Rachmaninoff
Morceaux de Fantaisie, Op.3
This is a set of five pieces for solo piano:
1. Elegy in E-flat minor
2. Prelude in C-sharp minor
3. Melody in E major
4. Polichinelle
5. Serenade
All these five pieces are not supposed to be performed together as a group and are all in ABA form. The Elegy sounds sad and tragic to me. The Melody is lyrical yet dramatic. The Polichinelle has this march-like character. Lastly, the Serenade is a waltz.
As mentioned earlier, Rachmaninoff strongly suggests that all these pieces should reflect imagery rather than their musical form. Among the five pieces, the Prelude is probably the most popular one. The image that Rachmaninoff suggests the performer to picture is the image of the bells in Moscow. Therefore, the opening has big menacing chords that correspond to that image.
Moments Musicaux, Op.16
This comprises a group of six separate pieces. Each piece has its own mood:
1. Andantino in B-flat minor- use elements of nocturne and theme and variation
2. Allegretto in E-flat minor- use elements of etude (see melody combined with sextuplet figures)
3. Andante cantabile in B minor- use elements of funeral march
4. Presto in E minor- again, use element resembles to Chopin’s Revolutionary etude
5. Adagio sostenuto in D-flat major- barcarolle form
6. Maestoso in C major- canon, three-part texture, love the majestic ending
Interestingly, these pieces were written because he needed money.
10 Preludes, Op.23
In comparison to Chopin’s Preludes, these preludes are written mostly in polyphonic setting but still have all 24 major and minor keys. His Prelude No. 5, Op. 23 is probably the most famous one among the ten preludes. There are many modulations through the use of rising and falling chromatic pattern. This piece has a march section, syncopated rhythm, thick repeated chordal structure, meter changes, etc.
Etudes-tableaux, Op. 33
As mentioned in other blog entries, Rachmaninoff’s etudes-tableaux are picture pieces. There are nine etudes in this set. The E-flat major one (Op. 33, No. 7) is especially important because Rachmaninoff again uses the bell-like chord sounds that is typical in his compositions. The other important one is probably the eighth etude in C-sharp minor as the tonality shift between the major and minor mode. The second prelude in C major sounds Nocturne-like. The d-minor etude (Op. 33, No. 4) has a study of staccato chords in compelling rhythms. The fifth prelude in E-flat minor is in fast tempo and the harmony is chromatic.
Friday, April 30, 2010
SCRIABIN: Sonatas: Op. 19, Op. 53, & Op. 68
SCRIABIN
Sonata-Fantasie No. 2, Op. 19
This piece is in two movements: Andante and Presto. The musical style is similar to those of Chopin but also with an impressionistic feel. The second movement is in contrast to the first movement. The first movement sounds lyrical whereas the second movement is intense in faster tempo. I can see that in order to play this piece, large hands may be required due to several large intervals such as twelfth intervals.
Sonata No. 5, Op. 53
This sonata is important because it is sad that it marks the end of his Romantic period. He dives right into the style of atonality. There is a total of five themes in this piece. The idea in the opening is shockingly intense as there is use of dissonant trill and glissando. The Languido section is slow and wistful. The overall mood of the piece, I thought, reminds me of Brahms. By looking at the score, he also uses several thick chords and sixth intervals except with accidentals which make the music atonal.
There is also an epigraph to this sonata written by him which states “I summon you to life, hidden longings! You, drowned in the dark depths of the creative spirit, you fearful embryos of life, I bring you daring!”
Sonata No. 9, Op. 68
This single-movement sonata is also known as the Black Mass Sonata. As I listen to this piece, the beginning immediately gives me a sort of unstable yet distant feeling highly owing to its use of chromaticism and atonality. The interval of a minor ninth is particular used to make the dissonant sounds in this piece. I can notice that he use trills along with arpeggio to not only gives a sense of flustering tone but also to shift the harmonic structure. As the piece progresses, the tension builds up more and more and eventually reaches the climax. The original theme is again repeated at the end. Like his Sonata No. 5, Op. 53, I think this sonata is also technically demanding
Sonata-Fantasie No. 2, Op. 19
This piece is in two movements: Andante and Presto. The musical style is similar to those of Chopin but also with an impressionistic feel. The second movement is in contrast to the first movement. The first movement sounds lyrical whereas the second movement is intense in faster tempo. I can see that in order to play this piece, large hands may be required due to several large intervals such as twelfth intervals.
Sonata No. 5, Op. 53
This sonata is important because it is sad that it marks the end of his Romantic period. He dives right into the style of atonality. There is a total of five themes in this piece. The idea in the opening is shockingly intense as there is use of dissonant trill and glissando. The Languido section is slow and wistful. The overall mood of the piece, I thought, reminds me of Brahms. By looking at the score, he also uses several thick chords and sixth intervals except with accidentals which make the music atonal.
There is also an epigraph to this sonata written by him which states “I summon you to life, hidden longings! You, drowned in the dark depths of the creative spirit, you fearful embryos of life, I bring you daring!”
Sonata No. 9, Op. 68
This single-movement sonata is also known as the Black Mass Sonata. As I listen to this piece, the beginning immediately gives me a sort of unstable yet distant feeling highly owing to its use of chromaticism and atonality. The interval of a minor ninth is particular used to make the dissonant sounds in this piece. I can notice that he use trills along with arpeggio to not only gives a sense of flustering tone but also to shift the harmonic structure. As the piece progresses, the tension builds up more and more and eventually reaches the climax. The original theme is again repeated at the end. Like his Sonata No. 5, Op. 53, I think this sonata is also technically demanding
MIGHTY 5: Balakirev(Op. 102 & Op. 18) & Cui (Op. 64)
Balakirev
These two composers are part of the group ‘The Mighty Five.’ The name is associated with Russian national melodies and rhythms. Balakirev is actually the mentor of Cui. He also managed to organized another group known as the Balakirev Circle with the purpose of promoting Russian national music instead o the classical German compositions.
Sonata No. 2 in Bb minor, Op. 102
What is so special about this sonata is that the second movement is a Mazurka which sounds poetic. The first movement is too uniquely designed as fugue is used in its sonata-allegro form. The mood of this piece in general is romantic. By looking at the score, it seems Balakirev often likes to use arpeggios in the left hand. The Finale is rhythmic and the ending somewhat resembles the ending of the first movement as both ends quietly.
Islamey , Oriental Fantasy, Op. 18
It is known that the members of the Mighty Five were also influenced by both Islamic and Asian musical styles. Balakirev therefore wrote an oriental fantasy for piano entitled Islamey. This piece is technically difficult as the use of double thirds, octave figurations, and scale passages are written everywhere. There are three sections in ABA form. The first section introduces the main theme. As one listens, he or she can recognize the tone in the second sections sound oriental or exotic. In the third section the main theme returns. What an electrifying piece of music!
Cui
Although Cui was born in Russia, he was not Russian by blood. His father was French, and his mother was Lithuanian. He studied composition with Balakirev.
Op. 64 Preludes
This piece reflects the sensibility of Chopin’s works as it is pianistic. The key scheme is the same as those in Chopin’s as both covered all the keys. However, in Cui’s set there is an additional prelude at the end as to make a distinction between his and Chopin’s preludes. As far as the order of the key scheme is concerened, Chopin moves upward around the circle of fifths with major keys and their relative minors. On the other hand, Cui starts with C major in his preludes and moves upward by thirds alternating between major and minor and eventually circles back to C major. The structure of most of these preludes is in ABA form. Some of them are waltzes such as in No. 3, 12, 14, and 23. There is also a canon in N0. 7. The meter in No. 15 is irregular as it changes from 7/8 to 3/4. It seems that these pieces are tonally constructed, and the intimate lyricism is what I was drawn to the most when listening.
THE AMERICANS: Beach(Op. 60 & Op. 15) & MacDowell
Amy Beach: Variations on Balkan Themes, Op. 60 & Sketches, Op. 15MacDowell: Woodland Sketches & New England Idyls
I thought Dave’s presentation is pretty thorough. I have few things to add. I really like “To a Wild Rose” by MacDowell, sounds every nostalgic. Also, I found out that Beach had spent many summers at the MacDowell Colony!
Both composers are classified as the Boston Classicists.
TCHAIKOVSKY (Op. 59 & Op. 37b)& GRIEG (Op. 43 & Op. 54)
Tchaikovsky
Dumka, Op 59
Dumka ( Russian Rustic Scene) is defined as a Slavic folksong that has both happy and sad sections. It is said that Tchaikovsky may have taken this idea from Dvorak’s “Dumky” Trio, p. 65.
The Seasons, Op 37b
The Seasons, op. 37b is a set of twelve short character pieces for solo piano by the Russian composer Pyotr Ilyich Tchaikovsky (1840-1893). The work is also sometimes heard in orchestral arrangements produced by other musicians.The 12 pieces with their titles are:
January: At the Fireside-a sense of regret but playful
February: Carnival - joyful
March: Song of the Lark – a sense of melancholy
April: Snowdrop - bright"
May: Starlight Nights – sweet-sounding
June: Barcarolle – Chopin-like; both happy and sad
July: Song of the Reaper – several mood changes
August: Harvest – ABA form
September: The Hunt – fanfare-like
October: Autumn Song –sad, melancholy
November: Troika - playful
December: Christmas- in waltz style
Grieg
Lyrical Pieces, Op. 43 and 54: like the title suggested, these pieces sound not only lyrical but poetic as well. After listening to Lyrical Pieces and then Sonata in E minor, Op. 7, I began to have a thought about the musical style of his pieces: ‘young and fresh.’
Dumka, Op 59
Dumka ( Russian Rustic Scene) is defined as a Slavic folksong that has both happy and sad sections. It is said that Tchaikovsky may have taken this idea from Dvorak’s “Dumky” Trio, p. 65.
The Seasons, Op 37b
The Seasons, op. 37b is a set of twelve short character pieces for solo piano by the Russian composer Pyotr Ilyich Tchaikovsky (1840-1893). The work is also sometimes heard in orchestral arrangements produced by other musicians.The 12 pieces with their titles are:
January: At the Fireside-a sense of regret but playful
February: Carnival - joyful
March: Song of the Lark – a sense of melancholy
April: Snowdrop - bright"
May: Starlight Nights – sweet-sounding
June: Barcarolle – Chopin-like; both happy and sad
July: Song of the Reaper – several mood changes
August: Harvest – ABA form
September: The Hunt – fanfare-like
October: Autumn Song –sad, melancholy
November: Troika - playful
December: Christmas- in waltz style
Grieg
Lyrical Pieces, Op. 43 and 54: like the title suggested, these pieces sound not only lyrical but poetic as well. After listening to Lyrical Pieces and then Sonata in E minor, Op. 7, I began to have a thought about the musical style of his pieces: ‘young and fresh.’
ETUDES: Liszt, Rachmaninoff, and Scriabin
ETUDES
Liszt: 2 Concert Etudes, S145 & 12 Etudes d'execution transcendante, S139
Rachmaninoff: Etudes-tableaux, Op. 39
Scriabin: 3 Pieces, Op. 2: No. 1. Etude in C sharp minor & 8 Etudes, Op. 42
Pieces in Liszt’s etudes mostly focus on the challenges of specific techniques. However, Rachmaninoff’s etudes, according to Rachmaninoff himself, are “picture pieces.” He states “I don’t believe in the artist disclosing too much of the images. Let them paint for themselves what it most suggests.” In other words, these etudes go beyond the technical challenges to explore a variety to imaginative emotions. As the practice of etudes is evolving, Scriabin had made his etudes move to atonality that to some extent reflect his mystical beliefs on his music.
Liszt: 2 Concert Etudes, S145 & 12 Etudes d'execution transcendante, S139
Rachmaninoff: Etudes-tableaux, Op. 39
Scriabin: 3 Pieces, Op. 2: No. 1. Etude in C sharp minor & 8 Etudes, Op. 42
Pieces in Liszt’s etudes mostly focus on the challenges of specific techniques. However, Rachmaninoff’s etudes, according to Rachmaninoff himself, are “picture pieces.” He states “I don’t believe in the artist disclosing too much of the images. Let them paint for themselves what it most suggests.” In other words, these etudes go beyond the technical challenges to explore a variety to imaginative emotions. As the practice of etudes is evolving, Scriabin had made his etudes move to atonality that to some extent reflect his mystical beliefs on his music.
FAURE: Nocturne, Op. 119 & Barcarolle, Op. 66
Faure
Nocturne No. 13, Op 119 &Barcarolle No. 5, Op 66
Faure wrote a total of thirteen nocturnes, and some of them still have those warm and expressive quality like in Chopin’s nocturnes. Of course there is some differences between both composers’ nocturnes. The Nocturne No. 13 shows that, that is, its atonality.
On the other hand, The Barcarolle, Op. 66 has bolder harmonic shifts compared to Chopin’s. Therefore, his Barcarolle sounds more restless than Chopin’s Barcarolle which is rather serene and peaceful.
REGER (Op. 36 & Op. 134) & SAINT-SAENS (Op. 111, Op. 73, & Op. 35)
Max Reger
9 Bunte Blatter for Piano, Op. 36Variations and Fugue on a theme by Telemann for Piano, Op. 134
Perhaps due to status as both a pianist and organist, his style is contrapuntally dense. He therefore wrote works in fugues or in variation form. The harmony in his music remains mostly tonal but at times the melodic lines sound atonal due to rapid modulations.Ideas -
From Bach: counterpoint
From Beethoven and Brahms: absolute music
From Liszt and Wagner: free modulation
Saint-Saens:6 etudes, op. 111Album op. 72 for pianoRhapsodie d'Auvergne, Op. 73Variations on a theme by Beethoven, Op. 35
Have never heard of these pieces, I enjoyed listening to them. Saint-Saens’s pieces have French characteristics: the music is often considered refined and never excessive. Moreover, most of them have elegant melodic lines and clean-cut expression as opposed to a great deal of rubatos of the German School.
BRAHMS: Op. 76, Op. 116, Sonatas and Variations
BRAHMS
Capriccio in B minor, Opus 76
This set contains eight pieces. As I’d already compared the four different recordings for one of the assignments, most of them are in ABA form.
1. Capriccio in F#minor- restless, lots of arpeggios
2. Capriccio in B minor- playful, gypsy-like style
3. Intermezzo in Ab major- has syncopated chords played in legato played against a staccato accompaniment
4. Intermezzo in Bb major- use chromatic harmony
5. Capriccio in C# minor- complex rhythm
6. Intermezzo in A major- very lyrical
7. Intermezzo in A minor- has a sad, melancholy melody over an accompaniment
8. Capriccio in C major- difficult to play; complex rhythm
7 Fantasias, Op. 116
1. Capriccio in D minor- virtuosic (Presto)
2. Intermezzo in A minor- meter changes in the central section
3. Capriccio in G minor- there is a trio section in the Neapolitan key of E-flat major
4. Intermezzo in E major- use of variations
5. Intermezzo in E minor- symmetrical
6. Intermezzo in E major- minuet-like
7. Capriccio in D minor- ends on D major
Most of them are in ABA form. The outer section often contrasts the inner section. Characteristics: TURBULENT capriccios and SERENE intermezzos.
BRAHMS SONATA AND VARIATIONS:
MY PRESENTATION
Capriccio in B minor, Opus 76
This set contains eight pieces. As I’d already compared the four different recordings for one of the assignments, most of them are in ABA form.
1. Capriccio in F#minor- restless, lots of arpeggios
2. Capriccio in B minor- playful, gypsy-like style
3. Intermezzo in Ab major- has syncopated chords played in legato played against a staccato accompaniment
4. Intermezzo in Bb major- use chromatic harmony
5. Capriccio in C# minor- complex rhythm
6. Intermezzo in A major- very lyrical
7. Intermezzo in A minor- has a sad, melancholy melody over an accompaniment
8. Capriccio in C major- difficult to play; complex rhythm
7 Fantasias, Op. 116
1. Capriccio in D minor- virtuosic (Presto)
2. Intermezzo in A minor- meter changes in the central section
3. Capriccio in G minor- there is a trio section in the Neapolitan key of E-flat major
4. Intermezzo in E major- use of variations
5. Intermezzo in E minor- symmetrical
6. Intermezzo in E major- minuet-like
7. Capriccio in D minor- ends on D major
Most of them are in ABA form. The outer section often contrasts the inner section. Characteristics: TURBULENT capriccios and SERENE intermezzos.
BRAHMS SONATA AND VARIATIONS:
MY PRESENTATION
LISZT: virtuoso, Anness and late pieces, Sonata and Ballades
LISZT
Liszt’s Hungarian Rhapsody No.9 & No. 13, Tannhauser to Overture(Wagner), Rigoletto Paraphrase (Verdi)
Liszt wrote a set of nineteen piano pieces based on Hungarian folk themes in three different time periods: 1846-1853, 1882, and 1885. These pieces later are arranged in versions of orchestra, piano duet, and piano trio. The idea of these rhapsodies comes from the danced called verbunkos which is a Hungarian dance during the 18th century. This type of dance has several parts, and each is in a different tempo. It is also important to note that the structure of Liszt’s Hungarian rhapsodies is credited to Gypsides and contains two important elements: the lassan (slow)and the friska (fast).
Hungarian Rhapsody No. 3.
In comparison to his Liszt’s Hungarian Rhapsody, No. 2, this rhapsody is much shorter and only lasts about four minutes long. Moreover, it is less technical. Therefore, this piece is often overlooked. The form is in ABA form. The A section opens up with a dark theme played in the bass. The right hand plays chords in the low register. The B section features shimmering sonorities.
Hungarian Rhapsody No. 9
The texture of this rhapsody is thin, and its harmonic rhythm is slow. The syncopation in the allegretto section is constant. The mood is much lighter than the Rhapsody No. 3.
Overture to Wagner’s “Tannnhauser”
Liszt loved to transcribe several works from other composer. In fact, he transcribed several opera works by Wagner and Verdi for the piano. This transcription Tannhauser to Overture is not as virtuosic in comparison to his own compositions.
Concert Paraphrase of Rigoletto, by Verdi
The tonal colors in this piece sound mostly brilliant throughout. The mood is generally fun and has its dramatics as opposed to profound, deep music.
Années de pèlerinage (Years of Pilgrimage)
This is a set of three suites. These works ranges from virtuosic to slow-moving emotional highlights. One can observe his musical maturity evolving through these three volumes. The third volume is distinguished as an example of his late style.
Années de pèlerinage, Deuxième année: Italy (Book II)
This is the second set of his Years of Pilgrimage. There is a total of seven pieces in this set. The first piece Sposalizio (Wedding Ceremony) was inspired by the painting, The Marriage of the Virgin, by Raphael. There is a pentatonic melody used at the beginning. The piece just sounds ‘full’ to me. The second one is named ‘The Thinker’ inspired by Michelangelo’s statue. In my opinion, the title completely matches the impression of the piece. The melodic lines move forward and stop at times, on and off, leaving an notion of what a thinker is doing. The third piece, Canzoneeta del Salvator Rosa obviously was inspired by a poem credited to Salvator Rosa who was a painter in the 17th century. The mood of this piece is light and somewhat gives a sense of carefree indifference.
Following this, there are three Petrach Sonnets, Sonnetto 47 del Petrarca, Sonetto 104 Petrarca, and Sonetto 123 del Petrarca. These works were transcribed from songs he wrote for tenor voice. The first one sounds lovely in a slow tempo. The beginning of the second one immediately tries to create some sort of tension with its peculiar harmony, and the middle section has a passionate, singable melodic lines. The third one resembles the first one. The overall mood of the third sounds lovely and gentle.
The last piece in this set is called Apres une lecture du Dante, sometimes is known as the Dante Sonata. The title is inspired by one of the poems written by Victor Hugo. The repetitive tritones in the introduction produce a demonic sound effect. Later, the piece therefore develops much more intensity and drama. Interestingly, the darkness of the mood is maintained throughout the whole piece.
Les Jeux d’eau a la Villa d’Este
This is the fourth piece from the third volume of his Years of Pilgrimage. This piece sounds impressionistic and Debussy-like. The arpeggios built on ninth chords at the beginning suggest the movement of water. It has some sort of crystalline-like sound evoking droplets of water in particular from the tremolos.
Aux cyprès de la Villa d'Este No. 1
This is the second piece from the third volume of his Years of Pilgrimage. This is Liszt’s reaction towards the cypresses surrounding the Villa d’Este. Apparently, he viewed them in the character of threnodies and gloominess. The opening begins with a heavy ringing of bass octaves against repeated chords with the aim of setting up a distressful mood. The whole entire piece gives a sense of uncertainty, yet, with frustration and anguish.
Mephisto Polka
This is a folk-dance piece of program music based on the legend of Faust by Nikolaus Lenau. The story behind this piece is about how Mephistopheles tried to make Faust waltz with a girl by playing the fiddle at a wedding feast. By looking at the score, the work is not technically challenging. The piece sounds pretty much chromatic as opposed to functional harmony. Also, there doesn’t seem to be an ending, the piece simply just dies out on the key of F.
Nuage Gris
The beginning gives me the creeps. Unlike his earlier works, it sounds very gloomy and dark and may reflect his depression regarding the late period of his life. This piece is only three minutes long. The nature of this work is not virtuosic and is technically simple. The harmony is what draws my attention the most because it is based on augmented triads.
Sonata in B minor
This piece is dedicated to Robert Schumann. What is interesting about this sonata is that it is written in one movement; moreover, it is technically a fantasia-like improvisation. There is a total of five motivic ideas that form the whole piece. The first theme sounds excitingly threatening while the second theme sings its beautiful melody. There is a chorale section in the middle. The form of this sonata is widely debated. Some say this sonata contains a four-movement structure of a sonata, and some say it is a single movement in sonata-allegro form. Whatever it is, this piece remains one of his greatest compositions for solo piano.
Ballade No. 2
The piece is inspired by a ballad poem called Lenore by Gottfried Burger:http://www.artofeurope.com/burger/burg1.htmThis ballade is more popular compared to the first one. Again, Liszt uses the lower register for the main theme to demonstrate his typical style of that menacing dark sound that represents evil. There is basically a scenario of struggles between good versus evil. The second subject is played in the high register as opposed to the first subject played in the low register. Ironically, the piece ends softly.
Saturday, February 20, 2010
PROGRAM MUSIC: Liszt’s Mephisto Waltz No. 1, S. 514
PROGRAM MUSIC: Liszt’s Mephisto Waltz No. 1, S. 514
Liszt wrote four Mephisto Waltzes in total. The first one, composed between 1859 and 1862, was the most performed and the most popular. This is an example of program music; Liszt took an episode called Der Tanz in der Dorfschenke (The Dance in the Village Inn) from Nikolaus Lenau’s (1802-1850) Faust and arranged it for piano. Liszt also created a version for orchestra in his S. 110, No. 2.
Faust is the main character; he makes a deal with Mephistopheles, who works for the devil, to exchange his soul for knowledge. In one scene, Faust and Mephistopheles are at the inn and Mephistopheles plays the violin to induce Faust to waltz with a lady. This brings to mind a few questions: Why is Liszt preoccupied with the legend of Faust and the character of Mephistopheles? Is it because of his devotion to religion, his admiration of the violin virtuoso Nicolo Paganini, or his guilt for extreme behaviors that might lead him to the devil, such as being with numerous women and having illegitimate children?
Each section of this piece has different characters, and the rhythmic drives are very exhilarating.
Liszt wrote four Mephisto Waltzes in total. The first one, composed between 1859 and 1862, was the most performed and the most popular. This is an example of program music; Liszt took an episode called Der Tanz in der Dorfschenke (The Dance in the Village Inn) from Nikolaus Lenau’s (1802-1850) Faust and arranged it for piano. Liszt also created a version for orchestra in his S. 110, No. 2.
Faust is the main character; he makes a deal with Mephistopheles, who works for the devil, to exchange his soul for knowledge. In one scene, Faust and Mephistopheles are at the inn and Mephistopheles plays the violin to induce Faust to waltz with a lady. This brings to mind a few questions: Why is Liszt preoccupied with the legend of Faust and the character of Mephistopheles? Is it because of his devotion to religion, his admiration of the violin virtuoso Nicolo Paganini, or his guilt for extreme behaviors that might lead him to the devil, such as being with numerous women and having illegitimate children?
Each section of this piece has different characters, and the rhythmic drives are very exhilarating.
PROGRAM MUSIC: Tchaikovsky’s The Seasons, Op. 37b, November: Troika in E-major & December: Christmas in A-flat major
This work contains twelve character pieces. Tchaikovsky created each piece based on feelings associated with the different months of the year; for example, jingling bells play in the right hand in Troika. The December piece follows waltz rhythm throughout. Both are composed in simple ABA form. In the Russian edition, some of the pieces contain poetic epigraphs by the publisher, Nikolav Bernard. It is interesting to listen to these pieces while remembering these lines:
November
In your loneliness do not look at the road,
and do not rush out after the troika.
Suppress at once and forever the fear of longing in your heart.
December
Once upon a Christmas night the girls were telling fortunes:
taking their slippers off their feet and throwing them out of the gate. 
PROGRAM MUSIC: Liszt’s Dante Sonata as part of the second volume of Années de Pèlerinage (Years of Pilgrimage)
Liszt’s Dante Sonata as part of the second volume of Années de Pèlerinage (Years of Pilgrimage)
This is a piano sonata in one movement in the second volume of Années de Pèlerinage (Years of Pilgrimage). The work is an example of program music since Liszt wrote this based on an epic poem, The Divine Comedy by Dante Alighieri, who was an Italian poet in the Middle Ages. Immediately in the opening, there is massive sound associated with chaos and demonic darkness that includes the repetitive use of tritons. At first I thought this single movement is meant to depict Inferno, Purgatory, and Paradise, like in Liszt’s Dante Symphony. However, I learned from another source that the correct title for this piece is Après une lecture de Dante by Victor Hugo, in which Hugo summarizes Dante’s vision of the Inferno. This makes more sense to me since the piece seems to build up more macabre intensity, drama, and orchestral colors as it progresses.
After Reading Dante (Après une lecture de Dante)
When the poet painted Hell, he was painting his own life,
His life, a harried shade in flight from specters;
A darkling wood where fearful steps
Grope forward, beyond the trail;
A passage blocked by monstrous forms;
The spiral’s crumbling sides and plunging depths,
Its frightful rings that circle down
Into a pit where the living Hell stirs!
The slope dissolves in a smudge of fog;
At the base of each step a sufferer sits,
And as you pass you hear the rasp
Of white teeth grinding in the dark night.
There are visions, dreams, illusions here;
Eyes that pain turns into bitter streams;
An entwined couple—love!—sad and still aflame,
Who pass in a gust with a wound in their side;
Vengeance and hunger crouch in a corner,
Unholy sisters ranged on a skull
This is a piano sonata in one movement in the second volume of Années de Pèlerinage (Years of Pilgrimage). The work is an example of program music since Liszt wrote this based on an epic poem, The Divine Comedy by Dante Alighieri, who was an Italian poet in the Middle Ages. Immediately in the opening, there is massive sound associated with chaos and demonic darkness that includes the repetitive use of tritons. At first I thought this single movement is meant to depict Inferno, Purgatory, and Paradise, like in Liszt’s Dante Symphony. However, I learned from another source that the correct title for this piece is Après une lecture de Dante by Victor Hugo, in which Hugo summarizes Dante’s vision of the Inferno. This makes more sense to me since the piece seems to build up more macabre intensity, drama, and orchestral colors as it progresses.
After Reading Dante (Après une lecture de Dante)
When the poet painted Hell, he was painting his own life,
His life, a harried shade in flight from specters;
A darkling wood where fearful steps
Grope forward, beyond the trail;
A passage blocked by monstrous forms;
The spiral’s crumbling sides and plunging depths,
Its frightful rings that circle down
Into a pit where the living Hell stirs!
The slope dissolves in a smudge of fog;
At the base of each step a sufferer sits,
And as you pass you hear the rasp
Of white teeth grinding in the dark night.
There are visions, dreams, illusions here;
Eyes that pain turns into bitter streams;
An entwined couple—love!—sad and still aflame,
Who pass in a gust with a wound in their side;
Vengeance and hunger crouch in a corner,
Unholy sisters ranged on a skull
DANCE MUSIC: Chopin's Scherzo No. 2 in Bb minor, Op. 31
DANCE MUSIC: Chopin’s Scherzo No. 2 in B-flat minor, Op. 31
Chopin composed a total of six scherzos. This scherzo was composed and published in 1837. Like nearly all of his dance music, his scherzos are in ¾ meter and ternary form. One source says that Chopin often requested his students to play the opening, which evokes the image of a funeral home. I find this very interesting—how can dance music be associated with death? The word scherzo means “joke” in Italian, and in music, a scherzo is usually carried out in a playful manner. Immediately upon listening to Scherzo No. 2, one hears a definite seriousness and somber atmosphere in the opening. This scherzo sounds rather dark and dramatic—does this piece seem like a joke? I think this is something for the class to think about in regards to the dance music of the nineteenth century.
Chopin composed a total of six scherzos. This scherzo was composed and published in 1837. Like nearly all of his dance music, his scherzos are in ¾ meter and ternary form. One source says that Chopin often requested his students to play the opening, which evokes the image of a funeral home. I find this very interesting—how can dance music be associated with death? The word scherzo means “joke” in Italian, and in music, a scherzo is usually carried out in a playful manner. Immediately upon listening to Scherzo No. 2, one hears a definite seriousness and somber atmosphere in the opening. This scherzo sounds rather dark and dramatic—does this piece seem like a joke? I think this is something for the class to think about in regards to the dance music of the nineteenth century.
Sunday, February 14, 2010
Herz's ‘Non piu mesta’ from Rossini’s La Cenerentola
Henri Herz (1803-1888) was born in Vienna, Austria, but stayed in France for most of his life. He was one of the most celebrated pianists of the 1830s and 1840s. He toured in many European countries as well as in the United States during the 1840s, where he gave a concert in San Francisco, and he wrote about his experiences in a book called Mes Voyages en Amerique.
While searching for information on this piece, I was surprised to learn that Chopin also wrote variations on ‘Non piu mesta’ from Rossini’s La Cenerentola but for the flute and the piano. This demonstrates that Rossini’s aria was not only popular but also charming. This set of variations by Herz includes a total of six variations as well as an introduction and a finale. The first includes triplet figurations, which make the aria more florid The second is marked by its galloping force with the use of one eighth note and two sixteenth notes. In the third, the left hand uses a perpetual scale motion while the right hand plays the main melody. The fourth consists mainly of chords and octaves. The fifth has rapid notes with several embellishments to the theme. The sixth is striking because of its lyrical sound and relative A minor key. The finale, similar to those of Alkan and Schumann, not only sounds triumphant but also includes a dotted rhythm.
Compared to those of Liszt and Alkan, these pieces are not as virtuosic, although they demand brilliant displays of finger dexterity from the pianist. As I listened to these variations, I could sense three different emotions being expressed throughout the works: 1. Light-hearted (e.g., variation 1); 2. Sarcastic (silly) (e.g., variation 5); and 3. Sad (e.g., variation 6).
These pieces are very easy to listen to.This is a popular music genre of salon music during the nineteenth century that paraphrases operatic ideas. Herz tried to express the emotions displayed by the heroine Cenerentola.
Two techniques that struck me most while listening:
- Persistent use of repeated notes (possibly due to the ‘double escapement’ mechanism from the Edrard piano since Herz was the one who had incorporated the rapid playing of repeated notes into grand pianos).
- Double-third passages alternate between both hands
Liszt's Etudes d'execution transcendante d'apres Paganini, S. 140 (1838), No. 4a & 4b VERSUS Grand Etudes of Paganini, S. 141 (1851), No. 4
Liszt’s Etudes d'execution transcendante d'apres Paganini, S. 140 (1838)
4a. E Major and 4b. E Major
Grand Etudes of Paganini, S. 141 (1851)
No. 4 in E major
Liszt’s Etudes d’execution trascendante d’apres Paganini of 1838, S. 140 is an early version of the better-known Grand Etudes of Paganini, S. 141 of 1851. This is a series of six etudes based on the compositions of six of Nicolo Paganini’s Caprices for Solo Violin. Nicolo Paganini (1782-1840) was one of the most celebrated violin virtuosi in the early nineteenth century and brought violin technique to a whole new level. His Caprices, No. 24 in A minor, Op. is considered one of the most difficult pieces ever written for solo violin because of its extremely advanced techniques. This work has also inspired many prominent composers to transcribe it, and Liszt was one of them. Seemingly inspired by Paganini’s performance in Paris in 1831, Liszt wanted to reproduce the effect of violin on piano. As a result, he not only made his etudes among the most technically challenging pieces in piano literature but also developed new, innovative technical skills for the piano that were unachievable prior to this time. In fact, similar to Paganini, Liszt had also raised piano virtuosity to a new level.
It is said that the earlier version (1838) of these etudes is almost unplayable since the final version (1851) is played almost exclusively today and is technically easier. Both etudes are dedicated to Clara Schumann. Liszt had befriended both Robert and Clara Schumann—in fact, both Liszt and Schumann began to write pieces based on Paganini’s themes between 1831 and 1832 and often discussed compositional works in each other’s company. The earlier version is a composition that established his fame as one of the top piano virtuosi of his time and changed the history of piano-playing.
By comparing the musical scores of the two versions in the 1838 edition, one can see that both are studies for arpeggios. The first version plays the single-note arpeggios in each hand while the second plays with double-note arpeggios. The 1851 edition, however, noticeably reworked the melodic lines in counterpoint to these two versions, as the music thins out the texture. Similar to the musical score for the violin, it is written on only one stave, with passages alternating between the two hands throughout.
What caused Liszt to remove all the outrageous technical difficulties from the Etudes d'execution transcendante d'apres Paganini, S. 140? What makes it so difficult? Below are a few technical difficulties that one might encounter:
- Double-third accompaniment passages
- Wide leaps and stretches (greater than a tenth)
- Fast tempo
- Alternating chords
- Difficult trills and runs that seem impossible to execute perfectly
Alkan’s Le Festin d'Esope in E minor, Op. 39, No. 12
Alkan’s Le Festin d'Esope in E minor, Op. 39, No. 12
Since I am not very familiar with Charles ALkan(1813-1888), I will briefly give his biographical background. He was a French-Jewish composer who was friends with both Liszt and Chopin. Like Liszt, he not only was one of the greatest virtuoso pianists at the beginning of the nineteenth century but also wrote études to explore different kinds of technical difficulty on the piano. Although several prominent composers, such as Arthur Rubenstein, Claude Debussy, and Maurice Ravel, admired and studied his music, his works are often neglected and failed to blossom after his death in 1888. Interest in his music began to revive in the 1960s.
Alkan’s Le Festin d’Esope, Op. 39, No. 12 is “the final work in the Douze Études dans Tous les Tons Mineurs (Twelve Studies in all Minor Keys) cycle.” He wrote a total of twenty-five variations based on the theme” (Wikipedia, 2009). Personally, I think this set of variations equals—if not surpasses—the Transcendental Études of Liszt in difficulty. This work was published in 1857, six years after Liszt published his Grandes Études de Paganini. Was Alkan responding to Liszt’s études? I suppose this may be something for the class to consider and discuss, perhaps to compare the études’ composition styles of the two composers.
A sense of grim humor definitely is heard when one first listens to this piece. Each variation is different, from playful to profoundly dark. A spectrum of emotion is explored throughout these variations. What interests me most is that, in some of the variations, one can hear the thick and heavy chords creating a powerful drive, while at same time a glitter of innocent, light resonance is also evident. In other words, the music almost resembles a dispute between a child and his or her father. The last variation brings to mind the last variation in Schumann’s Symphonic Études, Op. 3, which has a similar dotted rhythm, texture, and a notably triumphant character. I conclude that the aggressive, powerful force wins at the end in this piece.
This is a work of outstanding genius!
Now I would like to share my own thoughts regarding portions of this work:
Since I am not very familiar with Charles ALkan(1813-1888), I will briefly give his biographical background. He was a French-Jewish composer who was friends with both Liszt and Chopin. Like Liszt, he not only was one of the greatest virtuoso pianists at the beginning of the nineteenth century but also wrote études to explore different kinds of technical difficulty on the piano. Although several prominent composers, such as Arthur Rubenstein, Claude Debussy, and Maurice Ravel, admired and studied his music, his works are often neglected and failed to blossom after his death in 1888. Interest in his music began to revive in the 1960s.
Alkan’s Le Festin d’Esope, Op. 39, No. 12 is “the final work in the Douze Études dans Tous les Tons Mineurs (Twelve Studies in all Minor Keys) cycle.” He wrote a total of twenty-five variations based on the theme” (Wikipedia, 2009). Personally, I think this set of variations equals—if not surpasses—the Transcendental Études of Liszt in difficulty. This work was published in 1857, six years after Liszt published his Grandes Études de Paganini. Was Alkan responding to Liszt’s études? I suppose this may be something for the class to consider and discuss, perhaps to compare the études’ composition styles of the two composers.
A sense of grim humor definitely is heard when one first listens to this piece. Each variation is different, from playful to profoundly dark. A spectrum of emotion is explored throughout these variations. What interests me most is that, in some of the variations, one can hear the thick and heavy chords creating a powerful drive, while at same time a glitter of innocent, light resonance is also evident. In other words, the music almost resembles a dispute between a child and his or her father. The last variation brings to mind the last variation in Schumann’s Symphonic Études, Op. 3, which has a similar dotted rhythm, texture, and a notably triumphant character. I conclude that the aggressive, powerful force wins at the end in this piece.
This is a work of outstanding genius!
Now I would like to share my own thoughts regarding portions of this work:
Tausig's Ungarische Zigeunerweisen(Hungarian Gypsy Melodies)
Tausig’s Ungarische Zigeunerweisen (Hungarian Gypsy Melodies)
The compositional output by Carl Tausig was quite limited since he only lived for 30 years. He was a Polish composer and pianist who not only studied compositions, counterpoint, and orchestration, but also toured with his teacher Liszt. He formed friendships with prominent composers such as Richard Wagner and Johannes Brahms. Inspired by their influence, he created piano arrangements of several works by these composers.
His Ungarische Zigeunerweisen requires the performer’s fingers to fly at incredible speed. There are several virtuosic ideas presented in this piece, but in my opinion, they are somewhat overdone.
The compositional output by Carl Tausig was quite limited since he only lived for 30 years. He was a Polish composer and pianist who not only studied compositions, counterpoint, and orchestration, but also toured with his teacher Liszt. He formed friendships with prominent composers such as Richard Wagner and Johannes Brahms. Inspired by their influence, he created piano arrangements of several works by these composers.
His Ungarische Zigeunerweisen requires the performer’s fingers to fly at incredible speed. There are several virtuosic ideas presented in this piece, but in my opinion, they are somewhat overdone.
Gottschalk's Tremolo, Op. 58
Gottschalk’s Tremolo, Op. 58
Louis Moreau Gottschalk(1829-1869) was an American composer and pianist, born in New Orleans, Louisiana. He received his musical education at the Paris Conservatory in France. When he returned to the United States, he traveled extensively, giving concerts in Central and South America and in the United States. His widespread travels exposed him to a variety of musical traditions. Although this piece does not show evidence of much influence from other cultures, in technical and artistic aspects, the virtuosic playing of its rhythmic precision and cascades of repeated notes is breathtaking.
One of the sources that I found says this work inspired by Tremolo on the theme of Beethoven, Op. 30 by the Belgian violinist Charles-August de Beriot. The title, Tremolo, is clearly a reference to the art of violin playing. This piece is amazing. In terms of its performance perspective, the speed and the evenness of the repeated notes are difficult to bring to perfection, especially the pairs of double notes, which are alternately played by both hands. The key of A produces an enormous sound throughout the piece.
Louis Moreau Gottschalk(1829-1869) was an American composer and pianist, born in New Orleans, Louisiana. He received his musical education at the Paris Conservatory in France. When he returned to the United States, he traveled extensively, giving concerts in Central and South America and in the United States. His widespread travels exposed him to a variety of musical traditions. Although this piece does not show evidence of much influence from other cultures, in technical and artistic aspects, the virtuosic playing of its rhythmic precision and cascades of repeated notes is breathtaking.
One of the sources that I found says this work inspired by Tremolo on the theme of Beethoven, Op. 30 by the Belgian violinist Charles-August de Beriot. The title, Tremolo, is clearly a reference to the art of violin playing. This piece is amazing. In terms of its performance perspective, the speed and the evenness of the repeated notes are difficult to bring to perfection, especially the pairs of double notes, which are alternately played by both hands. The key of A produces an enormous sound throughout the piece.
Composers' pictures for the listening this week: MUSTACHE TREND
Almost everyone has a mustache..;P
Sigismond Thalberg
Louis Moreau Gottschalk
Henri Herz
Carl Tausig
Sigismond Thalberg
Louis Moreau Gottschalk
Henri Herz
Carl Tausig
Charles Alkan
Tuesday, February 9, 2010
Chopin's Ballade No. 2 & No. 4
Chopin wrote four ballades at various times throughout his life. They are some of most exquisite yet technically demanding solo piano pieces of the nineteenth century. It is through these ballades that Chopin reached his height as an artist.
Just as John Field invented the nocturne, Chopin was one of the first composers to associate the term “ballade” with music. Ballades are single-movement pieces that describe folk-like, narrative poetry. Some historians claim that Chopin’s pieces were influenced by the Polish poet Adam Mickiewicz’s narrative poems; however, this subject continues to be disputed. Influenced by Chopin, Liszt and Brahms also wrote ballades of their own, presenting an intriguing study on ballade styles by different composers.
Chopin’s Ballade No. 2 in F major, Op. 38
I enjoyed listening to this piece because:
Just as John Field invented the nocturne, Chopin was one of the first composers to associate the term “ballade” with music. Ballades are single-movement pieces that describe folk-like, narrative poetry. Some historians claim that Chopin’s pieces were influenced by the Polish poet Adam Mickiewicz’s narrative poems; however, this subject continues to be disputed. Influenced by Chopin, Liszt and Brahms also wrote ballades of their own, presenting an intriguing study on ballade styles by different composers.
Chopin’s Ballade No. 2 in F major, Op. 38
I enjoyed listening to this piece because:
- The alternating sections switch well from graceful to “heavy duty”, exhilarating sections, offering a refreshing change from Chopin’s iconic nocturnes
- Each section gives has the storytelling quality that is characteristic of ballades
It seems reasonable to think that Chopin use an introduction in his ballades, but unlike his Polonaises, op. 61 or Fantasy, op. 49, there is none. However, it does contain a coda with a virtuosic frame of mind. The opening Andantino is charmingly beautiful, with chorale-like C’s played in unison. The second section, Presto con fuoco, is full of dramatic energy that comes from a fortissimo dynamic, falling arpeggios, and octaves in both hands. In fact, the entire section will remind the listener of a thunderstorm. The gentle theme is stated in A minor, then again in G minor. Chopin then incorporates variations on both the Andantino and presto con fuoco themes. 
Chopin introduces his coda abruptly via descending unison trills in the bass register to create a more dramatic effect. In a sense, this serves as a hint to listeners that something more is coming. The coda section, Agitato is impressively written, with the right hand persistently playing double note figures while the left hand plays a supporting role in octaves and broken chords. The range of dynamics is interesting here: forte climaxes to fortissimo; suddenly, the piece concludes in pianissimo by echoing the main theme, which reminds listeners of the basis of the ballade. Interestingly though, Chopin writes his conclusion in A minor, not the original F major from the opening. Why he chose to do this will remain a mystery.
Monday, February 8, 2010
Chopin's Piano Sonata in B Minor, Op. 58
Chopin’s Piano Sonata in B minor, Op. 58 was written in 1844, five years before his death.
General structure:
Allegro maestoso:
• follows the conventional sonata form: exposition, development, recapitulation, and coda
• A falling ninth from G to F# in the opening = a feeling of anguish, in my opinion
• EXPOSITION: first theme + extended, nocturne-like second theme (see broken-chord accompaniment in the left hand) LOVELY!
• DEVELOPMENT: texture thickens and becomes contrapuntal
• RECAPITULATION: the second theme (B major) is emphasized instead of the main theme
• CODA: reminds me of Chopin’s Fantasy, Op. 49 (arpeggio section)
COMMENT: On the first page of the musical score, several notes proceed in contrary motion which at the same time brings striking harmonic twists.
Scherzo:
• Chopin placed Scherzo in the second movement rather than the third
• Super-short. It lasts only 2 minutes long.
• It is in ternary form
• Outer section: light, glistening; characterized by eighth notes runs in the right hand
• Contrasting trio section: counterpoint over long-held notes; chordal structure
Largo:
• A flowing theme over a march-like bass line
• Overall mood: serene, somewhat nostalgic
Presto non tanto:
• Dramatic and virtuosic piece
• Rondo form
• The movement ends in B major
The structure of this sonata is similar to his Second Piano Sonata in Bb minor except a lyrical largo rather than a funeral march. I don’t know much about Chopin’s sonatas. I look forward to Eddie’s presentation and will add more stuff on my blog.
General structure:
Allegro maestoso:
• follows the conventional sonata form: exposition, development, recapitulation, and coda
• A falling ninth from G to F# in the opening = a feeling of anguish, in my opinion
• EXPOSITION: first theme + extended, nocturne-like second theme (see broken-chord accompaniment in the left hand) LOVELY!
• DEVELOPMENT: texture thickens and becomes contrapuntal
• RECAPITULATION: the second theme (B major) is emphasized instead of the main theme
• CODA: reminds me of Chopin’s Fantasy, Op. 49 (arpeggio section)
COMMENT: On the first page of the musical score, several notes proceed in contrary motion which at the same time brings striking harmonic twists.
Scherzo:
• Chopin placed Scherzo in the second movement rather than the third
• Super-short. It lasts only 2 minutes long.
• It is in ternary form
• Outer section: light, glistening; characterized by eighth notes runs in the right hand
• Contrasting trio section: counterpoint over long-held notes; chordal structure
Largo:
• A flowing theme over a march-like bass line
• Overall mood: serene, somewhat nostalgic
Presto non tanto:
• Dramatic and virtuosic piece
• Rondo form
• The movement ends in B major
The structure of this sonata is similar to his Second Piano Sonata in Bb minor except a lyrical largo rather than a funeral march. I don’t know much about Chopin’s sonatas. I look forward to Eddie’s presentation and will add more stuff on my blog.
Thursday, February 4, 2010
Chopin's Polonaise in Ab major, Op. 53
Polonaises are complex works that express the Polish soul and freedom, as well as illustrating the effects of tempo rubato. Chopin wrote his Polonaise in Ab major, Op. 53 in 1842. Often, this polonaise is nicknamed the “heroic” polonaise.
The following characteristics are worth mentioning:
1. As a listener, this piece sounds patriotic. This patriotic sound could stem from the following:
- First, Chopin could be recalling the November Uprising, in Poland, an important historical event that was a reaction to the oppressive rule of Russia, as well as the Polish Great Emigration, based in France. He may have written this piece to commemorate the heroes of Poland.
- Additionally, this piece might have been inspired by Chopin’s love affair with French novelist Aurore Dupin Dudevant, also known by her penname George Sand. He could be depicting the triumphant feeling of this relationship since this was written during the middle of his stay with her and her two children in the Carthusian monastery of Valldemossa on the island of Majorca.
Want to check out the place where Chopin stayed with George Sand & her 2 children? Check this out ~ http://www.youtube.com/watch?v=Jyx_F3TmYEU&feature=related
2. The polonaise rhythm is not immediately present in the opening; instead, fast ascending chromatic diminished fourths in both hands are displayed. Chopin possibly wrote an introduction to set up a mood, to intensify the listener’s expectations. The polonaise rhythm is only present in two sections, and one of them can be found in the left-hand accompaniment. 
3. OVERALL STRUCTURE: This piece is in ABA form. The theme in the A section is bold and heroic. The B section opens with six triumphant-sounding arpeggiated chords, which lead into a march-like bass ostinato of descending octaves initially in the key of E major and then in Eb major. This section, in particular, reminds me of Liszt’s Funerailles. Following an interlude of modulations, the theme from the A section returns; however, it is played louder and has a denser texture than the previous theme. 
4. To learn this piece, an appropriate level of technical and pianistic skill is required. This piece is not for amateurs, as it consists of extremely fast scales, arpeggios, and octaves; trills played by weaker fingers; tempo rubato; and wide-interval chords.
Chopin's Polonaise in Ab major, Op. 61
After four years, Chopin’s last Polonaise-Fantasie in Ab major, Op. 61 was published in 1846. The piece was dedicated to his pupil, Anne Veyret, who was married to Charles Veyret, a friend of both Chopin and George Sand. By examining this piece, we can learn more about Chopin’s compositional techniques.
Interesting characteristics to explore:
1. After listening to the two polonaises, there seems to be a pattern as to how Chopin composed these works:
5. What strikes my eyes when following the score is the double trills before a partial reprise of the introduction. The passage looks quite interesting.
Interesting characteristics to explore:
1. After listening to the two polonaises, there seems to be a pattern as to how Chopin composed these works:
- The polonaise is preceded by an introduction and finished with a more developed coda.
- Each repetition of the theme has a different texture (e.g., the melody is restated in octaves or chords, or with an additional melodic line, etc.).
- Sudden changes in tempo (e.g., Lento) or any other means of expression (e.g., Agitato) are often used.
- Ternary form; frequent key changes; complex harmony
2. The long and improvisatory introduction sounds mysterious and gives an impressionistic color.
3. The Lento section somewhat resembles a Trio section, due to its lyrical, chordal melody. Do the six opening arpeggiated chords mean something to you? I observed the same pattern in Opus 53. The class should consider this as well. 
4. Increased use of polyphonic writing, harmonic richness, and personal expression (fantasy); the brilliant, virtuosic style of his early polonaises has evolved into more lyrical expression through the use of formal and textural transformations.
5. What strikes my eyes when following the score is the double trills before a partial reprise of the introduction. The passage looks quite interesting.
Concern: I am sure that performers with excellent piano technique and extensive knowledge of music history can play this piece with little difficulty. If the performer lacks inadequate knowledge of the Polish patriotic spirit, would he or she still be able to deliver the profound artistic expression that Chopin intended to convey? Perhaps it is necessary to learn and understand the culture, history, and customs of Chopin’s homeland in order to empathize with his genuine nationalistic spirit, evidenced when he wrote these pieces.
Chopin's Barcarolle in F# major, Op. 60
The Barcarolle in F# major, Op. 60 was composed in 1845. This piece was dedicated to Baroness Stockhausen, the wife of the Hanoverian ambassador to France at the time.
1. The word “Barcarolle” literally means boat song. The “Venetian Boat Song” from Songs Without Words by Mendelssohn quickly comes to mind. Perhaps this composer is influenced by Mendelssohn; therefore, he wrote a character piece or simply was attracted to the scenic view of the Venetian rivers. This is something that the class should consider.
2. The introduction begins with a C# in the bass, then modulates through each key to the main key signature of F# major. This temporarily creates an air of suspense.
5. Several uses of thirds and sixths remind me of his Etude, Op. 10, No. 7.
7. In the quasi- improvisatory coda, the second measure before the last, Chopin exquisitely uses the full range of the keyboard. In this case, the passage spans five octaves to bring the piece to its dramatic close.
Interesting characteristics to emphasize:
1. The word “Barcarolle” literally means boat song. The “Venetian Boat Song” from Songs Without Words by Mendelssohn quickly comes to mind. Perhaps this composer is influenced by Mendelssohn; therefore, he wrote a character piece or simply was attracted to the scenic view of the Venetian rivers. This is something that the class should consider.
2. The introduction begins with a C# in the bass, then modulates through each key to the main key signature of F# major. This temporarily creates an air of suspense.
3. Once the F# tonality arrives, the left hand adopts a ‘paddling-like’ pattern that creates a gentle swaying rhythm throughout the piece. 
4. The melody is nocturne-like.
5. Several uses of thirds and sixths remind me of his Etude, Op. 10, No. 7.
6. Harmonic shifts: FM, F#m, AM, G#M.
7. In the quasi- improvisatory coda, the second measure before the last, Chopin exquisitely uses the full range of the keyboard. In this case, the passage spans five octaves to bring the piece to its dramatic close.
Comment: It seems to me that this is a love scene on the river. Two people on the boat fall in love; the tempo increase and increasingly agitated movement represents the increasing speeds of their heartbeats.
Chopin's Fantasy, Op. 49
Fantasy Op. 49, composed in 1841, is one of Chopin’s longest works for solo piano, lasting over ten minutes. It has an improvisatory style. It is loosely structured with abundant melodic ideas. It begins with a slow, dark march-like theme. The motive is a descending scale of four notes. The piece also contains sudden changes in volume and key (e.g., C to Cb in the introduction and arpeggios that move upward to push the tempo forward). Since the piece’s formal structure is unconventional and preconceived in comparison to other works, such as sonatas, a wide variety of ideas are presented within it, which creates an impression of instability throughout.
hard stuff!
Tuesday, February 2, 2010
Chopin's 24 Preludes, Op. 28
Chopin’s 24 Preludes, Op. 28 consists of a set of short pieces for the piano. They were published in 1839, right after Chopin’s visit with George Sand on the island of Majorca in Spain. It appears that Bach exerted some influence on Chopin. Similar to Bach’s preludes in the Well-Tempered Clavier, Chopin’s 24 Preludes, Op. 28 are written in all of the major and minor keys. In comparison to Bach’s preludes, which were arranged chromatically, Chopin arranged the keys in a circle of fifths: C major, its relative minor of A minor, G major, its relative minor of E minor, and so forth, until the final prelude reaches the key of D minor.
What is interesting about these preludes is that none of them is particularly long; in fact, they are all less than 90 measures. By examining Chopin’s other works, such as his polonaises and sonatas, we may observe his composition style, which is typically long and formal. It seems that both the length and expressive power of each prelude is diminished. Perhaps Chopin intended to convey the emotion on a smaller scale.
PRELUDE Nos. 1-3
The first prelude is marked by its brevity and its sixteenth-note figuration in triplet rhythm. The following prelude, which conveys a sense of uneasiness, immediately creates a contrast with fixed four-note chords played in the accompaniment. The third prelude consists of running sixteenth notes in bass, which keeps the piece moving.
PRELUDE No. 4
The next prelude, No. 4, is one of my favorites. Like the former preludes, it is short. However, its brevity is what makes it so outstanding. The melody sounds tormented because of a chordal accompaniment that creates a sighing effect. It makes me feel as if my grief-stricken heart is being twisted. In fact, some sources say that Chopin asked that this piece be played at his funeral. It must have been written when a dramatic event impacted his life. Perhaps his relationship with George Sand or Countess Delfina Potocka, which whom Chopin was romantically linked, was in turmoil.
PRELUDE Nos. 5-8
Prelude No. 5 is high-spirited. Prelude No. 6 in B minor resembles the fourth in that the left-hand melody displays a somber, despairing mood. The seventh creates an air of confusion. The melody’s somewhat disconcerting elegance is due to its dance-like rhythm, which was written in the style of a mazurka. Prelude No. 8 simply appears challenging to play. It features a continuous, thirty-second figuration for the right hand with a rhythmic pattern of sixteen notes that alternate with the eighth notes for the left hand. This piece offers excellent opportunities for practice because it uses various rhythms. It is definitely difficult to keep the rhythm consistently steady.
PRELUDE Nos. 9-12
Prelude No. 9 somehow evokes a powerful sense of grandeur. Although the right hand consistently maintains its rhythm, it is the left hand that keeps the piece moving. Prelude No. 10 lasts just 32 seconds! The right hand alternates triplet and non-triplet sixteenth notes while the left hand concentrates on arpeggiated chords. Besides the fact that the next prelude is nothing short of invigorating, there is not much else to say about it. However, the chromatic movement in the outer voice of Prelude No. 12 demands attention after a somewhat bland configuration of a constant eighth-note rhythmic pattern in the preceding prelude.
PRELUDE Nos. 13-15
The thirteenth prelude evokes a peaceful atmosphere. The chordal accompaniment is reminiscent of Prelude No. 4, except that its melody is longer and more fluid and the mood is enlightening. Prelude No. 14 calls to mind Prelude No. 1 because of its similar textural uniformity. The next is Prelude No. 15, “Raindrop,” which is a personal favorite. Its repetitive ABA form calls to mind its title. The emotion conveyed in this prelude is powerful. When I attempt to express my reaction to this prelude, I am simply overcome by the rapid beating of my heart. Prelude No. 16 draws attention through the use of accented six chords that set the stage before giving way to the right hand’s fast, intense passages that are challenging to play.
PRELUDE Nos. 17-20
Prelude No. 17 in AB major consists of an AB pedal. A few words to describe this piece are that it is lovely, pleasant, and wonderful to listen to, but it is not tranquil. There is still a slight spark of excitement. Prelude No. 18 employs a few polyrhythms; thus, it is another promising piece for me to learn. Prelude No. 19, like Prelude No. 12, has a similar rhythmic pattern of continuous eighth-note motion. Prelude No. 20 is similar to Prelude No. 9, in that both evoke a majestic mood through their schemes of chords and dotted rhythm.
PRELUDE Nos. 21-24
Prelude No. 21 features a continuously doubled eighth–note pattern that moves in a chromatic motion. Initially played relentlessly by the left hand, it is later transferred to the right hand. Prelude No. 22 provides an excellent opportunity to practice playing both chords and octaves. It is at this point that I have begun to think that some of these preludes resemble miniature etudes since some are technically demanding and have recurring patterns. Prelude No. 23 feels tranquil. In the last prelude, it seems that the right hand is constantly forced to produce powerful, declarative melodies through the use of trills, scales, octaves, descending chromatic scales in thirds, repeated chords, and arpeggios. The thunderous conclusion to this piece closes on the three unaccompanied and accented lowest D notes on the piano.
I enjoy listening to these pieces...but I still can't believe these short pieces add up to approxmately 37 min.
What is interesting about these preludes is that none of them is particularly long; in fact, they are all less than 90 measures. By examining Chopin’s other works, such as his polonaises and sonatas, we may observe his composition style, which is typically long and formal. It seems that both the length and expressive power of each prelude is diminished. Perhaps Chopin intended to convey the emotion on a smaller scale.
PRELUDE Nos. 1-3
The first prelude is marked by its brevity and its sixteenth-note figuration in triplet rhythm. The following prelude, which conveys a sense of uneasiness, immediately creates a contrast with fixed four-note chords played in the accompaniment. The third prelude consists of running sixteenth notes in bass, which keeps the piece moving.
PRELUDE No. 4
The next prelude, No. 4, is one of my favorites. Like the former preludes, it is short. However, its brevity is what makes it so outstanding. The melody sounds tormented because of a chordal accompaniment that creates a sighing effect. It makes me feel as if my grief-stricken heart is being twisted. In fact, some sources say that Chopin asked that this piece be played at his funeral. It must have been written when a dramatic event impacted his life. Perhaps his relationship with George Sand or Countess Delfina Potocka, which whom Chopin was romantically linked, was in turmoil.
PRELUDE Nos. 5-8
Prelude No. 5 is high-spirited. Prelude No. 6 in B minor resembles the fourth in that the left-hand melody displays a somber, despairing mood. The seventh creates an air of confusion. The melody’s somewhat disconcerting elegance is due to its dance-like rhythm, which was written in the style of a mazurka. Prelude No. 8 simply appears challenging to play. It features a continuous, thirty-second figuration for the right hand with a rhythmic pattern of sixteen notes that alternate with the eighth notes for the left hand. This piece offers excellent opportunities for practice because it uses various rhythms. It is definitely difficult to keep the rhythm consistently steady.
PRELUDE Nos. 9-12
Prelude No. 9 somehow evokes a powerful sense of grandeur. Although the right hand consistently maintains its rhythm, it is the left hand that keeps the piece moving. Prelude No. 10 lasts just 32 seconds! The right hand alternates triplet and non-triplet sixteenth notes while the left hand concentrates on arpeggiated chords. Besides the fact that the next prelude is nothing short of invigorating, there is not much else to say about it. However, the chromatic movement in the outer voice of Prelude No. 12 demands attention after a somewhat bland configuration of a constant eighth-note rhythmic pattern in the preceding prelude.
PRELUDE Nos. 13-15
The thirteenth prelude evokes a peaceful atmosphere. The chordal accompaniment is reminiscent of Prelude No. 4, except that its melody is longer and more fluid and the mood is enlightening. Prelude No. 14 calls to mind Prelude No. 1 because of its similar textural uniformity. The next is Prelude No. 15, “Raindrop,” which is a personal favorite. Its repetitive ABA form calls to mind its title. The emotion conveyed in this prelude is powerful. When I attempt to express my reaction to this prelude, I am simply overcome by the rapid beating of my heart. Prelude No. 16 draws attention through the use of accented six chords that set the stage before giving way to the right hand’s fast, intense passages that are challenging to play.
PRELUDE Nos. 17-20
Prelude No. 17 in AB major consists of an AB pedal. A few words to describe this piece are that it is lovely, pleasant, and wonderful to listen to, but it is not tranquil. There is still a slight spark of excitement. Prelude No. 18 employs a few polyrhythms; thus, it is another promising piece for me to learn. Prelude No. 19, like Prelude No. 12, has a similar rhythmic pattern of continuous eighth-note motion. Prelude No. 20 is similar to Prelude No. 9, in that both evoke a majestic mood through their schemes of chords and dotted rhythm.
PRELUDE Nos. 21-24
Prelude No. 21 features a continuously doubled eighth–note pattern that moves in a chromatic motion. Initially played relentlessly by the left hand, it is later transferred to the right hand. Prelude No. 22 provides an excellent opportunity to practice playing both chords and octaves. It is at this point that I have begun to think that some of these preludes resemble miniature etudes since some are technically demanding and have recurring patterns. Prelude No. 23 feels tranquil. In the last prelude, it seems that the right hand is constantly forced to produce powerful, declarative melodies through the use of trills, scales, octaves, descending chromatic scales in thirds, repeated chords, and arpeggios. The thunderous conclusion to this piece closes on the three unaccompanied and accented lowest D notes on the piano.
I enjoy listening to these pieces...but I still can't believe these short pieces add up to approxmately 37 min.
Chopin's Etudes, Op. 10, 25, Posth.
Chopin actually wrote three sets of etudes for the piano. In addition to Opus 10 and 25, he wrote a set of three etudes without opus numbers. Opus 10 and 25 each contain twelve etudes. Opus 10 was composed between 1829 and 1832 and published in 1833. On the other hand, Opus 25 was composed between 1832 and 1836 and published in 1837. Playing these works is an important method for developing not only the technical aspects of composition but also understanding piano playing. The works contain an endless arrangement of textures, moods, and colors to explore.
Opus 10: C-a-E-c#-Gb-eb-C-F-f-Ab-Eb-C
No. 1 is in C major. It is a study that requires the right hand to expand and contract when playing a series of arpeggios. It is difficult to play this piece in tempo because the arpeggiated figuration in the right hand is interrupted throughout.
No. 2 is in A minor. This is an exercise for the weaker fingers of the right hand that designates a fast chromatic scale to be played with the third, fourth, and fifth fingers.
No. 3 is in E major and is a study for the right hand to maintain the singing tone of the melody. It is extremely beautiful to listen to. I thought it sounded a bit like a nocturne.
No. 4 in C # minor is technically demanding. The study contains running sixteenth notes that alternate between the hands in a fast tempo.
No. 5 in Gb major is nicknamed “Black Key” because the right hand plays the arpeggios exclusively on the black keys in triplet rhythm. I’ve seen my friends perform this up close. I think it requires a lot of rotation in the wrist.
No. 6 is in Eb minor. Some say that this is the easiest to play of the set. Somehow I think this is musically challenging to play as one can see there are several phrasings and melodic contours involved in this etude. Perhaps I should have started with this piece. There is no contrast in mood in this etude.
No. 7, in C major, is a study in double notes. I played this last semester and have not yet mastered it. The right hand alternates between thirds and sixths in quick sixteenth-note rhythm. Proper knowledge of wrist and arm technique is required to play this.
No. 8 is in F major. It has been nicknamed the “Sunshine Etude.” The melody is principally played by the left hand. The right hand plays both ascending and descending passages in which the accent always falls on the first note in each of four eighth-note groups. It is probably difficult to keep the right hand’s notes clear and even.
No. 9 is in F minor. This time the left hand has more figures than the right hand. Hearing this etude, I recalled my lesson this week in which the duple meter was against the triple meter between the hands. Right away, the phrase “a cup of tea” technique comes to my mind. However, I think the flexibility in the wrists and fingers plays an important role as well, in particular in the left hand, to master this piece. Some say this is one of the easier etudes to play in the set. I doubt that it would be easy for me rhythmically. Perhaps I should learn this one to master the two-against-three rhythm.
No. 10 is in Ab major. Interestingly, I think Chopin presents the same idea he used in Etude No. 9 and adds a wide variety of articulations and phrasings. However, the rotation technique may be required for the right hand to play the broken chord figures and the left hand to play the large skips and arpeggiation. This etude looks unbelievably difficult.
No. 11 in Eb major is a study in arpeggiated chords in a chorale-like setting. The wide span of the chords and the intonation within the melody are probably the most difficult to master.
I believe No. 12, which is in C minor, is the most well-known of the etudes in Opus 10. It is nicknamed the “Revolutionary Etude.” The piece opens up with the left hand playing a rapid descending harmonic minor scale. The relentless left hand figuration with the right hand playing the heroic melody in octaves and chords makes the study both technically and musically challenging. Some say that Chopin wrote this etude as a reaction to the unsuccessful Polish revolution against Russia in 1831.
Opus 25: Ab-f-F-a-e-g#-c#-Db-Gb-b-a-c
No.1 in Ab primarily consists of rapid arpeggios and has a harp-like sound.
No. 2 in f minor is similar to opus 10, nos. 9 and 10, which are based on a polyrhythm. There is a pair of eighth-note triplets on the right against the quarter-note triplets on the left.
No. 3 in F major sounds like a galloping horse. It seems that the main difficulty for performers of this study is to successfully execute the four different voices.
No. 4 in a minor, an exercise of syncopation, explores off-beat staccato chords that are set against a regular on-beat bass.
No. 5 in e minor, a study with a series of quick minor seconds, is one of the few etudes that are cast in ABA form.
No. 6 in g# minor is a perfect exercise for practicing thirdsin high speed. One spot, in which both hands play chromatic third scales, is extremely difficult.
No. 7 in c# minor focuses on melodic phrasing for the left hand. I think it sounds rather gloomy.
No. 8 in DB major is a study of running double-sixths. It provides a good warm-up exercise when one awakes in the morning.
No. 9 in GB major, the shortest etude of this opus, is nicknamed the “Butterfly.” The graceful and good-natured piece is a study of staccato-portato alternations.
No. 10 in b minor, a study in legato octaves, is in ternary form (Bm-BM-Bm).
No. 11 in a minor is nicknamed the “Winterwind” etude. This etude is primarily comprised of sixteenth-note triplets. Performing this study requires a good balance of stamina, dexterity, and technique in order to manage its rapid scales and arpeggios. As I listen to all of the etudes, I now realize that this should not have been my first etude piece. It is difficult and took me several years to master.
No. 12 in c minor, which is sometimes nicknamed the “Ocean” because of its series of rising and falling arpeggios, is the last study piece in the opus 25 etude.
The last three posthumous etudes, the Trois Nouvelles Etudes, are less technically dazzling than opus 10 or 25. However, the harmonic and formal structure seems to be quite balanced.
Opus 10: C-a-E-c#-Gb-eb-C-F-f-Ab-Eb-C
No. 1 is in C major. It is a study that requires the right hand to expand and contract when playing a series of arpeggios. It is difficult to play this piece in tempo because the arpeggiated figuration in the right hand is interrupted throughout.
No. 2 is in A minor. This is an exercise for the weaker fingers of the right hand that designates a fast chromatic scale to be played with the third, fourth, and fifth fingers.
No. 3 is in E major and is a study for the right hand to maintain the singing tone of the melody. It is extremely beautiful to listen to. I thought it sounded a bit like a nocturne.
No. 4 in C # minor is technically demanding. The study contains running sixteenth notes that alternate between the hands in a fast tempo.
No. 5 in Gb major is nicknamed “Black Key” because the right hand plays the arpeggios exclusively on the black keys in triplet rhythm. I’ve seen my friends perform this up close. I think it requires a lot of rotation in the wrist.
No. 6 is in Eb minor. Some say that this is the easiest to play of the set. Somehow I think this is musically challenging to play as one can see there are several phrasings and melodic contours involved in this etude. Perhaps I should have started with this piece. There is no contrast in mood in this etude.
No. 7, in C major, is a study in double notes. I played this last semester and have not yet mastered it. The right hand alternates between thirds and sixths in quick sixteenth-note rhythm. Proper knowledge of wrist and arm technique is required to play this.
No. 8 is in F major. It has been nicknamed the “Sunshine Etude.” The melody is principally played by the left hand. The right hand plays both ascending and descending passages in which the accent always falls on the first note in each of four eighth-note groups. It is probably difficult to keep the right hand’s notes clear and even.
No. 9 is in F minor. This time the left hand has more figures than the right hand. Hearing this etude, I recalled my lesson this week in which the duple meter was against the triple meter between the hands. Right away, the phrase “a cup of tea” technique comes to my mind. However, I think the flexibility in the wrists and fingers plays an important role as well, in particular in the left hand, to master this piece. Some say this is one of the easier etudes to play in the set. I doubt that it would be easy for me rhythmically. Perhaps I should learn this one to master the two-against-three rhythm.
No. 10 is in Ab major. Interestingly, I think Chopin presents the same idea he used in Etude No. 9 and adds a wide variety of articulations and phrasings. However, the rotation technique may be required for the right hand to play the broken chord figures and the left hand to play the large skips and arpeggiation. This etude looks unbelievably difficult.
No. 11 in Eb major is a study in arpeggiated chords in a chorale-like setting. The wide span of the chords and the intonation within the melody are probably the most difficult to master.
I believe No. 12, which is in C minor, is the most well-known of the etudes in Opus 10. It is nicknamed the “Revolutionary Etude.” The piece opens up with the left hand playing a rapid descending harmonic minor scale. The relentless left hand figuration with the right hand playing the heroic melody in octaves and chords makes the study both technically and musically challenging. Some say that Chopin wrote this etude as a reaction to the unsuccessful Polish revolution against Russia in 1831.
Opus 25: Ab-f-F-a-e-g#-c#-Db-Gb-b-a-c
No.1 in Ab primarily consists of rapid arpeggios and has a harp-like sound.
No. 2 in f minor is similar to opus 10, nos. 9 and 10, which are based on a polyrhythm. There is a pair of eighth-note triplets on the right against the quarter-note triplets on the left.
No. 3 in F major sounds like a galloping horse. It seems that the main difficulty for performers of this study is to successfully execute the four different voices.
No. 4 in a minor, an exercise of syncopation, explores off-beat staccato chords that are set against a regular on-beat bass.
No. 5 in e minor, a study with a series of quick minor seconds, is one of the few etudes that are cast in ABA form.
No. 6 in g# minor is a perfect exercise for practicing thirdsin high speed. One spot, in which both hands play chromatic third scales, is extremely difficult.
No. 7 in c# minor focuses on melodic phrasing for the left hand. I think it sounds rather gloomy.
No. 8 in DB major is a study of running double-sixths. It provides a good warm-up exercise when one awakes in the morning.
No. 9 in GB major, the shortest etude of this opus, is nicknamed the “Butterfly.” The graceful and good-natured piece is a study of staccato-portato alternations.
No. 10 in b minor, a study in legato octaves, is in ternary form (Bm-BM-Bm).
No. 11 in a minor is nicknamed the “Winterwind” etude. This etude is primarily comprised of sixteenth-note triplets. Performing this study requires a good balance of stamina, dexterity, and technique in order to manage its rapid scales and arpeggios. As I listen to all of the etudes, I now realize that this should not have been my first etude piece. It is difficult and took me several years to master.
No. 12 in c minor, which is sometimes nicknamed the “Ocean” because of its series of rising and falling arpeggios, is the last study piece in the opus 25 etude.
The last three posthumous etudes, the Trois Nouvelles Etudes, are less technically dazzling than opus 10 or 25. However, the harmonic and formal structure seems to be quite balanced.
Thursday, January 28, 2010
Chopin’s Nocturnes Op. 9/3, Op. 27/1, Op. 62/1, 2
Nocturne in B major, Op. 9, No. 3 is in ABA form with coda. The first section consists of ornamentation (e.g., mm. 17) and a sweeping melody (e.g., mm. 11) The agitato section is very dramatic. The right hand plays both the melody and counter-melody, while the left plays the figurations in triplets. The coda section seems somewhat abrupt owing to the sudden shift of the harmony. In the two measures before the adagio section, there is a wide chord in the left hand (F#-C#-F#-A#-E) and coloratura ornaments displayed in the right.
Nocturne in C# Minor, Op. 27, No. 1 is also in ABA form with coda. The key alternates between the minor and major third scale degrees (E and E#) in the opening. The left hand sounds restless due to its persistent use of arpeggiated figuration. Overall, this nocturne sounds melancholy. The psychological tension is so strong at times that is completely different from that of Field’s nocturnes.
Music critic Rellstab describes the difference in tone as follows: “When Field smiles, Chopin makes a grinning grimace; where Field sighs, Chopin groans; where Field shrugs his shoulders, Chopin twists his whole body; where Field puts some seasoning into the food, Chopin empties a handful of cayenne pepper. In short, if one holds Field’s charming romances before a distorting, concave mirror, so that every delicate impression becomes a coarse one, one gets Chopin’s work. We implore Mr. Chopin to return to nature”(qtd. in Huneker 143).
Another critic, J. W. Davison, adds, “Commonplace is instinctively avoided in all the works of Chopin- a stale cadence or a trite progression” (qtd. in Huneker 143).
Op. 62, No. 1 in B major also sounds melancholy. Events occurring in Chopin’s life likely inspired this somber tone. While writing the nocturnes, Chopin’s health was deteriorating, as was his relationship with George Sand. The melodic profile is much more ornamented than ever, particularly when the theme recurs in the poco piu lento section. Op. 62, No. 2 was the last nocturne published during Chopin’s lifetime. This piece gives listeners the impression that he is reluctant to leave the world. He died three years later.
From Op. 9 to Op. 62, listeners can perceive a huge change in the way he composed his nocturnes.
Nocturne in C# Minor, Op. 27, No. 1 is also in ABA form with coda. The key alternates between the minor and major third scale degrees (E and E#) in the opening. The left hand sounds restless due to its persistent use of arpeggiated figuration. Overall, this nocturne sounds melancholy. The psychological tension is so strong at times that is completely different from that of Field’s nocturnes.
Music critic Rellstab describes the difference in tone as follows: “When Field smiles, Chopin makes a grinning grimace; where Field sighs, Chopin groans; where Field shrugs his shoulders, Chopin twists his whole body; where Field puts some seasoning into the food, Chopin empties a handful of cayenne pepper. In short, if one holds Field’s charming romances before a distorting, concave mirror, so that every delicate impression becomes a coarse one, one gets Chopin’s work. We implore Mr. Chopin to return to nature”(qtd. in Huneker 143).
Another critic, J. W. Davison, adds, “Commonplace is instinctively avoided in all the works of Chopin- a stale cadence or a trite progression” (qtd. in Huneker 143).
Op. 62, No. 1 in B major also sounds melancholy. Events occurring in Chopin’s life likely inspired this somber tone. While writing the nocturnes, Chopin’s health was deteriorating, as was his relationship with George Sand. The melodic profile is much more ornamented than ever, particularly when the theme recurs in the poco piu lento section. Op. 62, No. 2 was the last nocturne published during Chopin’s lifetime. This piece gives listeners the impression that he is reluctant to leave the world. He died three years later.
From Op. 9 to Op. 62, listeners can perceive a huge change in the way he composed his nocturnes.
Subscribe to:
Posts (Atom)