Tercera sección

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.