Six Pieces for Six Hands: Music for One Piano, Six Hands - Book Review

American Music Teacher, Oct-Nov, 2003 by Patricia Griggs Burnham

by Cornelius Gurlitt; edited by Dallas Weekley and Nancy Arganbright Weekley. Neil A. Kjos Music Co. (4380 Jutland Dr., San Diego, CA 92117), 2003. 55 pp., $7.95. Intermediate to late intermediate.

Piano ensemble repertoire always has the potential for providing exceptional pleasure, deep satisfaction and joy to the players as well as the listeners. Teachers and students will be excited about this new collection of Six Pieces for Six Hands by Cornelius Gurlitt and edited by Dallas Weekley and Nancy Arganbright Weekley.

The six pieces for intermediate-to late-intermediate students are of the romantic genre known as the character piece. Each one is short, with the three parts being relatively equal in their difficulty level. The editors have included descriptions of each piece and a short bio of the composer, which I always appreciate and find helpful. The music in the collection is light and the pieces short and varied in character.

The first piece, Valse Noble, is a work in triple meter. It is dignified and stately with a graceful waltz tempo. In this piece, the first and third piano parts take turns presenting the melody, while the second part provides the waltz accompaniment pattern. This is probably the easiest piece in the collection both musically and technically.

The second piece is a Gavotta, a moderate dance in quadruple meter. This piece is more intricate in the articulations and slurrings. Students will have fun changing keys from F-major to B-flat minor.

Number three is Capriccietta, a fanciful and whimsical piece where contrasts are achieved through the staccato and legato writing. An imitative writing style and the running sixteenths throughout the A section give the piece a baroque-like feel. Students will need fast fingers for the scale passages. This is a good piece to work on the many levels of forte playing, especially in an ensemble setting.

Ballata is the fourth in the set. Marked allegretto scherzando, in the key of A minor, this piece has a lively, playful spirit. The rests, fermatas and sudden dynamic changes help to provide an element of surprise. The editors help the players by indicating the use of high or low wrist.

Serenata in A Major has a light romantic quality. The melody, marked con anima, has a syncopated rhythmic feel. The players might experience some coordination problems with the tapered scale passages between the first and third parts. Part two will enjoy imitating the tremolo of a string section of the orchestra with the repeated sixteenth chordal accompaniment.

The last piece and also my favorite is the Impromptu. Written in a casual and improvisational style, Gurlitt wanted this piece to sound spontaneous. Though the improvisation is entirely written out, Gurlitt creates a spontaneous feel with changes in meter and key. He also creates a rubato feel, carefully notated by his tempo indications. The melody is quite romantic in its phrasing and change of character.

These pieces provide students with a wonderful opportunity to explore a wide range of dynamics, balance within and between parts, articulations and phrase shaping. As with any ensemble experience, these pieces require good listening and rhythmic skills. Even if a little weak, these abilities will definitely be strengthened as a result of working together as a trio at one piano.

The editing is good, with some fingering provided, and the page layout is clear and easy to read. Though unnecessary, I think it would be helpful and enlightening for students to have a word from the editors about some of the logistics of playing this piece, especially with regard to pedaling, practice, performance as a piano team, seating at the bench and even page turning.

I think students will enjoy the music and the always rewarding experience of playing and performing with others. Reviewed by Patricia Griggs Burnham, Austin, Texas.