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How To Play Well Known Piano Solos - June (Barcarolle), Op. 37, No. 6 by Tchaikovsky by Chris Carlin
Without reverting to the threadbare device of sextuple measure, the composer has here furnished a barcarolle of the highest type. It is not a mere suggestion of the motion of a gondola on a shimmering, moonlit canal, but there is also a longer swell, in the rising and falling phrases, which suggests motion of the water of a large body over which the boat glides.
Begin by study of the first four measures of the accompaniment, for their rhythm. As indicated, the first note is p. Then the next is slurred to the half note chord. Take this first of the slurred notes, not with a sharp accent, but with a firm grasp of the finger, which will make it ring full, with a bell tone, without upsetting the rhythm. Then drop the fingers lightly on the half note chord, subduing it. A rocking motion is thus established, even before your melody is begun; and this rhythm is characteristic of the accompaniment, most of the time.
There is little in the first theme that needs especial mention. It should "sing" clearly. The slurs should be carefully "phrased out." Let the first note of each one be clear and firm. Observe the swell indicated in the first one. Let it increase and diminish gradually and the last note be soft, as it is marked. Then use this as a model for the others. Even in the short Motives Of 4, 5, and 6, this effect should be preserved, and in the left hand "imitations" as well as in the upper part. Be careful of the first right hand chord of 5. Its upper tone completes the motive begun in the previous measure, while the two lower notes are only a part of the accompaniment. On the fourth beat of 7, 8, and 9, the melody tone comes at the top of an arpeggio chord. Great care is here necessary in order that this tone may be of the same quality as the others of the melodic phrase; also, it must be played with the fourth finger in order that the legato with the preceding and following notes may be well done. In 11 the leading of parts should be carefully studied (four voices here); and, in 13 and 17, observe the lines over the ascending melody notes, indicating that each one should be measured out in time and tone. Make slight retards in 11, 21, with first part of 22, and in 31.
At 32, Poco piu mosso, the theme becomes a duet with Italian grace of melody. The syncopated accompaniment must remain subordinate; but carefully work up the crescendo. At 40 the boating party break out into a rollicking chorus, Allegro giocoso. Enter into it with enthusiasm, bringing out well the chords with the accent marks above them. Measures 50 and 51 form a cadenza of arpeggio diminished-seventh chords built on C-sharp. This will require special attention that each tone of the chords may be heard clearly from a crisp touch of the finger, not a blurring side movement of the hand. Take the first chord, play it slowly from the lowest bass to the highest treble note, one moderato count to each note, and playing each one with a sharp stroke of the well-lifted finger, with strength from the finger muscles. Gradually increase the speed, watching constantly for clearness, till the chord can be done by a rapid sweep of the fingers, as the harpist plucks the crisp, clear chords from his instrument. The effect obtained is worth the trouble. Also, the time of these two measures requires careful attention.
Take the brief recitative phrase of the bass, at 52, very deliberately, to prepare the return of the First Theme, which occurs at the end of 53. The accompaniment is now more elaborate than at first, and the interesting "obbligato" phrases, in the tenor, should not be lost to the car. The descending, syncopated phrase, beginning in 83, will need care that the melody tones may be sustained by the thumb, while the higher accompanying chords, which come on the beat, are kept quite subdued. From 83 there should be a gradual diminuendo to the pp in 91. The final three measures of arpeggio chords should ripple off the tips of the fingers - a suggestion of the shimmering moonlight on the water, as the bark floats with silent oars. This ending is very "Tschaikovskian."
The pedalling is well marked and should have careful study. A certain amount of elasticity of tempo is permissible, especially in those long ascending phrases of the first theme which may be slightly hurried, and the short phrases, which follow, sufficiently retarded to "strike a balance." The words and signs of expression are so generously supplied as to be of great help. Do not fail to observe them, a weakness to which young players are inclined. They help to give soul to what might be a form of clay.
You have just read how to play 'June (Barcarolle), by Tchaikovsky', but do you have a copy? Go to [http://www.free-piano-sheet-music.net/Scores [http://www.free-piano-sheet-music.net/Scores to download a free copy of ' [http://www.free-piano-sheet-music.net/Scores (Barcarolle), by Tchaikovsky' This article was brought to you by Christopher Carlin, Founder of [http://www.free-piano-sheet-music.net/] Free Piano Sheet Music
About the Author
You have just read how to play 'June (Barcarolle), by Tchaikovsky', but do you have a copy? Go to http://www.free-piano-sheet-music.net/Scores/000075-June.html to download a free copy of 'June (Barcarolle), by Tchaikovsky (http://www.free-piano-sheet-music.net/Scores/000075-June.html)' This article was brought to you by Christopher Carlin, Founder of Free Piano Sheet Music (http://www.free-piano-sheet-music.net/)
Source: 'Well Known Piano Solos - How to Play Them, Charles W. Wilkinson, Theo. Presser Co. 1915'
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