The music of Dimitry Kabalevsky has had a big influence on me both as a student and teacher. The first work of his I learned to play was The Clown, a comical and indecisive caricature of a piece that every beginner pianist will recognize. I fondly remember learning his 24th prelude from op. 38 in the first year of my undergrad. This work barrels ahead like an industrial tempest but subsides in the closing section as the sun peaks its head out. Among my other favourite Russian composers such as Rachmaninoff, Shostakovich and Scriabin, Kabalevksy has influenced me greatly as a composer and it’s no surprise that soon after starting this funny waltz it seemed only fair to dedicate it to him.
Welcome to the third instalment of this series. Here we are demystifying, decoding, and deconstructing just what those crazy-looking musical scores mean. If you’ve always wondered how musicians can make sense of all those hieroglyphics then you’ve come to the right place. If you’re just coming aboard then please check out the first two articles: Movement 1 and Movement 2.