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Tchaikovsky: Romance in F-minor (Opus 5) [Godowsky Study-Edition]

'ROMANCE IN F-MINOR' (Opus 5) by Leopold Godowsky Peter Iljitch Tschaikowsky, (Born at Kamsko-Votkinsk, Russia, May 7, 1840 Died at Petrograd, Russia, November 6, 1893) Form/Structure: In Three-Part Song-Form, with a Coda. Key, F minor. Part I; mm. 1-32. The Main Theme (m. 2-5) consists of a Period of four measures, extended to six measures by a tonic pedal point (m. 5-7). There next follows a four-measure Period in the key of Ab (m. 8-11), repeated in meas. 12-15, but with a modulation (m. 15) leading back to F minor. Then a repetition of the first Period (mm. 16-19). This is followed by a 9-measures (mm. 20-28) which is extended to 13-measures in very much the same manner as was the first Period in mm. 5-7. An Introductory passage leads to Part II; (mm. 36-63). This is an Intermezzo-like movement in the key of Db, martial in character (in direct contrast to the sentiment expressed in Part I). It consists of a four-measure Period (mm. 36-39) repeated, in octaves, in mm. 40-43; and another four-measure Period (mm. 44-47) also repeated (mm. 48-51). A modulatory passage (mm. 52-58) founded upon the material just presented, and ending with a short declamatory passage (mm. 58-63), leads to Part III; mm. 64-91. This is a repetition of Part 1, with the addition of embellishments. The Coda (from mm. 91) is reminiscent of the martial motives of Part II (mm. 91-101), but ends with a cadence (mm. 103-106) in keeping with the sentiment of the 1st Part of the Composition. Method of Study: The notes forming the "figure" of the accompaniment in meas. I (both hands) may be taken as a model for the accompaniment throughout the first Part. All through this Part the accompaniment should be made to sound legato, and each group of slurred notes should define a chord just as effectively as the groups in the first measure. This is done, of course, with the aid of the pedal, and the student has the choice of two fingerings-a repetition of the thumb, or of the fifth finger. Special attention should be given to the fingering of the right-hand part of mm. 8 and 15. Interpretation: The opening measure should be subdued, and the melody interpreted with tenderness. There should be rhythmic elasticity, but without those extremes in tempo which are apt to degenerate into sentimentality. The notes printed in small type (mm. 2. 4. 5. 6. etc.) are not merely decorative; they are essentially melodic, and consequently must not be played in a hurried manner. The augmented second, E-Db, in the treble of meas. 5-6 suggests an Asiatic, rather than a European, origin. The frequent repetition of this interval throughout the Composition lends a certain melancholy plaintiveness to the melody. The small notes in mm. 16-18 are to be played in a leisurely manner, as though sung softly by a human voice. In m. 19, the grace-notes are to be treated melodically, while the descending phrase in the bass demands a cello-like sonority. The ascending phrases in m. 20-28 become gradually impassioned in character. Where the melodic line ascends there may be a slight acceleration of tempo and a corresponding retard when it descends. The a tempo at m. 24 indicates a resumption of the poco piu mosso indicated at m. 20, not a return to the original tempo. Beginning with m. 32, the student should imagine the bass motive played on a snare drum. Up to m. 56 the phrasing should be that of the monotonous rhythmic effect produced by this instrument. This drum motive gains in effect if the sixteenth-notes are played very quickly and the preceding eighth notes are slightly prolonged. The notes of the march-like Theme require a crisp staccato. The sustained half-notes, however, must be given their full time-value and stand out prominently. Despite the FF at m, 44 the student must endeavor to make a big crescendo in mm. 46-47 and 50-51. In mm. 52-53 the left hand should give out the accented eighth-notes with all possible force, although the ultimate climax is not reached until the chord in m. 58. After this the interpretation may become very free as to tone and tempo. The sixteenth-notes in mm. 71-73 and 75-76 must not be hurried, but should be played in a rather leisurely manner. In mm. 72 and 76 the right hand takes over the accented F from the left hand and holds it while the left hand plays the broken octave (Eb) below; the left hand then continues the melody with the Fb-which leads to Eb in the right-hand part of m. 73 and 77. The student must strive to produce an "echo" effect in the repeated and questioning chord- motive in m. 100-101. Then there is a tense pause of absolute silence, a whispered chord in mm. 102, and a plaintive, melancholy phrase, ascending with a slight crescendo. The pathetic character of the passage is intensified by the harmonization of m. 104, and also by the suspension which occurs in the soprano part of the succeeding measure. I had to cut down the description - The Biography written by Godowsky is in my Community Posts!!!