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Preface
When it comes to Enrique Granados, everyone must be familiar with it.
It can be said that he is an important representative of the Spanish national music movement, and is known all over the world for his piano performance and compositional skills.
However, among Enrique Granados's works, the most noteworthy is the Concert Allegro.
"Concert Allegro" is not only beautiful and pleasant, but also very nationalistic.
But what are the melodic characteristics and playing techniques of Enrique Granados's Allegro in concert that can be regarded as a classic by people around the world?
Granados' musical career and the characteristics of his work
As we mentioned at the beginning, Enrique Granados is a Spanish composer and pianist, and he is also one of the most important representatives of the Spanish national music school.
Enrique Granados began his piano studies at the age of 12, and later learned polyphony and composition techniques, giving several successful concerts.
Most of his works are romantic music with nationalist overtones.
Enrique Granados wrote a wide range of piano pieces, orchestral music, chamber music, songs, symphonies, etc.
Among them, he is best known for his piano works, such as "The Painting of Goya", "Romantic Scenes", "The Humble Man", "12 Spanish Dances", "Concert Allegro", etc.
It is worth mentioning that his piano works are very bright, straightforward, amorous and romantic characteristics of Spanish music.
As we all know, Granados' Allegro of Concerts is one of his many excellent piano works, which is plain but colorful.
Composed in 1903, at a time when the works of Romantic composers were flourishing and European folk music movements were on the rise, the work inherited the characteristics of the Romantic while incorporating the style of native Spanish music.
In addition, the piece is also gorgeous, splendid, emotionally warm and rich, its beautiful melody is sometimes exciting, sometimes melancholy and hesitant, the range of performance techniques is wide, the difficulty is high, and it is often used as a repertoire for competitions or concerts by later generations, and has high artistic value.
But it's not enough to just talk about it.
Concert Allegro Performance Techniques and Sentiment Analysis
How exactly should the performer play the singing melody in the central stage of the sub-theme and the opening section of the whole work of the Allegro?
I believe that this must be the most headache for the majority of performers.
But in fact, as long as you find the right way, "Concert Allegro" is really easy to play.
Those who know music must know that musicality refers to the inner emotion and passion generated by the performer after observing and understanding the score.
But more importantly, the performer then creatively reproduces the piece through his own performance, and then conveys the piece to the audience that is integrated into his own understanding, so that the audience can obtain the aesthetic enjoyment of hearing.
However, the most important meaning and purpose of music is to impress the audience, so without musicality, performance skills alone are far from enough.
The sense of musicality comes from diligent training and regular thinking.
In order to practice musicality, every time a player gets a piece, he should first carefully analyze each bar and every note, try to find out the musicality, and then compare, find out the similarities and differences, and summarize the experience.
At the same time, performers should also have more exposure to the works of different periods, different styles, and different composers, so as to further cultivate a sense of musicality on a macro level.
The last and most important step is to pay attention to the playing of singing melodies with a strong ability to "sing music".
It is very important for a performer to learn to "sing" in order to convey his inner sense of musicality and move others after cultivating his sense of musicality.
Some people think that as long as you have a sense of musicality and good playing technique, you can express music well, but this is really only a one-sided understanding of musicality.
More people think that musicality is a feeling that is difficult to describe in words, which can only be expressed through the intuitive form of singing notation, and then further interpreted through finger playing.
When singing the score, the performer should pay attention to the various musical marks on the score, sing the melody with rich feelings, natural tone, and coherent and reasonable breathing, and strive to achieve both emotion and appeal.
In addition, the performer should also have a singing melody and should have good playing skills.
After the musicality of the singing melody is expressed in the form of "singing notation", it is necessary to add finger playing technique to finally play it on the piano.
First of all, it is necessary to read the music correctly, including not only the notes and rhythm to be accurate, but also the correct understanding of musical terms, dynamics and tempo marks.
The second is the finger legato strumming.
The structure of the piano instrument determines that it can smoothly play staccato and other notes that are not long, and it is not good at playing legato, but singing melodies often use legato techniques.
In order for the notes to sound coherent and continuous, it is necessary to play the first note with the keys in a relaxed and untense state of the wrist and arm.
Then don't let go of the keys, use your elbows to drive your wrists to gently lift them, move them in the direction of the next note, and then press the second note, and wait for the sound to be made, and then the fingers of the first note can be released.
The key to solving this problem is to keep the fingers playing each note on the keys for as long as possible, resulting in a coherent listening experience.
In addition to this, the pedal can also help the fingers to increase the coherence of the note, and press the right pedal after playing the next note, according to the mark on the score.
When the PP velocity mark appears, you can add the left weak pedal at the same time as the right pedal, and the hands and feet can play a coherent singing melody through this series of coordinated movements.
Finally, it can be done well with the correct finger legato method and the use of pedals.
The use of multi-part music in Concert Allegro
I believe everyone knows something about multi-part music.
Multi-part music refers to music that does not rely solely on one melody and is composed of two or more melodies developing together.
In Concert Allegro, three-part music and four-part music appear, with three-part music as the main part; Two voices in the right hand and one voice in the left hand.
In general, the human ear can hear music with one voice very well, but when several voices appear together, it is not easy to distinguish them.
At this time, the player can strengthen his discrimination by playing the music in two parts at first, one on each hand and one on the left and right hands, paying attention to the melody of each part, and singing it in turns.
In this process, it is necessary to pay attention to distinguishing the different voice sensations of the left and right hands, and then play the three-part music, such as the theme of the three-part music of the minor part, and also listen to the melodic lines of each voice clearly.
After that, the main and secondary parts of each voice are assigned, and the high-pitched voice of the right hand in the sub-part theme is the main melody part, which is the most prominent and important part.
The bass part of the left hand plays the role of the foundation, which is subordinate to the main melody voice, and finally the middle voice of the right hand, which is in the most secondary position.
If a performer wants to distinguish the main and secondary parts of multiple voices well, he or she needs to strengthen the training of finger independence first.
In the sub-theme, the right hand plays two different levels of voices at the same time, and the fingers should be reasonably distributed.
The three, four, and five fingers are responsible for the main melody part, the sound line is long, and the legato method is played, pressing each note with the key, and at the same time the arm drives the wrist to do the transfer of power.
The second finger is responsible for the middle voice, multi-syncopated rhythm, full of dynamics, played with staccato method, the fingers are naturally bent, and the lower key is fast and light.
Then quickly raise your fingers, taking care that the middle part is the weakest, and that no strong sound overshadows the main melody voice.
In addition, in the center of the expansion of the left hand, there is also a situation where one hand plays two voices, and the little finger is responsible for the bass, which is the foundation of all voices, and mostly appears in the accent position of each measure.
When playing, the fingers touch the keys slowly and deeply, so that the sound is not too noisy at the same time.
The other part of the left hand has fewer notes, only one, but the use of a line to keep the same note for a long time, the thumb is responsible for the long note, pay attention to the time value to be maintained, the strength should be well controlled, not strong, this part is the weakest of all voices.
In short, in order to play the multi-part music of Concert Allegro well, the player must first be able to hear how many voices appear in total, and then analyze and determine the priority of each part.
Secondly, the player should strengthen the training of finger independence.
So that one hand can smoothly play two different strumming methods and different dynamics of the voice, and do not interfere with each other, and then add the other hand, both hands cooperate, distinguish the main and secondary, in order to master the multi-part music well.
The artistic value of emotional expression in piano playing
Piano performance often contains rich and profound aesthetic connotations, bringing a spiritual aesthetic enjoyment to the subject of performance and the subject of acceptance.
Not only that, the performers not only appropriately and effectively express the content of piano music works, but also show the brilliance of the unique form and beauty of piano music art.
The art of piano performance is a highly practical art discipline.
As a secondary creation of a work of art, the art of piano performance is a reproduction of a work based on the composer's style and the characteristics of the performer's personality.
Generally speaking, there are two ways of movement in the process of playing the piano.
First, the performer transforms his own ideological connotation and emotional connotation into the original intention of the cooperative composer into the ontological beauty of the music.
The second is that the appreciator transmits the musical signal of the main body of the performance into the brain, and then transforms it into spiritual aesthetic enjoyment through the aesthetic understanding and aesthetic imagination of the brain.
It can be seen that the value of piano music depends to a large extent on whether it has rich emotional content and imagination.
Piano music is only a small art if it can only produce an empty sound without using appropriate means to express inner feelings.
Therefore, in the art of piano performance, emotion is the soul of the art of performance.
The expression of emotions is a creative artistic activity, and the subject of the performance can shape the musical image through the appropriate emotional expression.
Accurately expressing the aesthetic connotation of musical works is the goal pursued by all performers, and it is also the process of revealing the artistic value of music for all performers.
Piano performance is a kind of secondary creation for Granados's Concert Allegro, and for the viewer, it is precisely a kind of ontological display, providing the audience with a living Ontology of the Concert Allegro.
If a player wants to present the Allegro in its original form, it is necessary to keep practicing and constantly have a correct aesthetic experience of the Allegro itself.
The so-called "aesthetics" refers to a kind of free and harmonious mental activity, behavior mode and living state that human beings exhibit based on complete and complete experience, such as physical and mental harmony, harmony between spirit and body, integration of emotion and reason, and unity of knowledge and action.
However, the aesthetic experience of piano performance is a higher-level, completely different from the audience's focus on auditory appreciation, it is a kind of strong subjective color, full feeling, and second-degree spiritual creative experience.
Piano performance is a second creation based on the player's understanding of the piano text and the original understanding, because each performance of the player recreates the piano musical text (musical score), thus also creating the ontology of piano art.
Therefore, a piano musical work really exists in the process of being played and receiving by the subject, only after it is played and received.
In this way, it is possible to have a relationship with social consciousness, to have a social impact, to transform into a real existence, to liberate the piano music text from static symbols, and to visualize it into living piano music.
epilogue
Through the musical works of Enrique Granados, especially the classic "Concert Allegro", which we mainly exemplified, we deeply understand the true meaning of music and the unique beauty of piano music.
Not only that, but the unique nationalist style and profound emotional expression of piano music have also been fully interpreted.
Through the galaxy of time, today we finally see the core charm of Granados music.
If I had to use words to describe the feeling at the moment, I am afraid that there is only one word - beauty.
This article not only provides music lovers with an in-depth perspective on understanding and appreciating Granados' work, but also provides valuable performance guidance for the performers.
If you have any different opinions on this, you can guide them in the comment area!