The Digital Baermann

VCS Vol. II No. 15: Andante con moto

Overview

Like no. 14, this study features very frequent breath marks that raise questions about phrasing and flexibility of timing. The breath marks indicate some unusual phrasing patterns. The main research question raised by this study, however, is the meaning of Baermann’s articulation marks, in particular dots under slurs, which occur both throughout a slur and (unusually compared to other composers) individually, on only the first or last note under a slur. The dynamics and accent markings also raise questions, in particular the combination of crescendo and hairpin marks in the same bar, and the use of Fz markings with and without accents, on articulated and un-articulated notes.
Initial play-throughs of this highlighted the extent to which observing Baermann’s breath marks in an energetic movement delineates phrasing, dynamic markings and other features with enhanced clarity. The overall trajectory of the work on this study was the search for a tempo and character that allowed enough space for the dense detail in both parts, as well as the space and contrast between phrases implied by the breathing. The result was a somewhat heavier and more flexible tempo that originally envisaged, together with an increased emphasis on articulation.

[Final recording as score-follow or audio track with image of score]

Player’s guide: key ideas to explore

  • The breath marks in this study show a strongly marked phrase structure at the opening that relates to the dynamic. Try practising the phrases separately to find different characters or ‘voices’ in piano and forte – this might include subtle or not-so-subtle variations of articulation strength, accentuation, tone, and timing as well as dynamic itself.
  • Take care to observe the varied slurring patterns, which shift between slurring across beats and emphasising the principal beats of the melody: for instance, compare the first two bars of letter A, and how the phrasing pattern relates to the dynamic.
  • As the study goes on, the breaths are often placed in counter-intuitive places (such as after the downbeat of 3 bars before C). Tempo flexibility is needed to make fit into the flow of the piece. There may also be places where the breath is more musical than literal.
  • Work closely with the piano in this study to find a shared sense of timing, particularly around phrase onsets and breaths.

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