MAYKAPAR24 MINIATURES OP 33 NO 7

Samuil MAYKAPAR (1867-1938)Long Road from 24 Miniatures Op 33 No 7

BEGINNER/INTERMEDIATE

TRACK 4

A student of Leschetizky, Maykapar enjoyed a major career as a concert

pianist, teacher and composer of over 300 works, including many technical and character works for solo piano such as this atmospheric

piece. Read Melanie Spanswick’s lesson on page 20.

DON’T MISSMELANIE

SPANSWICK’S

LESSON ON THIS PIECE

PAGE 20

30• Pianist 115

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p30 Maykapar-FINAL.indd 30

08/07/2020 12:53

This evocative piece is called Long Road. Written by Russian Romantic composer Samuil Maykapar, it is the seventh piece from his set of 24 Miniatures and it exudes a dark character. � e suggested tempo moves the music along calmly without feeling rushed. Astute phrasing and balanced chords are the key technical challenges.

Let’s start with the LH. Look at the time signature of 6/4 and see how, within each bar, Maykapar is speci� c regarding phrasing. Between bars 1 to 9, the staccato accompaniment chords are phrased in dotted minims. To achieve the necessary staccato articulation, start out by practising each bar in isolation. Block out the two-note chords – that is, play one chord per bar – in order to learn the note patterns and � ngerings swiftly.

Balancing each chord is vital. In bar 1, practise depressing the A and E at exactly the same time. A slower depression with less ‘attack’ will produce a softer sound. More weight may be required behind the � fth � nger (or fourth, if you prefer), as it is generally not as � rm as the thumb – we need to hear that bottom note. To achieve this, move the wrist and hand to the left, so that they guide the � nger as it sounds the lower note.

Every two-note chord should now feel balanced. Try to keep � ngers in contact with the keys

20• Pianist 115

at all times; it will be easier to produce smooth chords with no gaps in the sound between them. Listen carefully in order to ensure each chord matches the sonority of the last. Go through the � rst nine bars, playing each bar smoothly, changing chords with ease.

Now try with a staccato touch. As every chord is sounded, lift the � ngers o� the keys slowly and gently, o� ering a miniscule ‘gap’ between chords. Whilst staccato is marked, it will need to be a soft and sustained articulation in order to comply with the sostenuto marking and legato phrasing. � e overall e� ect should be slightly detached. � e RH accompanying material can be practised in the same manner in bars 10-17. Slow practice with a metronome will help achieve the rhythmic pesante character.

The melody consists of long, sustained notes. It starts out in the RH (bars 2-9) and is made up solely of dotted semibreves. � is might not seem like a typical melodious ‘theme’, but if you play with a deep touch, you’ll be able to achieve a sombre and sustained line. Some notes appear with tenuto markings (e.g. bar 2), whilst others are given accents (e.g. bar 4): the composer is asking for more depth and richness of sound. Use the arm and wrist for appropriate arm weight behind each note, ‘cushioning’ the sound as the � nger descends into the key

bed. More weight on the upper notes of each two-note chord, as at bars 4 and 5, should help to achieve the desired cantabile in the melodic line.

The LH melody also demands a cantabile touch. In bars 10-17, the bass consists of dotted minims with tenuto markings. � ese notes will need plenty of colour, particularly where they move over the RH part into the treble clef in bars 11-17. � e sostenuto marking should be heeded towards the end. � e rit. into the � nal four bars signals a short but expressive coda. Keep the dotted minim tonic-note As in the lower RH part � rmly held. As the music oscillates between major and minor tonalities, aim to ‘place’ the top melody notes such as the F§ at bars 18 and 20, the C§ in bar 19, and the C# in bar 21.

A word about pedalling. Use the sustaining pedal in every bar. Clear the pedal cleanly on the � rst beat, depressing it a fraction after the � rst chord and holding it for the entire bar. Some ‘� utter’ pedalling may be necessary – where the foot moves the pedal quickly, up and down – at the ends of phrases. n

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ABILITY RATING LATE BEGINNER

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LEARNING TIPChromatic notes abound – give them a special colour, as they capture the essence of this music.

How musical can a melody comprising dotted semibreves be? That’s the basic interpretive challenge for this hauntingly effective piece, says Melanie Spanswick

Key: A major Tempo: Andante, molto sostenuto Style: Romantic

Will improve your: ✓Ability to sustain a melody ✓Staccato ✓Chord voicing

HOW TO PLAY

SCORE ON PAGE 30

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