Men that compose fast music..woop woop!!

The virtuoso pianists of the day seemed to almost hold a magician type status. Their feats of technical brilliance, and stamina had crowds cheering and ‘wooooing’ with amazement. Of the leading composers that represent this genre, we have

A)   Thalberg

B)   Alkan

C)   Herz

D)   Gottschalk

E)    Tausig 

Each composer brings his own signature to his work

Thalberg – Fantasy on Rossini’s “Moses Op. 33

Opens with a gorgeous accompaniment topped by a slow moving melody. Famous for his use of the “three-hand” effect towards the end of the piece, one also feels the power of his arpeggios to create a huge wash of sound. It seems clear the man enjoys the sound of fast runs, and repeated notes without any real attention to build up.

Alkan – Le Festin d’Esope, Op. 39, No. 12 

A set of variations, this piece stands out as it is clear Alkan loved the sound of the piano. He sought to create effects that made his music and performances bring new colors to the table. In saying that, the music is tremendously difficult and very thick. But hey…how else you going to get cool effects without utilizing the whole keyboard? 

Henri Herz - Variations on 'Non piu mesta' from Rossini's La Cenerentola, Op. 6

A lovely opera transcription. Honestly did not do much to me, however it does make me want to go and work on my thirds and repeated notes.

Louis Gottschalk - Tremolo, Op. 58 

What a cool piece. Texturally and harmonically, the piece is easier to follow than the other boys. I was disappointed that the tremolo I am so accustomed to, was actually in the form of a constant repeated note. I was tricked. Sad.

Carl Tausig - Ungarische Zigeunerweisen

If you like to hear sixths and octaves, and beautiful harmonies plus dance rhythms reminiscent of Liszts Rhapsodies… Look no further. This piece is a festival of pianistic techniques that will sure please your ears, and your pocket if you got to hear it live.

 

Faure the beautiful frenchy

Unfortunately due to Faure’s soft nature, much of his music remains untouched. Known primarily for his songs, Faure’s music has an elegant heir to it, very much like Mendelssohn’s ‘Songs Without Words’. Due to this lounge style music, it is difficult to hear much for this repertoire on the concert stage. The setting for this music should definitely be kept in the lounge, with a glass of Sangria.

Faure’s most important works are his Noctunres and Barcarolles. Nocturne 13 was written as a response to the death of his mentor Saint-Saëns. The beauty of his Nocturnes is that they maintain a singular mood from beginning to end. No 13 bears that characteristic which is prompted by the continual flow of the accompaniment.

The 5^th Bacarolle unlike the Nocturne is a bit more difficult to comprehend. Faure leads his listener through unsuspecting harmonies through the use of sporadic accidentals, creating a sense of uncertainty yet, beauty. The colors he creates in this piece through consistent modulation are uniquely French and uniquely Faure.

 

 

 

Dance and Program Music

When I think of dance music, I automatically think about a rave party. While program music is music that has already been mapped out by a text. It is interesting to think of the many images, which can be evoked through programmatic music. For instance Brahms Ballades, Op. 10 No. 1 is set on the poem “Edward”, however, this was not clear to me until I read the text. In terms of dance music, I feel that the message is much easier conveyed. Once I hear the rhythm of a waltz, or the beat of a polka I immediately begin to move to the music. In saying that, some programmatic pieces like the Dante Sonata, definitely communicate a strong message. In my mind. Liszt the King of programmatic music is so forward with his gesture in the music, that it is very clear when he is embracing love, or death. Chopin, the narrative composer comes close to Liszt, yet writes in such a way, you have to listen at least four to five times, and then you may understand the underlying message. Last but not least, Russian giant Tchaikovsky brings The Seasons to the table. Twelve short character pieces. Another example of programmatic music. Due to their short length, the characters are much easier to comprehend. No fuss with thematic development. Fast game is always a good game!

Liszt, his Rhapsodies and Paraphrases

These Hungarian Rhapsodies have the country written all over them. Although Liszt did not speak his native tongue, his love for Hungary’s traditional folk melodies shone through. The Rhapsodies each have the kind of character that make the men dance and drink, and will sweep the ladies from under their feet. The strong dance rhythms, and super tricky finger work make for a crowd-pleasing piece. No. 9 comes under that category with ridiculous repeated notes, thirds, octaves, the whole 9 yards. As for No. 13, the focus is more on dramatic tension and beauty.

Tannhauser and Rigoletto paraphrases each hold their own character. Both orchestral transcriptions, Liszt is once again successful in creating two showpieces that cleverly imitate the sound of the orchestra. A great set of works to play, if you have rubber fingers like Joohae.

Liszt Years of Pilgrimage the Sequel..

One of the most appealing characteristics of Liszt is his continual travel, and involvement with people. His love for people, art, and getting to grips with matters such as suffering and death all make for a very Hollywood type character. Engrossed with philosophy, and religion, this set of works is influenced by Italian works of art and poetry. Each of these compositions is influenced by some form of Italian art.

The first piece Sposalizio, is influenced by the Renaissance painting of Raphael. Made up of open fifths and octaves, one can hear the broadness of space Raphael may have been in, whilst painting perhaps in a cathedral. Following this work is Il Penseroso influenced by Michelangelo’s statue of Lorenzo de Medici in Florence. Much simpler in texture with an almost atmospheric vibe. Not so weighty. No. 3 is Canzonetta del Salvator Rosa a charming Italian song with gorgeous vocal like melody. Then we approach my personal favorites the three sonnets 47, 104, 123. Based on three sonnets, this is some of Liszt’s finest programmatic music, each written in great detail to convey the text. Last but not least the Dante Sonata represent Liszt’s most passionate work full of tritones, fire and deep philosophical thought. A technical work to show off ones virtuosic prowess, and control of the black beast..

Les jeux d’eaux a la villa d’Este and Aux cypress de la Villa d’Este I and II are from Liszt’s Third Year of Pilgrimage. Beautiful character pieces, one can hear the sparkling fountains from his villa of paradise, and Cypress, one can hear Liszt’s struggle and his more religious contemplative side.

The Mephisto Polka made me laugh as I got it confused with the famous waltz. A lot cheekier in character, it is a fun work to play for a family gathering, as it is not intense as the waltz.

Nuages gris is a fascinating work using the most minimal of textures. A simple yet dark piece as the title suggests creates a feeling of stillness, and nostalgia.

Liszt and his big works

Liszt

Sonata in B minor

The most beautiful one movement Sonata I have ever heard. After all the hype and climaxes this Sonata possesses, I feel the most intriguing aspect is its form. The Sonata does not stop between movements, but rather are linked to one another creating a cohesive whole. Within the Sonata lie seven themes that Liszt transforms with the mood and character throughout the piece. The opening is the most intriguing with a quarter note…pause….quarter note….pause…..then……another quarter note….As if the grim reaper was knocking at the door. Although famous for its large virtuosic passages, and dramatic heart wrenching themes, the most appealing aspect, is Liszt’s development of thematic material and representation of the Faust legend.

Ballade No. 2

Chromaticism, low register, turbulent characters, put this Ballade in a separate room from Chopin’s set. The short introduction although reminiscent of a Chopin Ballade, is quickly transformed into a story…Liszt style. The drama is not only communicated by the melody, but by the surrounding accompaniment. A real show tune, Ballade No. 2 to me, seems more a piece that has to be witnessed live. A born showman, Liszt’s works communicate to a level so deep, that his music while beautiful to the ear, is enhanced when complimented by its visual. Live performances put the cream on the cake.

Brahms shorter works

Op 76

A contrast from Brahms F minor Sonata, the Op. 76 set showcases his more conservative side. Divided up into eight pieces, the main difference between Op. 76 work and his Sonata, is that the eight pieces possess some what of a more inward look into Brahms life. Each has its own character, but it is nothing too over the top, that screams to be heard. Each piece demonstrates his technique of “developing variation” gradually building on one theme. Although mostly understated, this gorgeous set of miniatures packs a lot of emotion in the shortest span of time. One of the main features is Brahms use of the whole keyboard, utilizing of lower register, and sense of long line.

Op. 116

A set of seven pieces he entitled Fantasies. Slightly different tune to Op. 76, Made up of three Capriccios and four Intermezzos. The Capriccios are lively and passionate, while the Intermezzi are a lot more dark and personal. Long phrases can be heard in the Intermezzi at times, giving the impression of improvisation. An intriguing set, but I still prefer the reserved, yet emotional Op. 76