“Music is a moral law. It gives a soul to the universe, wings to the mind, flight to the imagination, a charm to sadness, and life to everything. It is the essence of order, and leads to all that is good, just and beautiful, of which it is the invisible, but nevertheless dazzling, passionate, and eternal form.”
Plato

Monday, February 11, 2019

Rachmaninoff 2nd Concerto: Small Point, Universal Application

     
   
Rachmaninoff
My student complained of awkwardness in the second movement of Rachmaninoff's C minor concerto, where the hands cross over one another. These measures are in the poco piu mosso section. He tried to keep his left hand in place, which put the thumb on G-sharp bringing the left hand in toward the black keys. This made it more difficult to cross the right hand over to its G-sharp thumb an octave below. Having both thumbs in and the hands crossed is a prescription for awkwardness, if not disaster. Collision is likely. In
physics we learn that two solid objects cannot occupy the same space at the same time. 
Of course, the right hand could play its G-sharp with the second finger, but that feels farther. Use the F-natural as a spring board in order to move laterally (rotationally) over the lower left hand to the low G-sharp.

     Two measures later a similar passage places the thumbs again on the same plane with a crossing, this time out on the white keys—that is, if one chooses to use the thumb both times. I prefer to use the second finger on the low right-hand G-natural this time in order to avoid a possible collision. Keep the left hand out and as low as possible  Because of the ritardando, though, this is not as big an issue.
     The moral, then, is to plan hand crossings in order to avoid having the hands on the same plane whenever possible. One hand is higher, the other lower. I'm thinking now of Ravel, particularly the Sonatine opening. The piano literature is full of these small issues that, without planning, can cause large problems.

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