BRAHMS, Johannes
Variations and Fugue on a Theme by G.F. Handel for solo piano in B flat major, op. 24
Aria
Variation I. Più vivo
Variation II
Variation III
Variation IV
Variation V
Milana Chernyavska, guest professor
Nicolás Margarit, student
After playing the first variations, the professor comments that she liked many things (such as the idea proposed in each variation, and that the repetitions were played imaginatively), but in general the sound was too heavy, even in the theme, and being more occupied with the technical details, attention is lost in obtaining a good sound quality. More dance elements should also have been integrated.
Returning to the beginning of the Aria, she suggests taking care in the execution of the trills and grace notes, without playing them so fast or diminishing their importance, especially the last ones in each group. The articulation should also be a little shorter so that it does not sound so romantic. She insists on taking care to make a beautiful and elegant sound that is more dance-like, ornaments included, and to execute these without stopping beforehand so as not to lose contact with the keys, which must be maintained. It will help to act as if conducting the music. She comments on articulation and phrasing issues that help to improve the sound and make it more appropriate to the cantabile character. She also suggests practicing only the chords of the left hand to listen to the harmonies that are produced and then play accordingly when incorporating the right hand.
The Variation I is only “poco forte” and the two hands do very different things: the left hand in anacrusis, very dance-like (without great accents, as if playing a pizzicato double bass), and in the right hand syncopations with tension but without being heavy. Chernyavska also makes phrasing and pedal indications here. In the semiquavers before the repetition, one should not rush so much, and in those at the end, one can play with a little more flexibility (without reaching rubato, but breathing a little before).
For Var. II she proposes more legato, not only in the middle voice but also in the upper one. The sound should be freer and for this one should be helped by the gestures and position of the body, not playing with the arms so close, perhaps more romantically. A certain pause that the student makes is a good idea but perhaps it is too long and should not be repeated always the same.
In Var. III there should be more dialogue, the left hand must also “speak” to obtain more polyphony, and the pedal can be placed on each group of two notes (in the repetition one can do it differently, whatever is decided). The character should be more dolce. She continues to show advice on the use of the pedal here, which should go more with the rhythm.
The Var. IV requires more risoluto con sforzato, but suggests making it like an echo in the repetition, less forte. She gives indications on the accentuation of the chords, not pausing too much between them and not making them too heavy, as well as not using the pedal at certain times but at others depending on the harmony (there are several possibilities). It is important to accentuate the two final chords.
The Var. V needs to show a more intimate character. In the semiquavers, do not rush either, play calmly and cantabile. Like the waves, at the beginning there should be more distance between oneself and the music and then get closer. She also points out which voices should be heard more.
Language: English
