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Netherland Suite
 Classical/Piece
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For piano
Title by uploader: Netherland Suite for Piano
Instrumentation |
Piano |
Scored for |
Solo |
Type of score |
For a single performer |
Movement(s) |
1 to 3 from 3 |
Arranger |
Leopold Godowsky |
Publisher |
BelaBios |
Language |
English |
Difficulty |
Easy |
I—DUTCH BATTLE SONG.
LESSON: The spirit of this battle-song is heroic; it must be interpreted in a stately manner, with an undertone of tragedy. Notice how the bass of m. 2 (last beat) and m. 3 imitates the right-hand part of m. 1 (last two beats) and m. 2. One can imagine the horns and trumpets boldly sounding the repeated A's. The similarity of the last beat (left hand) of m. 9, last beat (right hand) of m. 10, and last beat (left hand) of m. 11 should be observed. Then the triumphant mood of those measures—blend-ing into melancholy and mystery in the measures following—should be insisted upon. The B flat in the left hand of m. 16 must be accented and slightly sustained, for it adds greatly to the seriousness of the song.
II—THE VIOLET.
LESSON: This song adaptation must be played lightly and gracefully with slight accents at the points of repose (first beat of measures 2, 4, 10, 12 and 14). The staccato eighth-notes are to be given crisply and rather deliberately. It will be observed that the climax of the song is at m. 14. where there is a retarding of the tempo, the answer (in m. 15) being piano and in the original tempo.
III—PIERLALA.
LESSON: The free imitation by the right hand (m. 2 and m. 4) of the left hand (m. 1 and m. 3) is worthy of remark. Having observed this, the student will notice other instances of the same procedure, as for instance the left hand of measures 11 and 13 imitating the right hand of measures 10 and 12, respectively. The rhythm must be swinging with something of the character of a jig.
In m. 2, where the right and left hands move in contrary motion, there is a crescendo leading to a strong accent on the highest note (D) in the right hand; this phrase is repeated with identical notes and signs in measures 6-7.
It must not be forgotten that Pierlala was a soldier, which may account for the vigorous rhythmic character of this Adaptation. Yet there is a strong human side expressed both in the melody and in the harmony; therefore, the student must attempt to play Pierlala with expression as well as humor.
No.1 Dutch Battle Song
Title by uploader: Netherland Suite. No.1 Dutch Battle Song
Instrumentation |
Piano |
Scored for |
Solo |
Type of score |
For a single performer |
Key |
D minor |
Arranger |
Leopold Godowsky |
Publisher |
BelaBios |
Difficulty |
Easy |
I—DUTCH BATTLE SONG.
LESSON: The spirit of this battle-song is heroic; it must be interpreted in a stately manner, with an undertone of tragedy. Notice how the bass of m. 2 (last beat) and m. 3 imitates the right-hand part of m. 1 (last two beats) and m. 2. One can imagine the horns and trumpets boldly sounding the repeated A's. The similarity of the last beat (left hand) of m. 9, last beat (right hand) of m. 10, and last beat (left hand) of m. 11 should be observed. Then the triumphant mood of those measures—blend-ing into melancholy and mystery in the measures following—should be insisted upon. The B flat in the left hand of m. 16 must be accented and slightly sustained, for it adds greatly to the seriousness of the song.
No.2 To a Violet
Title by uploader: Netherland Suite. No.2 To a Violet
Instrumentation |
Piano |
Scored for |
Solo |
Type of score |
For a single performer |
Key |
D major |
Arranger |
Leopold Godowsky |
Publisher |
BelaBios |
Difficulty |
Easy |
II—THE VIOLET.
LESSON: This song adaptation must be played lightly and gracefully with slight accents at the points of repose (first beat of measures 2, 4, 10, 12 and 14). The staccato eighth-notes are to be given crisply and rather deliberately. It will be observed that the climax of the song is at m. 14. where there is a retarding of the tempo, the answer (in m. 15) being piano and in the original tempo.
No.3 Pierlala
Title by uploader: Netherland Suite. No.3 Pierlala
Instrumentation |
Piano |
Scored for |
Solo |
Type of score |
For a single performer |
Key |
D minor |
Arranger |
Leopold Godowsky |
Publisher |
BelaBios |
Difficulty |
Easy |
III—PIERLALA.
LESSON: The free imitation by the right hand (m. 2 and m. 4) of the left hand (m. 1 and m. 3) is worthy of remark. Having observed this, the student will notice other instances of the same procedure, as for instance the left hand of measures 11 and 13 imitating the right hand of measures 10 and 12, respectively. The rhythm must be swinging with something of the character of a jig.
In m. 2, where the right and left hands move in contrary motion, there is a crescendo leading to a strong accent on the highest note (D) in the right hand; this phrase is repeated with identical notes and signs in measures 6-7.
It must not be forgotten that Pierlala was a soldier, which may account for the vigorous rhythmic character of this Adaptation. Yet there is a strong human side expressed both in the melody and in the harmony; therefore, the student must attempt to play Pierlala with expression as well as humor.
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