Third section
Lesson time: (6min 6sec)
Julia Zilberquit plays through the reprise third section of Tchaikovsky's October, shaping it pianissimo as it moves into the hushed coda.
Course preview
This lesson is part of the course Perform Tchaikovsky's "The Seasons" - March, April, June, October
Watch a preview of the full course below.
Lesson transcript:
Third Section Overview
Now, let's dive into the third section, which is exactly the same as the first.
Dynamics and Emotion
In this case, I strongly suggest my students to use double piano. It is such a sad and profound recollection.
- I always provide an example:
- Imagine something that happened to the person in the first part.
- As they remember it, it becomes even more sad.
For me, this is a very pianissimo section.
Transition to the Coda
We repeat it exactly, and then we reach the coda starting from measure 50.
- Again, Tchaikovsky instructs us to play it double piano.
- Then, we have a shift to mirando, followed by four pianos.
Four pianos can be quite challenging, as we have never encountered it before. Therefore, I recommend starting with either:
- One piano
- Or perhaps even mezzo piano to give yourself some room to grow dynamically.
Symbolism in Chords
The chords in this section are very symbolic:
- Count them: 1, 2, 3, ... up to 11 chords.
They evoke imagery reminiscent of either a funeral procession or church bells. Just like the sounds following a funeral, it's crucial to be able to execute a diminuendo at the end of this passage.
- Start again at mezzo piano, gradually moving down to piano and then even softer.
- The final recitative, which is truly a mirando, should imitate a gentle dying away of the music, accented more to enhance the intonation.
Pedal Technique
I want to take a moment to discuss the pedal technique, which I didn't cover in the previous pieces, as it's fairly consistent.
- Here, I use a regular pedal, also known as the belated Olay pedal, which comes right after the beat.
For example, I would execute:
- Up, down, up, down, up, down.
When I have a bass line, I try to apply one pedal across everything. However, I ensure clarity for my right hand by sometimes pedaling on the beat:
- Up, down, up, down, up, down, etc.
I always encourage my students to practice the left hand or the accompaniment with the pedal. This practice is particularly beneficial.
Memory Considerations
As we progress to the final stages of learning the piece, I want to address a common concern, especially among my adult students: memory issues.
- Some students prefer not to play from memory, while others do.
Performance Insights
It's perfectly acceptable to have the music on the stand:
- If you wish to look at it, feel free, but make sure you're aware of your place in the score to avoid getting lost.
Be cautious of the delicate dynamic plan; avoid any real fortes.
Connecting to the Music
Many people struggle with expression in pieces that lack a specific program.
Often, they choose to reflect on:
- Personal memories
- Associations with a movie, book, or painting
For me, this music connects deeply with personal experiences, evoking a sense of expressive loneliness, a profound beauty that is hard to describe with words.
Therefore, I always ask my students to consider:
- "What can you think or feel that will help you enter that particular mood?"
This connection is essential for delivering a heartfelt performance of this piece.
About the instructor
Russian-born American pianist Julia Zilberquit has earned critical acclaim as a recitalist, chamber musician and recording artist. She was praised by The New York Times as "an outstanding soloist" after her Carnegie Hall performance of Cesar Franck's symphonic poem Les Djinns for piano and orchestra with Leon Botstein and the American Symphony Orchestra. In 2014, Warner Classics released her CD Bach: Complete Solo Keyboard Concertos. This recording features the premiere of two Bach-Vivaldi Concerti Grossi arranged by Ms. Zilberquit for piano and orchestra, and was hailed as a "gorgeous rendition" by the prestigious Gramophone Magazine. Her arrangement of the Shostakovich Concertino for 2 Pianos, Op. 94 for piano and orchestra was premiered at Carnegie Hall; she has performed it worldwide to critical acclaim and recorded it with Vladimir Spivakov and the Moscow Virtuosi. Other recordings include a solo recording, The Mystery of Bagatelles, released by Naxos. The CD was praised as a "superb performance" by The Washington Post, and described as an "adventurous program, sparkling with unusual clarity and pointillistic luminescence" in London's Piano Magazine. Her recitals have taken place at major concert halls including New York's Weill Recital Hall at Carnegie Hall, the 92nd Street Y, and Alice Tully Hall at Lincoln Center. Engagements at major international music festivals include appearances in Seattle, Colmar (France), Klangbogen (Vienna), Valery Gergiev's "White Nights" (St. Petersburg), Richter's "December Nights" (Moscow), "The Palaces of St. Petersburg," the Bard Music Festival in New York, and the Penderecki Festival (Poland). A native of Moscow, Julia Zilberquit was born into a family of musicians. She graduated from the Moscow Gnessin School of Music and The Juilliard School (class of Bella Davidovich). She lives in New York City with her husband, son and daughter. In this course she draws on that artistry to guide you through four movements of Tchaikovsky's "The Seasons" - March, April, June and October - so you can shape their poetry and colour at the keyboard yourself. read more