is the material, the real body of
art” (2-3). Also, Hofmann said: “A pianist’s technique is the material portion of his
artistic possessions; it is his capital. To keep a great technique in fine working trim is in
itself a considerable and time-absorbing task” (Piano Questions 3-4). This tells us that
technique is a skill and a medium through which we express the musical meaning of the
piece. It is essential to have a clear idea that pure technique cannot ensure an artistic
performance, and it must be accompanied by “the content, meaning, the poetic substance,
the essence of music” (Neuhaus 2). In other words, it must have a musical goal. With
this clear goal, a pianist can understand the relative importance o f skill within the larger
context of artistic expression. “The ‘what’ determines the ‘how’, although in the long run
the ‘how’ determines the ‘what’ ” (Neuhaus 2). The issue of ‘how to’ will occupy a
large body of the following discussion of piano technique.
The following discussion of piano technique is divided into two categories:
preparation and playing. By preparation I mean concepts and knowledge about piano
playing that we must have before we play. Hand position, tone quality, avoiding tension,
weight playing, fingering and pedaling are the major points of discussion. In playing,
concepts and physical movements are brought together. Types of motions, basic touches
and basic technical patterns will be analyzed.
29
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2.3 Preparation
In the preparation stage, pianists must have a thorough understanding of the
components of beautiful music making. Hofmann remarks that “mental technic
presupposes the ability to form a clear inward conception ... without resorting to the
fingers at all” (Piano Playing 36-7). What he means is that before playing a piece of
music at the piano, each action o f a finger is determined by the mind first; it should be
mentally prepared (Piano Playing 37). However, to have clear ideas of any passage of
music, some fundamentals, such as hand position, tone quality, weight playing, avoiding
tension, fingering, and pedaling need to be stressed.
2.3.1 Position
An all-important aspect of piano technique is playing with a natural body posture.
This natural position allows a body to move efficiently, and ultimately convey the music
with physical ease. A perfect position for playing in the relationship among the body,
shoulder, upper arm, elbow, forearm, wrist, hand and fingers can be found in the
following exercises. 1. When sitting at the piano, consider the torso as a center of
balance, from which energy and weight can flow. 2. The upper body should be erect, but
not tense. 3. Relax the shoulders and let the arms drop freely. By observing this natural
posture, one can find the natural alignment from shoulder to the fifth finger, to the flat,
level wrist, and to the naturally curved fingers from the knuckle joint. 4. To play, simply
bend the elbow, and let the fingers contact with the keys maintaining a natural alignment.
The elbow should be level with the keyboard, and the upper arm should still hang freely
30
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. from the shoulder. This posture allows freedom of movement and is considered the most
natural position for playing.
Observe the level o f alignment among the elbow, wrist and knuckle joints, and
naturally curved fingers. It becomes apparent that the fingers are close to each other.
This is considered a closed hand position, a small or ready, five-finger, or perfect hand
position. The fingers are o f different lengths, and keys are even. How to adapt the hand
to the keys is an essential issue of playing. Many pedagogues agree with Chopin’s
suggestion to his students about finding the ‘right position’, as Chopin called it
(Eigeldinger 29). This is done by placing the fingers on E-F#-G#-A#-B. The shorter
fingers, 1 and 5, lie on the white keys, while the longer fingers, 2, 3 and 4 lie on the black
keys. This position allows the hand and fingers to fit most naturally and conveniently
over the keys, keeping the natural but perfect relationship between each o f the fingers. It
is an excellent way of first finding a ready hand position for playing, which allows the
maximum, efficient functioning of the hand in piano playing.
2.3.2 Tone Quality
Tone quality directly affects the excellence of a performance. The demands of
dexterity, velocity, precision and evenness of any technical passage are enhanced by the
production of good tone. Therefore, ideally, a well-formed piano technique includes an
ability to produce good tone. For without good tone, the performance of any piece is not
palatable to the listener, and all technical efforts are wasted. Neuhaus states: “Mastery of
tone is the first and most important task o f all the problems of piano technique that the
pianist must tackle, for tone is the substance of music; in ennobling and perfecting it we 31
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. raise music itself to a greater height” (56). From the pedagogical point of view, Neuhaus,
like many piano teachers, states that working on tone quality with students is the most
difficult task because it depends largely on listening capacity and perception on the part
of the pupils. It is similarly important to train a student to listen for appropriate tone (56).
Awareness of tone quality, experimentation with diversity of produced tones, and
exposure to advanced pianists’ playing can help to develop listening ability. Once this is
in place, tone quality improves.
2.3.3 Weight Playing
By the last decade of the nineteenth century, new concepts of piano technique
began to emerge. The concept o f finger independence and strength was no longer
sufficient in attaining goals in beautiful piano playing. Weight playing began as an
important concept since then (Gordon, The Well Tempered Keyboard Teacher 325).
Ludwig Deppe (1828-1890) is considered the pioneer in the concept of weight technique
(Gordon. The Well Tempered Keyboard Teacher 312L However, an even more
influential pedagogue, Rudolf Maria Breithaupt (1873-1945), drew pianists’ considerable
attention to the issue of arm weight playing. His ideas spread to the so-called “modem
school” of playing, which went against the old schools of ‘finger technique’ (Sandor
325).
In weight playing, the fingertips are the most direct tools in producing sound.
They have to carry various amounts of weight depending on the dynamic requirements of
the passages. According to Josef Lhevinne, “There must always be some weight, even if
one plays...pianissimo, orppp. Without weight the tone sounds thin and dry” (Brower, 32
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Modem Masters of the Keyboard 77). The weight comes from the natural gravity of the
hand and arm, and sometimes even from the body, if a large sound is required. Using the
natural weight to play the piano, without forcing, can produce rich, beautiful, and varied
sounds of all dynamic levels. In general, a louder passage requires more weight and a
larger playing unit.
Seymour Bernstein explains that playing with arm weight will induce a feeling of
pressure which is transferred from finger to finger and down to the key beds.
Furthermore, arm weight makes the touch of the key a little slower, which is “a technique
necessary for controlling sound” (128). This is a useful description of weight playing.
One of the easy ways to feel the weight from the fingertips is to put each finger on the
music rack and let the arm hang down freely. The fingertip should feel heavy because it
is carrying the weight of the arm. However, it is not necessary to feel the same heaviness
at all time while depressing keys because the music has various dynamic levels. Thus,
the amount of weight needs to be modified depending on the passage.
In some passages, using only the arm weight is insufficient. Added impetus
energy is necessary while allowing the hand and arm to rebound quickly; this also helps
to produce a large sound and provides “a source of additional strength and endurance”
(Newman 62). This impetus recalls Sandor’s ‘thrust’, the movement which is executed
purely by active muscles, and “generates maximum speed in the fingertips” (108).
2.3.4 Avoiding Tension
Physical tension, whether in the shoulder, the arm, the hand or the fingers, is the
enemy of any type of instrumental playing. Consequently, relaxation has been a popular 33
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. and favored topic for teachers and students of pianists. Interestingly, over emphasis on
relaxation can also deter from a beautiful playing. For instance, trying too hard to relax
the hands when playing can result in loss of retaining hand shape and the focus of tone in
the fingertips. Facility can also be compromised as well as the emotion and drama of the
music. Josef Lhevinne confirms: “There must be hand firmness, or there is no power,
exactness or control. There must be finger firmness also, or there is no accuracy, and
consequently no good tone” (Brower 76).
In truth, any single movement will involve a certain degree o f tension; a “natural
and controlled tension,” as Seymour Bernstein refers to it (130). That is to say, total
relaxation does not exist when playing the piano. Natural tension needs to be controlled
by an economy of motion resulting from economy of effort (131). Sandor’s comment:
“If we weren’t so tense, we wouldn’t need relaxation either as a remedy or as prevention.
If we utilize the optimal combination of certain muscles, we will never become stiff and
tense” (18), is enlightening with regard to the balance of control and naturalness. At the
beginning of the learning process, it is important to be neither too relaxed nor too tense.
Josef Lhevinne’s suggestion is very useful. He said: “we must have both firmness and
relaxation at one and the same time, but not in the same place. There must generally be
resistance in the fingers, no matter how loose wrists and arms may be” (Brower 76).
Once stiffness, a complete absence of freedom, occurs, musical and technical
flexibility is lost. Therefore, instead of discussing the topic of relaxation, Neuhaus talks
about the concept of freedom and flexibility, which is a very useful and convincing
approach. One of his exercises to make the pupils experiment with freedom is to “swing
the bridge” (100), which means swinging the arm from shoulder to fingertips, in every 34
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. direction, with the finger resting on the key with only as much weight needed to hold the
key down to the key bed. From this exercise, it is easy to feel the flexibility, resilience
and freedom of movement in the whole arm, while the fingertip keeps contact with the
key (100-101).
2.3.5 Fingering
The importance of fingering is pointed out by Newman: the fingering can make or
break a piece since it can “profoundly affect memorizing, stage poise, technical mastery,
speed of learning, and general security at the piano” (96-8). Good fingerings will allow
us to connect the melodic line, create a legato effect, produce a good tone quality,
maintain a flexible and natural hand position, play accurately, and to play fast passages
with ease. We must find a comfortable succession of fingers for a passage, maintain a
closed hand position as much as possible and allow, at the same time, for the fingers to
move with freedom and efficiency. Bernstein observes that “comfort for the sake of
musical expression and control of sound should be our primary concem-and not rigid
rules” (57). Those principles and admonitions support the importance of fingering
choice, and are often a result of a combination of experience and tutelage. (Chapter 3
outlines specific examples of good fingerings, and why they are chosen).
2.3.6 Pedaling
Excellent pedaling is an essential element of an artistic performance. Among the
three pedals, thesostenuto pedal (middle pedal) is used less frequently and only for the
special purpose of sustaining a note or notes. The function of theuna corda or soft pedal 35
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. (left pedal) is to create color and add a special veiled quality. The damper pedal (right
pedal) is used the most and deserves special attention. By releasing the dampers from the
strings, the right pedal allows the pianists to enrich the tone, and create a variety of color
effects. It helps to create an allusion of finger legato in passages where the actual
physical connection of notes is difficult or impossible. Pedaling can also free the hand
from a finger legato, enabling one “to control the exact dynamic of each note.. .creating a
true legato effect” (Bernstein 144). The principle o f traditional pedaling is that pedal
changes should correspond to harmonic changes, assuring clarity. There are other
interesting uses of the pedal. One can gradually release the pedal to reduce the density, to
eliminate some dissonances, and to make a smooth transition from a passage with pedal
to one without. To do that, the foot gradually releases the pedal when approaching each
new pedal change. Flutter pedal technique requires the foot to move up and down
rapidly. Its purpose is the same as releasing the pedal gradually, to clarify the harmony
and to allow the bass note to be sustained. This technique recalls Sandor’s ‘pedal
tremolo’, which is used to mix and to clear sonorities (167-8). It also evokes Bernstein’s
‘vibrato pedaling’ which is suggested for brilliant scales and fast-changing chords (147).
The frequency of pedal change, the depth of pedal, the speed of change, as well as the
technique of gradual release and flutter pedaling, all depend on listening carefully to the
clarity of changing harmonies, and being sensitive to the changes of color in various
passages. Our ears are the best guardians of a good pedaling technique. (Chapter 3
outlines specific examples of good pedalings, and why they are chosen).
36
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2.4 Playing
After understanding the basic concepts o f piano playing, there comes a time to
combine these concepts with physical action. At the beginning of the discussion of
playing the piano, some important issues that directly influence playing need to be
stressed. First, personally, I disagree with the high finger technique which was favored
by some 19th century pedagogues, such as Sigismund Lebert (1822-1884), Ludwig Stark
(1831-1884) (Gordon, The Well-Tempered Keyboard Teacher. 310). It is my belief that
the fingers should not be like hammers striking the keys and should not raise above the
knuckle height. There are reasons for this: first, for the sake of keeping the relation of
fingers to each other for the perfect hand position; second, the tone quality played by
high, raised fingers is less beautiful and has less variety; further, one wastes energy by
raising the fingers and striking them down. In addition, fingertips cannot be used
efficiently because of excess motion and the lack of contact with keys. Therefore, the
fingers should not be raised high, but need to move freely from the knuckle joint. The
easiest way is to let the finger go down to the key directly. Hofmann confirms this by
pointing out “this playing [high finger-stroke] ‘in the air’ is lost energy, and will not lead
to a good legato...[it] should rather be employed for some special characteristic effects
than as a general principle” fPiano Questions 23-4). The non-playing fingers should lie
on the keys without lifting up. In this case, the hand and fingers can constantly maintain
a natural shape, and use energy economically. However, Sandor suggests that all non
playing fingers should be slightly raised because they are “ready to act effortlessly with
the combined help of the force of gravity and the muscles”, and can receive “any added
throwing motions from the hand or arm” more effectively (60). 37
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Second, in the ready hand position, the knuckle bridge should not collapse;
instead, it should provide support for the fingers. As Bernstein suggests, “Articulate each
finger from the bridge knuckle” (154). Retaining this shape of the hand is recommended
for comfort and facility. Third, one should always find the center o f balance over each
key. This means that with the ready hand position, each fingertip should center the
weight as it goes into the key. By doing that the hand feels comfortable and balanced.
One side benefit gained from this is greater focus of tone quality. Moreover, one needs to
touch the keys first before playing. This entails preparing in advance for each note in
order to control the tone quality and playing with precision. Furthermore, after playing,
one should release the tension either while staying on the key or losing contact with the
key. However, this release does not equal a totally loose hand. The ready hand position,
as described before, needs to be maintained.
Additionally, the concept of the second finger and the fifth being the stabilizing
points of the hand is useful in finding the balance of the hand. One can discover this fact
by playing with each finger and then resting it on the key. It will be observed that the
second finger especially can stabilize the hand. As Bernstein mentions, one can “imagine
a line of stabilizing energy starting at the second finger bridge knuckle, continuing across
your wrist and forearm and ending at your elbow” (167). The fifth finger, also, serves as
an axis of rotation.
In the following section, three important types of motion and basic touches will be
examined. Then, approaches to basic technical patterns will be studied by using the
combination and coordination o f the motions and concepts.
38
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2.4.1 Motions
Sandor remarks that, “Technique, however, is a skill—a well coordinated system
of motions conditioned by the anatomy of the human body and the nature o f the piano”
(Preface ix). Before being able to coordinate different combinations of motions in
passages, an understand of the principles of individual motions must be achieved. Three
types of motions will be introduced and serve as guidelines in the choice of technical
solutions.
a. In and Out: This concept requires the hands to move freely in and out o f the keys. ‘In’
means moving close to the fallboard; ‘out’ means moving towards the player. The
principle is to maintain the fingers in the same relationship with each other. In finger
passages, one can imagine that the fingers walk in and out of the keys, and the hand and
arm follow the fingers naturally. In chordal and octave passages, the hand and arm
should be more active, assisting the ‘in and out’ motion. By using this technique, one can
keep the balance of the hand and center each finger on the keys. This can prevent the
fingers from reaching out to the keys, adversely affecting physical comfort and tone
quality, especially in passages with combinations of white and black keys. This in-and-
out motion applies to virtually all passages in piano music.
b. Up and Down: The wrist should be almost still within the natural playing position, but
it should retain the ability to move slightly up and down in order to accommodate the
shape of the passage or chords. The upper arm and forearm will follow naturally.
39
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. c. Rotation: Rotation is a natural motion o f the forearm and hand, and should be used
when playing the piano. One simple way to discovery the motion is to put the hand close
to the chest, stabilizing the elbow, and moving the forearm, wrist and hand as if opening
a door. By observing this motion, it is noticed that the upper arm is not involved. In
forearm rotation, the alignment of the outside of the fifth finger, the hand and forearm
serve as the axis. In playing, rotation can bring the fingers to the playing position.
Rotation helps the short fingers, the thumb and the fifth fingers, match the weight, energy
and sound of the long fingers. The movement of the thumb differs from the other fingers,
because its motion originates at the wrist joint. The easiest and the most efficient way to
use the thumb is with rotation. With this assistance, the thumb can move easily and
efficiently, and can control the tone. Rotation applies to almost all passages. The most
obvious passages for using rotation is that “whenever the notes go zig-zagging, up and
down alternately” (Sandor 79). When using rotation, the finger should not reach for the
next note; otherwise, as Sandor points out, “the motion will originate from the finger: it
will disrupt forearm rotation, decrease the distance and speed, and the finger begins to
force” (84).
2.4.2 Basic Touches
Anton Rubinstein once remarked of the piano: “You think it is one instrument? It
is a hundred instruments!” (qtd. in Neuhaus 55) It is important for the pianist to explore a
variety of touches to reflect diversity of tone quality. Thus, the issues of touch must be
included in the discussion of piano technique. However, it is difficult to discuss the
40
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. touches or tone qualities without first experimenting on the piano. There are two basic
types o f touch: legato and non-legato.
a. Legato: Legato means to play in a smooth, connected manner. The simplest way of
explaining this type of playing is that the finger holds the note down until the next note is
played or, sometimes, even the overlapping of these notes. The principles apply in
passages where it is physically possible and comfortable. Sometimes, however, legato
does not need to be the actual physical connection between notes, as observed by Boris
Berman: “Efforts to connect notes physically may make the melodic line less smooth
than playing it non legato” (13). Especially in passages of wide leaps, chords or octaves,
connection between notes is physically impossible. A more effective way to create the
aural sensation of legato is to match the tone quality from note to note with a ready hand
position and appropriate motions, as well as careful listening. Skillful use of pedal can
assist in creating impression of legato playing. Depending on the character, speed, and
desired tone qualities of passages, the speed of touch, amount of weight, length of time
on the keys, depth of keys, and even the shape of the fingers are all balanced within the
goal of achieving a singing line. “The smaller the surface of the first joint of the finger
touching the key, the harder and blunter the tone; the larger the surface, the more ringing
and singing the tone”, said Josef Lhevine (qtd. in Berman 13).
b. Non-legato: Non-legato means to play in a detached manner. Detached is an
especially useful word, because it does not assign length to the notes, but allows for a
41
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. variety of lengths. The length of notes, the motions and the speed of touch will be
different, depending on the character and sound required in passages.
2.4.3 Basic Technical Patterns
Rachmaninoff once said:
“The study of pure technique includes scales, chords, arpeggios, trills and octaves. How can the student expect to leam difficult pieces without a background of technical forms, well digested and mastered? It is perfectly impossible. And if this technical drill and routine are necessary for the student, shall the concert player cast them aside as useless? Not at all; he would be very foolish to do so. If I wish to keep my playing mechanism in condition, I, too, must practice scales, arpeggios, trills, chords and octaves. There is no other way to keep fit” (Brower 6).
This explains that these technical patterns are the fundamentals of piano playing, and
deserve great attention.
a. Five-finger patterns and scales'. When playing a simply five-finger pattern, for
example E-F#-G#-A#-B, I suggest combining in-and-out movements and rotation. The
hand should gradually rotate from 1 to 5 and 5 to 1, and gradually move in for the black
keys. The reason for doing this is to compensate for the shorter outside fingers and to
maintain the same finger relationships with each other, as well as to center the weight of
each finger in the key, matching the tone quality. By doing this, one can find freedom of
movement. Bernstein observes that the wrist will be raised slightly when we play the
black keys; conversely, a lower wrist position when playing the white keys (163). It is
especially efficient when playing fast, since one does not have time to move in and out of
the keys, but can make adjustments with the wrist instead. Sandor"s suggestion provides 42
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. a different approach: the wrist must be low at the beginning of the group when starting
with the thumb and high at the end. When the group starts with the fifth finger, the wrist
should begin low and end high with the thumb (68).
A scale passage is more complicated since it involves two five-finger positions
(one incomplete) and a connection with the thumb. When playing a scale with the right
hand, for instance an E major scale, the first three notes are grouped by using a rotary
motion toward the third finger. At the same time, the fingers gradually walk in to G# to
maintain the ready hand position when playing the black keys and to create room for the
thumb to turn under. Rotating to the third finger decreases the distance that the thumb
has to travel, making the hand feel comfortable. A perfect physical connection between
G# and A is not necessary as long as the thumb rotates to the beginning of the next five-
finger position starting on A. Trying too hard to connect the third finger to the thumb
will create an extreme position, and cause tension and an uneven sound. In addition, the
thumb needs to move out of the black keys on A in order to start over the five-finger
pattern comfortably. In the descending scale, the same concepts apply. The difference is
that the five-finger pattern is started first, then, the hand rotates over for the next position.
The left hand mirrors these positions and motions.
Sandor suggests that the thumb should not be put under the palm when playing
scales and passages. The thumb should be “kept alongside the hand, out of the palm, and
the wrist is lowered to accommodate it” (58). He also suggests that the upper arm and
elbow should be allowed to swing out, so the thumb can reach its note (63). However,
Hofmann advises that the thumb should be slightly curved and kept near the second
finger in order to be ready in scale playing (Piano Questions 16). Neuhaus suggests a 43
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. similar thing that players should prepare with foresight. This means that the thumb
should “be placed beforehand (gracenote) very lightly over the spot (key) which it must
occupy in the near future” (106-7). Bernstein brings out a valuable point that “the entire
hand is stabilized by a point of gravity centered at the second finger bridge knuckle” in
playing scales and arpeggios (167). The purpose is to stabilize the hand when turning the
thumb under or turning the hand over; and by “pulling up gently at the second finger
bridge knuckle helps you to maintain a hollow palm, a structure asset from which your
fingers can articulate freely and flexibly” (Bernstein 167-8).
b. Arpeggios'. When playing an arpeggio, a combination of the in-and-out motion and
rotation, as well as finding the physical grouping, are essential. The approach to an
arpeggio is similar to a scale, since “arpeggios are essentially magnified, amplified
scales” (Sandor 62). An important technical concern of an arpeggio is the emphasis on
the larger intervals between notes.
When playing a C major arpeggio with the right hand, for instance, the first three
notes, C, E and G, are grouped by using one rotary motion toward the third finger on G,
and the hand move toward the black key area. Turning the thumb under slightly brings
the hand as a unit to the next position on C, and rotates back on the thumb. If tones
match, the tiny disconnection between the third finger and the thumb, which allows for
physical comfort and control, is acceptable. Trying too hard to connect the third finger to
the thumb will cause the hand to strain due to the extreme position between those two
fingers. The final result will be that the passage will sound uneven. The elbow is passive
and should follow the hand as it moves along the keyboard. As observed by Berman, 44
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. “the primary role of the elbow is to serve as a pivot” (42). If the elbow leads the hand,
the balance of the hand and arm is destroyed, and precision is more difficult. Moreover,
weight can be added to the G played by the third finger in order to give the hand enough
impetus to rebound from the keys; at the same time, to make sure the notes are even
without jumping to the next position. As Bernstein mentions, after “hopping” to the next
position, there is a natural tendency to accent the thumb (168). Adding more sound to the
G will prevent this. The same approach is applied to a descending arpeggio, except that
more weight should be added to the thumb before moving to the third or fourth fingers.
The left hand mirrors these positions and motions.
c. Chords: In chordal passages, arm weight playing is crucial. The speed of the touch
varies, depending on the tempo and mood of the passage. Infasi, forte passages, using
only the arm weight is insufficient. One has to apply an added impetus energy, which is
mentioned on page 33. In general, the wrist moves slightly up and down for chords.
However, the alignment from the forearm to the knuckle joint should be maintained,
allowing the arm weight and energy to go straight to the fingertips. In different passages,
one uses different motions—releasing the weight from a slightly higher wrist position or
propelling the weight into keys.
Neuhaus provides a concise description of playing chords: “On each chord, sort of
‘sit on a chair’, feeling relaxed, completely free, conscious of the natural weight of the
arm from the shoulder to the fingertips and skillfully and quickly, keeping close to the
keyboard pass from one chord to the next” (129).
45
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. d. Double notes'. A useful technique in double-note passages is to practice non-legato.
Even when connection between successive fingers is possible (e.g., 3rds or 4ths), one
should still practice them non-legato for evenness, balance and physical comfort in each
one. Moving freely in-and-out of the keys is required to compensate for the different
lengths of the fingers and to reach black keys comfortably.
Octave passages deserve special technical attention. In general, separate motions
are used on each octave. Depending on the tempo and dynamics, one decides how much
the arm should be involved in the action. In fast, light and graceful octave passages, it is
efficient to move the hand as a unit from the wrist to the next octave, rather than as one
unit from the forearm (Hofmann, Piano Questions 32). Moreover, one can practice with
the thumb alone by rotating towards it. When keeping this same motion while playing
octaves, it is interesting to know how much easier it is to play in a fast tempo without
straining the arm. When an octave passage involves the black keys, the wrist position
should be adjusted. There are two ways: first, as observed by Bernstein, “ the upper arm
rolls forward for the black keys (your wrist will be higher) and toward you for the white
keys (your wrist will be lower)” (180); the second way is the opposite of the first in that.
The wrist is lower for the black keys and higher for the white keys.
Neuhaus believes that the correct position for playing octaves is “to create a
certain strong ‘hoop’ or ‘semi-circle’ from the tip o f the little finger across the palm to
the tip of the thumb, the wrist being maintained absolutely essentially in a dome-shaped
position lower than the palm” (124). Pianists should experiment with different
approaches to find the best way for themselves.
46
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2.5 Conclusion
These basic piano skills and the combining of them are essential to piano
performance. The performer must be able to adapt and coordinate these skills depending
on the demands of individual passages.
In summary, piano technique is a matter of a logical sequence of movements:
knowing where to go, planning when and how to get there, playing, finishing, and
continuing this process throughout the entire composition. All of these require the
appropriate balance and control in both musical and technical concerns, as well as
mentally and physically. The process is not easy, but worthwhile because it helps the
pianist to prepare for, and achieve an artistic performance. This intellectual process
elevates piano technique into the realm of art.
47
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER 3
THE VARIATIONS IN B FLAT MINOR, OP. 3:
AN ANALYSIS OF PERFORMANCE CHALLENGES AND SOLUTIONS
The qualities of variety, sensuous beauty and forceful energy, as well as the fact
that it represents Szymanowski’s early characteristics in both stylistic and pianistic
considerations, make this set of variations an outstanding composition which deserves
greater attention from pianists. Through the experiences of practicing and performing it,
I discovered that this is a challenging piece, both musically and technically. The
following analysis will provide useful musical and technical suggestions and solutions,
assisting people in learning this masterpiece.
48
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Theme: Andantino tranquillo e semplice
Tem a KAROL SZVMANOWSKL O f.3 Andantino tranquillo e tempi ice
fP ItMtfMMO
rU.
Figure 3.1: Theme
49
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A beautiful sixteen-bar theme begins this set of variations. “The theme is
characteristically Polish” (Jachimecki, The Musical Quarterly 8, Oct. 1922,25). “[It]
sounds like a folk song, and is perhaps at least a reminiscence or adaptation of one”
(Beechey, Musical Opinion 106, Oct. 1982,6). However, the theme is original, and there
is no evidence showing that it had any direct association with a folk song. Starting with
stark octaves, it extends to richly harmonized full and widely-spaced chords in both
hands. The use of chromatic decorations adds a slight hint of melancholy and quiet
intensity. As suggested by the composer, the theme has a tranquil and simple quality;
even the dynamic range in the theme is limited, ranging from onlypp to a little more than
mp.
Performance Challenges and Solutions:
The primary pianistic challenges of the theme are how to play a smooth line with
a beautiful tone quality, and how to feel comfortable playing the continuous, full, and
widely-spaced chords. It is essential to retain flexibility in the hand while playing the full
chords. In order to feel comfortable, I suggest the following steps: before playing each
chord, lift the hand slightly until the fingers lose contact with the keys, making sure the
unity of hand and forearm is maintained. This means that the hand and the fingers should
not drop below or rise above the wrist. Sandor presents another approach. In his chapter
entitled “Free Fall,” describing playing with weight, he suggests that the wrist should be
low before the arm falls (41), a different position from that o f unity o f the arm and hand.
In the theme, a little opening of the hands with flatter fingers is unavoidable in
order to be ready for the continuous octaves and full chords. However, one still needs to 50
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. maintain a slightly curved hand position in order to insure that, as Sandor suggests, “at
the moment of landing all the joints will be able to cushion elastically and transfer the
energy to the keys correctly” (42). If one does not stretch the hand to the maximum, but
instead just lets the fingers open a little and reserves the required stretch of the chord to
the moment of touching the keys, tension in the hand can be avoided. However,
Hofmann suggests that one should prepare the fingers for their “appropriate notes while
still in the air and not after falling down” (Piano Questions 12). I believe that this
principle applies only to chords that do not require wide stretches, those that do not cause
tension in the hands. One can also practice with octaves first, then let the other fingers
naturally join in while maintaining the hand shape of the octave. The natural gravity
takes the arm weight to the key bed. The joints of the wrist and fingers “should be
elastic, neither stiff nor loose” (Sandor 46). The direct line of weight from the shoulder,
upper arm, forearm, wrist, hand and fingertips should be maintained. However, Sandor
suggests that "the wrist must be in a relatively low position at landing so that it can
cushion naturally”(43).
After touching the keys, the fingers stay on the keys with the weight centered on
the finger pads, but without pressing the keys. Then, the hand lifts slightly until the
fingers naturally lose contact with the keys, and move to the next position, preparing for
the next chord. This moment in the air allows the hand to return to the ready hand
position, allowing the fingers to release the tension caused by the full stretch. As
mentioned in Chapter 2, releasing the tension after playing does not mean a totally
relaxed and loose hand. Of course, the hands should not be tense, but they need to
remain in the playing position, from which they can function right away. 51
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The tone quality that one looks for in the theme is gentle, sonorous and sustained.
In order to achieve that, one needs to smooth out and connect the above motions, making
sure the speed of the touch is relatively slow. It is as if the motion continues from chord
to chord without stopping. In addition, one must listen to the length of the melody,
supported by the bass line and harmonic progression.
From measure 9 to measure 12, there are many widely-spaced chords in the left
hand, which are beyond the reach for pianists who have small- and medium-sized hands.
For them, rolling or separating the chords is the solution. In general, I prefer to roll the
chord before the beat, and play the top note together with the right hand chord, since the
top notes of the left hand chords present melodic material. Make sure to catch the bottom
note of the left hand chord with the pedal. In order to connect the right hand melodic
line, one will have to hold melodic notes from the previous chord of the right hand until
the pedal is changed for the rolling chord of the left hand; otherwise, there will be a gap
in the melody (Figure 3.2). Most important of all, the right hand should be very sustained
so that the rolling chord will not disturb the flow of the music.
52
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. rtt.
mp
A
z . Nl-S.
Figure 3.2: Pedaling suggestions, Theme, mm. 9-12
53
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation I L ’istesso tempo
VarJ L’Uieno tempo rit. a
Figure 3.3: Variation I
54
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The first variation is the only one of the set which follows precisely the melody,
harmony and structure of the theme. However, the texture of this variation is
complicated, rich and in three voices. The theme, usually in the left hand, is
accompanied by a rhythmically complex texture of triplet figures in the treble and
syncopated figures in the bass. The syncopated bass voice is important for its
fundamental support of the harmonic scheme; however, it should not interfere with the
melody, also played by the left hand. The triplets in the right hand serve both as an
accompaniment and as a secondary melody with an ornamental flavor. A flowing and
beautiful sound enhances the beauty of the right hand figuration.
Performance Challenges and Solutions:
The challenges in this variation are clear voicing with a different tone quality in
each voice and a smooth and musical presentation of complex cross rhythms. In order to
clarify the voices, practicing each voice alone is recommended. In this way, one can
focus on the shape of the phrase, the tone quality and the rhythm.
The triplet right-hand voice has an alternating single and double-note figuration
throughout the variation. In order to feel comfortable, especially when the thumb plays
on a black note, the pianist should use forearm rotation and a freely moving in-and-out
motion. One can try to imagine a choreography of the passage; in other words, here one
uses the concept of ‘always knowing where you are going’. For example, in the first
group of triplets (m. 1), the right hand should be placed in the black-key area since the
thumb plays D flat. Then, rotate the hand to the fifth finger with the note C. One can
either stay in the black-key area after playing the double-note, F and D flat, or move the 55
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. hand out, depending on the comfort level. If choosing to move the hand out to the white
key area, one should try to move back in immediately after playing the C with the 5th
finger, in order to prepare for the B flat played by the second finger, then, rotate back to
the second finger on B flat, the first note in the second group of triplets, and to the fifth
finger on E flat, as well as to the fourth finger on D flat (Figure 3.4). (In this chapter, all
fingerings are based on the principles outlined in Chapter 2, ‘Fingering’, p. 35)
i: in black notes ii: move out to A iii: rotate right to C iv: into black notes, slight rotation to B flat v: rotate right to E flat vi: rotate left to D flat
Figure 3.4: The choreography of the right hand, Variation I, first half, m.l
By using rotation and in-and-out motions, one will notice that the perfect
connection between notes is not possible, and not necessary. If the ready hand position
can be retained, one can easily center the fingers on the keys and have an advantage in
56
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. producing a lovely tone quality and maintaining it throughout the passages. This recalls
the concept o f ‘legato’ mentioned in Chapter 2. The following are a few additional
suggestions to make the passage beautiful and physically comfortable. First, one should
try to play the right hand melodically; its wave-like shaping has a beauty of its own.
However, the passage should still be an accompaniment to the middle voice. Try to
lighten and soften the fingertips by transferring a relatively small amount of weight to the
tips. One should be careful-soft playing does not mean holding the strength and weight
by raising the shoulder, arm or hand; instead, the shoulder and the arm should be relaxed,
the elbow should hang freely close to the body, and the hand needs to remain in the ready
position. The reason for adding weight to the soft passage is for projection and control.
In addition, in this continuously alternating single-note and double-note passage,
physically grouping the notes is a helpful solution to ease the awkwardness of the
passage. Here, the physical grouping of notes differs from the musical grouping which
Szymanowski has indicated by slur markings. One must find the ‘keynotes’ for restarting
the motion. The keynotes should not be accented; however, one should apply more
weight to those notes in order to feel that the hand is secure. Sandor’s ‘technical
grouping’ is a parallel explanation. He points out that “technical grouping [means] the
connection of several notes in one motion, while the musical phrase sometimes doesn’t
end with the completion o f the technical motion but continues on” (67). Also, this
concept recalls Bernstein’s ‘technique of being grounded’. He observes: “...being
grounded is a freeing agent, facilitating technique and affording you an amazing comfort
at the keyboard” (156). He explains that the pressure which induces the arm weight is
“the secret of being grounded.” Grounding the finger(s) can instantaneously free other 57
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. fingers (156). For example, from the second beat of m. 2 to m. 3, the double-notes serve
as keynotes which start the group and motion (Figure 3.5). Interestingly, it is found that
those keynotes form melodic material and highlight special colors.
V .r .I L'ineuo tempo Ml. XI
Figure 3.5: Keynotes of the right hand, Variation I, mm. 1-3
The left hand carries two voices: the theme in the center register of the keyboard,
and the bass in wide leaps. The body should be balanced and quiet, without moving back
and forth with the leaps. Make sure to play the melody down to the key beds before
moving to the bass leaps. One should feel the unity of the arm weight from the forearm
to the fingertips, and let the hand lead the whole unit in a naturally curved motion to the
bass note. The upper arm is passive within this movement. Let the elbow hang freely
without moving it sideways. The primary role of the elbow here is to serve as a pivot.
Think and feel the fifth finger as the extension of the arm when playing the bass notes; in
other words, keep the alignment from the arm to the fifth finger. This natural curve of 58
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. the movement increases the precision of the leaps and, at the same time, saves energy
while moving around the keys. Neuhaus confirms that the economic and simple way to
deal with the wide jumps is that the hand moves in a natural curve ^ ^ , with only
one movement involved, instead of in a broken line I I, which involves three
movements (108). He explains that failure to play the wide leaps well occurs when the
player is fearful of the keyboard. Thus, he brings out the issue of a psycho-physical
formula and says that “mental tension is in inverse proportion to physical tension” (108-
9). Thus, building confidence and having the appropriate technical solutions are the
important tasks for pianists.
Once the pianist feels comfortable with the figurations of both hands, he or she
encounters the challenge of playing them together with the correct rhythms. In general,
in rhythmically complex passages (in this case, two against three) as in this variation, the
triplets dominate and lead the rhythm, even though they are not the main material, and
the other voices, the duplets, must fit into the triplets. If it is vice versa, one usually loses
the even spacing of the triplets. Pay special attention to the flow of the right hand
triplets, making sure to connect the motions from note to note, while listening carefully to
the spacing of the theme.
59
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation II Agitato
VarJI Agiiaio
Figure 3.6: Variation II
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This variation is forceful and brilliant in character, and it represents a sharp
contrast with the previous and following variations. This variation does not have a clear
melodic connection with the theme, but the harmonic progression is similar. There are
two contrasting ideas: the first is the beginning marcato idea, which presents the
harmonic and rhythmic sense through almost the entire variation; the other is romantic
and tempestuous in character and occurs in measures 41 to 44.
Performance Challenges and Solutions:
The challenges are obvious in looking at the page. The right hand has almost
constantly moving groups of four sixteenth notes, the first three rising followed by a
descending octave leap. This figuration often causes tension in the hands because of the
increasingly larger leaps between the second and third notes, the non-stop fast motion and
an inefficient use of energy. The following are my suggestions for practice. First, in this
figuration, there are no fingering options; one must use 2-3-5-1. But the use of 2 and 5
allows the pianist to focus on the two fingers (especially the second finger) that stabilize
the hand. Each group of four sixteenths can be practiced in two, two-note slurs with the
second and the fifth fingers starting the motion. Make sure to release arm weight into the
second and fifth fingers. Depending on finger action only in this passage makes it
difficult to achieve a strong sound, and it creates tension in the hand. In this case, each
beat and the top note should be brought out clearly; then one will know where to use the
weight and energy and how to feel more comfortable physically. However, in
performing this variation, this two-note slur grouping might sound too ponderous and
non-legato. Thus, in the next step, one should try to blend the group of four sixteenth 61
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. notes together and let them sound like one unit. The second finger should stand firmly as
the foundation and the stable point. The wrist should be very flexible and moving in an
anti-clockwise circular motion. This circular motion is a combination of rotation and
moving in-and-out of the keys, and it can bring each finger to the next note efficiently.
The third notes of each group, which are the interesting changing notes, still
deserve attention, even though one no longer applies the two two-note slur patterns. The
way to bring out these notes is to rotate from the second finger to the third note of the
group, played by the fifth finger. Be careful not to make the third note louder than the
first note of the group. After a group of four sixteenths is completed, the second finger
restarts the motion with arm weight. O f course, one is encouraged to play as legato as
possible; however, trying too hard to play legato where the most stretches occur will
cause tension and the passage will sound uneven. As long as the motion is continuous
and smooth, the passage will sound legato.
The challenge to the left hand is accuracy in the disjunct eighth notes, with
accented octaves or chords on the beat, and a single eighth note on the offbeat. One
might also encounter the problem o f tension caused by incorrect motions and the
inefficient use of energy. First, one notices that every accented octave or chord on the
beat is the most important melodic and rhythmic element in each group of two eighth
notes, and that every second eighth note of the beat just fills in the harmony. Establishing
the correct touch and amount of weight for the beat and offbeat is necessary. In each
group of two eighth notes the keynote is the accented one and the second single eighth
note shares the energy of this motion. If one uses a separate motion for each eighth note,
the passage would sound and feel heavy, and one could not play a fast tempo. If one uses 62
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. one motion for each group, the energy goes mainly to the octaves and chords. As in the
technical solution for the wide leaps in Variation I, the elbow acts as a pivot, hanging
freely, while the forearm moves horizontally to achieve the fast tempo. In order to make
an accented sound, the touch should be fast into the key; played in this way, the sound is
sharper and the rebound from the fast touch provides the energy for the hand to move to
the second half of the beat. Also, as soon as the single eighth note is lightly played, one
should prepare for the next octave or chord.
The timing of the pedal in this variation is important. In order to create the
marcato effect asked by the composer and to assure clarity, one should pedal with the
beat rather than slightly after it. It helps to think of it as pedaling with the motions of
both hands into the keys. Also, one must make sure not to pedal too long, which would
distract from the marcato quality.
The danger in this brilliant variation is to overplay the dynamics—that is, to play
too loudly most of the time. In fact, Szymanowski seems to invite us to overplay in
measures 1 to 4 by asking us to begin s ff and to crescendo to ff. However, it is necessary
to find places to drop back on the dynamics. After thesff 'm measure I, it is more
effective to drop the dynamics and create a big crescendo to measure 4 for theff. In this
way, one can project the excitement easily without forcing the sound, and give more
direction to the music. One should also be aware of the balance between the hands,
making sure the left hand is not overpowering with its octaves and chords in the strong
bass register.
63
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation III Andantino quasi tempo di mazurka
Var.01 Andantino quail tempo dl mazurka (In
tit.
4 b
Ht.
p p
rail.
Hi s £
Figure 3.7:Variation III
64
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Interestingly, Szymanowski includes a mazurka variation in this early
composition. Jim Samson points out that “he clearly felt that variation form provides the
ideal mould in which to cast the more popular idioms which run parallel to and often
infiltrate the sonata-symphonic literature” (32).
This variation has sophisticated voicing and textures. It begins with three voices:
the accented B flat and F in a drone effect in the top voice; the harmonic interval of the
fifth in the left hand recalling the notes from the top voice; and the chromatic, descending
chords in the middle. The theme enters in measure 3, divided between the hands. The
second section has new melodies and begins on the third beat of measure 14. After two
4-bar sequences, the opening drone returns with the last statement of the theme. The last
three measures recall the material of the second section and close this variation.
Performance Challenges and Solutions:
The layers of voices create a complicated texture, presenting difficulties of
voicing to the player. First, each voice should be practiced alone, and then practiced with
various combinations of voices until the balance among voices can be controlled. When
the right hand plays two voices in, for example, the beginning measure, the pianist should
use different tone qualities for the accented drone and the chromatic descending chords.
The fifth finger, which plays the accented tops, requires a fast and concentrated touch
into the keys, while the thumb and the third finger or second and fourth fingers, in charge
of the chromatic descending chords, should have a lighter touch which does not go to the
key beds. Since the accented top notes have to be held, the fingers must stay in the keys,
making the hand a little uncomfortable in playing the descending chords. If the hand can 65
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. apply a small rotary motion for each descending chord, it is more comfortable. This
gives the hand the advantage of releasing the keys as a unit before playing each chord,
rather than trying to raise the fingers alone. In addition, rotation can bring the fingers to
the notes with ease.
The theme enters in measure 3, creating a four-voice texture. The theme is
divided between the hands. The following are fingering suggestions (Figure 3.8).
Var.M Andantino quasi tempo di mazurka
PP dole* t lega to
Figure 3.8: Fingering suggestions, Variation HI, mm. 1-7
66
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The use of the fifth finger on the accented top notes allows the pianist to produce
the same bell-like tones on these notes. Also, the fingerings allow the pianist to use
finger legato on the melody, and to play softly in the harmonic background.
Both thumbs are used frequently in the theme. The thumb is unique among the
fingers in size, shape, function and quality of tone production. Often mentioned as a
disadvantage, that quality is sometimes needed. As Neuhaus points out, the thumb recalls
the individual tone quality of the cello or the French horn (especially the left thumb,
because it constantly plays the part played by the cello or the hom in an orchestral score)
(97). In this passage, that special sound is needed to highlight the theme in this four-
voice texture.
Even when the theme enters, the mazurka dance-like ostinato in the treble needs
to be underlined. Listen carefully to the Bb-F ostinato, but do not let it overpower the
theme. The other interesting line that one can bring out is the chromatic, descending
octaves in the bass in measures 4 to 6 (Figure 3.9). All of these highlights can make the
music more appealing.
67
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VarJIl Andantino quad tempo dl manuka
Figure 3.9: Descending bass line of the left hand, Variation HI, mm. 4-7
The second section has a new melody in each hand, and both are lyrical and sweet
in character. This section benefits from a flowing motion. Here, there are three voices
and the top and bass voices dominate. Since the voices overlap sometimes, one can
consider different divisions of notes between the hands. The following are fingering
suggestions (Figure 3.10).
68
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 3.10: Fingering suggestions, Variation in, mm. 14-22
I have chosen these fingerings to facilitate playing finger legato in the most
important line of the texture. The redistribution of notes helps to prevent the overlapping
o f the hands.
When the theme returns in measure 24, the shaping of the phrase is different from
the beginning. Instead of a decrescendo in each measure (mm. 4 and 5) (Figure 3.11),
Szymanowski marked crescendo to measure 26 (Figure 3.12). In this case, one would
not anticipate the color change of the last three measures, marked pp, with the allusion to
the new melody in the second section. The different shaping creates variety.
69
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VarJII Andantino quasi tempo di mazuria
Figure 3.11: Phrase shaping, Variation in, mm. 3-7
jS—^ « Mflipo J Ak k i + L Z a - ,^T"i ^ 1-- * f ' ^ ■f—r- •rri ^ « " —= itp--- a?fi3} ^ 3 Hi Ah j- *=»rm , -1------—LP-- J
rail. > » »| >*
w - . J l,J J m-aMi.lL ► p tJ I = fai—InJ tfeSE== - f f ' I f r K r Y~...... r . ofiocca
Figure 3.12:Phrase shaping, Variation in, mm. 23-6
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation IV Con moto scherzando
V«r.IV ------T . I------i | 1 ft. • ^ A . l.f f f i - f l f f f \ i f f rw~ r ■ ^r-IT-'L t f f e h t L e j — 1 ,ip crcjc. | Uaccato
B _ f f .J 1 * < # # = ! F f f I f I '
Figure 3.13: Variation IV
This variation is the shortest one of the set, and it represents the diminution o f the
sixteen bar formula. It has a light scherzo quality, achieved by the soft staccato octaves
in the right hand and fast rolling chords in the left hand.
Performance Challenges and Solutions:
The two challenges of this variation are the light, rapid, staccato octaves in the
right hand and the fast rolling chords in the left hand. For the right hand octave passage,
I suggest several steps for practice. First, as mentioned in Chapter 2, practice with the
71
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. thumb alone and produce the tone by rotating into it. The motion is activated by the hand
and forearm. The next step is to play the octave as written. In keeping this same motion
with the thumb when playing the octaves, it is discovered that it is easier to play in a fast
tempo without straining the arm. As one plays faster, the motions need to be minimized.
If the notes do not sound quite together because of the rotation towards the thumb, one
can make an adjustment of the wrist, letting it be in charge o f the motion. The wrist and
forearm serve as pivots while the whole hand moves up and down as a unit. Also, the
wrist is lower for the black keys and higher for the white keys. In addition, one should
move the hand inward toward the fallboard so that the thumb will be close to the black
keys. Then, the hand has to travel very little between white and black keys. This
technique recalls Hofmann’s technique of wrist octaves, which is to be used “only in
light, graceful places” (Piano Questions 32).
Bernstein provides a different approach to rapid octaves. He suggests that the
“upper arm roll” can significantly improve the ability to play rapid octaves (179). He
also says that using 1 and 5 only for the octaves is almost always helpful, and he suggests
rolling the upper arm forward for the black keys, making the wrist higher, and back
towards the player for the white keys, making the wrist lower (180).
Also, Sandor suggests using the “staccato throwing motion” for staccato single
notes, double notes, and chords (93-4), obviously including octaves. This technique
involves the entire arm, the hand, and the fingers. With the aid o f the upper arm, the
strong body muscles can participate in the throw, minimizing strain in the forearm (93-
100).
72
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. One must use the fingertips when playing octaves. Bernstein observes that
pianists often feel tightness and contractions in the arm muscles, feeling that the arm is
‘ falling ofF because of these involuntarily contractions (136-7). He suggests three steps
to ward off arm cramps: “(1) command your fingers—and not your arms—to assume the
major share of responsibility; (2) allow natural tension to keep your fingers taut; and (3)
acquire endurance” (136-7). Truly, when the fingertips participate in the movement, one
discovers that the hand automatically stays close to the keys, avoiding excessive motions
o f the arm.
The challenge in the left hand is the fast rolled chords. The technique for this is to
play the bottom note lightly and then to propel the weight and balance to the thumb. By
observing this motion, one notices that the wrist has to be flexible, bringing the hand and
fingers to the position. I suggest rolling the chords on the beat instead of before the beat.
There are reasons for doing this: first, it is easier to shape the right hand melodic line and
to keep the precise rhythm without the interference of the rolling chords; second, it is
easier to control the energy in a fast tempo, since both hands start the motion together.
Also, it makes the pedaling easier because it will coincide with the motion of both hands
into the keys.
In order to obtain a light, scherzando character and to achieve a fast tempo, one
must be sure to use only a small amount of weight and not to play too deeply into the
keys. Consciously feeling an up-lifting movement will help in fulfilling the musical and
technical requirements.
73
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation V Lento dolce, cantabile
V .r.V Lento dolce cenraolle
erase. « rail.
Figure 3.14: Variation V
74
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Contrasting with the previous variation, this variation is slow and well represents
Szymanowski’s sensuous beauty and emotional intensity. The right hand plays two
voices; the soprano voice is more substantial because of the moving line, while the alto
voice is a diminution of the melody and can be seen as the harmonic filler. The left hand
accompaniment has wide-reaching sixteenth note triplet passages throughout, enriching
the texture of this variation. The left hand passage is somewhat reminiscent o f the right
hand figuration in Variation I.
Performance Challenges and Solutions:
The main challenges of this variation are how to find technical control and
interpretation. The texture of this variation is a single melody and two accompanying
voices. Concentrate the arm weight on the melody, using rotation and in-and-out motions
to go smoothly to the next melodic note. These motions allow the arm weight to produce
a beautiful tone quality. Play very lightly for the alto voice. Throughout the variation, it
is sometimes necessary to release alto notes before their full values in order to play the
melodic notes comfortably. The pedal can create the legato effect. This kind of sacrifice
is unavoidable; otherwise, one would create tension by holding the notes or reaching for
the melodic notes. For example, in measure 1, it is possible to release the Db of the alto
voice when playing the high Db of the soprano voice in order to free the hand and allow
it to produce a beautiful sound. Measures 3 and 4 provide another example of releasing
the alto voice. The following are fingering suggestions (Figure 3.15).
75
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Var.V L en to dolce canlabile a- 2- » 3 4- O i - O .
Figure 3.15: Fingering suggestions, Variation V, mm. 1-4
From the fingering suggestions above, it is apparent that physical legato is not the major
concern here. When using rotation, one should follow what Sandor suggests—do not
reach for the next note. Otherwise, rotation will be disturbed, the distance and speed will
be decreased, and the fingers will begin to force (84). When larger intervals are played,
for example, the first two beats in measure 3, one should not connect the notes (F to C
and Bb to F of the soprano voice) by reaching out. Instead, if the ready hand position is
maintained, one can easily use smooth and continuous motions, matching the tone quality
and making the passage sound legato.
76
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Make sure to play the left hand expressively to enhance the beauty of this
variation. The bass notes should be played with clarity and deep resonance in order to
support the complicated texture and harmonies.
Szymanowski writes many tempo and dynamic markings to ensure the romantic
character and strong emotional tension of this variation. Thus, it is necessary to give
consideration to rubato playing. A careful study of his detailed directions to the
performer indicates how to use rubato. Within sixteen bars, he has asked for six
ritardandos or rallentandos, and in every bar he has marked crescendo or decrescendo or
both. His use o f crescendo and decrescendo usually indicates the high point of the
phrase. The crescendo leads us to the high point of the phrase and invites us to allow the
music to flow to this point. Be sure to follow the composer’s indications closely, and
save the tempo changes for the right moments. For example, in the first four-bar phrase,
be careful not to stop and take time on the long note, the first beat of measure 2. At first,
it seems to make sense to take time here when the phrase reaches its high point.
However, if one takes time on the downbeat and makes a ritardando at the end o f
measure 2, the flow of the melodic line stops. These markings are the best sources for us
in interpreting Szymanowski’s musical sensibilities.
The pedaling in this variation is challenging. In order to sustain the bass pedal
tones, the use of long pedals is necessary. Do not pedal too deeply. Also, release the
pedal gradually when approaching each new pedal change (Figure 3.16). This is a very
useful pedal technique; it helps to reduce the density caused by the chromatics.
77
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 3.16: Pedaling suggestions, Variation V, mm. 1-2
Flutter pedal technique is an alternate solution; and its purpose is the same as
releasing the pedal gradually—to reduce the density. This technique recalls Sandor’s
‘pedal tremolo,’ which can be used to mix and to clear sonorities (167-8). It also evokes
Bernstein’s ‘vibrato pedaling,’ which requires the foot to move up and down rapidly, and
is used for brilliant scales and fast-changing chords (147). The technique clarifies the
harmony and allows the pedal tones to sound.
78
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation VI Scherzando. Vivace motto
Var.VI Scherzando. Vivace moito
(Micro
Figure 3.17: Variation VI
This variation has a scherzo quality just as the title suggests. It is delicate but
perplexing in the way that the left-hand two-note patterns anticipate the right-hand
melody in octaves. This complex cross-rhythmic design makes this variation intriguing.
79
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Performance Challenges and Solutions:
This variation is technically very difficult. The right hand alternates blocked and
broken octaves. For the octave passages, one can apply the technique suggested for the
right hand in Variation IV (see pages 71-3). The difference here is that there is an accent
‘ t ’marked for each octave, rather than the staccato mark as in Variation IV. Thus, one
has to vary the touch to show the difference. In this variation, I suggest playing each
octave slightly longer with more weight, and deeper into the keys than in the passage in
Variation IV.
In the broken octave, eighth-note passages, I suggest using one motion for both
notes and, in order to play quickly, using small motions. If one keeps a closed hand
position instead of stretching for the octave, one cannot connect the notes; consequently,
the passage will still sound detached using one motion. The top notes played by the fifth
finger are the keynotes, which should lead the motion. Rotate the hand towards the fifth
finger, sometimes called “supination” (Sandor 79), making sure that the energy goes
quickly into the keys. Let the thumb play by itself with the energy shared from the
motion without any extra strength or attention. In this case, one can have a clear musical
direction, a precise rhythmic contour, and achieve a fast tempo.
The left hand has a two-note slur pattern throughout, with a single note on the first
eighth note and a chord on the second eighth note. Szymanowski begins with the left
hand passage on a half beat before the right hand enters on beat one. This cross-rhythm
writing makes the music interesting, but at the same time it is confusing for the pianist.
Usually, with a two-note slur pattern, one stresses the first note and plays the second one
lighter, with a lifting motion. However, in this case, one must reconsider. Musically, the 80
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. chords, which are the second notes of the patterns, are on the strong beats and contain the
changing notes. One should highlight the chords, rather than following the rule of a two-
note slur pattern. In the ‘Paganini’ of Schumann’s C am aval, Op. 9, we find the opposite
situation (Figure 3.18). Schumann marks accents on the first note of each group. The
reason is obvious: the bass notes are the changing notes and have a melodic contour,
while the second part of the groups, the chords, are repeated notes.
INTERMEZZO. PwrtoJ • j . £
M-
TT JT
Figure 3.18: Schumann, ‘Paganini’, Camaval, Op. 9, mm. 1.4
In Op. 3, there is additional evidence to support emphasizing the second part of
the group, the chord. There is a dot marking each chord. It is my observation that the dot
marking can have several meanings: sometimes it simply means staccato, but in other
cases, it means that the pianist should bring special attention to this note, depending on
the character of the passage. The arpeggio passage of the first movement of Beethoven’s
81
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Sonata, Op. 110 provides an example (Figure 3.19). Here, it appears that the dot means
almost an accent, rather than a staccato.
Figure 3.19: Beethoven, Piano Sonata, Op. 110, first movement, mm. 9-13
In the left hand passage of Variation VI, I believe the dot means a combination of a
staccato and an accent, enhancing the scherzando quality and bringing out the interesting
changing notes and placement of the beat.
The technique for the left hand is similar to that o f the right-hand broken octave.
I suggest using one motion for a two-note slur pattern with the emphasis on the second.
Play the first note of the group lightly, and then throw the weight to the chords. Allow
rotation to bring the hand to the chord position, without reaching out for the notes.
Because of the large leaps, one should not try to connect them, or strain will develop in
82
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. the arm and hand. One can use the pedal to support the two-note slur pattern, filling in
the tiny space that the fingers cannot reach.
How to coordinate the hands is a challenge. The solution is to have a steady and
strong sense of the beat, as well as clear musical direction, so that the hands know when
to use motions and energy precisely. The right hand has the important melody, and it
should dominate in this variation.
83
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation VII AUegro agitato ed energico
Vw.vn Allegro agitaio ed energico
Figure 3.20: Variation VII
This variation is brilliant and intense in character. Within the relatively quiet and
delicate variations (Variations HI, IV, V, VI, and the later variations before the finale),
84
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation VTI brings back agitation and passion, and shows Szymanowski’s excellent
musical timing.
The left hand has mostly a one-bar pattern with accented octaves and chords on
the second beat, while the right hand has brilliant ornamented arpeggios. In measures 9
to 12, two two-bar sequences in both hands are more melodic.
Performance Challenges and Solutions:
The main difficulty of this variation comes from the right hand figurations. The
right hand plays sixteenth-note arpeggios, ornamented at the moment when the arpeggio
descends. The difficulty lies in playing in a rhythmically precise way and, at the same
time, projecting brilliance. There are two ways to play the ornaments, and they can be
played either before the beat or on the beat. In one way, the two-note ornament joins
with a thirty-second note to form a triplet (Figure 3.21).
Var.VU ADegro agitato ed energico I 1
Figure 3.21: Placement of ornaments, Variation VTI, m.1-2
85
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. In the second way—a sixty-fourth note pattern—the ornament shares half of the value of
the fourth sixteenth note if one plays the ornament before the third beat, or it will share
half of the value of the first sixteenth note if one plays it on the beat (Figure 3.22).
Var.VU Allegro agitato ed energico or
iu
Figure 3.22: Placement of ornaments, Variation VII, m.1-2
Knowing clearly where to place the ornaments allows the pianist to play them
rhythmically and to group them well. The ornaments should not be stressed when they
are played before the beat; in each measure, they lead to an accented third beat.
However, when they are played on the beat, the first note of the ornaments is accented
and becomes the beginning of the third beat. The pianist should try these different ways
and decide upon one that can express the musical idea beautifully and also allow physical
control.
86
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Using rotation and in-and-out motions are recommended for the right hand
arpeggio passages. Also, one should find the keynotes to feel ‘grounded’, as Bernstein
called it (156), in order to use the energy efficiently. The keynotes also happen to be the
notes on the beats. From measure 8 to measure 12, the right hand passage has a more
melodic quality, specifically, the octaves which are added to the first and fourth
sixteenths. To form this line, make sure to bring out these octaves by giving them more
weight to them. The awkwardness of the right-hand passages requires good fingering.
The following are the fingering suggestions (Figure 3.23).
Figure 3.23: Fingering suggestions, Variation VII, mm. 5-12
87
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. In most of the measures, Szymanowski has interrupted the flow of the sixteenth notes in
the right hand by putting ornaments before the beat. This creates a challenge to the
pianist, requiring fingerings that will allow us to move quickly. When the ornaments are
preceded by an octave, for example in measure 8, play the octave lightly, and concentrate
the energy towards the principal note of the melody, keeping the ornaments also light and
before the beat. This enables the melody notes to prevail over ornaments which should
not disrupt the melodic line.
The accented left-hand octaves and chords require added impetus energy. This
impetus recalls Sandor’s ‘thrust,’ a movement which is executed purely by active
muscles and which “generates maximum speed in the fingertips” (108). Make sure to
have a clear musical direction. This means that the first octave should not be overplayed
since the composer wants to create a strong syncopated effect by emphasizing the second
beat.
88
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation VIII Meno mosso. Mesto
Vm -VUI Meno mono. Mesto
Figure 3.24: Variation VIII
This variation is slow and sad; it has the dark quality of a funeral march. The
thick texture comes from the vertical density and harmonized parallel chords.
89
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Performance Challenges and Solutions:
Musical interpretation and tone quality are the main concerns in this variation.
Szymanowski is specific about the shaping and dynamic levels in each phrase. The first
four-bar phrase is marked pesante ben tenuto and ppp. The second phrase starts a
dynamic level higher,pp. Both phrases have crescendo and decrescendo markings.
These differences highlight the color changes. The technique of continuous chords is
similar to the one I suggested in the theme (see pages 50-51). The wrist should be
flexible and controlled. The chords are written in the low register where it is sometimes
difficult to play with clarity. Unlike the theme, in which the touch into the keys is slow
for a sustained tone, the touch in this variation is somewhat faster into the keys. Support
in the hand and fingertips is required to assure that every note speaks in this soft and low-
register passage. Also, one still must use weight on the fingertips even inppp , or the tone
will sound thin and dry, as Josef Lhevinne mentions (Brower, 77). One can try to feel a
lifting motion after the weight descends into the keys so that the hands have a chance to
return to the ready hand position and prepare for the next position. The third phrase
(measure 9)— a new melodic idea marked ppp misterioso—requires a different tone
quality. I suggest making the sound less clear for a mysterious atmosphere. In order to
achieve this quality, just play each chord with evenness of the fingers, without going to
the key bed. The last phrase is a restatement of the first phrase but with a refreshing, new
color in measure 13. To achieve this, remove the una corda pedal and return to a more
full-bodied tone. The phrase starts with p and reaches its climax at /before coming to
rest with the ferm ati.
90
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A series of chords usually contains not only harmony but also melody played by
the fifth finger, as in this variation. Neuhaus points out this leading role of the fifth
finger in chord playing (130-1). It is important to find the balance between voicing the
top note and, at the same time, keeping the richness of the chords.
91
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation EX Maggiore. Tempo di valse. Grazioso
Var.IX Maggiore Tempo di viUe.Crazioao
• " — ~ •x[4 -i J J l 7 T T T j C f r-d—r a j i r V ^ ^ ------•V
■r f * - r 1 f ft r K ' f ' ' f ,'/
I i
Figure 3.25: Variation IX
92
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. According to Jachimecki, “the ninth variation is an example of salon music of the
highest type. This truly distinguishedTempo di Valse shows how easily Szymanowski
could have acquired renown as a composer of clever piano pieces” (Musical Quarterly 8,
Oct. 1922,25). Besides the mazurka in Variation HI, Szymanowski uses another popular
dance form, the waltz, for this variation. Its charming melody and graceful character
make this variation a special one in this set.
For the first time, the composer changes the key from B flat minor to B flat major.
The theme, redesigned in a different rhythm, is in the inner voice played by the left hand.
The right hand represents a new melody, which is reminiscent of violin writing.
Performance Challenges and Solutions:
The main challenges of this variation are to express and interpret the graceful
salon character of the waltz, and to coordinate the main theme and the melody in the right
hand. The theme, always accented, is played by the left hand in waltz meter and is, most
o f the time, the top note o f the rolled chord on each downbeat o f the bar. Make sure to
give enough weight to make the theme stand out. The blocked chords on the third beat of
the measure require a light touch. Let the fingertips play lightly and allow the natural
rebound to assist the hand to move and prepare for the next rolling chord position. The
motion recalls Hofmann’s technique o f finger staccato or rapid repetition touch—“let
them [fingers] make a motion as if you were wiping a spot off the keys with the
fingertips, without the use o f the arm, and rapidly pulling them toward the inner hand
(Piano Questions. 22). Here, the chords are not marked staccato; thus, slower ‘wiping’
and ‘pulling’ motions are preferred. 93
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. In order to play this variation well, the pianist must understand the rhythmic
complexities. The melody in the left hand gives the impression of an augmentation of the
theme. Each of the two voices reaches its peak independently of the other and at a
different time. The fork< ~~~- in measures 1 and 2 seems to indicate that the emotional
high point in the right hand is in measure 3, while, in the left hand, the fork in
measure 4 and the fork ■'"'''^in measures 5 and 6 indicate that the high point of the
theme is in measure 5 (Figure 3.26). The rhythm is further complicated by the right-hand
melody in measures 4 to 8, which is grouped in a series of slurs from the third beat to the
second beat of the next measure. These sequential groupings are in conflict with the
waltz rhythm. But all of these rhythmic complexities make this variation unique.
v«.ix Maggiore Tempo di.
PP Ut, tia
rll. Mn.
Figure 3.26: Rhythmic complexities, Variation EX, mm. 1-8
94
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. For the left hand rolling chords, I suggest rolling the chords before the beat. In
this case the theme will be clear and rhythmically correct. This technique is similar to
that used in the left hand passage o f Variation IV (see page 73). One should use one
motion for each rolling chord with the assistance of a flexible wrist. Here, the individual
tone quality of the cello or hom from the thumb is needed (Neuhaus 97). Make sure to
treat the accents melodically, with a gentle and relatively slow touch, in order to fulfill
the character of this variation.
To coordinate the rhythmic complexities, one must listen carefully to the
sustained theme in a regular waltz rhythm, and at the same time, express the right hand
melody with freedom and sentimentality. The composer’s directions in the right hand
passages help to convey the character. For example, the staccato markings on the
repeated G in measure 2 help to create a graceful lightness, and the followingtenuto
syncopated F in measure 3 somehow creates a conflict with the preceding measure. A
similar effect occurs in measure 11. This time the ornamental flourish takes us to the sky,
but suddenly drops us to the ground! These kinds of writing are very amusing and have a
popular flavor.
95
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Var.IX Maggiore Tempo di valse. Grazioao
\ »«n. --- - r-r.-f r rffff11 fflp ercsc. % i h |3 %“ 5 < ,5 1 f f V r j =f . ■ r j --4—1 E .1 1 1
Figure 3.27: Variation IX, mm. 1-12
When playing the flourishes in measures 11 and 23,1 suggest starting them before
the beat (see Figure 3.27, m. 11). This helps to maintain the rhythm and flow of the
theme in the left hand. For precision, one should keep the elbow in a passive position
without moving it to the right as the hand moves towards the high register. For stability,
one can hold the second F, while playing the last F one octave higher. By doing this, a
lovely tone quality can be produced, the balance of the arm and hand can be kept, and the
last note will not be missed.
There are some alternating single-note and double-note patterns in the right hand,
for example, in measures 13 to 15. These passages recall the triplets in the right hand in
Variation I (see page 54, Figure 3.3). One must have good fingering in order to move
smoothly and to play beautifully. See Figure 3.29 for fingering suggestions.
96
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. From measure 17 to measure 24, a new melody appears in the inner voice, divided
between the hands. One can use the left hand thumb to play some of the accented
melodic notes written for the right hand. In this way, the right hand can be given the
freedom to express its elaborate melody without moving back and forth between voices.
Also, it is easier to maintain the same tone quality of the inner voice. Fingering
suggestions are given below (Figure 3.28).
Figure 3.28: Fingering suggestions, Variation EX, mm. 13-23
The keynotes in most of these measures fall on the beats. Thus, I have chosen fingers
that will provide stability in these places. The fingerings for the notes before the
keynotes lead comfortably to these points.
97
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. In measures 19 and 21, the right hand has double notes (see Figure 3.28 for
fingering suggestions). An effective way to practice is to play them detached, in order to
find good balance and hand position for each eighth note. Make sure the hand stays close
to the keys with the weight centered on each position. Let the elbow be passive and hang
freely.
There are several resolution notes and interesting lines that one should pay
attention to and bring out: for example, the left hand line in measures 8 and 9 (Figure
3.27); the beauty of the melodic line in the right hand from measure 13 to measure 16
(Figure 3.28); and the resolutions of the melody in measures 15 and 23 (Figure 3.28).
These melodic materials and resolutions highlight special moments and give the musical
direction.
98
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation X Andantino dolce
VtT.X Andantino dolce
(nolio U g tto
< r ~ i z ril.
PP
ril.
PP
Figure 3.29: Variation X
Like Beethoven and Schubert before him, Szymanowski uses the key relationship
of the third to express special moments. From the amusing, almost cafe-like Variation EX
in B flat major, he goes to the quiet, delicate Variation X in G flat major. The contrast is
very great.
99
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Performance Challenges and Solutions:
This variation has a three-voice texture: the soprano voice has the main melody,
there is an important descending four eighth note pattern throughout; and the long notes
of the bass are pedal tones. Clarity of the voices and smooth cross rhythms—two against
three—are challenges. The melody should lead the variation. In the two against three
measures, the triplets should lead and with a smooth and even line, the duplets should fit
into the pattern. The melody is written in the register that the piano sounds clear and
crystalline. Firm fingertips assure a beautiful quality. The dynamic level is quiet
throughout, ranging from pp to mp only. One should be very sensitive to each dynamic
change to express the musical sensibility.
The natural flow leads the beauty of the music. Make sure not to take extra time
on the long notes or to make a ritardando into them. This stops the flow o f the music,
changing it into two-bar rather than four-bar phrases. As in Variation V, the crescendo
and decrescendo marks confirm this (see page 77). The bass half notes serve as pedal
tones and need to be sustained.
100
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation XI Andantino dolce affettuoso
V«rJU Andantino dolce affettuoso
dolce
Figure 3.30: Variation XI (Continued)
101
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 3.30: Continued
The ending G flat major chord from the previous variation leads back to the B flat
major of Variation XI in a refreshing and dramatic way. This variation is sentimental and
dolce affettuoso, just as the title suggests. It has a complex rhythmic design throughout
with alternating 3/4 and 6/8 meters. This mixture creates several hemiola effects in the
first sixteen measures. The left hand has a perpetual eighth-note passage in a syncopated
rhythm. Without changing the tempo, the continuous eighth notes lead to a meter
change—2/4~in measure 17, the beginning of the second section. The third section, from
measure 27 to the end, begins with the first phrase of the theme, presented in a three-part
102
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. canon with the thematic material. All of these intriguing rhythmic and polyphonic ideas
enrich the texture of this beautiful variation.
Performance Challenges and Solutions:
The main challenges of this variation are how to maintain the flow of the melody;
how to play the left hand smoothly with the constant two-note slurs; and how to play
clearly in the polyphony. The right hand plays the melody in octaves in quarter notes and
dotted quarter notes. Achieving a beautiful and resonant sound requires use of arm
weight in a slow and gentle touch into the keys. The technique recalls the octave and
chord playing in the Theme (see pages 50-2) and also, Sandor’s ‘free fall’ into the keys.
After playing each octave, lift the hand slightly until the fingers lose contact with the
keys for both release and preparation. The joints of the wrist and fingers should be
elastic in order to cushion the tone (Sandor 42-3). The left hand has constantly changing
positions. When placing the hand for each two-note slur, one can shift the balance to the
right side of the hand, letting the weight concentrate on the thumb. This will help in
sustaining the top descending line, finding the double-note positions, and preventing
uneven playing. The second note of the two-note slur should be played with ease,
playing it during the lifting motion of the hand. There are several widely-spaced
intervals which many pianists cannot reach, for example, the G, Bb in measure 2, left
hand. One can play the bass G as a sixteenth note before the beat in order to sustain the
tenor descending line. Be sure to catch the G in the pedal. When shaping the phrases
according to the composer’s markings, one should not only play the right hand
103
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. beautifully, but also pay special attention to the descending tenor line and the octave
pedal tones in the bass. All o f these elements together form the beauty of the music.
The complicated three-part imitative section deserves attention. First, one has to
play each voice clearly. The voices enter instretto. The first voice appears in octaves,
but separates in measures 29 and 30. The second entrance is in measure 28, while the
third voice enters in measure 29. One should practice each voice alone; then practice
these in different combinations before one plays them together. The clear entrance of
each voice is the key in presenting this canonic writing.
I 5
First voice)iceJ~| u Second voice:ice: 0 Third voice: ^
Figure 3.31:Canon voices, Variation XI, mm. 27-32
104
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Variation XII Allegro con fuoco
VarJUI Allegro eon fuoco
m m
■ rrv i
H d
Figure 3.32: Variation XII (Continued)
105
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 3.32: Continued
(Continued)
106
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 3.32: Continued
107
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The final variation in B flat major, is the climax o f this set. Its energetic, vigorous
and perpetual toccata character is a great contrast with the previous variations, and
elevates the excitement of the drama. It is a triumphant ending. The driving sixteenth
notes~in mainly double-note and increasingly dense vertical sonorities—and the
exploration of a wide range of the keyboard make the final variation the most technically
demanding one. It is the longest variation and includes three sections and a coda. The
beginning measure through measure 16 is the first section. Szymanowski retains the
harmonic structure of the theme without presenting the melody. The second section
begins in measure 17 and continues to measure 38. A slightly altered version of the
theme is introduced, first by the left hand and then by the right hand. Beginning in
measure 27, there is a series of sequences which create a growing intensity to a forceful
statement of the theme in measure 39. Here Szymanowski begins the third section
marked jff, with massive chords in both hands. The entire variation prepares for this final
dramatic statement of the theme. An exultant journey reaches its climax and conclusion.
Performance Challenges and Solutions:
Simply by looking at the pages, one knows that this variation is technically very
difficult. The main challenge is the perpetual movement in sixteenth-note, double-note
patterns, and increasingly dense chords throughout. Wide leaps and endurance in this
forceful, fast and long variation are also critical issues. The right hand has double notes
ranging from a second to an octave, while the left hand passage has octaves and chords.
In measure 1, Szymanowski tells us to playnon legato. Even so, at first one can
practice with two-note slurs, using the first notes of the slurs as keynotes. This prevents 108
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. four distinct motions in each measure. Make sure that the melodic top notes of the right
hand are clear. The thumb should be played lightly because it is repeated. With too
much weight, the thumb will be heavy and will not move fast enough.
The next step is to use the first note of each beat—the first note o f each group of
four sixteenth notes—as the keynotes. It is helpful if one still thinks of two-note slurs
without actually connecting them. Two up and down motions are still recommended.
Sandor agrees, and he mentions that in rapid double-note passages, the up-down motion
of the forearm and the wrist is useful (152). He points out that “in fast tempo this up-
down motion is transformed into a forward-back movement of the upper arm” (153).
However, this ‘forward-back movement of the upper arm’ will still manipulate the up-
down motion. Sandor uses Schumann’s Toccata, op. 7 as one of his examples to show
the double-note technique. The following is his illustration (Figure 3.33). The arrow
down means a low wrist; the arrow up means a high wrist.
109
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Example 95. Schumann, Toccata, opus 7
t - J . i f ****** I * *
t ‘ ' ■ f-f t fcbfeT ££-M 'C£bT"b£=3^ e s g
i-d.J d.J.d g t u c J i S - =smU
^ p r 3 ^ fit - r h t= jn jrpi i '( r *?
Figure 33: Schumann, Toccata, op. 7, mm. 1-5, from Sandor’s On Piano Playing, p. 152
As one plays faster, the motions minimize. Emphasizing the first chord of the
beat also brings out the important harmonic changes, especially in the first eight
measures. One should let the arm weight be propelled quickly and deeply into the first
double-note, and play the other three lighter, with the energy from the rebound. This
economic use of energy is an important concern in this restless passage; it also helps to
shape the outline of the phrase. Make sure that the motions continue without stopping,
always moving and preparing for the next position. The hand and fingers should be
shaped but not tense. The elbow should be passive, hanging freely to let the weight go
easily to the fingertips.
110
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. From measure 9 to measure 16, the difficulty increases. The simple up and down
motions just described are insufficient. The concept of physical grouping-finding the
keynote, or, Sandor’s ‘technical grouping’ (see page 57), and Bernstein’s ‘being
grounded’ (see page 57)—is useful for this passage. Often, in the fast and difficult
passages, pianists have a tendency to withdraw the weight from the fingers and hands,
and gradually lose contact with the keys. The direct line of weight is destroyed by the
tension of the elbow, arm or shoulder. Finding the keynotes to restart the motion can
secure the hand, control the energy and free the non-playing fingers (Bernstein 156). The
following example shows the physical groupings of this passage. The slur markings
stand for groupings, not for legato playing. The first note of the slur is the keynote for
the motion. In addition, the fingerings of this double-note passage are also provided.
Pianists should also experiment with different groupings and fingerings to find the most
effective and comfortable ones for them (Figure 3.34).
I ll
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 3.34: Physical groupings, fingering suggestions, Variation XII, mm. 9-15
There are several fingering principles behind the fingerings given in this passage. Since
Szymanowski asks for a non-legato touch, it is not necessary to have a legato fingering.
These fingerings allow the hand to be balanced well over each note. In addition, all of
the notes of each group are basically in the same position on the keys, providing stability.
The fingerings in each group allow the hand to travel easily to the next group and to
focus the weight in the right hand on the melodic notes.
The fast left hand octaves throughout the variation are technically difficult. These
technical principles for playing these octaves are the same as those discussed in Variation
IV for the right hand octaves (see pages 71-2). The only difference is that the octaves
here are not written in light staccato. The octave technique is a combination of an up-
and-down motion and rotation of the forearm. Since the passage requires speed, all
112
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. motions should be minimized. Use arm weight, and quickly propel the weight into the
keys. Coordinate the physical groupings with those in the right hand in measures 9 to 15.
Bernstein suggests that ‘upper arm roll’ can improve the ability to play the rapid octaves
(see page 72).
From measure 17, where the second section starts, the theme is played by the left
hand in eighth notes, while the right hand continues the sixteenth note, double-note
pattern. Make sure the right hand does not overpower the theme. The two repeated
octaves following the melody in the left hand need to be played lightly. For accuracy,
keep the body centered and balanced, and use the elbow as a pivot, close to the body.
The theme switches to the right hand in accented quarter and eighth notes from measure
21 to measure 26 (Figure 3.35). The right hand passage is difficult because it must
continue sixteenth notes and, at the same time, play the theme in octaves.
113
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 3.35: Variation XU, ram. 21-6
Release the octaves immediately after playing them, even though they are notated
as longer notes; the pedal will sustain the quarter notes. By releasing the octaves, the
hand has a chance to go back to a ready hand position from the stretch. Use each octave
as a keynote, and play the sixteenth notes lightly. Be sure to keep the weight in the keys.
Beginning in measure 21, another difficulty is the wide leaps in the left hand. First, try to
keep the body balanced. Group the first three sixteenth notes with rotation. The hand
needs to maintain its shape in order to control these notes. Then, let the hand lead the
arm in a natural curve, as Neuhaus suggests (see page 59), to the bass notes, letting the 114
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. elbow serve as a pivot. Even though the octaves are accented in measures 23 to 25, try
not to overplay. In fact, the quick motion to the octaves will produce the accents. This
recalls Sandor’s ‘thrust’ motion. The bounce from the fast touch can assist the hand to
move back to the middle register.
It is interesting how Szymanowski increases the musical tension from measure 27
to measure 33. After two two-bar lyrical sequences, he builds the excitement through
chromatic ascending downbeats (m. 31). The challenge of this passage is to build the
intensity and, at the same time prevent fatigue by focusing the energy on the keynotes,
rather than playing loudly throughout. As the keynotes of the right hand ascend, those of
the left hand are chromatic descending octaves (Figure 3.36).
115
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 3.36: Keynotes, Variation XII, mm 26-33
In measure 34, Szymanowski gives us a hint of the theme to prepare for the return
in measure 39. Do not overplay the right hand, but make the first sixteenth note of the
measure the keynote. Be careful to preserve some strength in this passage since it
crescendos only toff.
The theme is gloriously stated by both hands in full chords from measure 39. The
right hand continues to play sixteenth notes, while the left hand has eighth-note octaves,
which serve as the pedal point. The difficulty for the right hand is to play the
combination of the full chords and double notes. One has to release quickly after playing 116
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. a full chord so that the hand can be free from the stretch. Both hands use the same energy
on the full chords at the same time, producing a big, rich sound from the piano.
Concentrate the arm weight and energy on these accented full chords and play the other
notes in the measure lighter, using motion from the hand only. In this way, one is using
the right resources for the texture and the melody, preventing exhaustion in the hands and
arms.
In measures 45 to 47, three measures before the coda, one encounters difficulty
from wide leaps in both hands (Figure 3.37). The accented harmonic changes, the first
sixteenth note of each beat, lead to the coda in measure 48.
ril.
>
Figure 3.37: Variation XII, mm. 45-7
Usually, when both hands have wide leaps in the same direction, it is difficult to
keep the balance of the body and to play accurately. It is helpful if the hands do not
117
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. move at the same time; one hand precedes the other to the new position. For example, in
measure 45 (Figure 3.37), the left hand can jump first to the bottom F, and the right hand
follows. Then, the right hand can lead back to the second beat, and the left hand follows.
In this case, one has a better chance of maintaining the body balance, and also can earn a
small amount of time to look at the position of each hand. In fast speed, the time
difference is minimal. However, the decision of which hand should lead depends on the
pianist’s preference and comfort level. The concept of touching the keys before playing
is especially important here. In addition, make sure not to accent the second half of the
beat. A small rotary motion can be applied to this two-note slur pattern; let the motion
bring the right hand thumb and the left hand fifth finger to the position with a light touch.
The coda starts in measure 48. The left hand has accented octaves and chords in
eighth notes, while the right hand continues the sixteenth notes (Figure 3.38).
Figure 3.38: Variation XII, mm. 48-52
118
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The first and fourth sixteenths o f the right hand, written in chords, form a descending
melodic line and need to be brought out. In order to feel comfortable with this passage,
the right hand should keep its shape; a loose hand cannot execute this passage. Arm
weight should be applied mainly to every first chord of the beat, and less should be given
to the fourth sixteenth chord. Release the stretch after the chords and play the second and
third single notes lighter with a hand motion only. It helps to feel that one is playing a
dotted eighth-note and a sixteenth note, in order to divide the weight and energy.
When reaching the climax in measure 59, Szymanowski indicates Meno mosso,
M aestoso. The grandeur of this ending is enhanced by this tempo and mood change, and
allows the pianist to play a powerful and rich sound, to match the tone quality to the
character o f this passage.
In summary, Szymanowski builds the intensity and increases the dynamics from
section to section in this final variation. The most effective way to play this triumphant
variation is to reserve the musical intensity and strength for the right moments. The
pianist must always be sensitive to the dynamic changes, allowing room to decrease or
increase the intensity. Economy o f motion, physical groupings, and a sense of melodic
outline are some of the requirements to play this variation well and to reflect the
restlessness, brilliance and the rich texture of the finale of this set of variations.
119
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CONCLUSION
Szymanowski ranks as the most important Polish composer of the first half of the
twentieth century. Although there were many musical influences in his works, he always
expressed himself in his own individual voice. The influences from the composers he
admired served only to stimulate his imagination and creativity. His music is
characterized by “a particular lyricism, spontaneity of expression together with a
refinement of musical means, and a strong emotionalism, never excessive, however, or
overstepping the bounds of his own elegant expression” (Chylinska, Szymanowski 32).
The piano compositions show the blossoming of his creativity and expression. Compared
to the music from Szymanowski’s middle and late periods, the piano works from the first
period (1899-1914), with influences of Chopin, early Scriabin, Brahms, Schumann, Liszt,
Reger and Wagner, are relatively unknown. However, these works represent the first
phase of the evolution of his craftsmanship and lay the foundation for his growth and
creativity. Even in his early piano works, Szymanowski displayed the extent of his talent
in terms of technique, sensibility, color, balance, lyricism, and virtuosity. These early
works deserve our special attention and enthusiasm.
Written during Szymanowski’s student years in Warsaw, the Variations in B flat
minor, Op. 3 (1901-1903) demonstrates some important stylistic characteristics of the
120
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. composer’s early piano music. Inherited from the style of late nineteenth century
romanticism, Op. 3 displays the composer’s lyricism and emotional intensity: his
expressive way of handling chromaticism, his treatment of texture with the integration of
melody and accompaniment, the design of complex rhythmic and metric ambiguity, the
spontaneous and improvisatory quality, the sequential build-up towards a climax, as well
as his detailed performance directions denoting freedom and sensitivity in rubato playing.
In this set of variations, he also displays a variety of pianistic writing and most of the
musical and technical requirements in his early piano works. The combination of all of
these elements in Op.3 creates music of great beauty.
Each variation in Op. 3 has a different character and both musical and technical
challenges. These challenges offer a vehicle for discussions of issues of piano technique.
Throughout the process o f preparing the analysis, I have had an opportunity to examine
the art of piano technique in great detail. This is a study of endless searching and
refinement of musical expression, interpretation and physical comfort. This is a search
for the elements that lead to an artistic performance. The purpose of the discussion of the
practical application of technique, such as hand position, motions, avoiding tension,
weight playing, pedaling and fingering, is to serve art. In Neuhaus’ words, “any
improvement of technique is an improvement of art itself’ (2). The analysis of
performance challenges and solutions of Szymanowski’s Variations Op. 3 is based on
this belief.
121
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BIBLIOGRAPHY
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Chyliriska, Teresa. Karol Szymanowski: His Life and Works. Los Angeles: U of Southern California, 1993.
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Nelson, Robert. The Technique of Variation. London: Cambridge UP, 1949.
Neuhaus, Heinrich. The Art of Piano Playing. London: Barrie & Jenkins Ltd, 1978.
Newman, William S. The Pianist’s Problems. New York: Da Capo Press, 1984.
Palmer, Christopher. Szymanowski. London: BBC, 1983.
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