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

Brahms Sonatas and Variations

Brahms communicates to me one thing ‘This is how it is’. His music to me as funny as it may sound, has always been so confident, so sure, as if there is no other way the piece could have possibly been written. From his concerti, to his Piano trios, to his Intermezzi, there is a sense of style and grandeur, which is consistent throughout. An expansiveness, which I have only ever come across in Brahms.

 

Take for instance Sonata No. 3 in F minor, Op. 5. An expansive work spread over not 3 or 4 but FIVE movements. From the word go, Brahms broad sound dominates the opening and its intense nature leaves no time for breath. The second movement displays Brahms more romantic approach in this gorgeous song. The grand finale ends in F major, over the top in gesture, and scale. True Brahms style. The Sonata runs for about 4o minutes and is a great example of his love for classical form with a dab of romantic color.

 

Paganini Variations, Op. 35

Say no more. If you got the chops to rip into some thirds, glissandi rhythms, mind buzzing left and right hand co-ordination, then this piece is for you. Based on the famous Paganini theme, Brahms creates a masterwork of technical brilliance and thorough-composition. His ability to take the theme, and develop it over two books is beyond me, but it is that expansive creativity and that ‘larger than life’ outlook that gives Brahms that characteristic we all know and love….well at least most of us. Kind of bitter I can’t play these pieces…might just stick to Reger..

 

A German and a French Fry

Max Reger 

Pushes the boundaries of counterpoint, to a level, which it has become his signature. The idea of imitating the sound of the organ, gives strength to his wicked imagination and love for multiple voices. His Telemann variations are a great example of his obsession with counterpoint, and the use of many layers to create thick textures. It is this development of counterpoint and layers that help the growth throughout the baroque motif. On a lighter note, the 9 Bunter Blatter for piano shows the German mans more humorous side with a much lighter theme, and tonality that is easier to follow than the epic Variations. Mild German comedy at its best.

Saint-Saëns

One word that seems to come to mind when listening to the music of Saint-Saëns is ‘Charming’. His melodies, use of harmonies, just fit so perfectly to create a very listening, lounge experience. He manages to create the ease that Mendelssohn has in ‘Song Without Words’, but with maybe a little more flair. You can see with his piano concerti, he loved the idea of virtuosity also proven by how well music that fits well under the hands. He was a gifted pianist himself.  His six etudes, op. 111 however, do not quite have the same flair and creativity as the likes of Liszt, but they do attain that passion, and melodic line heard in early Rachmaninoff and Scriabin etudes. Not often played.

Rapsodie d'Auvergne, Op. 73 and Variations on a theme by Beethoven, Op. 35 demonstrates the mans love for color and for the sound of the piano. Both are very characterful and charming pieces. The Beethoven shows Saint-Saëns humorous side possibly poking fun at Ludwig’s temper? A joyous piece nonetheless.

The Etudes of Liszt, Rachmaninoff and Scriabin

The variety of etudes in the piano repertoire has always astounded me. Some are created to build up ones physical stamina, some to increase tone quality, some to work on co-ordination, and some just to blatantly frustrate you. The concert etudes by Liszt are just as the name describes. Great crowd pleasers that sound super showy, yet fit great under the hand. More over, if one is looking for more of a challenge, try the Transcendental Etudes. These are a brilliant example of a composer writing a piece to imitate the sound of an orchestra. Because of this, many textures can be created at the piano, and variety of colors can be discovered. Fantastic set to build your technique, but requires years of patience.

Rachmaninoff Etudes-Tableaux is a beautiful set that brings out the best of melody in technique. Not as technically demanding Liszt’s collection, Etudes-Tableaux employ the idea of long melodic lines between hands coupled with a talent for building to ‘the point’. That large swooping Russian sound that Rachmaninoff is so associated with, can be heard throughout this whole set. These compositions also fit very well underneath the hands, and when one finds the correct rhythm, they are super satisfying to play and to deliver!

The etudes of Mr. Scriabin continue to have the romantic feel so well related to his early period. This set contains many colors, and awkward meters at times, which keep you counting like a fiend. To add to the already exotic textures, he uses a lot of chromaticism and double sharps and flats to embellish his colors. Not always the easiest music to get your hands around, however when one masters the etude, the performing experience is both encouraging and exciting.

Tchaikovsky and Grieg

Tchaikovsky

Dumka, Op. 59

My first ever listening of this piece was a Horowitz recording. I was amazed at how Tchaikovsky’s use of minor harmonies, the low register, and melodic line provoked a feeling of coldness. The piece has a deep longing, almost that of a Russian who is away from home, and is reminiscing about his motherland. Although the piece gradually transforms into a celebratory fanfare, the main theme eventually returns in the cadenza reminding the listener of a winter back in soviet Russia.

Seasons, Op. 37b

A piece with more warmth, the Seasons are a gorgeous set of miniatures that although don’t quite acquire the depth of Dumka, have their own sweet quality. Each piece is clearly defined by a simple melody and an accompaniment usually made up of chords, or a melodic response. Add this to your ‘dinner by moonlight’ collection.

Grieg

Grieg’s style of composition always seems to tell a story, in the vein of character pieces. His out put of Lyric pieces, Op. 54 is a testament to his skill of communicating a message in the shortest span of time. All in all, the man wrote 66 of these small wonders. There are times where you can hear the use of folk melodies in his pieces with his use of the drone, and other times, it is difficult to pick out it was a composition written by Grieg.

Sonata in E minor, Op. 7

A gorgeous Sonata opens with a very stately movement. Almost Russian sounding in its writing. The second movement with its thinner texture brings back the same kind of character heard in some of the Lyric pieces. The third movement is heavy minuet, good dance music for a heavyset midget.

 

 

 

 

Beach and Macdowell

Variations on Balkan Themes, Op. 60

One of the most prominent female American composers of the 19th century. Ms. Beach’s work offers power, thick texture and is not the most American sounding of compositions. Her variations are built on a beautiful theme, which she then embellishes through this large work.  Littered with many technical demands, thirds, octaves, runs, it is difficult to determine the overall structure of the work. However moments where the melody shines through the virtuosic display are quite gorgeous indeed. In conclusion, this is a great work to build up your chops..

Four Sketches, Op. 15

Another set by Beach, Four Sketches offers a look into composition of miniatures. Each work has its own title, cleverly depicted by specific compositional techniques. The opening Autumn has a consistent staccato 8^th note rhythm representing falling leaves, in the bass while a folk like melody plays overhead. Phantoms adopt a 3/8 with scherzando tempi to quicken the pace. Dreaming opens with triplet figuration in 4/4, which dominates the piece while melody eventually sounds. Fire-flies welcomes an army of thirds, which suitable portrays the sound of fire-flies.

Edward Macdowell, was another fellow American composer who composed very much in the European tradition. His set Woodland Sketches; New England Idyls does have touches of American folk-song, however on the whole, it is hard to spot an ‘American’ sound. His most famous work ‘To a Wild Rose’, takes the spotlight in the set. With its simplicity and ‘easy listening’ harmonic changes, it’s a sure crowd pleaser at a rest home.

Chopin Sonata and Ballades

Chopin – Sonata No.3 in B minor, Op. 58

Chopin’s last piano Sonata brings to the table an array of expressive, and delicate colors displayed so beautifully and clearly in each of the four movements. Similar in structure to his second sonata, No.3 adopts a lyrical largo instead of a funeral march.

I.               Allegro maestoso

 

The Sonata opens with a forceful downward gesture, leading to a sequence of heavy chords. The introduction of much more melodic second theme over a wide ranging Alberti bass pattern brings to mind the melody of the D-flat major Nocturne, op. 27, no. 2. As the melody develops it begins to pull away from the home key through unusual harmonies, yet it eventually ends in dominant of F-sharp major. The development is pool of dense counterpoint and as it opens Chopin quotes the second theme, but this gives way to the mighty first theme. Its conclusion leaves me gasping for more. Clever man closes with a THIRD thematic group in B MAJOR. Astonishing.

 

II.             Scherzo

 

Unlike Chopin’s other dramatic drenched Scherzi, this little gem is brisk in tempi and bright in color lasting an average of two minutes. Its key of E flat major creates a bi-polar contrast to the first movement. Full of busy pianistic figuration to open, the middle section consists of a more tranquil tune, but gives way to the buoyant opening to conclude the interlude like movement.

III.           Largo

 

The largo opens with a thunderous dotted octave passage in the bass, almost leading to another funeral march. Yet a gorgeous lilting melody over a rocking bass immediately takes over the heavy introduction. The middle section is characterized by a long and dreamy quaver figuration supported by the ringing of deep bass octaves. The opening melody returns to end the movement

 

IV.            Finale, Presto non tanto

 

The finale in my mind way could not be opened in any way. Eight measures worth of open octaves leading to the dominant seventh let the listener know we are in B minor. Agitato leads a galloping like character with the melody in the right riding through insistent driving rhythm. As the melody grows, so does the texture of the accompaniment. Eventually the presence of the second theme with its triumphant chords and runs shifts the intensity of the movement to a new level. Sudden bursts of excitement, and virtuosic display litters the finale to its epic conclusion.

 

Ballade No.2 in F major, Op. 38

 

Famous for its two contrasting key signatures, Ballade no. 2 comes with two very contrasting themes. The opening is a beautiful lilting, chorale, which sends the listener almost to hypnotic state, then it suddenly takes a turn for the worst. The second theme enters as a furious gust of wind prompted by right hand arpeggios and an insistent left hand octave motif. It is these two themes that eventually return and lead to the coda. Not for the light hearted, the coda is dominated by sixteenth note pattern in the right hand, with an alto voice that is continually surging, creating an almost sea sick effect. When the coda finally reaches its climax, the opening theme return, whispering a memory from long ago.

 

Ballade No. 4 in F minor, Op. 52

 

Difficult to describe the beauty this Ballade conveys, it is music that has to be heard, not written about. From the simple octave opening, to the lyrical first theme, to its development, the build up of texture, the Fourth Ballade tells an epic story in an average time span of 12 minutes. The most impressive feature of this Ballade is how Chopin manages to develop the theme gradually with use of counterpoint, and harmonies. As the theme develops it becomes more and more narrative, to the point you lose the pulse and just enjoy the story being told before you. The famous coda is the climax of the Ballade and represents a struggle through the use of thirds, chromaticism and quick figuration. Eventually the struggle ends with an almighty cascade down the keyboard to three concluding chords.

 

 

Beach and Macdowell

Variations on Balkan Themes, Op. 60

One of the most prominent female American composers of the 19th century. Ms. Beach’s work offers power, thick texture and is not the most American sounding of compositions. Her variations are built on a beautiful theme, which she then embellishes through this large work.  Littered with many technical demands, thirds, octaves, runs, it is difficult to determine the overall structure of the work. However moments where the melody shines through the virtuosic display are quite gorgeous indeed. In conclusion, this is a great work to build up your chops..

Four Sketches, Op. 15

Another set by Beach, Four Sketches offers a look into composition of miniatures. Each work has its own title, cleverly depicted by specific compositional techniques. The opening Autumn has a consistent staccato 8^th note rhythm representing falling leaves, in the bass while a folk like melody plays overhead. Phantoms adopt a 3/8 with scherzando tempi to quicken the pace. Dreaming opens with triplet figuration in 4/4, which dominates the piece while melody eventually sounds. Fire-flies welcomes an army of thirds, which suitable portrays the sound of fire-flies.

Edward Macdowell, was another fellow American composer who composed very much in the European tradition. His set Woodland Sketches; New England Idyls does have touches of American folk-song, however on the whole, it is hard to spot an ‘American’ sound. His most famous work ‘To a Wild Rose’, takes the spotlight in the set. With its simplicity and ‘easy listening’ harmonic changes, it’s a sure crowd pleaser at a rest home.

The Mighty Five

The Mighty Five

Balakariev

Sonata in B-flat minor

The Sonata’s first movement opens with a somewhat Middle Eastern twist, as a fugue. The melody is always searching for higher ground but doesn’t quite find it. Second movement arrives, more dramatic as a Mazurka. The melody in the third movement, with the broken-chord accompaniment creates a fantasy like effect, and makes for an ambiguous character. In addition, the rhythm of the melody doesn’t quite have a pulse, but is more narrative in its delivery. The last movement is very stately and folk like. The most ‘Russian’ sounding of the three movements, the fourth has much more expansive texture.

Islamey

As impressive as Islamey really is (when played well).., it still does not impress me as much as Scarbo. Although an exciting dance, utilizing crossing of hands, and octave glissandi, the ideas posed do not move me as much as the writing of Ravel. A rambunctious showpiece, with a loud section, followed by a tender section, with a reprise of the loud, makes for crowd-pleasing work. Now as much as I dog this piece, the one characteristic that puts it in the limelight, it the strong sense of rhythm and pulse. It is these two traits that hold the piece together, and allow for variations to be built on and develop.

Cui

Preludes, Op. 64

This set of preludes, is very much in vein of Chopin’s set. Each has its own individual character, yet it is expressed in the shortest amount of time. Very much like miniatures. However, the rhythm for the best part is rather steady, and the use of large chords often makes it sound chorale like. Very beautiful and melodic, although he often uses many dotted rhythms to create a march like feel, his music does not sound as patriotic as the other four. Guess it helps to be born on the mainland. Strange man..

Rachmaninov

Rachmaninov

Moment Musicaux, Op. 16

With all its seriousness and difficulty, Moments Musicaux seems to be somewhat a preview of the later Etudes-Tableaux. Graded beautifully in terms of texture, and scale, Op. 16 makes a complete package, a great way to open a recital. The first piece is a long composition, in four sections with a gorgeous long melody over triplet sixths. The melodic line is a dominating feature throughout the set, and is always coupled with an active accompaniment. Moment musical No. 2, can be described as an etude with its syncopated octaves against a sextuplet bass. Moment musical No. 3 is the slowest of the set, opening with a stately march, and a character which is completely contrasted by the last three. Once again, the role of the left hand increases in intensity throughout the set, creating a constant ‘wave motion’. No. 6 is an almighty conclusion, reminiscent of Chopin’s “Ocean Etude”. A climax and testament to Rachmaninov’s love for left hand figuration.

Morceaux de Fantasie, Op. 3

Famous for its C sharp minor prelude, I confess this is the first time I have heard this set. It is hard to appreciate the other four works, when one so famous has dominated the piano repertoire for so long. However, each work seems to find its place and hold its character. Rachmaninov’s ‘searching’ like accompaniment with soaring melody shine through with the opening Elegie, Meldoie, yet how contrasting is that Serenade? Cheeky Spanish like waltz, not quite sure how it fits with the rest of the set, but with the demonic Polichinelle, they make a great pair to conclude the series.

Preludes, Op. 23

Op. 23 contains many beautiful poetic pieces, devoid of any tension that is so often heard in Rachmaninov’s darker works. No. 2, 4 and 10 show these qualities, each with their own unique character. Through each prelude, the melody will always take center stage, whether it is a single note melody in right hand, or a cellist’s melody in the bass. These characters are highlighted with certain “Rachmaninoffian” traits. No. 3 show his contrapuntal writing within a March style. No. 4 display his slow lyrical melodic writing that movie directors die for. No. 5 A much more extravagant march, full of celebration similar to No. 2. No. 6 Welcomes the octave family, once again accompanied by an exciting bass line. No. 7 is a show of finger dexterity in the right hand, whilst the melody is passed between both hands. No. 8 is a study of broken chords with a gorgeous melody in the bass line. No. 9 is another etude like piece studying the double-note technique. Finally No. 10 ends the set on a short simple note. A subtle melody that needs no “Rachmaninoffian” climax but is purely elegant and stately.

Etudes-tableaux, Op. 33

Op. 33 is a monster set of etudes. As a group they seem to display the majority traits that one thinks of when performing Rachmaninov. Soaring melodies, thick accompaniment, fast figurations, cadential passages…and anything that a listener would define as hyper-romantic. Right from the first march, Rachmaninov sets a stately mood for etudes to come. He dabbles with Nocturnes, Elegies, driving rhythms, and in turn gives each etude its own voice. Thus, it is not a set of Hanon exercises thank Moses, but rather a collection of “Rachmaninoffian” style compositions, aiming to better ones technique and sound.

Chopin Etudes Op. 10

 

No.1 in C Major

From the opening C pedal note a glistening arpeggio takes flight in the right hand. The descent of this arpeggio requires supple wrists and a strong 5^th finger. The etude aims to strengthen the arpeggios of the pianist over the breadth of the keyboard at speed.

No. 2 in A minor

An exercise in the strengthening of fingers 3, 4 and 5 of the right hand while voicing a chord simultaneously is the theme for this etude. The level of fun is increased by the sempre legato marking

No. 3 in E major “Tristesse”

A gorgeous melody for the nicknamed “sad” etude opens paired with a thick rocking accompaniment in four voices. An animato section allows for the strengthening of sixths, fourths and thirds. A reprise of the theme follows the animato.

No. 4 in C sharp minor

From the start to the finish line, this etude is relentless not only in its tempo, but also in the finger dexterity required in both hands. The etude studies chromaticism, arpeggios and the strengthening of the 4^th and 5^th fingers in both hands.

No. 5 in G flat Major “Black Key study”

Entitled the “Black Key study”, the etude speaks for itself when you see it on the page. A study, which has the right hand playing rapid triplets while the left hand, plays the melody in chords. Its difficulty lies within the brisk tempo and the right playing only on black keys.

No. 6 in E flat minor

Less virtuosic, this etude is not about speed but a about beauty of line. The melody is plaintive and mournful played completely in the right hand. In saying that though the accompaniment consisting of a sixteenth note progression also seems to act like a secondary melody. Accidentals litter this etude, which would perhaps make it a little harder to memorize.

No. 7 in C Major (Toccata)

This quick little number has some right hand difficulties with a sixteenth note pattern characterized by rapidly changing intervals ranging from a minor third to an augmented sixth. The difficulty lies not only in the tempo but also the fact that the large interval is not on the same melodic line as the smaller one. The melody is a little odd and it is very difficult to get a clean sound. Not a favorite.

No. 8 in F Major

Starting off with a brief right hand trill, it eventually gives way to rapid sixteenth-note runs soaring up and down the keyboard for the entirety of the piece in the right hand, with a jester like melody in the left hand. As fast as the right hand is written, it compliments the left hand melody beautifully.

No. 9 in F minor

One of the most lyrical of all the etudes, it has a gorgeous dark melody. This is played in the right hand in single notes and small chords, and then in stronger octaves. The passage, work for the left hand gets a work out with rapid arpeggiated stretches with intervals of a tenth or more. The haunting melody dominates the etude and must ring out of the busy accompaniment.

No. 10 in A flat Major

This etude fits very nicely under the hand and has a consistent structure throughout; a single eighth note followed by an interval that is almost always above this note. The structure is built on arpeggios in the right hand while left hand plays eighth notes with two longer, held notes every measure. Accents vary the rhythm and phrasing greatly making the piece difficult to play musically.

No. 11 in E flat Major (Arpeggio)

As the title states, this etude rolls every chord in both right and left hands. Each hand consists of either a three or four note chord sometimes up to a twelfth in both hands. This is a great etude to develop wrist control and finger dexterity. At the same time the pianist must be aware of the ongoing melody in the top voice.

No. 12 in C minor (Revolutionary)

One of the most recognized of all Chopin’s compositions, it begins with a dramatic C minor chord followed by a left hand descending run, which whirls the etude to an impassioned theme. The boiling accompaniment is a work out for the left hand, which suitably supports the melody full of struggle and longing. The etude ends in C major leaving the listener with a sense of ambiguity.

 

 

 

 

 

Op. 25

No. 1 in A flat Major (Aeolian Harp)

The first etude of the Op. 25 begins with a delicate theme. The one note melody remains in the right hand with added graced notes by both hands played underneath the theme. The aim of the etude is to play every note with the utmost legato imitating the sound of a harp. A great piece to increase the suppleness within the wrists.

No. 2 in F minor

A soft lyrical etude with soft eighth note triplets in the right hand played at presto. The study is in the left hand, which plays a polyrhythm, one note for every two notes in the right hand. Once the two are put together with added p the lyrical line sings through.

No. 3 in F Major (Cartwheel/Horseman)

This etude is more a study in rhythm than anything else. The rhythm is as follows: a short note followed by a long note followed by the melody note. However there is also a second voice in the right hand, a dotted eighth note that is to be held while the first two are being played. Towards the end it is that held note that makes up the melody.

No. 4 in A minor

The main difficulty in this etude is the left hand jumps, which can span up to two octaves at times. This etude unlike his other works does not concentrate on the legato style of playing but rather the staccato. The right hand carries the melody often in chords of three or four notes, where the top note should be heard as the melody, and sometimes is held longer while the other fingers of the right hand play staccato.

No. 5 in E minor (Wrong note)

This curious title is supported by the minor second intervals, which make up the main theme leading to a feeling that the notes are wrong. The difficulty lie in the large rolls and ornaments in the left hand that can get very specific at times but add to the scherzando character of the piece.

No. 6 in G sharp minor (Thirds)

My personal favorite. An ode to the thirds. This etude is an exercise in executing thirds of all sorts in the right hand. It opens with a trill of two chromatic thirds, which then quickly progresses to turns, rapid scales up and down, and intervals of a sixth or more, all in thirds. All this is to be played p and legato. Piece of cake. Moving on.

 

No. 7 in C sharp minor

A beautiful recitative like melody opens this etude in the left hand. This continues with accompaniment consisting of slow chords in the right hand and the melody in the left however, this melody is also interweaved into the right hand or accompaniment passage, making the melody at times ambiguous.

No 8 in D flat Major (Sixths)

As the title suggests this is a festival of sixths not only in one hand. But both! The study is in parallel sixths in both hands all the way through, and some how when played molto legato and at the right tempo one can hear a melody. A good test for suitable fingering.

No. 9 in G flat Major (Butterfly)

The shortest of the twenty-four, the left hand employs ragtime stride piano, while the right hand has the melody created by playing a detached octave, then two non-detached octaves creating a butterfly effect at speed. The constant switching from detached octaves to tenuto octaves give the etude its jerky character.

No. 10 in B minor (Octaves)

One of the longest etudes in Chopin’s set, it is based on rapid octaves that ascend and descend in both hands. The difficulty does not only lie in the clean execution of the octaves, but in the middle notes that are to be held for one or two measures. It is this melody note that the octaves must be played around. Just one thing to worry about I guess..one could always quietly hum the middle voice..no harm done.

No. 11 in A minor (Winter wind)

My favorite opening of all Chopin’s etudes. A simple four bar melody which completely explodes into chaos and smacks you straight in the face. Great fingering in the right hand is required to execute the storm created by the sixteenth note patterns above the chordal melody in the left hand. To make matters more intriguing, the right hand has melodies as well with the “top” melody created with a chromatic scale, and the “bottom” melody acting as the accompaniment.

No. 12 C minor (Ocean)

The last of the twenty-four etudes can be linked back to etude No. 1 in C major. Nicknamed the “Ocean” , this can be heard by the extremely fast ascending and descending arpeggios similar to No.1. In addition Chopin decides to have the arpeggios in both hands with added accents, melodies within the arpeggios, and to frequent modulation. This all makes for a very turbulent ocean!

 

Trois Nouvelles Etudes

I.               F minor

 

The first of the Nouvelle Etudes works on developing polyrhythms, and introduces the study of three against four. The long passionate melody is made up of three notes and due to the four notes in the left hand it plays against; a certain level of resistance is created.

      2.            A flat Major

A sweet etude continuing the study of polyrhythm’s, it is two against                    three. Right hand chordal pattern played against a leaping left hand accompaniment.

      3.                    D flat Major

The most difficult of the three, it studies the art of playing legato and               staccato simultaneously in the same hand. If that is not enough, the counterpoint adds to the challenge.

 

Mazurkas

Op.17

I.               B-flat Major

 

This Mazurka begins with a stately fz with a melody in thirds and smooth ‘octave, chord, chord’ accompaniment in the bass. The Mazurka is littered with accents on various beats for each bar which at times gives it a common time feel, however Chopin still maintains the Mazurka quality by putting accents on the second beat in most cases. The middle section in E-flat major has a gypsy like accompaniment, where the first beat alternates from a quarter note to two eighth notes and the melody is more ornamented with a thinner texture.

      

II.             E minor

 

Much lighter texture, this E minor Mazurka has a nostalgic quality to it. Labeled lento ma non troppo the four bar opening stays within the confines of one octave, then is interrupted by dotted rhythm figuration with slurs and staccatos. The melody is simple, and smooth and as the piece develops to G major, it combines with the dotted rhythms and employs a chordal accompaniment eventually leading back to a reprise.

  

III.           A-flat Major

 

The curious opening introduces the melody with a diminished chord, immediately resolving itself to the tonic. The Mazurka is composed in small two bar fragments, with question and answer like gestures. Compared to the previous Mazurka, A-flat major is very homophonic with the diminished harmonies underlying the melody. An E-major section has a playful character yet still maintains the same harmonic structure before returning the original key.

 

       IV                   A minor

The last Mazurka of the Op.17 set is more characteristic and much freer than the previous three. It opens with the accompaniment and the espressivo melody begins lyrically in the manner of the famous E minor Prelude. The accompaniment changes only slightly, descending chromatically as the melody develops with greater ornamentation and markings in the style of the polish dance.

 

Op. 59

I.               A minor

 

The first Mazurka of this set is highly chromatic, and rich in melody and counterpoint. A strong opening to the set, with a searching melody, the dotted rhythms and steady accompaniment work hand in hand to create a work of ternary form to build this unassuming Mazurka full of wonder.

 

II.             A flat Major

Chopin’s second Mazurka is of a pleasant character with a very strong chordal accompaniment supporting the four bar melody. The piece ends with an ascending, winding lyrical line, which seems to just disappear into thin air.

III.           F sharp Major

 

The most innovative of the Op. 59 is placed last. The main theme is based on a triplet figure. Very noble and waltz like in character, Chopin uses interesting descending chromatic chords in the accompaniment which color the melody beautifully. The Mazurka ends with a lengthy coda where the melody is eventually heard in the right hand and ends with the introduction of a new theme.

 

 

Preludes Op.28

I.               C Major

 

The prelude opens with rolling buoyancy, which continues in a wave-like motion, with the aid of triplets, straight to the end. The melody in the top voice rises and falls in an arch shape and eventually ends with an ascending arpeggio.

 

II.             A minor

 

A huge contrast from the first prelude, the opening begins with somewhat brooding harmony in the bass, with a melody that carries a search-like quality. However it is the ominous bass accompaniment, which directs the motion of the prelude, increases its ambiguity.

 

                    III.                   G Major

Opening with a bubbling vivace left hand based on the tonic, and the four bar melody is based on longer valued which enhances the sixteenth note pattern underneath. The melody stays consistent with the tonic, much more predictable than No. II

 

 

     IV.           E minor

 

Probably the most recognized of all Chopin’s works. The success of this prelude lies behind its simplicity. The constant chugging motion in the bass accompaniment, which descends chromatically while the melody follows suit creates an automatic feeling of loneliness and longing.

 

 

 

 

                             

 

 

 

V.      D Major

             

Due to the many modes, and perpetual motion of the sixteenth notes, this prelude conveys an anxious, rushed character. Based on the opening dominant seventh that quickly transcends through a melting-pot of keys, the prelude is simultaneously spontaneous and harmonically intense.

 

VI.            B minor

 

Once again, a quick character change and texture introduces the B minor prelude with a poignant melody in the bass and a simple continuous chrodal accompaniment in the right hand. The melody continually searching for higher grounds with an ascending arpeggio, but always returns with no answer.

 

VII.          A Major

 

My personal favorite of the preludes. It is small, simple, consistent and because of these factors it is easy to follow and beautiful to hum. Even in the shower.

 

VIII.        F-sharp minor

 

Turbulence and an insistent character interrupt the peaceful atmosphere set up by No. VII. Due to the triplet accompaniment and 32^nd note configuration decorating the tenor melody, the prelude as no time to breathe. Yet its rich texture and insistent rhythm still give the prelude an ongoing pulse.

 

 

IX.            E Major

 

In the style of a church hymn, the character from the very broad opening stays consistent throughout. The broad quality is aided by the triplet accompaniment against the melody in the right hand, and the bass register which the prelude is set.

 

X.              C-sharp minor

 

Based on a group of descending 16^th note triplets, this prelude lasts no more than 30 seconds. Yet within that small time frame, Chopin manages to formulate a four bar theme, which repeats four times in the left hand eventually, leads to quaint v-i to conclude the miniature.

 

XI.            B Major

 

A festive little number, the prelude in 6/8 creates its dance like appeal with grace notes on the 2^nd beat. The harmony is very central with both  left, and right hand having eighth note figurations.

 

XII.          G-sharp minor

 

From the word go, the opening introduces the tonic key and gradually ascends and descends in wave-like motion. The melody that follows is mostly a chromatic figuration. Throughout, passing tones and suspensions develop the texture however the regularity of the accompaniment guides the rhythm of the prelude.

 

XIII.       F-sharp Major

 

The tolling of bells come to mind with the opening of this prelude, with the chiming of chords accompanied by gentle left hand figuration. The melody takes its time to develop and is supported by the subtleties

of the bass, which in fact can be thought of as a melody in its own right.

 

XIV.      E-flat minor

 

            A random little number, this prelude I like to think of an upset, lonely old man. The triplets that make up the rhythmic structure of the prelude act as the pulse and form the texture for the allegro. Both hands work in unison from beginning to end.

 

XV.      D-flat Major

 

            The longest of the 24 preludes, D-flat major has been nicknamed ‘Raindrop’, reminiscent of droplets of water represented by the constant repetition of the A flat. Opening with a very long sweet melody, the prelude eventually gives way to a storm in the B section, which maintains the repetitive figuration. The return of the A section dies away quietly with the A flat responsible for the final word.

 

XVI.      B-flat minor

 

            Virtuosic, flamboyant, a little Langlangish are words that come time mind as soon as this Prelude takes off. The relentless treble race supported by constant bass gesture which rings like a bass drum make this sound more like a study, yet it still manages to have a harmonic direction woven carefully into the right hand passage built for speed.

 

XVII.      A-flat Major

           

            Opening with an accompaniment figure, soon the melody takes over but not so overwhelming that it dominates the lush harmonies. The prelude has a swelling effect which can be felt over each four bar phrase. There is much chromaticism in the inner voices, which adds to the rich texture.

 

XVIII.      F minor

 

            Random sporadic thoughts come to mind on the hearing of this Prelude. In a league of its own, No.18 is made of a small number of gestures, packed together yet not quite connecting to one another. Nothing feels very definite apart from the perfect cadence that abruptly ends the piece.

 

XIX.      E-flat Major

 

            Light in texture and character, the prelude is based on rapid triplet-eighths with the melody based on the first note of each triplet. Left hand works in unison with the right hand and often works in contrary with the melody.

 

XX.      C minor

 

            A funeral-like march opens with a very definite i-iv-v-i. As the chordal prelude descends chromatically, to the tonic the whole four bar phrase is echoed, and the painful reiteration concludes the piece.

 

XXI.      B-flat Major

 

            Once again, a striking figure in this prelude is the active accompaniment, which moves, in contrary motion, continually giving a sense of expansion. The melody is very spacious and broad, and eventually joins the contrary motion of the bass whilst still sounding the lyrical line.

 

XXII.      G minor

 

            Although the melody is placed in the right hand, the dominating figure lies in the bass melody doubled throughout in octaves. The right hand contributes with thick diminished seventh chords arriving on offbeat’s. The agitated character is strengthened by the slurred right hand gestures that compliment the scalic octave passages of the left hand.

 

XXIII.      F Major

 

            A simple yet delightful leading to the finale. The beauty of this prelude is the sparkling right hand arpeggiations, with accompanying trills. The high register gives the effect of a small music box playing. Based a four bar theme the prelude never steers far from the tonic.

 

XXIV      D minor

 

            An ominous repeating bass figuration begins the prelude, and eventually introduces the melody leading to a school of cadential runs. The texture of the prelude remains the same until the last two pages in which the melody is doubled with octaves, more cadential runs, and eventually the ringing of low F to end the prelude collection. An interesting end, to a very unique collection of preludes.

 

                 

 

 

 

           

 

Fanny Mendelssohn – Das Jahr

 

Imagine spending a year in Rome, keeping a diary for each month, and writing a set of 12 pieces that depict your time away. Not only is it a great way to pass the time, but also a beautiful way to clarify your thoughts. How different music is from words, can only be defined by the listener.

 

Januar

The introduction to the opening month is in vein of Liszt’s B minor Sonata. The descending octaves and sparse use of the keyboard acquire a sense of the unknown. Its dark opening leading to a presto section in an una fantasia style set the scene for the festivities that lie before the young Fanny.

Febuar

February is a playful scherzo with a group of descending fourths to open. Immediately a sense of mischief is set loose. The continual ascending and descending motion coupled with fourths and fifths act like playful jesters at a carnival.

März

A complete contrast from the previous month. March, is based on the Lutheran chorale Christ is erstanden. Prior to the introduction of the chorale, a clear melody introduces the month, which has an insistent/longing character, and expands as the accompaniment thickens. An ‘Ave Maria’ like accompaniment decorates the chorale after its initial introduction and leads to larger majestic variation to conclude the month.

April

A reflective opening depicts thoughts of perhaps basking in the sun. The anxious character of the allegro from nowhere develops to give a sense that the family is on the move to another part of Rome, or leaving all together. Either way there is much struggle and nostalgia.

May

With its 9/8 meter, the lilting motion of the piece creates a sense of dance in the opening. However, as the melody develops and the right hand chords grow in harmonic intensity, a feeling of movement can be pictured from one place to another as the family continues to travel.

June

Is somebody having withdrawals? I would like to think so. Fanny clearly depicts this in this Serenade with a depressing melody, which seems to be longing for somebody or something. Most likely her time in Rome. Schubert’s Serenade came to mind when the andante section enters. The drama continues to increase with the melody in the tenor line and swooping arpeggio figuration in the right hand. Lisztian style at its best.

July

A simple chordal opening with very light texture expresses a feeling of emptiness. The piece develops to introduce very low tremolos in the bass portraying heartache or frustration, yet the melody continues on over the struggle heard in the tremolos. As the piece gradually leads back to the major, there is an understanding the sun will rise again tomorrow.

August

Finally Fanny sees the light and her happiness is restored. The dotted rhythm introduction acts as a shout “I am well again!”..The March which follows is a celebration of dance, life and getting back onto her feet. Home isn’t bad after all.

September

The beauty of this (apart from it being the month of my birth) is the gorgeous melody in the minor, which to me implies a sense of content with oneself, almost to say that Fanny is happy with where she is at in her life. The melody being in the bass is very grounded, and is decorated with wave-like figuration in the right hand.

October

A bright optimistic out look on life, comes to mind when this month begins. The march like figuration, thirds and fifths make for a very confident September, perhaps looking forward to great things to come, or her fond memories of Rome. All in all, the octaves in the left and large chords in the right hand are celebratory in character demonstrating a love for life.

November

The opening entitled mesto has a very nostalgic like quality, with hymn-like embellished with repeated high octaves as if to trigger a thought. The octave figuration continues to repeat it self as the accompaniment becomes more regular and eventually leads to an allegro. The quick semiquaver configuration sees the piece through a series of more active events and the melody is played between the hands.

December

Christmas Bells and cheer are evoked through the semiquaver thirds that open the month. Fanny’s use of chromaticism and fast past passagework makes for a jolly celebratory occasion. December also introduces Bach’s Christmas chorale Von Himmel hoch da komm ich hier. This is expanded with bell like chords and continuous octave accompaniment.

Postlude

A gorgeous piece to sum up the entirety of the whole work, it is a Chorale on Das alte Jahr vergangen ist.

 

Clara Schumann

Four Character Pieces for the Piano, Op. 5

I.               Impromptu: Le Sabbat

 

This short feisty number full of wide leaps, chromatic appoggiaturas, creates a very demonic character. The dissonances heard contribute to the title “Le Sabbat” which is in reference to witches’ Sabbath, a theme that intrigued many romantic composers.

 

II.             Caprice à la Boleros

 

A quick Bolero, Schumann’s second character piece of the set immediately brought to mind a tarentella dance. Its strong rhythm and pulse drives the dance forward to evoke the Latin flavor required of a Bolero. The tranquillo section allows for a slow dance and greatly contrasts the up beat yet slightly sinister mood of the presto.

 

III.           Romance

 

In my opinion, this piece is the most wistful and melancholy of the set. Although set in B major, Clara’s use of accidentals make for sudden harmonic changes throughout that make the direction of the melody unpredictable. Despite her choice of harmonies, the contrast of articulation, swooping dynamics and thick texture all enhance the character of a romance.

      IV.       Scène fantastique: Le Ballet des Revenants

Motifs from this last character piece figure in the first movement of Robert               Schumann’s great F-sharp Minor Sonata. It opens with a rocking motif using diminished fifths just as Robert used in the first movement of his Sonata. Clara’s use of repeated motifs, high register and acciaccatura’s with staccato figuration all manifest the scene of a ballet.

 

Variationen

Uber ein Thema von Robert Schumann Op. 20

These variations were written for Clara’s husband the composer Robert Schumann for his birthday. Based on a theme that Robert himself wrote, Clara transforms the theme into a beautiful set of variations, which take the listener on a journey full of melody, intricacy and virtuosity. The opening is chorale-like and is a transposition of Robert’s theme into the major. Based on a descending five-note motive, this theme gradually transforms through fast passage work, contrapuntal writing, yet all the while maintaining the charm for lyrical line that is a trademark of Clara’s writing. As the variations develop, so does the thickness of the texture, and soon the piece explodes into a frenzy of brilliant arpeggios before the coda which cleverly quotes Clara’s Romance Vairee Op.3 intertwined with Robert’s own theme.