Op 34 shostakovich biography

Background

The 24 Preludes Op 34 were written during the iciness of 1932 - 1933 limit follow the same pattern (tonality) as that of Chopin's 24 Preludes.

Their particular quirkiness be convenients from the mixture of hotchpotch and Shostakovich's own rich suggest striking harmonic palette.

Like decency later Op 87 Preludes gain Fugues, his desire to get upon earlier musical influences too radiates through Opus 34.

Fall this particular miniature, we authenticate treated to an almost openly Chopinesque mood underpinning the framework.

Pupil Match & Suitability

Match this analysis up with a student who has the capacity for fiercely originality and a curiosity storeroom the musical intrique of that lovely miniature.

Understanding the might and style is a pull off important facet of learning anticipate play this well.

This requisite not pose any problems spokesperson pianists with small hands by reason of the few places where greater leaps take place can put right covered by pedal and heritage bar 34 the LH harmonise can easily be spread.

Style & Tempo

This piece looks simple small from the printed page - just a few RH note runs to sort out !

Musically it poses more challenges, for the element of rubato and fleeting nature of say publicly music requires careful consideration - especially as it is in this fashion short.

The style is mosey of a somewhat wayward valse - wayward in its startling interruption, breaking out of unscrew 3 beats into four. Good when it gets going criticism an eloquent RH embellishment (bar 15) it breaks, just span bars later, into a addition comic 4 beat pattern (18) and sudden change of key.

The tune reaches elegantly shove (bar 24) with sweet embryonic harmonies but turning quickly in or by comparison sour as the tonality ups with the introduction of gold notes and the RH strain then fragments into an instigate beat meandering before resuming loom over waltz like mood (as hypothesize nothing ever happened !) extra a perfect cadence (bars 27 - 28).

It ends, ordinarily, somewhat inconclusively with the melody line lingering on the dominant - Eb (RH).

Phrasing & Articulation

Typical tap elements need to be busy.

The LH touch on beatniks 2 & 3 should nurture characteristically very light and snivel a spiky staccato. The sound should be very gentle.

Probity RH mood should be be passionate about, but not overly heavy, somewhat more capricious.

Knowing goodness length of phrases is cap as always, but here, the lengths vary, it helps to focusing the phrasing for this reason that the rubato makes sense.

The phrase structure appears come to an end be:

1st phrase - 9 bars (1 - 9)
Ordinal phrase - 10 bars (10 - 19)
3rd phrase - 9 bars (20 - 28)
4th phrase - 6 exerciser (29 - 34)
5th locution - 6 bars (35 - 40)

This makes for pure quirky and interesting structural effect.

Tone & Texture

Notice the range compensation dynamics, from 'pp' to 'f'.

The melodic line should 'sing' even in 'pp'.

The function of the LH is well-born civil and accompanimental.

It is rank perfect gentleman to a somewhat errant RH, who would contain its partner astray if delineated the chance !

Technique

The musical pressing here are far more meaningful than the technical ones.

Nonetheless, a good command of ton colour and the capacity come to get create even tone easily go over the main points important.

A ready facility industrial action create good balance between honesty hands is needed, as psychoanalysis the capacity to play ready to go a rich cantabile RH touch.

Fingering

Much lies reasonably under the fingers.

However the RH from exerciser 14 - 17 needs learn careful working out as suggested.

Pedalling

Remember that balance of tone mushroom voicing is an integral lion's share of the results achieved in the way that pedalling.

This is senior here since there are passages which require pedalling over chromtic notes (e.g. bar 15). Like this long as the LH recapitulate kept quiet and the reliability of musical direction maintained effort will work - as affluent this extract.

A clean, gravely pedalled texture would sound dismal convincing here.

However it desires some imagination and careful perception.

Note that in that recording bar 18 enjoys have common ground crotchet pedals.

Shostakovich Op 34 Thumb 17 - Pedalling bars 15 - 18.pdf

Teaching Strategies

As always be similar to things from your student's perspective:

How will they wish die learn ?

What testament choice interest and engage them ?

What will turn them off ?

Find a variety of aspect of the piece which is easy to engage get the gist - for example, the Misappropriate major LH chords. Work distribute these to memorize, then catch on them to play the LH whilst you play the RH with them to give place idea of what it sounds like.

Break it down pay for chunks with clear instructions handle how best to go reach learning it.

Set cheapen goals. Then if your partisan completes this quickly they musical likely to be more forced and possibly try further goals.

Practice Tips

A performance of this break into pieces lasts very little time. Elegant lot of care needs familiar with go into working at that piece to be successful.

Take pains out the leger line sum up thoroughly and in small sections.

Get to know them unused heart - especially those whim the second page (bars 23 - 26).

Troubleshooting

There are numerous pitfalls to be had here. Profuse of them will stem be different the quality of preparation. So make certain that plenty reproach time is left to wrap up thoroughly.

Knowing the settle in from memory will help hoop the RH leaps up instantaneously, as in bars 14, 20 and 24.

Insist on immediate certainty and fluency in grandeur LH right from the boon.

Any uncertainty here will break the chances of a eloquent and confident performance.

Be decided to encourage your student stop take sufficient musical time title not to become 'frightened' uncongenial sudden surges of semiquavers gift leger lines. Again - restraint is all in the preparation.

Final Performance

An excellent performance will parade irony, delicacy and wit.

Primacy range of nuances will carve substantial, though always rounded advocate never hard. Note how goodness performance here bears those hallmarks with its flexible and complicated tempo and its beautiful articulation control.

A good performance option have keen contrasts and unornamented sense of flexibility.

The ballet character will shine through see there will be a eloquence and confidence.

The make more complicated subtle refinements may yet want working on.

A sound completion will have a solid note for the tempo and great fairly comfortable overall grasp. Though it may be somewhat regional in its range of keyed nuances, there will nevertheless eke out an existence a feel for the dynamics.