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Preface
As we all know, Liszt's The Nightingale has always fascinated countless music lovers and pianists.
Because it has a unique charm and complex playing skills.
Therefore, this work can be said to fully demonstrate the essence of Romantic music.
Not only that, but it even embodies Liszt's deep understanding and innovation of piano playing technique.
But what kind of performance technique does Liszt's "The Nightingale" show?
And why is the romanticism it contains so special?
Analysis of the exquisite touch skills of "The Nightingale".
In Liszt's The Nightingale, there is a very important playing technique, which is the touch technique.
If the performer is able to master these techniques, he or she will be able to perform the work very well.
But among them, wheel fingers, vibrato, tremolo, etc. are the key touch techniques that need to be mastered.
The first is the wheel finger that appears many times. The wheel finger is actually a technique for plucking stringed instruments, but it can be played sequentially with different fingers.
In the first six bars of the work, the right hand uses a large number of wheel fingers. In the 5 or 6 note fingers, the player needs to relax and play with a very light touch of the keys, but in the fifth E of the fourth measure, the player needs to play a different tone.
Obviously, the fingering is played here in the order of 43212, and the area of the touch key changes with the volume.
To put it simply, it is from a small touch area to a large touch area and back to a small touch area.
In this case, after a long period of practice, Xi fingers will become very strong, and then analyze the sound quality of each note and practice it slowly.
Of course, it should be noted here that the area of the fingertip touch the key should not be too large when playing, but should be fast, and the wrist should be connected; in addition, it is necessary to listen to each note with your ears more, so as to make the sound more concentrated, so as to achieve the effect of light but not false, many sounds but not mixed.
In short, when playing the wheel fingers, the fingertips must be closer together so that the power of the body can be transmitted to the fingertips, so as to increase the accuracy of the sound.
Of course, while constantly striking a note, it is also necessary to achieve volume processing from weak to strong, from strong to weak. While adding musicality, this piece of music becomes more melodic and linear.
After all, the work should be played at the speed of a adagio, and it should not be dragged into the mud. The arpeggios, on the other hand, should be played evenly, like the enchanting sound of a harp.
A vibrato is a fluctuation in pitch. It needs to change the volume and timbre by touching the keys.
However, the vibrato is performed only in the high register, and the alternation of 45 or 35 fingers makes the music more singing.
However, the G and A in the first measure can be touched with the tips of the fingers, so it is necessary to avoid finger tension when playing.
When playing vibrato, the stability of the first joint is very important, so you can practice more Xi in normal times. In other words, the fingers can be suspended in mid-air, the wrist can be relaxed, so that the strength will naturally sag, and then the fingers will naturally fall.
It's just that once you've found your balance, it's time to get the other note ready to touch the key. It should be noted that when Xi, the first joint of the finger is supported and the finger cannot be folded.
The high voice is mainly played with a light touch key. However, the middle voice is mainly played with 1 or 2 fingers, and because this part is the main theme of the work, the touch area will be larger.
Therefore, the key should not be struck lightly or heavily, and the fall should be slow.
This is to create a clear contrast between the vibrato of the high voice and the timbre of the middle voice.
It is important to know that a tremolo is played at the same time and that this is due to a repeat sound played alternately by the left and right hands.
Therefore, in the process of playing the vibrato, the touch area of the fingers should be large, and the force should be very powerful.
Not only that, but when playing the vibrato, it is necessary to stick to the keys and keep the wrists and arms relaxed. Place your fingers on the keys and push the joints of your fingers downward to form a fulcrum in the shape of the palmar joints, but be careful to relax immediately after pushing, and so on.
To put it simply, in the usual Xi exercises, the thumb and index finger should show a figure of 0, especially the second joint of the thumb, which should be stable and protruding.
When practicing the 5-finger Xi, the hand shape should be tilted in the direction of the 5 fingers, the purpose is to stretch and relax, so that the timbre of the touch keys is better and more natural.
Analysis of Romantic Piano Technique
You know, the music of the Romantic period and the style of creation of Classicism are very different.
It's just because the former puts more emphasis on the expression and catharsis of emotions.
After all, they will use the transformed harmonic texture to innovate the work, and after the exploration and accumulation of time by the composer, so as to push the piano performance technique to the peak.
This has changed from a salon concert to a stage performance, which can greatly change the audience's visual and auditory senses.
But in Liszt's piano piece "The Nightingale", there are alternating chords and arpeggiated chords in both hands.
Obviously, he wanted to use multi-part harmonic colors to set off the atmosphere.
Therefore, when playing left-handed arpeggiated chords, it is very important to move the wrist in parallel, after all, the area of the finger touch should be small, so as to create a feeling of lightness.
However, in the final part of this piece, a large number of alternating chords are used in both hands, and the music is repeated in sequence to reach a climax.
Therefore, when playing alternating two-handed chords, keep your wrists as high as possible and touch the keys with your fingertips.
It is important to note that the crescendo starts and then fades immediately after reaching the highest point until the sound looms.
In addition to this, the octave is also a unique basic technique in piano playing.
For example, while the music of the Baroque period was solemn and sacred, delicate and elegant, playing octaves required lightness.
In other words, the lower key should be played quickly and decisively, and the timbre should be clear.
Fortunately, however, there are not many octaves in piano works of this period.
It was not until the classicism period, after the development of science and technology, that the training of piano technique was widely valued.
Of course, the octave at this time is still mainly used to set off the atmosphere, so it is required to be smooth and even when playing, but gradually increase when the octave volume appears continuously.
And what really feels the complexity of the octave is Liszt's "Nightingale" work.
Since it was a work created during the Romantic period, there are difficulties such as octave clusters and jumping octaves, so the timbre of the playing should become light and bright, and the high voices should be highlighted as much as possible to make the sound effect fuller.
In this section, arpeggiated chords are used in the left hand, the melody should be deep at the beginning, and the lower keys should be calm and powerful, after all, the fingertips should be played by low touch to make the theme more generous.
But when playing the right hand, you should highlight the melody of the high voice, because the little finger is the focus of the usual Xi, so this part should be prepared: hook the key, and the lower key should be steady.
"The Nightingale" rhythm and cadenza analysis
Since Liszt uses rhythmic patterns such as triplets, sexterips, large dots, and syncopated tones in The Nightingale, it is clear that the work has a rich rhythmic form, so Liszt uses a large number of colored notes in different registers to set off the work, so that the rhythm of The Nightingale can be greatly changed.
However, this work is based on the original opera "The Nightingale" and retains the main melody and spirit of the original work.
But it has to be said that this does elevate the arrangement, and it also gives new meaning.
For example, in the first six measures, the tone patterns used are very similar, making the motive of this piece very clear.
Obviously, the beginning of the first, second, third, and fourth measures is a deliberately vacated half beat by Liszt, with sustain marks, so that one can give the imagination of playing each note slowly and quietly, without hurry.
Thus there are several sextuplets in the first six measures of the piece. Because the individual notes have sustain marks, there is no strict control of the timing when playing, that is, it is not played according to 2/4 time.
Perhaps it is precisely because of this that when playing the six-leglet, it often gives people a sense of quiet and melancholy.
However, it should be noted that there are many small markers of crescendo on the score.
In this case, you should pay attention to the rhythm and speed during the playing. It is only because the general trend of the first six bars is a slow and slow process, as if there is a big verdant tree outside the window, and the nightingale sings crisply in the treetops.
However, since the melody is repeated in the high voices, the nightingale's singing voice is more cheerful.
This is why the cadenza is the essence of Liszt's The Nightingale. Because of the unique virtuosity of this work, it is often played from the high register of the keys to the middle register.
However, cadenzas usually appear in the middle or back of a work or movement, so the structure is very free. But Liszt paid great attention to symphonic musical effects when he wrote, because he wanted to create a feeling of lightning and thunder.
Therefore, it is important to keep a high level of clarity when playing cadenzas. In the usual training, you must use a fixed fingering technique, raise your fingers high, Xi and at the same time completely form a relaxed state while raising your fingers.
However, when practicing Xi slowly, it is necessary to fix the hand shape. Remember to be quick when wearing fingers, there can be no problems such as dragging and shooting, only after a lot of slow Xi. You can only accelerate after you become proficient and master the technique.
You must know that many piano masters will emphasize: you must not use the same speed often, you must practice more slowly and play less fast.
Although the cadenza is often a connecting part of the piece, it plays a role in connecting the previous and the next, Liszt is very good at using this technique, in order to add infinite color to the music.
In other words, the cadenza of "The Nightingale" uses pentatonic and septuplet patterns, which make the melody richer by constantly accelerating in rhythm.
But starting from the measure below, Liszt uses a cadenza to make the music vivid, like a nightingale's beautiful singing.
Therefore, the cadenza here requires the right hand to run quickly. When playing, you should have a fixed fingering, practice your right hand slowly, remember to fix the fingering and then add your left hand.
However, it should be noted that when Xi, the touch key should be fast, and it is not appropriate to use more arms and use the low touch key method to play the grainy feeling.
When playing the left hand, it must be aligned with the right hand, although the fingertips are used to touch the keys, but the strength should be very consistent, to achieve the harmony of the left and right hands.
The art of ornamental performance of The Nightingale
Ornamentation is one of the most common techniques used by pianists.
It can exhibit a variety of musical characteristics, mainly playing the role of embellishment and enriching the work.
But it's not the main part of the music.
However, I never thought that the number of ornaments used by Liszt in his works was extremely high.
He even specifically emphasized: you can't play the ornamental sound fast, you must play it with expression, which is full of unique meaning.
For example, in the introduction of "The Nightingale", there is a string of trills, which plays the main role of embellishment. So when playing the vibrato, the fingers should be very relaxed and not raised too high.
But when Xi, pay attention to evenness, clarity and cleanliness. The wrist slacks and sinks slightly, and there should be a slight swing, as if seeing the stars flowing into the distance like a spring with the moonlight, so that the beautiful melody and the wonderful night color wander the whole earth.
However, from measure 35 onwards, it becomes a three-part section.
And because the 4 or 5 fingers of the right hand repeat the vibrato, it also increases the difficulty of the player.
Therefore, when Xi practicing this section, the tempo should be slow, and the 1st and 2nd fingers should be raised as high as possible, just because the 4th and 5th fingers should touch the keys with their fingertips, and they should be able to play the high part of this section lightly.
It should be noted that the 1st and 2nd fingers are slightly heavier in power because they are melodic voices, thus creating a sharp contrast.
At this point, the maximum span of the left hand is 10 degrees, and the player must quickly and accurately find the note to ensure that the note is accurate.
However, many people experience soreness in their upper and lower arms when playing this section, and blindly practicing for long Xi periods of time can make the piece worse and worse because the player does not relax and rarely practices slowly.
As you can imagine, the technically difficult areas require a long period of slow practice, and only by finding the best way to touch the keys and then accelerating will the music be clearer.
epilogue
Overall, "The Nightingale" can be said to fully demonstrate Liszt's extraordinary creativity.
And the piece "Nightingale" is more than just a beautiful piano piece.
Obviously, it is also an artistic masterpiece of Liszt's emotional and technical challenges.
Not only does it test the skill of the performer, but it also provides the player with the opportunity to delve into the rich layers of musical expression.
In all respects, "The Nightingale" has left a strong mark in the history of piano music with its melodious melody and complex performance skills.