Mendelssohn Mania

Mendelssohn Opus. 54

Variation Serieuses

A typical opening to a variation, Mendelssohn introduces the main theme in the form of a choral constantly creating sighing gestures with the inner voices. To end this solemn opening, three simple 16^th notes lead to a perfect cadence, which gives way to the first variation.

Variation I

This little number reminds me of a string quartet with an ever flowing violin two line accompanied by pizzicato viola and cello while violin maintains the melody of the theme, ending once again with a very quaint V-I.

Variation II

Slowly but surely the momentum builds as the use of sextuplets in both hands generate the theme. Due to the sextuplets, the character of the opening theme gives a feeling of confusion and wonder rather than longing and sadness

Variation III

As the title describes, this variation is animated and Mendelssohn’s use of blocked chords in the right coupled with an octave reply in the left create a sense of grandeur very early in the work. The tension builds to a ff where one might assume a larger climax but instead he takes a turn down bubble wrap lane.

Variation IV

I cannot help but think of this variation as the ever so annoying sound of a child popping bubble wrap one pop at a time. Nauseating. As the two hands play in unison a band of 16^th notes and grace notes, the theme can still be clearly heard in the right hand. A huge swell in dynamics gives an arch to the variation leading to very contrasting variation V.

Variation V

The most expressive thus far, the agitated character is emphasized by the left hand, which constantly pushes the theme along only an 8^th note beat away. The syncopation complements of the left hand figuration which give an unbalanced feel yet it still settles down rightly so to D minor.

Variation VI

A battle between high register and low register is the theme and the pizzicato like effect heard in the first variation returns, this time in both parts. The end of the variation is a simple sextuplet run which is taken to whole new level, and warmly welcomed by the following variation.

Variation VII

A very cadenza like character, chords and firework like arpeggios dominate this variation. As it develops both left hand and right hand fight for supremacy in Mendelssohn’s happening world of arpeggio city.

Variation VIII

The turbulent character created by the previous variation is continued with perpetual triplets in the right hand accompanied by off beat left hand cementing the harmony of the theme.  The variation is very jagged and is caused by the use of sf on the second beat followed immediately by a p.

Variation IX

Just when you thought right hand triplets were enough, Mendelssohn puts the triplets into over drive and welcomes the left hand to join the overkill. His use of triplets and sf reminds me very much of the 3^rd movement of the moonlight, except Ludwig had the decency to leave the triplets in one hand. Good man.

Variation X

Mendelssohn’s Bach influence comes to light with a fugal variation. The use of four-part counterpoint reiterates the very religious chorale opening, which cleverly sets up the beauty of the variation to follow.

Variation XI

Displays Mendelssohn’s love for song and melody. Beautifully displayed in this variation with the single line from the theme soaring over the syncopated accompaniment supplying just enough harmonic cushion to sound like a ballade.

Variation XII

In the style of Paganini, this variation is based on a ricochet effect where the second beat propels the first beat.  32^ND notes bouncing off one another color the theme with a virtuoso like feast of repetition.

Variation XIII

This is the first variation to have the theme played out in the bass whilst the right sports a 32^nd note accompaniment that decorates the melody. Once again a feeling of a string quartet can be heard with the lower register strings playing the melody while violins pizzicato.

Variation XIV

Chorale like texture returns to unite the theme and yet this time it is in the key of D major.  This adagio variation could be thought of as a departure from the chorale like opening before the finale brings the variations to an almighty end.

Variation XV

Bass line leads this variation subtlety followed by an array of diminished 7^th chords underlining the harmony of the theme. Its slow yet agitated character gives it a brooding quality, which appropriately leads to the reprise of the sextuplets.

Variation XVI

From the word go, sextuplets between the hands create a boiling effect ascending and descending eventually give way to triplets, sforzandi , and a mild D minor   descending arpeggio leading to the finale.

Variation XVII

Finale opens with a battle between right and left hand. A fierce bass continually leaps an interval of a 10^th whilst the right hand stab with thick chords. Eventually roles are reversed and the leaps are adopted by the right hand and left supports with the chorale outline. A bass tremolo prior to an accelerando supports the choral opening and eventually gives way to a frantic race to the end. Based on variation V, the bass leads the tempo for the variation and the off beats enhance the feeling of excitement and rhythmic drive. A diminished 7^th arpeggio eventually leads the finale to two chords ending peacefully in D minor.

Prelude and Fugue in E minor

Mendelssohn’s prelude is in the form of an appassionato song without words. The melody conveniently placed in the alto line is accompanied by 32^nd note arpeggios, which, add to the intensity of the already beautiful melody and adds to the broadness of the prelude.

The fugue opening could easily be mistaken for the opening of a Bach fugue and yet as it progresses many styles arise. A homophonic episode follows, reminiscent of the classical style and lead to a romantic like passage with the aid of left hand octaves. The fugue eventually concludes with an E major choral played above the continued octave passage ending with fugal subject of the opening.

Personally I was not the biggest fan of this work mainly because the varying styles in fugue kept taking my attention away from the beauty of a continuous line and counter point. Prelude..I’ll buy..

Rondo Capriccioso Opus. 14

So how about this for a sappy opening?! A beautiful arching melody in this cantabile setting of the Andante in 4/4 meter and E major, with repeated chords in the left hand are very song-like. However the romantic theme music eventually gives way as it becomes increasingly embellished with the aid of plunging octaves, played fortissimo for good measure. As texture thins out rising scales introduce the Rondo played Presto in E minor and in 6/8. The opening of this presto reminds me of Liszt’s Gnomenreigen, and as the presto progresses Mendelssohn’s love for virtuoso piano shines through with flashy arpeggios linking between the B theme and the Rondo passages. After the transposed reprise of the G major episode, the key shifts back to E minor for a reprise of the Rondo and an epic conclusion.

 

 

 

Schumann Symfonic Etudes and Kreisleriana

Symphonic Etudes

 

A wonderful choral like theme opens the Symphonic etudes. With a dark and brooding character, it is unknown what is to become of the theme. Schumann creates a great stillness and uneasiness but his use of trill and broad texture.

The first etude begins in the low register with a quirky counterpoint introduction followed directly by the main theme which is accompanied the pizzicato like figuration. The expansion of the theme is created by Schumann’s use of triplets, which create the base rhythm for etude II.

Etude II

sees an exchange in roles with the melody in the bass accompanied by thick triplets continually adding motion to the variation. The introduction of Schumann’s dotted rhythms support the melody when taken over by the tenor line.

Etude III

adopts a continuous arpeggio pattern in the right hand which is also used in the variation of Pantalon et Colombine in Carnaval. These arpeggios are a reference to Paganini arpeggios and are the theme for this etude

Etude IV

Schumann uses block chords and approaches the etude in the form of a cannon. The melody begins in the right hand and the cannon is followed with the left hand, whose chords cleverly match the harmony of the right hand

Etude V

Is a return of counterpoint with a mirror image in each hand. The quirky feel in the same manner as Etude I is embellished by a thicker texture and dotted rhythms creating a feeling of youthfulness.

Etude VI

Resembles Schumann’s respect and admiration for the violin technique of Paganini. The melody is heard in the left hand on off beats 32^nd notes jumping an interval of a 10^th. Say no more, it’s no big deal.

Etude VII

This peculiar variation opens in E major with fresh material unrelated to the theme. It is only until the etude reaches the middle that the theme us heard in a rather joyous variation.

Etude VIII

This little number adopts a very PE Bach like fantasy feel with its ever fluid statements ascending and descending, revolving around the general harmonic structure of the theme but somehow never quite revealing it.

Etude IX

A quick dance in 3/16 Presto possible requires some quick finger work. Once again the theme is not quite revealed, however the general harmonic structure and fragments from the melody can be heard.

Etude X

This etude opens with an insistent base line and a reprise of the opening chords. Many characteristics are expanded in this etude such as the theme of dotted rhythms depicted by sixteenth notes and rest, and the cadence of the first section which ends in E major not C# minor! Exciting.

Etude XI

Welcomes us with the exotic key of G# minor with a gorgeous left hand opening which accompanies a soprano line eventually followed by an alto line. This duel voice combination continues until they arrive at the main theme, which is heard in octaves.

Etude XII

Is the final frontier in D flat major. This opens with a brilliant march much like the opening of Carnaval. This finale can be seen as a uniting of the characteristics from each etude but with more punch. As the longest variation it modulates to A flat major by the second page, then to G flat major, then the return of the dotted crusade is heard in B flat minor which dominates the majority of the variation. The final stretch presents the main theme in the major and Schumann has twisted its direction upwards! The piece ends with a rampage of V-I and concludes on D flat major.

 

Kreisleriana

 

Relentless, turbulent, furious are just couple of words that come to mind with the opening of this work. Its insistent triplet figuration with accented melody makes for a very uneasy feel.

The first variation is dominated by triplets and has a very buoyant feel. It is almost anxious at times and it is a very clever contrast to the opening tripletathon.

The second variation is very vocal based with a beautiful melodic line often counteracted by the bass line. Very communicative and somewhat chorale like. The sudden abrupt change of character could not come at a better time completely throwing off the rhythm of the opening, yet creating a sense of longing for the opening to return. Intermezzo II presents a slightly thicker take of the opening with use of lower register and ascending arpeggios in the right hand working against the melody often quoted by the right hand. Return of the melodic opening sets the variation at ease.

Third variation opens with a sinister yet insistent character with Schumann’s use of triplets and clever syncopation. The lines never quite seem to line up creating a sense of uneasiness. The contrasting middle section is slightly easier to grasp, until the return of the unstable triplets end the variation.

Fourth variation reminds me of a recitative with its very free introduction and traditional harmony much in the style of late Beethoven. A searching quality is what the opening conveys. Eventually a beautiful melody arises with a very Aria like feel.

Fifth variation adopts the cheekiness of variation three with quick wit, rhythms also reminiscent of Schumann’s alter ego Florestan much in the same vein as Florestan in Carnaval. Schumann’s style of writing seems at times somewhat confused rhythmically with beginnings of phrases sometimes starting half way through the measure. However, this is all concluded with a delightful ending.

Sixth Variation opens very dramatically with another Recitative type introduction followed by a quarrel with the bass. Due to the sympathetic dotted rhythms and melody being in the bass, the opening also has a kind of lilt or sway to its character creating a feeling that nothing is quite resolved. This swaying motion brings to mind a folk song or song to a child.

Seventh Variation comes completely out of the blue with its rambunctious 16^th note configuration, insistent and compulsive. The middle section is frenzy of counterpoint, which never quite develops into anything too complex but does lead to a quiet choral to end the variation.

Eighth and final variation reminds me of a very quiet troll under bridge who is plotting an ambush against his village. Its dance like beginning creates a sense of anxiousness and the lower register adds to the mischievousness that the variation conveys. This character is also displayed as the variation moves to 2/4 while the right hand still plays in 6/8 to add to the confusion. The return of 6/8 in both hand equipped with dance like rhythms gracefully takes the variation to an end which leaves you wanting more…I guess sometimes less is more with Schumann…

 

Schumann Fantasie and Sonata F# minor

Schumann - Fantasie Opus 17

The opening of the Fantasie brings to mind the image of wind at the top of a cliff with the swirling 16th note accompaniment, followed instantly by a soaring melody. Schumann emphasizes the importance of this melody by maintaining the 16th note pattern until both hands meet up in the transition to a new theme. Although the Fantasie is in C, the piece opens in the dominant which immediately catches the ear and creates a sense of wander as to when it will arrive to the home key. The introduction of the new theme is very stately and is full of strong ideas, immediately counteracted by a quote from the opening page. Schumann continuously creates a sense of question and answer by making a bold statement in the form of a small theme, then replying by quoting the opening. As the Fantasie progresses the thematic material becomes thicker, with more accents, louder dynamics and less rests. The playful character Im Legendenton hosts a picture of fun with staccato, dotted rhythms, and many runs in unison. Once the return of the opening occurs, we arrive to C major which eventually leads to a triumphant anthem in E-flat major, thick in texture, heavy in dotted rhythms with a very march like feel. This character dominates the last pages of the Fantasie until both hands unite in a joyous dance in unison to the end.

Sonata in F# Minor Opus 11

Introduzione-Un poco adagio

Introduction in 3/4 opens with a melody that would seem somewhat unsure of itself with the use of super dotted rhythms accompanied by rocking triplets. The role of accompaniment is exchanged by the second page with the melody in the left hand in octaves. This quickly alternates and the triplet configuration ends the introduction. The Allegro vivace in 2/4 brings a march-like character to the movement, directly followed by a dramatic turn in E flat minor with one pedal marking which leads back to the march-like character in A major. This sense of military like rhythm sifts its way through the development section with the melody often in the tenor line whilst right hand accompanies with 16th note patterns ending in A major.

Aria

This movement stands to its name with a four bar lyrical melody followed by two, two bar responses. As the movement progresses, the texture thickens with the melody in octaves, and then is eventually switched to the bass with 16th note accompaniment in the right hand. There is much interaction between hands in regard to call and response.

Scherzo e Intermezzo

A fun, dance like movement  with a taste of Mazurka. Much emphasis is put on the second beat which is strengthened by Schumann's use of sf.  The majority of the melody lies in the left hand the snappy chordal accompaniment resides with the right.

Intermezzo

Leading straight from the Scherzo, the Intermezzo creates an atmosphere of anxiety and wonder with the subjects being paired in two bar groups, often first group slowly descending followed immediately by an elaborated response. To end the Intermezzo there is a cadential like section which ends with an ascending scale to the leading note. Here, a reprise of the Intermezzo is heard ending in F sharp minor.

Finale

The opening is hard to miss with a very insistent 8th note drive. Come the fermata, a sudden change of character is at play with a dance like theme ascending and descending gently accompanied by chords in E flat major. Once again Schumann adds to the excitement by thickening the texture with use of larger chords and accompaniment leading back to the 8th note celebration. The return to A major demonstrates Schumann's ability to create the sense of acceleration through the diminution of note values beginning first with dotted half notes, then quarter notes, then eighth and finally sixteenth which leads the finale back to the dance like character of the opening. Progressively, more of the keyboard is utilized with leaping intervals in the left hand to large chords played in unison. From here the development of the themes has already been settled and Schumann integrates them throughout. The idea of Fantasy is heavily displayed through the Finale often with a V-I leading to a more elaborate idea of what was previously heard. Schumann creates a strong ending with the Allegro piu which is a frolicking dance to the end with the two hands in unison ending triumphantly on a F sharp minor chord.

Hello,

This is my first ever blog page and I am pleased to say it is for 19th Century Piano Literature. May who ever read this be enthralled by my juicy opinions and childish humor. That is all.