Nocturne No. 13 in B minor, Op. 119
There are immediately noticeable differences between this nocturne and the nocturnes of Chopin or Field. The first difference is that of accompaniment. This nocturne begins in a manner that is neither arpeggiated nor chordal. The accompaniment is, in fact, almost entirely built on scales, where the only leaps that occur are those that enable another scale to commence on a separate scale degree. In addition the harmony here is certainly not in strict accord with the overtone series as we saw in the nocturnes of Chopin. The harmonic structure seems to be based on a scrambled assembly of major, minor, and chromatic scales. The Allegro section presents us with arpeggios; however, these are not used in the same fashion as Chopin or Field. Faure uses the arpeggios to provide swift and sweeping harmonic changes to a thinly laid melody in octaves. The key areas constantly shift, giving the music the feeling that this night song must be occurring during a storm. The last page is presented in a manner that is the most similar to Chopin’s compositional style. The arpeggios are slowed and the harmonic shifts become slower as well. The piece eventually settles in the key of G major, symbolizing that if there was a storm it has apparently subsided.
Barcarolle No. 5 in F-sharp minor, Op. 66
My initial thoughts on this piece are that Fauré must have either been setting his Barcarolle on unstable waters, or he must be loosely interpreting the genre. The harmonies here are significantly more stable than the nocturne, though they still contain those odd sounds known to Fauré. Though I am aware that being French does not automatically enable a connection between Faure and Debussy, however, there are some clear similarities between these composers use of swiftly changing accompanimental figures. One would typically associate a barcarolle with supplying a flowing, sometimes slightly “bouncy”, bass line, on which a coloristic display of harmony would be set in support of a lyrical melody. This barcarolle has difficulty settling on whether the bass is comprised of octaves, chords, of arpeggios. It becomes quite difficult to follow the voice parts, seeing as how they seem to evolve into a canonic flow where each part receives a certain figuration after the others have left theirs. Overall I enjoy the piece, though I would never be capable of labeling it a barcarolle if the title was not present.
Thursday, March 25, 2010
Tuesday, March 23, 2010
Saint-Saens
C Saint-Saens:
6 etudes, op. 111
No. 1. Tierces majeurs et mineurs
This first etude is interesting in its use of the primary difficulty as an atmospheric sound, where most composers use the primary technique as the center point. The difficulty here is trilling, usually thirds, but there are also several measures where it alternates between sixths and fifths.
No. 2. Traits chromatiques
As the title suggests, this is an etude on chromatic passages. This etude seems to me like a combination of flight of the bumblebee with Chopin’s etude in C-sharp minor. I like the idea of this etude, being that the figure is always in a manageable grouping, rather than a whole scale. This suggests that the etude is really meant to help, and not just hard for the sake of being hard.
No. 3. Prelude et Fugue
The prelude is an etude in alternating thirds with the outer fingers of the hand. At the end Saint-Saens makes slight use of a rhythmic study, which would certainly be harder than most would imagine. The idea of having a prelude and fugue as an etude is very original, and really interesting. The fugue must study some specific technique, other than fugue playing. I would assume that the countersubject is used as a finger exercise while the subject is an etude in melodic projection.
No. 4. Les cloches de Las Palmas
This etude uses two right hand figures: the one at the intro, and the repeated-note “sparkling” figure. Along with this there are legato sixths in the left hand. Overall I would say that the primary difficulty here is one of continuity and timbre.
No. 5. Tierces majeurs chromatiques
This etude is not very difficult to figure out. The study is in chromatic thirds, as listed in the title, for right hand. The character reminds me of a Chopin etude, more so than the rest of the set.
No. 6. Toccata
It seems that Saint-Saens uses the form of toccata to explore all the techniques remaining at his disposal. Of these there are double-note thirds, octaves, broken octaves, syncopated octaves, large chords, arpeggios, repeated notes, difficult scalar figurations, and hand crossing.
Album op. 72 for piano
No. 1. Prelude
Saint-Saens explores a much larger array of characters than I expected for a prelude to a short work album. In many ways this feels toccata like for me, especially because I am listening to it immediately following the etudes. He makes full use of the keyboard in a very effective way. It is interesting to note the specific devices which he makes use of in each independent register.
No. 2. Carillon
This is definitely the first instance of a 7\4 rhythm we have observed in piano lit this year. It is interesting that the music is so fitting that one doesn’t even notice that there is an abnormal rhythmic structure. The bass pattern reminds me of Liszt’s Funerailles.
No. 3. Toccata
This is an excellent example of a piece that has an upper note but not a melody. The other virtuosic works displayed a melodic line that was enhanced with extreme figurations. This melody is rather unimportant, and I would say that this trait is what makes this decidedly a toccata.
No. 4. Valse
This piece serves as an example of a piece that is composed with motivic units rather than long phrases. I don’t like this piece as much as the others, I think this is due to the lack of varying accompaniments. Saint-Saens seems better at virtuosic concoctions than he does with fluid character pieces.
No. 5. Chanson Napolitaine
The composer displays his knack for the dark and mischievous in this composition. The character here changes frequently, varying accompaniment and timbre. This piece is highly enjoyable, furthering my argument that this is the composers best avenue.
No. 6. Final
I have noticed that in every music history, analysis, or appreciation class I have ever had it seems that every composer is listed as “having a great gift for melody”, I disagree with this in many cases, and in this instance I feel that I can certainly say that Saint-Saens had a gift with pianism, but not or melody. He seems to contain all the wonderful virtuosic devices of Liszt and Rachmaninoff, but I don’t believe you will ever really find yourself singing along with any of his compositions.
Rhapsodie d'Auvergne, Op. 73
I believe that the version for piano and orchestra is far greater than that of the solo piano version. The gypsy sounds seem to contain greater mischief and atmosphere when there are multiple instruments available. I enjoy his use of repeated notes, which tend to give the music a folk-dance quality, I do find that at times I find the ongoing patterns to be a bit boring. The lyrical passages at the end are quite beautiful, and I do wish that this work had more of them.
Variations on a theme by Beethoven, Op. 35
This work is obviously too long to comment on every variation so I will do my best to summarize appropriately. I enjoy the ways in which Saint-Saens keeps the feeling of Beethoven-like sounds. So far I cannot hear many techniques that would lead me to see this as a decidedly romantic work. The piece never seems to culminate into any grand vision for me. I found that if I stopped and started at random places on the track that I was unaware there was any change at all. I do think the craftsmanship of the variations is good, I might have liked a more interesting theme.
6 etudes, op. 111
No. 1. Tierces majeurs et mineurs
This first etude is interesting in its use of the primary difficulty as an atmospheric sound, where most composers use the primary technique as the center point. The difficulty here is trilling, usually thirds, but there are also several measures where it alternates between sixths and fifths.
No. 2. Traits chromatiques
As the title suggests, this is an etude on chromatic passages. This etude seems to me like a combination of flight of the bumblebee with Chopin’s etude in C-sharp minor. I like the idea of this etude, being that the figure is always in a manageable grouping, rather than a whole scale. This suggests that the etude is really meant to help, and not just hard for the sake of being hard.
No. 3. Prelude et Fugue
The prelude is an etude in alternating thirds with the outer fingers of the hand. At the end Saint-Saens makes slight use of a rhythmic study, which would certainly be harder than most would imagine. The idea of having a prelude and fugue as an etude is very original, and really interesting. The fugue must study some specific technique, other than fugue playing. I would assume that the countersubject is used as a finger exercise while the subject is an etude in melodic projection.
No. 4. Les cloches de Las Palmas
This etude uses two right hand figures: the one at the intro, and the repeated-note “sparkling” figure. Along with this there are legato sixths in the left hand. Overall I would say that the primary difficulty here is one of continuity and timbre.
No. 5. Tierces majeurs chromatiques
This etude is not very difficult to figure out. The study is in chromatic thirds, as listed in the title, for right hand. The character reminds me of a Chopin etude, more so than the rest of the set.
No. 6. Toccata
It seems that Saint-Saens uses the form of toccata to explore all the techniques remaining at his disposal. Of these there are double-note thirds, octaves, broken octaves, syncopated octaves, large chords, arpeggios, repeated notes, difficult scalar figurations, and hand crossing.
Album op. 72 for piano
No. 1. Prelude
Saint-Saens explores a much larger array of characters than I expected for a prelude to a short work album. In many ways this feels toccata like for me, especially because I am listening to it immediately following the etudes. He makes full use of the keyboard in a very effective way. It is interesting to note the specific devices which he makes use of in each independent register.
No. 2. Carillon
This is definitely the first instance of a 7\4 rhythm we have observed in piano lit this year. It is interesting that the music is so fitting that one doesn’t even notice that there is an abnormal rhythmic structure. The bass pattern reminds me of Liszt’s Funerailles.
No. 3. Toccata
This is an excellent example of a piece that has an upper note but not a melody. The other virtuosic works displayed a melodic line that was enhanced with extreme figurations. This melody is rather unimportant, and I would say that this trait is what makes this decidedly a toccata.
No. 4. Valse
This piece serves as an example of a piece that is composed with motivic units rather than long phrases. I don’t like this piece as much as the others, I think this is due to the lack of varying accompaniments. Saint-Saens seems better at virtuosic concoctions than he does with fluid character pieces.
No. 5. Chanson Napolitaine
The composer displays his knack for the dark and mischievous in this composition. The character here changes frequently, varying accompaniment and timbre. This piece is highly enjoyable, furthering my argument that this is the composers best avenue.
No. 6. Final
I have noticed that in every music history, analysis, or appreciation class I have ever had it seems that every composer is listed as “having a great gift for melody”, I disagree with this in many cases, and in this instance I feel that I can certainly say that Saint-Saens had a gift with pianism, but not or melody. He seems to contain all the wonderful virtuosic devices of Liszt and Rachmaninoff, but I don’t believe you will ever really find yourself singing along with any of his compositions.
Rhapsodie d'Auvergne, Op. 73
I believe that the version for piano and orchestra is far greater than that of the solo piano version. The gypsy sounds seem to contain greater mischief and atmosphere when there are multiple instruments available. I enjoy his use of repeated notes, which tend to give the music a folk-dance quality, I do find that at times I find the ongoing patterns to be a bit boring. The lyrical passages at the end are quite beautiful, and I do wish that this work had more of them.
Variations on a theme by Beethoven, Op. 35
This work is obviously too long to comment on every variation so I will do my best to summarize appropriately. I enjoy the ways in which Saint-Saens keeps the feeling of Beethoven-like sounds. So far I cannot hear many techniques that would lead me to see this as a decidedly romantic work. The piece never seems to culminate into any grand vision for me. I found that if I stopped and started at random places on the track that I was unaware there was any change at all. I do think the craftsmanship of the variations is good, I might have liked a more interesting theme.
Max Reger - Variations and Fugue on a theme by Telemann
Variations and Fugue on a theme by Telemann for Piano, Op. 134
I really enjoy the theme that Reger chooses to base these variations on. I always enjoying hearing music that is entirely reliant on a wonderful progression which is well voiced.
Variations 1-8
These shorter variations are really fun to listen to, especially in the way that Reger slowly evolves away from the original theme harmonically. In the beginning it seems as though this will end up being variations in the baroque sense, meaning that only the right hand will be varied, but Reger begins to wander in the 3rd variation, using decorative non-chord tones. Reger’s use of chords, especially in the 6th variation, is the closest I have yet seen to the virtuosic tendencies of Rachmaninoff. Variation 7 contains delicate polyphony, whereas variation 8 begins the study of syncopation.
Variations 9-16
At variation 9 we begin an unseen form, being that Reger creates noticeably contrasting sections within the variation. Variation 10 brings the farthest removal from the chord progression we have yet seen. For the first time the theme is made minor, and a seemingly distant melody is created over the top of it. Variation 13 displays wonderful tricks of the piano, displaying to me that Reger fancied the twinkling sounds of the instrument. In variation 14 we return to an extremely recognizable display of the original theme, this time presented in greater majesty. Variation 16, equipped with a tempo change, seems to contain all the characteristics of a depressed minuet.
Variations 17-Fugue
Variation 17 contains the same longing character as the preceding variation, however the beginning is most certainly a major statement of the theme. Variation 18 makes me remember a time in piano lit when our accompaniment choices were limited to polyphony and alberti bass, this is obviously far removed from those times. His use of broken octaves in variation 21 reminds me of Brahms’ techniques in both his exercises and his variations on Paganini. This may be one of the most intense fugues I have ever heard. The techniques used remind me of Schubert and Liszt, in the ways that Reger uses octaves and chords to bring virtuosic flare to the content. Had I the time I would love to thoroughly analyze this fugue to see exactly how Reger mixes the traditional elements with his virtuosic abilities.
I really enjoy the theme that Reger chooses to base these variations on. I always enjoying hearing music that is entirely reliant on a wonderful progression which is well voiced.
Variations 1-8
These shorter variations are really fun to listen to, especially in the way that Reger slowly evolves away from the original theme harmonically. In the beginning it seems as though this will end up being variations in the baroque sense, meaning that only the right hand will be varied, but Reger begins to wander in the 3rd variation, using decorative non-chord tones. Reger’s use of chords, especially in the 6th variation, is the closest I have yet seen to the virtuosic tendencies of Rachmaninoff. Variation 7 contains delicate polyphony, whereas variation 8 begins the study of syncopation.
Variations 9-16
At variation 9 we begin an unseen form, being that Reger creates noticeably contrasting sections within the variation. Variation 10 brings the farthest removal from the chord progression we have yet seen. For the first time the theme is made minor, and a seemingly distant melody is created over the top of it. Variation 13 displays wonderful tricks of the piano, displaying to me that Reger fancied the twinkling sounds of the instrument. In variation 14 we return to an extremely recognizable display of the original theme, this time presented in greater majesty. Variation 16, equipped with a tempo change, seems to contain all the characteristics of a depressed minuet.
Variations 17-Fugue
Variation 17 contains the same longing character as the preceding variation, however the beginning is most certainly a major statement of the theme. Variation 18 makes me remember a time in piano lit when our accompaniment choices were limited to polyphony and alberti bass, this is obviously far removed from those times. His use of broken octaves in variation 21 reminds me of Brahms’ techniques in both his exercises and his variations on Paganini. This may be one of the most intense fugues I have ever heard. The techniques used remind me of Schubert and Liszt, in the ways that Reger uses octaves and chords to bring virtuosic flare to the content. Had I the time I would love to thoroughly analyze this fugue to see exactly how Reger mixes the traditional elements with his virtuosic abilities.
Max Reger - 9 Bunte Blatter, Op. 36
9 Bunte Blatter for Piano, Op. 36
No. 1. Humoreske
This immediately sounds to me like someone with the attention deficiencies of Haydn composing with romantic tones and colors. I quite enjoy the music, and the sudden changes in character make it quite enjoying to listen to.
No. 2. Albumblatt
This piece displays an excellent contrast between the A and B sections. The A section consists of slurred and tied chords, whereas the B section consists of staccato scales. The chromaticism is very well placed here.
No. 3. Capriccietto
The pianistic effects used here are very masterfully crafted. The flowing sections are short but very heartfelt.
No. 4. Reigen
Reger’s use of the upper register is very enjoyable. At this point he seems to me to be the complete opposite of Brahms, seeing as how he favors the upper registers and changes musical ideas at an extremely frequent rate.
No. 5. Gigue
The fugal construction of this Gigue is very enjoyable to listen to, and is in no way too complicated for the average listener to enjoy. The theme is notably similar to the italian song “Che Fierro Costume”.
No. 6. Elegie
I really enjoy Reger’s use of the hemiola in this piece. That is to say I honestly do not enjoy most of Brahms’ use of it, seeming as though they were composed for the sake of being complex. Reger uses the hemiola to carry out ultimate expressivity, and if I were not following the score I probably wouldn’t notice them.
No. 7. Valse-Impromptu
My main question while listening to this piece pertains to the significance of the meno mosso section. The rest of the piece sounds very waltz like, especially in Regers method of bringing out beat two in the left hand. However, the meno mosso section seems to disolve any dance-like tendencies. I would assume that this section has some sort of programmatic nature pertaining to the scene of the dance, though I am not sure what it would be.
No. 8. Capriccio
This piece seems to have something for everybody in terms of technique. Regers’ use of quick changes is surprisingly effective. This piece seems to me like a summary of a larger work, almost like a movie preview that is more enjoyable in its condensed version than the movie itself.
No. 9. Reverie
The use of dissonance in this final piece is very emotional. The chromaticism seems to flow almost unnoticed as if it were the landscape behind a lone singer. I enjoy that Reger chooses to end the set with a slow piece that seems to be the longest and most out of character compared to the rest of the set.
No. 1. Humoreske
This immediately sounds to me like someone with the attention deficiencies of Haydn composing with romantic tones and colors. I quite enjoy the music, and the sudden changes in character make it quite enjoying to listen to.
No. 2. Albumblatt
This piece displays an excellent contrast between the A and B sections. The A section consists of slurred and tied chords, whereas the B section consists of staccato scales. The chromaticism is very well placed here.
No. 3. Capriccietto
The pianistic effects used here are very masterfully crafted. The flowing sections are short but very heartfelt.
No. 4. Reigen
Reger’s use of the upper register is very enjoyable. At this point he seems to me to be the complete opposite of Brahms, seeing as how he favors the upper registers and changes musical ideas at an extremely frequent rate.
No. 5. Gigue
The fugal construction of this Gigue is very enjoyable to listen to, and is in no way too complicated for the average listener to enjoy. The theme is notably similar to the italian song “Che Fierro Costume”.
No. 6. Elegie
I really enjoy Reger’s use of the hemiola in this piece. That is to say I honestly do not enjoy most of Brahms’ use of it, seeming as though they were composed for the sake of being complex. Reger uses the hemiola to carry out ultimate expressivity, and if I were not following the score I probably wouldn’t notice them.
No. 7. Valse-Impromptu
My main question while listening to this piece pertains to the significance of the meno mosso section. The rest of the piece sounds very waltz like, especially in Regers method of bringing out beat two in the left hand. However, the meno mosso section seems to disolve any dance-like tendencies. I would assume that this section has some sort of programmatic nature pertaining to the scene of the dance, though I am not sure what it would be.
No. 8. Capriccio
This piece seems to have something for everybody in terms of technique. Regers’ use of quick changes is surprisingly effective. This piece seems to me like a summary of a larger work, almost like a movie preview that is more enjoyable in its condensed version than the movie itself.
No. 9. Reverie
The use of dissonance in this final piece is very emotional. The chromaticism seems to flow almost unnoticed as if it were the landscape behind a lone singer. I enjoy that Reger chooses to end the set with a slow piece that seems to be the longest and most out of character compared to the rest of the set.
Thursday, March 18, 2010
Brahms Larger Works
Sonata in F minor, Op. 5
I. Allegro maestoso
This is an interesting movement for any sonata in Brahms’ manner of restating the same motive in several different keys and characters. This makes it difficult to tell the exact form of what is the 1st theme and what is the 2nd. Luckily there is a repeat written in so show you undoubtedly where the exposition ends. Brahms begins the development in a virtuosic way, but he quickly displays a stronger interest to make the development about expression rather than technique. When the recapitulation is reached Brahms elaborates slightly on the material and ends in a conservative yet impressive manner.
II. Andante espressivo
The andante begins with an interesting play on the rhythmic placement of the melody. This use of rhythm enables Brahms to achieve a longing effect without the use of lamenting harmonies. The next section exhibits a use of twinkling effects, such as high registers, staccato thirds, and rolled chords. We then move into a soprano and tenor duet that is presented in the highly expressive use of two-note slurs. Brahms also incorporates the use of a repeated-note drone to increase the expression and dynamics without becoming percussive of quickened.
III. Scherzo: Allegro energico
The scherzo seems to be a disjunct waltz a bit like something that might be associated with mischief and the macabre. The trio seems to represent all the opposites of the scherzo. The rhythm is sustained, the harmonies are traditional, and the dynamics never get out of control.
IV. Intermezzo: Andante molto
It seems only fitting that Brahms would find this placement of an intermezzo between sonata movements. The musical elements he presents here seem to function as a scene setting for the final movement. The repeated notes create drama and a feeling of foreboding occurrences.
V. Finale: Allegro moderato ma rubato
The finale certainly carries an air of mischief. The B section contains an accompaniment in tremolo thirds which I have known only from Brahms and which I am now questioning as an original to him. This movement, for me, carries a stronger story-telling atmosphere than I am used to with Brahms. I can almost imagine certain sections of this music providing the soundtrack to live-action scenes and dancing.
Paganini Variations, Op. 35
Book I
1) The first variation is a rather devilish use of sixths in the right hand with the 5th of the chord in the left hand, necessitating a secure technique to achieve a unison chordal sound.
2) The second variation transfers the sixths to the left hand, giving the right hand octaves and chords as harmonization.
3) The third variation uses a Haydn-esque figuration which requires the two hands to share occupation of the same region of the keyboard. The idea is to create a monophonic virtuosity which necessitates the nimble use of ten fingers.
4) The fourth variation requires the shared use of trilled melodies with leaping legato octaves. Each hand gets its turn doing each technique.
5) The fifth variation uses disjunctive two-note slurs between the hands, requiring that each hand accent at different times.
6) Though this variation uses octaves and large chords exclusively, I believe the real difficulty lies in the placement of the melody one eighth note late at each measure. This necessitates a strong control over disjoint rhythms while remaining true to the expression of each element.
7) This variation is all about octaves, thirds, and octaves with thirds in them. The theme is made more chromatic to enhance the expression within the transparent texture.
8) This variation is similar to the previous one, though this time there are more thirds than octaves.
9) This is made up entirely of octaves and chords. Each hand is given an opportunity to perform octave repeated notes, which can be tiring if one does not possess the appropriate technique.
10) The melody is a duet in thirds here, where the primary issue of the music is syncopation amidst expression.
11) This variation is about maintaining melodic independence in both hands while maintaining the tremolo thirds as an underlying accompaniment. This technique is similar to Chopin’s etude in E major.
12) This variation deals with one of the more difficult methods of broken-chord figuration. Requiring a great deal of both horizontal arm movement and wrist rotation.
13) This variation is in regards to virtuosic right-hand octaves. Similar to many pieces by Liszt.
14) This variation is a finale which presents itself on a concoction of basically every virtuosic element at Brahms’ disposal, such as swift five-finger patterns, five-note arpeggios, octaves, chords, hemiolas, etc.
Book II
1) This variation consists of octaves, thirds, and octaves with scalar figurations in the middle of them.
2) This variation consists of octaves which are made more difficult by being duplets set against triplets.
3) This variation is crafted similarly to the previous variation, except now the primary difficulty is thirds, and they are in triplets while the accompaniment is in duplets.
4) I would imagine that the primary difficulty with this variation is the addition of ornaments to swift moving octaves. Control over the chords in the left hand could also be difficult to execute correctly.
5) The real trick of this variation is dividing the triplet groupings appropriately between the hands, making sure not to allow them to sound different from each other as a result of some being more difficult to execute.
6) The triplets carry over into this variation, this time studying the appropriate technique of crossing hands to achieve fluid velocity.
7) This variation is concerned entirely with difficult rhythms. The melody is in 4, the tenor is in 3, and the bass is in a displaced 9.
8) This variation is one of the few real music examples I have seen which utilizes contrary motion as a technique of interest.
9) This variation combines broken major 7ths on the first half of the measures with unison octaves on the second half.
10) This variation combines unison diminished 7 arpeggios with sustained melody notes, probably causing the most difficulty on starting the arpeggio with a secured sound and fingering.
11) This variation consists of broken scales with expand into octaves on every other eighth note, necessitating that the scale be played with limited fingering and a relaxed hand position, allowing for frequent contraction and expansion.
12) This variation combines left hand arpeggios with right hand octaves. The right hand is made more difficult by sustaining notes in the midst of the moving octaves.
13) The primary difficulty of this variation is the use of thirds with a constantly altering bottom note. The bottom note is repeated, requiring that the hand be agile and relaxed to avoid becoming sluggish.
14) This variation is extremely similar to the 14th variation of the first book, combining multiple techniques into a grand finale.
I. Allegro maestoso
This is an interesting movement for any sonata in Brahms’ manner of restating the same motive in several different keys and characters. This makes it difficult to tell the exact form of what is the 1st theme and what is the 2nd. Luckily there is a repeat written in so show you undoubtedly where the exposition ends. Brahms begins the development in a virtuosic way, but he quickly displays a stronger interest to make the development about expression rather than technique. When the recapitulation is reached Brahms elaborates slightly on the material and ends in a conservative yet impressive manner.
II. Andante espressivo
The andante begins with an interesting play on the rhythmic placement of the melody. This use of rhythm enables Brahms to achieve a longing effect without the use of lamenting harmonies. The next section exhibits a use of twinkling effects, such as high registers, staccato thirds, and rolled chords. We then move into a soprano and tenor duet that is presented in the highly expressive use of two-note slurs. Brahms also incorporates the use of a repeated-note drone to increase the expression and dynamics without becoming percussive of quickened.
III. Scherzo: Allegro energico
The scherzo seems to be a disjunct waltz a bit like something that might be associated with mischief and the macabre. The trio seems to represent all the opposites of the scherzo. The rhythm is sustained, the harmonies are traditional, and the dynamics never get out of control.
IV. Intermezzo: Andante molto
It seems only fitting that Brahms would find this placement of an intermezzo between sonata movements. The musical elements he presents here seem to function as a scene setting for the final movement. The repeated notes create drama and a feeling of foreboding occurrences.
V. Finale: Allegro moderato ma rubato
The finale certainly carries an air of mischief. The B section contains an accompaniment in tremolo thirds which I have known only from Brahms and which I am now questioning as an original to him. This movement, for me, carries a stronger story-telling atmosphere than I am used to with Brahms. I can almost imagine certain sections of this music providing the soundtrack to live-action scenes and dancing.
Paganini Variations, Op. 35
Book I
1) The first variation is a rather devilish use of sixths in the right hand with the 5th of the chord in the left hand, necessitating a secure technique to achieve a unison chordal sound.
2) The second variation transfers the sixths to the left hand, giving the right hand octaves and chords as harmonization.
3) The third variation uses a Haydn-esque figuration which requires the two hands to share occupation of the same region of the keyboard. The idea is to create a monophonic virtuosity which necessitates the nimble use of ten fingers.
4) The fourth variation requires the shared use of trilled melodies with leaping legato octaves. Each hand gets its turn doing each technique.
5) The fifth variation uses disjunctive two-note slurs between the hands, requiring that each hand accent at different times.
6) Though this variation uses octaves and large chords exclusively, I believe the real difficulty lies in the placement of the melody one eighth note late at each measure. This necessitates a strong control over disjoint rhythms while remaining true to the expression of each element.
7) This variation is all about octaves, thirds, and octaves with thirds in them. The theme is made more chromatic to enhance the expression within the transparent texture.
8) This variation is similar to the previous one, though this time there are more thirds than octaves.
9) This is made up entirely of octaves and chords. Each hand is given an opportunity to perform octave repeated notes, which can be tiring if one does not possess the appropriate technique.
10) The melody is a duet in thirds here, where the primary issue of the music is syncopation amidst expression.
11) This variation is about maintaining melodic independence in both hands while maintaining the tremolo thirds as an underlying accompaniment. This technique is similar to Chopin’s etude in E major.
12) This variation deals with one of the more difficult methods of broken-chord figuration. Requiring a great deal of both horizontal arm movement and wrist rotation.
13) This variation is in regards to virtuosic right-hand octaves. Similar to many pieces by Liszt.
14) This variation is a finale which presents itself on a concoction of basically every virtuosic element at Brahms’ disposal, such as swift five-finger patterns, five-note arpeggios, octaves, chords, hemiolas, etc.
Book II
1) This variation consists of octaves, thirds, and octaves with scalar figurations in the middle of them.
2) This variation consists of octaves which are made more difficult by being duplets set against triplets.
3) This variation is crafted similarly to the previous variation, except now the primary difficulty is thirds, and they are in triplets while the accompaniment is in duplets.
4) I would imagine that the primary difficulty with this variation is the addition of ornaments to swift moving octaves. Control over the chords in the left hand could also be difficult to execute correctly.
5) The real trick of this variation is dividing the triplet groupings appropriately between the hands, making sure not to allow them to sound different from each other as a result of some being more difficult to execute.
6) The triplets carry over into this variation, this time studying the appropriate technique of crossing hands to achieve fluid velocity.
7) This variation is concerned entirely with difficult rhythms. The melody is in 4, the tenor is in 3, and the bass is in a displaced 9.
8) This variation is one of the few real music examples I have seen which utilizes contrary motion as a technique of interest.
9) This variation combines broken major 7ths on the first half of the measures with unison octaves on the second half.
10) This variation combines unison diminished 7 arpeggios with sustained melody notes, probably causing the most difficulty on starting the arpeggio with a secured sound and fingering.
11) This variation consists of broken scales with expand into octaves on every other eighth note, necessitating that the scale be played with limited fingering and a relaxed hand position, allowing for frequent contraction and expansion.
12) This variation combines left hand arpeggios with right hand octaves. The right hand is made more difficult by sustaining notes in the midst of the moving octaves.
13) The primary difficulty of this variation is the use of thirds with a constantly altering bottom note. The bottom note is repeated, requiring that the hand be agile and relaxed to avoid becoming sluggish.
14) This variation is extremely similar to the 14th variation of the first book, combining multiple techniques into a grand finale.
Brahms Short-Work Collections
Op. 76
Capriccio in F-sharp minor
My first thoughts about this piece regard Brahms’ ability to orchestrate piano textures. The ideas are basic regarding thematic motives and flowing accompaniment. The melody keeps being relocated from soprano to alto to tenor. Brahms uses these changes to affect atmosphere and character while keeping the harmonies and melodies similar. This economy of technique is truly impressive of a composer, to keep the listener interested and engaged without flashy changes.
Capriccio in B minor
The character of this piece seems to be that of a gypsy dance. The staccato eighth notes serve as a unifying element throughout the piece. They begin as the melody and later become the accompaniment. The dynamics and registers are relatively conservative in this piece, using the extreme bass only in one instance causes that section to stand out as the definite climax.
Intermezzo in A-flat major
This piece sounds to me either like a lullaby or a nighttime love scene. I could very easily see this as being orchestrated as the accompaniment to an aria in a love story. The piano utilizes rolled chords to achieve both a harp-like effect as well as a twinkling atmosphere. The harmony uses a constant shift between major and minor to create an atmosphere conveying both something dark and beautiful.
Intermezzo in B-flat major
This piece is the most like a song without words out of any we’ve heard so far. The accompaniment consists of a bass line which changes measure-by-measure. The middle voice creates a swirling harmonic progression. The soprano simply sings a long and engaging melody from start to finish.
Capriccio in C-sharp minor
Texture is the main issue in this piece. Not only textures of sound but also of composition. Elements to consider are rhythmic textures and intervalic textures. The bass is in 6\8, the middle voice is in straight eighth notes, and the melody is in 3\4. Intervallically speaking the bass is in large leaps, the middle voice is a chromatic scale, and the melody varies between whole steps and half steps. With these mixed elements Brahms is able to achieve a large range of expression with discipline and restraint.
Intermezzo in A major
This intermezzo caries with it similar rhythmic issues of the preceding capriccio. This is extremely different in character and sound, but with this Brahms is able to achieve a more cyclic feeling for the set as a whole. The key areas and musical stylings always flow quite easily from one piece to the next.
Intermezzo in A minor
This intermezzo carries with it a dark and melancholy sound and nature. It also happens to sound exactly like a Chopin piece that I cannot recall. The reason behind this piece seems to me to be all about feeling rather than voice or expression. Brahms’ use of very close-knit use of registers would lead me to believe that this music is meant to convey a very introspected sorrow.
Capriccio in C major
This music is all about flowing, and had it been set in a higher register it could easily evoke images of fountains and water. Brahms uses the same technique of setting a melody over a flowing accompaniment, but this time he notates that the melody is a part of the accompaniment, rather than in its own separate voice. Why he would choose not to differentiate the melody from the accompaniment seems to me to be a pianistic choice rather than compositional, and I would imagine that the seperation of voices should be the same as if he would have notated them seperately.
Op. 116
Capriccio in D minor
I have maintained for some time that this capriccio is a rather blatent ripoff of Chopin’s Scherzo in C-sharp minor. The key may be different but the melody is certainly the same. Other than this melody at the start the piece seems to be made up entirely of odd rhythmic placements and octaves highlighting unusual key relationships.
Intermezzo in A minor
Rhythmic traits of this piece that catch my ear and eye are Brahms’ use of 3’s against 2’s, as well as his use of a metric modulation at the non troppo presto section. The movements of the accompaniment are simple and leave enough transparency for the melancholy harmonies to be evident. I would assume this piece is about loneliness based on the accompaniment and character combination.
Capriccio in G minor
The A section of this piece seems to be an example of accompanimental invention rather than the highlighting of some wonderful melody. The B section is all about the melody, and Brahms uses offset rhythms to add to its expressive quality. Brahms ends the piece with an extreme hemiola, causing it to come as a schocking conclusion rather than a conclusive resolution.
Intermezzo in E major
The beginning of this intermezzo is a great example of a situation where the accompaniment if equally as important as the melody, I may argue that there is not really anything here that I would consider accompaniment, but rather its own voice in the grand scheme of the work. The second section is peaceful and flowing, and for me evokes the feeling of being on a boat. Not a gondola-type boat that produces music reminiscent of a slow dance, but a boat in a peaceful lake that is without waves or disturbance.
Intermezzo in E minor
This A section is literally all about the expressive nature of two-note slurs. The B section calls on Brahms’ slow and flowing nature once more. This piece is quite odd, and I actually used to despise it when it was performed by a member of my last studio. Now that I am hearing it performed by a professional I enjoy it and its constrained nature. Previously it seemed to be an extreme overuse of hemiolas and sounded a bit like a 20th century composition. It goes to show how important the sensitivity of the performer is in music of this complexity.
Intermezzo in E major
This piece seems to me like an experiment of what happens when you add severly chromatic accompaniment beneath a simple and insignificant melody. I think that if it were an experiment Brahms proved his compositional abilities effective once again. The chromatic sounds present the music with a completely different set of emotions than if this melody were set to a classically reminiscent progression.
Capriccio in D minor
This piece begins in a similar way to some of Brahms’s technical exercises. This lends to the idea that Brahms tended to the craftsmanship of his use of the piano just as much as his use of harmonies and motivic development. It is interesting at the close that even when Brahms is obviously attempting to sound virtuosic and bombastic that he cannot release his music into the realm of “just for show”. The complexities remain in the rhythm and use of harmony where a simplified Franz Liszt coda could have easily sufficed.
Capriccio in F-sharp minor
My first thoughts about this piece regard Brahms’ ability to orchestrate piano textures. The ideas are basic regarding thematic motives and flowing accompaniment. The melody keeps being relocated from soprano to alto to tenor. Brahms uses these changes to affect atmosphere and character while keeping the harmonies and melodies similar. This economy of technique is truly impressive of a composer, to keep the listener interested and engaged without flashy changes.
Capriccio in B minor
The character of this piece seems to be that of a gypsy dance. The staccato eighth notes serve as a unifying element throughout the piece. They begin as the melody and later become the accompaniment. The dynamics and registers are relatively conservative in this piece, using the extreme bass only in one instance causes that section to stand out as the definite climax.
Intermezzo in A-flat major
This piece sounds to me either like a lullaby or a nighttime love scene. I could very easily see this as being orchestrated as the accompaniment to an aria in a love story. The piano utilizes rolled chords to achieve both a harp-like effect as well as a twinkling atmosphere. The harmony uses a constant shift between major and minor to create an atmosphere conveying both something dark and beautiful.
Intermezzo in B-flat major
This piece is the most like a song without words out of any we’ve heard so far. The accompaniment consists of a bass line which changes measure-by-measure. The middle voice creates a swirling harmonic progression. The soprano simply sings a long and engaging melody from start to finish.
Capriccio in C-sharp minor
Texture is the main issue in this piece. Not only textures of sound but also of composition. Elements to consider are rhythmic textures and intervalic textures. The bass is in 6\8, the middle voice is in straight eighth notes, and the melody is in 3\4. Intervallically speaking the bass is in large leaps, the middle voice is a chromatic scale, and the melody varies between whole steps and half steps. With these mixed elements Brahms is able to achieve a large range of expression with discipline and restraint.
Intermezzo in A major
This intermezzo caries with it similar rhythmic issues of the preceding capriccio. This is extremely different in character and sound, but with this Brahms is able to achieve a more cyclic feeling for the set as a whole. The key areas and musical stylings always flow quite easily from one piece to the next.
Intermezzo in A minor
This intermezzo carries with it a dark and melancholy sound and nature. It also happens to sound exactly like a Chopin piece that I cannot recall. The reason behind this piece seems to me to be all about feeling rather than voice or expression. Brahms’ use of very close-knit use of registers would lead me to believe that this music is meant to convey a very introspected sorrow.
Capriccio in C major
This music is all about flowing, and had it been set in a higher register it could easily evoke images of fountains and water. Brahms uses the same technique of setting a melody over a flowing accompaniment, but this time he notates that the melody is a part of the accompaniment, rather than in its own separate voice. Why he would choose not to differentiate the melody from the accompaniment seems to me to be a pianistic choice rather than compositional, and I would imagine that the seperation of voices should be the same as if he would have notated them seperately.
Op. 116
Capriccio in D minor
I have maintained for some time that this capriccio is a rather blatent ripoff of Chopin’s Scherzo in C-sharp minor. The key may be different but the melody is certainly the same. Other than this melody at the start the piece seems to be made up entirely of odd rhythmic placements and octaves highlighting unusual key relationships.
Intermezzo in A minor
Rhythmic traits of this piece that catch my ear and eye are Brahms’ use of 3’s against 2’s, as well as his use of a metric modulation at the non troppo presto section. The movements of the accompaniment are simple and leave enough transparency for the melancholy harmonies to be evident. I would assume this piece is about loneliness based on the accompaniment and character combination.
Capriccio in G minor
The A section of this piece seems to be an example of accompanimental invention rather than the highlighting of some wonderful melody. The B section is all about the melody, and Brahms uses offset rhythms to add to its expressive quality. Brahms ends the piece with an extreme hemiola, causing it to come as a schocking conclusion rather than a conclusive resolution.
Intermezzo in E major
The beginning of this intermezzo is a great example of a situation where the accompaniment if equally as important as the melody, I may argue that there is not really anything here that I would consider accompaniment, but rather its own voice in the grand scheme of the work. The second section is peaceful and flowing, and for me evokes the feeling of being on a boat. Not a gondola-type boat that produces music reminiscent of a slow dance, but a boat in a peaceful lake that is without waves or disturbance.
Intermezzo in E minor
This A section is literally all about the expressive nature of two-note slurs. The B section calls on Brahms’ slow and flowing nature once more. This piece is quite odd, and I actually used to despise it when it was performed by a member of my last studio. Now that I am hearing it performed by a professional I enjoy it and its constrained nature. Previously it seemed to be an extreme overuse of hemiolas and sounded a bit like a 20th century composition. It goes to show how important the sensitivity of the performer is in music of this complexity.
Intermezzo in E major
This piece seems to me like an experiment of what happens when you add severly chromatic accompaniment beneath a simple and insignificant melody. I think that if it were an experiment Brahms proved his compositional abilities effective once again. The chromatic sounds present the music with a completely different set of emotions than if this melody were set to a classically reminiscent progression.
Capriccio in D minor
This piece begins in a similar way to some of Brahms’s technical exercises. This lends to the idea that Brahms tended to the craftsmanship of his use of the piano just as much as his use of harmonies and motivic development. It is interesting at the close that even when Brahms is obviously attempting to sound virtuosic and bombastic that he cannot release his music into the realm of “just for show”. The complexities remain in the rhythm and use of harmony where a simplified Franz Liszt coda could have easily sufficed.
Thursday, March 4, 2010
Liszt- large-scale works
Ballade No 2 in B minor- The piano accompaniment which begins the piece is no doubt the musical representation of something “stormy”. Not necessarily an actual storm, but perhaps the storm within. I would lean more towards the inner storm, considering that the proceeding section is notably beautiful and feminine in orchestration. This reminds me of a Chopin ballade in its story telling capability, except that in this beginning I am assuming that the storm is a result of self and that the feminine theme is what brings peace to it. In Chopin’s case it usually seems like the storm is the result of the loss of the feminine theme. The Allegro deciso reminds me of Chopin’s 2nd Ballade in its aggressive nature. With the broken-octave section Liszt takes Beethoven’s famed technique and turns it into a special effect, more so than an accompaniment. The slow romantic sections seem to me to most certainly be love-songs to the woman in question, assuming that this is a love story. This idea is furthered by Liszt’s use of a baritone register for the melody, which is then answered in the soprano. The virtuosic effects are well placed, in my opinion, showing the heights of human emotion when real love is present.
Sonata in B minor- The beginning of the sonata demonstrates supreme invention in the area of utilizing moments of silence to create real music. Liszt shows himself in the beginning of this sonata to be an innovator of registral use for pianistic device. Liszt’s use of octaves in the introductory material displays his seriousness on the subject of being able to do anything on a piano that an orchestra can do. I should note that I feel the repeated A octave with the “thumping” bass note section to be one of the greatest idea’s ever presented to any form of music. How any composer could originate this idea in a texture already so rich with notes and register is beyond me. The fugue within the sonata seems to me to be Liszt’s attempt to not only show off his compositional devices to the “non-believers”, but also a way of him taking a baroque-style tool and making at virtuosic as humanly possible. Liszt’s use of thematic transformation in this sonata is enough to write thousands of dissertations on.
Sonata in B minor- The beginning of the sonata demonstrates supreme invention in the area of utilizing moments of silence to create real music. Liszt shows himself in the beginning of this sonata to be an innovator of registral use for pianistic device. Liszt’s use of octaves in the introductory material displays his seriousness on the subject of being able to do anything on a piano that an orchestra can do. I should note that I feel the repeated A octave with the “thumping” bass note section to be one of the greatest idea’s ever presented to any form of music. How any composer could originate this idea in a texture already so rich with notes and register is beyond me. The fugue within the sonata seems to me to be Liszt’s attempt to not only show off his compositional devices to the “non-believers”, but also a way of him taking a baroque-style tool and making at virtuosic as humanly possible. Liszt’s use of thematic transformation in this sonata is enough to write thousands of dissertations on.
Tuesday, March 2, 2010
Annees de pelerinage Bk. II
1. Sposalizio
This piece I know quite well and enjoy quite highly among Liszt’s works. This piece, based on the painting ‘Marriage of the Virgin’ by Raphael, exhibits a musical reflection of Liszt’s feelings of the artwork. Liszt utilizes pentatonic-based intervals to simulate the sounds of wedding bells. Registration is used primarily as a means of conveying emotions, such as higher “twinkling” sounds representing an almost feminine innocence presented by the scene. It is hard to say if the arch structure of the last three pages is representative of a story or if it has simply been composed as such to simulate a flux of emotions over the scenario.
2. Il penseroso
This piece, based on a statue by Michelangelo, is quite simple in its compositional style, and I would go on to suggest that Liszt’s aim here is similar to his Nuages Gris in terms of capturing the harmonic portrayal of an atmosphere, or in this case perhaps a depiction of mystery as to the goings on within the mind of ‘the Thinker’.
3. Canzonetta del Salvator Rosa
This is one of my favorites of the Years of Pilgrammage. When one addresses the score it is quite obviously based on an Italian song, in this case the composer was Salvator Rosa. I appreciate that Liszt departed from the concept of varying a vocal theme to its extremes, preferring in this case to simply embody the song in pianistic form.
4. Sonetto 47 del Petrarca
Here is the actual Sonnet:
Blest be the Day
Blest be the day, and blest the month and year,
Season and hour and very moment blest,
The lovely land and place where first possessed
By two pure eyes I found me prisoner;
And blest the first sweet pain, the first most dear,
Which burnt my heart when Love came in as guest;
And blest the bow, the shafts which shook my breast,
And even the wounds which Love delivered there.
Blest be the words and voices which filled grove
And glen with echoes of my Lady's name;
The sighs, the tears, the fierce despair of love;
And blest the sonnet-sources of my fame;
And blest that thought of thoughts which is her own,
Of her, her only, of herself alone!
In Liszt’s setting of this sonnet I believe his main intention is to convey feelings of joy, yielding mostly to those regarding a feminine nature. This is apparent in his use of melodies that ascend (giving thanks in an upward motion pertaining to religion), and his use of melodies and accompaniment which favor the more feminine characters of music. Liszt’s music adheres to lines such as “and glen with echoes of my Lady's name; the sighs, the tears, the fierce despair of love”, in his manor of switching the character of the music to more violently passionate sounds. Like love the music is a sweet combination of both happiness and sorrow.
5. Sonetto 104 del Petrarca
Warfare I cannot wage, yet know not peace;
I fear, I hope, I burn, I freeze again;
Mount to the skies, then bow to earth my face;
Grasp the whole world, yet nothing can obtain.
Pris'ner of one who deigns not to detain,
I am not made his own, nor giv'n release.
Love slays me not, nor yet will he unchain;
Nor life allot, nor stop my harm's increase.
Sightless I see my fair; though mute, I mourn;
I scorn existence, yet I court its stay;
Detest myself, and for another burn;
By grief I'm nurtured; and, though tearful, gay;
Death I despise, and life alike I hate:
Such, lady, do you make my wretched state!
This piece, beginning similarly to the previous one, hints on the topic of warfare within the violence of the first bars. One can hear that within the harmonies a different message is being conveyed here. The melody displays periods of extreme dissonances (without a gifted performer one may believe them to be wrong notes) showing the musical representation of a soul that knows not which way to lean. This is set in the text with lines like “detest myself, and for another burn” as well as “death I despise, and life alike I hate”, there is this conflict of a directional sense, and Liszt no doubt sought the musical setting of this emotion nestled in the grey area of human emotion.
6. Sonetto 123 del Petrarca
I beheld on earth angelic grace,
and heavenly beauty unmatched in this world,
such as to rejoice and pain my memory,
which is so clouded with dreams, shadows, mists.
And I beheld tears spring from those two bright eyes,
which many a time have put the sun to shame,
and heard words unered with such sighs as to
move the mountains and stay the rivers.
Love, wisdom, excellence, pity and grief
made in that plaint a sweeter concert
than any other to be heard on earth.
And heaven on that harmony was so intent
that not a leaf upon the bough was seen to
stir, such sweetness had filled the air and
winds.
This sonnet no doubt struck a special chord in the heart of Liszt, seeing as how it pertains to the harmonies with “sweetness [filling] the air and winds”. You can hear a delicate nature, assuming that the first line of the sonnet is what inspires the original concept as well as the musical timbre. Other musical elements derived from the sonnet may be “dreams, shadows, [and] mists”. In the second stanza key words which can be conceived musically with a talent like Liszt’s would be “tears, sun, sighs, mountains, and rivers.
7. Après une lecture de Dante: Fantasia Quasi Sonata
(Taken from a previous blog entry from the class on program music)
Liszt makes great use of the tritone interval at the start of this piece to display a descent into hell. All throughout the piece he uses these techniques of thick textures which descend and ascend, I would imagine this is to symbolize difficult attempt to escape the hellish entities. The use of repeated chords and octaves as lamenting figures is wonderful in its depiction of fear; it almost makes you feel as though you yourself are shaking at the sight of the terrible imagery. The technical devices in this piece in no way make me feel as though the piece is primarily about showing off virtuosity, but rather about depicting larger than life visual images that require larger than life technique. It is in works like this where Franz Liszt begins transitioning from the german story-telling composition into the french picture-painting composition. Liszt uses the form to tell the story, but he uses the timbres and the acrobatics of the piano to cause a visual response to what is happening in the music.
This piece I know quite well and enjoy quite highly among Liszt’s works. This piece, based on the painting ‘Marriage of the Virgin’ by Raphael, exhibits a musical reflection of Liszt’s feelings of the artwork. Liszt utilizes pentatonic-based intervals to simulate the sounds of wedding bells. Registration is used primarily as a means of conveying emotions, such as higher “twinkling” sounds representing an almost feminine innocence presented by the scene. It is hard to say if the arch structure of the last three pages is representative of a story or if it has simply been composed as such to simulate a flux of emotions over the scenario.
2. Il penseroso
This piece, based on a statue by Michelangelo, is quite simple in its compositional style, and I would go on to suggest that Liszt’s aim here is similar to his Nuages Gris in terms of capturing the harmonic portrayal of an atmosphere, or in this case perhaps a depiction of mystery as to the goings on within the mind of ‘the Thinker’.
3. Canzonetta del Salvator Rosa
This is one of my favorites of the Years of Pilgrammage. When one addresses the score it is quite obviously based on an Italian song, in this case the composer was Salvator Rosa. I appreciate that Liszt departed from the concept of varying a vocal theme to its extremes, preferring in this case to simply embody the song in pianistic form.
4. Sonetto 47 del Petrarca
Here is the actual Sonnet:
Blest be the Day
Blest be the day, and blest the month and year,
Season and hour and very moment blest,
The lovely land and place where first possessed
By two pure eyes I found me prisoner;
And blest the first sweet pain, the first most dear,
Which burnt my heart when Love came in as guest;
And blest the bow, the shafts which shook my breast,
And even the wounds which Love delivered there.
Blest be the words and voices which filled grove
And glen with echoes of my Lady's name;
The sighs, the tears, the fierce despair of love;
And blest the sonnet-sources of my fame;
And blest that thought of thoughts which is her own,
Of her, her only, of herself alone!
In Liszt’s setting of this sonnet I believe his main intention is to convey feelings of joy, yielding mostly to those regarding a feminine nature. This is apparent in his use of melodies that ascend (giving thanks in an upward motion pertaining to religion), and his use of melodies and accompaniment which favor the more feminine characters of music. Liszt’s music adheres to lines such as “and glen with echoes of my Lady's name; the sighs, the tears, the fierce despair of love”, in his manor of switching the character of the music to more violently passionate sounds. Like love the music is a sweet combination of both happiness and sorrow.
5. Sonetto 104 del Petrarca
Warfare I cannot wage, yet know not peace;
I fear, I hope, I burn, I freeze again;
Mount to the skies, then bow to earth my face;
Grasp the whole world, yet nothing can obtain.
Pris'ner of one who deigns not to detain,
I am not made his own, nor giv'n release.
Love slays me not, nor yet will he unchain;
Nor life allot, nor stop my harm's increase.
Sightless I see my fair; though mute, I mourn;
I scorn existence, yet I court its stay;
Detest myself, and for another burn;
By grief I'm nurtured; and, though tearful, gay;
Death I despise, and life alike I hate:
Such, lady, do you make my wretched state!
This piece, beginning similarly to the previous one, hints on the topic of warfare within the violence of the first bars. One can hear that within the harmonies a different message is being conveyed here. The melody displays periods of extreme dissonances (without a gifted performer one may believe them to be wrong notes) showing the musical representation of a soul that knows not which way to lean. This is set in the text with lines like “detest myself, and for another burn” as well as “death I despise, and life alike I hate”, there is this conflict of a directional sense, and Liszt no doubt sought the musical setting of this emotion nestled in the grey area of human emotion.
6. Sonetto 123 del Petrarca
I beheld on earth angelic grace,
and heavenly beauty unmatched in this world,
such as to rejoice and pain my memory,
which is so clouded with dreams, shadows, mists.
And I beheld tears spring from those two bright eyes,
which many a time have put the sun to shame,
and heard words unered with such sighs as to
move the mountains and stay the rivers.
Love, wisdom, excellence, pity and grief
made in that plaint a sweeter concert
than any other to be heard on earth.
And heaven on that harmony was so intent
that not a leaf upon the bough was seen to
stir, such sweetness had filled the air and
winds.
This sonnet no doubt struck a special chord in the heart of Liszt, seeing as how it pertains to the harmonies with “sweetness [filling] the air and winds”. You can hear a delicate nature, assuming that the first line of the sonnet is what inspires the original concept as well as the musical timbre. Other musical elements derived from the sonnet may be “dreams, shadows, [and] mists”. In the second stanza key words which can be conceived musically with a talent like Liszt’s would be “tears, sun, sighs, mountains, and rivers.
7. Après une lecture de Dante: Fantasia Quasi Sonata
(Taken from a previous blog entry from the class on program music)
Liszt makes great use of the tritone interval at the start of this piece to display a descent into hell. All throughout the piece he uses these techniques of thick textures which descend and ascend, I would imagine this is to symbolize difficult attempt to escape the hellish entities. The use of repeated chords and octaves as lamenting figures is wonderful in its depiction of fear; it almost makes you feel as though you yourself are shaking at the sight of the terrible imagery. The technical devices in this piece in no way make me feel as though the piece is primarily about showing off virtuosity, but rather about depicting larger than life visual images that require larger than life technique. It is in works like this where Franz Liszt begins transitioning from the german story-telling composition into the french picture-painting composition. Liszt uses the form to tell the story, but he uses the timbres and the acrobatics of the piano to cause a visual response to what is happening in the music.
Liszt - Short Works
Nuages Gris
It is safe to say that this work is in no way composed for virtuoso effect. In this work there are several techniques which foreshadow 20th century composition…
1) Quartal harmonies (in this case making use of the tritone as a diminished fourth)
2) Use of modes rather than classically influenced major and minor harmony (Lydian in this case)
3) Steady use of augmented chords (non resolving)
This is most definitely a study in atmospheric harmonization. Most likely this can be looked at from the perspective of a pianist, who having attained all the virtuosity one could dream of, is now more interested in an equal command over harmonies.
Mephisto Polka
If anything I would characterize this as a compositional etude in ornamental textures. The score is rather bare even simply by looking at the page without listening. Liszt is able to achieve some interesting textural tricks, however, making this piece tolerable to listen to without succumbing to complete boredom.
Liszt sets the music in motion with a decidedly two-part texture. He then furthers the complexity with the A-sharp to B motive which establishes a soprano harmony over the sextuplet in the alto. At the un poco legato he alters register and accompaniment so that now the staccato melody is superimposed over a glittering arpeggiated left hand. The texture thins and we leave the piece in exactly the same manner we began.
It is safe to say that this work is in no way composed for virtuoso effect. In this work there are several techniques which foreshadow 20th century composition…
1) Quartal harmonies (in this case making use of the tritone as a diminished fourth)
2) Use of modes rather than classically influenced major and minor harmony (Lydian in this case)
3) Steady use of augmented chords (non resolving)
This is most definitely a study in atmospheric harmonization. Most likely this can be looked at from the perspective of a pianist, who having attained all the virtuosity one could dream of, is now more interested in an equal command over harmonies.
Mephisto Polka
If anything I would characterize this as a compositional etude in ornamental textures. The score is rather bare even simply by looking at the page without listening. Liszt is able to achieve some interesting textural tricks, however, making this piece tolerable to listen to without succumbing to complete boredom.
Liszt sets the music in motion with a decidedly two-part texture. He then furthers the complexity with the A-sharp to B motive which establishes a soprano harmony over the sextuplet in the alto. At the un poco legato he alters register and accompaniment so that now the staccato melody is superimposed over a glittering arpeggiated left hand. The texture thins and we leave the piece in exactly the same manner we began.
Annees Bk. 3
Les Jeux d’eau a la Villa d’Este
It is obvious, when listening to a piece like this that the impressionist masters owe a great deal to the workings of Liszt and his ability to paint a picture of water with music. This also serves as a great example of extreme virtuosity used for the purposes of coloristic effect rather than showing off. The absence of any bass support is interesting, seeing as how Franz Liszt requires the use of his treble voice to create the “shimmering”. The means that the left hand is mostly required to supply the melodic content while the right hand provides the scene. I believe that in this way the compositional technique is similar to the literal picture. When one see’s water during the daytime they are not concerned with what is underneath, they are limited only to the sight of the light and ripples on the top. As Liszt descends throughout the piece one gets the impression that he is immersing himself spiritually into the depths of the water, not necessarily literally, but more like he is internalizing the idea to an extreme and envisioning himself as a medium for the communication of water as an art form.
Aux Cypres de la Villa d’E #1
The tonality is very intriguing at the start of this piece. The key, as well as the first right hand chord, suggest that we are in B-flat major. The presence of the F-sharp in the bass creates a tonality suggesting that we are in F-sharp major. The voicing suggests that we are in a dark and ominous key that one would associate with being in minor. It appears that Franz Liszt was far removing himself from conventional voice leading with this work. The harmonies serve no functional use, as to say they do not follow a classically inspired progression. The purpose here is to exploit overtones with the natural timbres of the piano to create something uniquely visionary. We see at the tranquillo section that our bass line is continuing to supply the lower half of a sixth, representing its own voice rather than a supporting accompaniment. At the coda we receive a prime example of Liszt’s orchestration abilities at the piano. The rolled chords in the treble voice over top of the supporting and thick bass texture sounds like an obvious precursor to the symphonic works of Wagner and Strauss (notably the coda to the Flying Dutchman overture).
It is obvious, when listening to a piece like this that the impressionist masters owe a great deal to the workings of Liszt and his ability to paint a picture of water with music. This also serves as a great example of extreme virtuosity used for the purposes of coloristic effect rather than showing off. The absence of any bass support is interesting, seeing as how Franz Liszt requires the use of his treble voice to create the “shimmering”. The means that the left hand is mostly required to supply the melodic content while the right hand provides the scene. I believe that in this way the compositional technique is similar to the literal picture. When one see’s water during the daytime they are not concerned with what is underneath, they are limited only to the sight of the light and ripples on the top. As Liszt descends throughout the piece one gets the impression that he is immersing himself spiritually into the depths of the water, not necessarily literally, but more like he is internalizing the idea to an extreme and envisioning himself as a medium for the communication of water as an art form.
Aux Cypres de la Villa d’E #1
The tonality is very intriguing at the start of this piece. The key, as well as the first right hand chord, suggest that we are in B-flat major. The presence of the F-sharp in the bass creates a tonality suggesting that we are in F-sharp major. The voicing suggests that we are in a dark and ominous key that one would associate with being in minor. It appears that Franz Liszt was far removing himself from conventional voice leading with this work. The harmonies serve no functional use, as to say they do not follow a classically inspired progression. The purpose here is to exploit overtones with the natural timbres of the piano to create something uniquely visionary. We see at the tranquillo section that our bass line is continuing to supply the lower half of a sixth, representing its own voice rather than a supporting accompaniment. At the coda we receive a prime example of Liszt’s orchestration abilities at the piano. The rolled chords in the treble voice over top of the supporting and thick bass texture sounds like an obvious precursor to the symphonic works of Wagner and Strauss (notably the coda to the Flying Dutchman overture).
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