Music Lesson: Exploring Tchaikovsky's Work

Lullaby Feel and Wave Motion

The first middle section, or subsection, really reminds me of a lullaby. Of course, there's a whole swaying of the waves or rocking of the boat.

Key Points to Remember

• The chords are not playing at the same time; they're taking turns.
• It's very important that the hands are relaxed:
  • Play with a relaxed ring wrist.
  • Maintain quite a heavy wrist.

Focus on Melody

• Follow the upper voice, the melody in the thirds, to create a beautiful legato.
• It evokes a somewhat peaceful feeling, but that rocking hints at something's going to happen.

Syncopation and Anticipation

The second part of that subsection has beautiful syncopation in the left hand, anticipating what will happen next. Once you've conquered that little subsection, there is an allegro giocoso section, or as we like to call it, the dance.

Characteristics of Allegro Giocoso

• The allegro giocoso is fun, very light, and full of joy.
• This section was marked by Jorgensen, the first editor, but Tchaikovsky didn't mind it because it has a different character. It portrays a Russian dance.

Performance Suggestion

In measure 40, we have a forte on the first beat that can sound quite harsh.

• I suggest playing it in piano or mezzo piano, and starting forte from the upbeat to G.

Intonation and Thematic Elements

Tchaikovsky's choice of intonation here reminds me of a preview of coming attractions of September, which is the hunt. We all know that famous hunting sound.

• It's a dance, it's summer; and what's very important here is:
  • Besides learning the separate hands, focus on the top melody.
  • Allegro giocoso can be played a little faster or slower, but maintaining the character is vital.

The Dance of Celebration

Of the four pieces we're doing, this is undoubtedly the most fun part, full of lightness. It reminds me of a Russian dance and the feeling of celebration, after all, it's summer, filled with summer pagan traditions.

Building Expectations

In measure 47, starting from the second beat, it's nice to do a crescendo:

• Start with a subito piano and build up the expectation to a beautiful Cadenza.
• Go piano, piano, but ensure the top voice is heard with a very gradual crescendo.

Some people even incorporate a tiny accelerando, but it should be subtle, almost an illusion of accelerando.

The Harp Cadenza

Now, the famous cadenza is such a harp cadenza. Tchaikovsky, being a wise person, knows that many students want to rush here, but we need to start like we're actually moving into a chie rondo while performing the Ricci nutto he wrote out:

• It starts with eighth notes and finishes with quarters.

Fermata and Transition

There is a long Fermata, a long wait.

• We all know that Tchaikovsky loved the harp; every ballet features a harp solo.

Solo Dialogues and Dialogue Practice

Following the cadenza, we wait, and there's a famous cello section, a recitative. Tchaikovsky loved his solos in ballets which feature famous violin and cello solos.

• For example, his second Piano Concerto, although not as well known as the first, includes a second movement that resembles a trio for piano, solo violin, and solo cello, usually performed by the concertmasters.

Important Practice Notes

Once we do that very important Ricci nutto, we wait and then enter the third section:

• There will be an added left hand part.
• It's crucial to practice the dialogue here.

Practice Recommendations

• Focus on practicing the melody right and left together.
• Be mindful of the modulations in the next phrase.

Watch for measures 58 and 59: the left hand has this texture, and at the same place in measures 79 and 80, note that an extra note is added in the left hand.

• The dynamic plan will still be very similar to the first part.