Virtuoso Composers

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

There are some elements to this composition that I find quite beautiful, notably in the Andante in ¾ time. I enjoy his use of an extremely slow moving melody, set to a lovely and melancholy accompanimental chord progression. The semplice section is wonderful as well. It seems to me that Thalberg had a better knack for finding the “right-fit” with his overtones than did John Field. The virtuosity at the end definitely reminds me of the devices of Franz Liszt in pieces like Vallee d’Obermann and La Campanella. His use of the “three-hand” effect in the big arpeggio section toward the end is very impressive, but I imagine that it could become a bit more dull than Franz Liszt’s use of it, only because Thalberg always seems to stay with the pure arpeggio without adding any mystical non-chord tones into it. This makes it seem a bit too improvisatory, and it tends to drag on for a while. It seems a bit like someone with a great technique was just making up different accompaniments on the spot without putting a great deal of emphasis on craftsmanship.

Charles Valentin Alkan - Le Festin d'Esope, Op. 39, No. 12

I really enjoy the theme of this apparent variation set. The first variation strikes me by surprise with its stunning use of non-chord tones. I am realizing that more than the other composers here Alkan makes use of special harmonic effects which must have been quite innovative. These special effects seem similar to the techniques employed by Berlioz and Wagner. I enjoy that Alkan cares as much about atmosphere as he does virtuosity, and I am glad that the techniques are used to create an atmosphere rather than an air of arrogance.

Henri Herz - Variations on 'Non piu mesta' from Rossini's La Cenerentola, Op. 60

I feel like this set of variations is a bit more similar in compositional ingenuity to Handel’s variations than to Mendelssohn’s. The techniques used are beginning to seem a bit overused and obviously flashy. After listening to all the pieces on this list I find that I would have been able to predict the “new works” very easily if I would have lived during that time. It doesn’t seem to me like Herz does enough with the actual harmonies, but rather makes every varied aspect all about the accompaniment.

Louis Gottschalk - Tremolo, Op. 58

This piece is instantly different than what I expected, considering that the ever-constant technique employed is a repeated note rather than a traditional tremolo, which is what I expected. This piece seems to make stronger use of folk harmonies rather than classical ones. These sounds are the types that I associate with a tarantella (hopefully my expectations are right). The techniques displayed are indeed extremely impressive, and because of the fun nature of the music I do not find myself becoming bored by the music at all. The techniques used here are actually similar to a Billy Joel song “angry young man” (sorry to be that guy).

Carl Tausig - Ungarische Zigeunerweisen (Hungarian Gypsy Melodies)

I really enjoy the opening of this piece. It definitely sets the mood as one of mischief and mystery. I enjoy Tausig’s subtle use of sixths and octaves in a manner that is difficult without showing off, as opposed to Thalberg. The techniques used in the trilling section are quite inventive. I also find a great deal of originality in his use of the lower register as a grumbling stormy invocation. I don’t believe that we have seen an example of this yet within the pieces we have studied in class. Within the schnell section one can definitely hear the sounds of native Hungary, and the sounds are much more similar to the Hungarian dances of Liszt than I expected. In the bizarre scale passages that follow I hear elements akin to La Campanella as well as some of the virtuosic figurations of Rachmaninoff where the melody is embedded in the quick finger work. The ending, though sounding extremely difficult, does not quite serve justice to the climactic end of the piece. I believe that Chopin’s ballades find a much more exciting use of virtuosity when closing off a large piece, this one seems to drag on a bit until the composer was able to find a good ending point.