Creative phrasing or reading between the lines

We are taught as piano students to have respect and reverence for what the composer notates in his score as pertains to tempo, dynamics and other embedded forms of expression. (i.e. directives such as poco rit., calando, note slurred legato and non-legato, etc.) Yet, these are only framings that give life to expression only when the imagination is enlisted, and the player delves into what is not spelled out on the printed page.

In Tchaikovsky’s “Old French Song” from the composer’s Op. 39 Children’s Pieces, the duality of p (soft) and MF (medium loud), if taken literally, will produce two flat sets of dynamics and not much more. Yet by having the benefit of Tchaikovsky’s denoted suggestion to play “with feeling,” the player can launch a learning journey that includes a “reading between the lines” examination.

The opening theme, in pervasive repetition through the A section, resuming again after a B section interlude, requires internal “color” changes even within its opening phrase. The recurrent five-note scale-wise ascent can use a swell to destination “D” (on the downbeat) but the note which follows, the same “D” should not sound the same. Tchaikovsky does not instruct us to vary side-by-side, same pitch notes, but the very “musical” nature of a variation in tone, can amplify the expressive dimension of the phrase. By using a vocal model, “singing” the opening two measures, the breath itself will dip after the long held dotted quarter D, (which needs a fully fueled production of air). Singing as a model feeds the very expressive nature of the tableau.

Paying attention to the breath as it bonds to well spun out lines, gives the player a deeper understanding of how to produce contoured phrases. But not to be overlooked, is the physical dimension of playing that intertwines with an internalized sense of what the pianist wants to hear.

On the repeated D’s in measure 2, I tend to use a supple wrist, using less arm weight transfer to beautify the second D. I also roll my wrist through C D E flat C that follows to produce a “wave-like” shape. And each time the theme returns, I alter my arm weight down through supple wrists into my fingers so dynamic sameness is not an option. (Basically, there’s no formula in the unfolding of a redundant theme, but eliminating the possibility of churning out life-less repetitions is a conscious decision.)

The middle B section starting at measure 18 has an alliance to strings plucking through the bass, or as I term it, “pizzicato.” The character of the piece therefore changes, and the player notices a shift in “orchestration.” (Pianists need to think beyond their own instrument in poring through what’s on the page giving an additional context to the work.)

Discovering how the staccato bass notes are moving through broken chords sub-dominant, tonic, sub-dominant, Dominant provides direction to where the peak of the piece resides. With certainty, the detached notes spill into the tonic in Measure 22, continuing with intensity through the first half (approx.) of measure 25 with its Dominant harmony before the tranquil return of the opening theme.

At the theme’s recapitulation, I use a veiled effect as I also draw on this particular nuance through parts of theme re-statements in the opening A section. (I accomplish this effect by floating lightweight arms in lateral movement.)

Here again, reading between the lines, being creative and physically attuned; having a “singing” model as an intrinsic ingredient of expressive music-making all add to the composer’s markings, and the historical period of composition.

P.S. I re-recorded my opening play-through of the Tchaikovsky “Old French Song” because of my changed perception of overall tempo. This rendition is followed by my tutorial.

from Arioso7's Blog (Shirley Kirsten)
https://arioso7.wordpress.com/2018/12/30/creative-phrasing-or-reading-between-the-lines/