June from P.I. Tchaikovsky’s Seasons Opus 37 No.6 dates from 1891 and is one of the composer’s most popular piano pieces. An example of music intended for the salon or drawing room it is described as a barcarolle. #sheetmusic pdf download link: coming soon The barcarolle as a composition has its origins as a folk song sung by Venetian gondoliers. In art music as a descriptive piece the music is often intended to imitate the sound of the gondoliers strokes and the rippling sounds of the water. This particularly applies to the closing section of Tchaikovsky’s June from bar 83 – 99. There is much score detail in the source scores available which very much illustrates how well music engraving and printing developed in the 19th century. The tempo indication is Andante cantabile whilst the realisation playing back at 80 quarter note or crotchets beats per minute in the first section from bars 1 -31 Tempo rubato, gradually speeding ups and slowing down, within the context of playing a phrase is relevant when performing this music. Pianists will need to research this playing approach in both their playing and listening to understand fully its implication as part of 19th century performance practice. The music editor has indicated arpeggiated chords to be played only when it is appropriate and in the light of current performance practice In the first section bars 1-31 the melody and accompaniment need to be played with a legato playing touch. A melancholy movement in character in the opening section there are nevertheless a variety of moods and tempo expressed during a performance of the whole movement. Some of the music is very simple although the middle section bars 32-51 in the tonic major key is more challenging technically with two changes of tempo and writing in which the texture is more full and complex. In a performance pianists should be looking to explore the full tonal and dynamic range of the instrument. Piano touch and articulations are elements that can be explored. The use of weight from the body through from the shoulders, arms, hands and fingers into the piano keys is something that with understanding and application can add interpretative value to a performance. Much of Tchaikovsky’s music can be arranged for other instrumental groups to perform and June offers many options for a solo instrument with piano accompaniment and both chamber and orchestral groups. The Tchaikovsky piano was essentially the modern instrument with an iron frame though the tonal range would not have been as broad as a grand piano of the 21st century. Use of the sustaining pedal is indicated in the score. The use of the sustaining pedal is dependent on so many factors in a performance particularly related to the quality of the piano and the acoustic of the performance area. The music editor’s view is a preference to under use rather than over use the sustaining pedal. Harmonies essentially should never be conflicted or smudged. Modern pianos are of course much more resonant than those of the past when being generous with the right foot could perhaps be tolerated. Using the sustaining pedal is quite a study in itself with quarter, half, three quarter and full pedalling Tchaikovsky travelled widely and would have been familiar with the Italian folk song barcorola describing a movement associated with boatmen and gondoliers with a characteristic rhythmic pattern imitating the rhythm of rowing. The context for much of Tchaikovsky’s salon and chamber music which was largely commissioned, was to compose ternary form music (ABA) using a popular dance rhythmic template of the time which included waltz, barcarolle, polka, mazurka amongst others. The middle part in two sections, one in quadruple time followed by an even faster one in triple time are faster in tempo faster in tempo and dance like in character requiring a lightness in the hands particular This middle section closes with a series of diminished seventh chords moving up the keyboard. After a brief two bar link the music of the A section returns as a varied repeat with the addition of some countemrodies and points of imitation largely sounded in the tenor line. There is considerable detail in the music score typical of printed music published in the late romantic period One of Tchaikovsky’s great skills as a composer was to be able to write music for all levels of performance expertise from beginner to improver, intermediate, advanced and virtuoso levels. The closing section or coda from bars 84 – 99 does reference and suggest imagery that relates to the composers reference to barcarolle in the music’s title.

Download