Right from the start Brahms begins to play with traditional beat hierarchy. The third beat has a stronger accent than the second and the first. The rhythmic set-up reflects that of his second Ballade which is in ternary form. The movement is full of motivic demelopment called thematic transformation. Brahms takes a motive from the last part of his opening six measures and begins developing it in a beautiful quite more charming way. As to be expected he juxtapositions this eighth-note motion with triplet fifths in the left-hand. The second page features a very Beethoven-like texture. The right-hand sustains a beautiful chorale sound and the left features a stark staccato non-melodic sound, which not surprisingly comes from the opening rythmic idea. He then takes this same theme and puts it into a more appropriate matching texture. The chorale theme fits better with a warm oscilating wave of harmonies. The development plays with the previous established three against two concept and simplifies the chordal melody. For a whole page, Brahms sustains this hypnotic eighth-note syncopation with an otherwise 'normal' bass melody. I guess Brahms is known for his unique textures. What gives the piece coherency is the use of motives and the preservation of a accessible and understandable melody despite what else might be going on. The recapitulation really develops the opening six measures. Here we see a whole page full of the main rythmic motive: dotted eight and two thirty-second notes. The chromatic bass bass progression is a definite allusision to earlier baroque compositional techniques such as ground-bass and the forms of passacalgia and chaconne. This chromatic motion which we find so often in Liszt logically creates a sense of line in this pretty complex passage.
There is something about the second movement Andante that reminds me of Beethoven's Adagio from the Pathetique sonata. The key is the same as well as some of the textures. The third measure has a very similar melodic motion which instantly made me think of the Beethoven movement. The poco piu lento is very simple soft and beautifull. Their is a wonderfully simple progression which I find amazing. Bbm, fm, gbm, dbM, dbm, cbM, FbM, etc. It just weaves around somewhat like a Schubert sonata or impromptu. This section is part of the B section in this overall ABA form. What defies the form is this innovative and expressive coda section (Andante molto). It is unusual in that the bass creates a pedal not on tonic or dominant but on supertonic. The melody suggests the melodic first movement (part with 2 against 3). The build up is perfect Ab Db Eb Gb (huge) F Eb F Db. This is just varied repetition of the melody but FF and with huge chords. The climax is signalled by these uncontrolled sixteenth notes. It ends peacefully.
The Scherzo reminds me of Ravel's la valse. The heaviness juxtaposed with fast triple meter seems to have an element of self-contradiction. The second page features this eccentric chord progression which is conservative by no stretch of the imagination: ebm, abm, EM, BM, Fm, bm, G7, CM, C#dim, G7, etc..The pattern is most unpredictable and sporadic. I guess this is a typical trait of a scherzo. The trio is ironic in that is is a perfectly conservative chorale. The contrast to the previous section obviously changes the purpose of such an appearance. One cannot avoid the context within which a section appears. To see something as it is without relating it to its surrounding is bound to yield misinterpretation.
Monday, March 31, 2008
Pictures at an Exhibition
This long piece features a promenade which appears between major sections. It is really interesting how Mossorsky alters the theme almost every time it comes back which is about seven times (not including all the repetitions in the last section. The Catacombs is quite peculiar in that the theme presented right after it is completely transformed. The errie chromatic tremolos in the right-hand, the minor quality, and the soft dynamics really changes the character of the promenade. It makes me wonder: what is this promenade? Is it symbolic of something. Perhaps a memory? Obviously the various paintings in this gallery are influencing this thing. The serious slow motion of the Sepulchre is distorting the once majestic and powerful theme. Perhaps the memory of this painter is the promenade and these painting are bringing out different aspects of that whole memory. Here we glimpse something quite dark. The second promenade has a different function. Instead of showing an influence from the previous section this delicate melody foreshadows the Old Castle following it. There is a muted yet colorful texture to the theme which creates the mood for the simple, calm, droned, castle section. The third promenade is quite short and surprisingly does not seem to have any connection to any of its surrounding parts. There is however a slippery chormatic bass toward the end of the passage which reminds me of the gnomes: eccentric, grim. I love how Mossorsky sets up the Unhatched Chicks. There is quick premature interjection which successfully establishes the humorous mood and the energetic anxious character of a chicken. The fifth theme appearance is not very interesting because it basically repeats the opening measures. The Great Gate is really a theme and variation on the promenade. Mossorsky inserts the theme in different textures and different ways. The simple grand theme is first elaborated with more extensive chording and range. He places it in the texture of these cascading bells which soar and fall as the melody is switches between the hands. My favorite part of this movement is the purely Russian bell intensification which starts after the cascading octave bell variation. Here the harmonic motion is static: moving back and forth between a non-functional F7+flat V chord and a neighboring chord where the root is lowered by a half-step. The intensification happens because of a rythmic acceleration: half-notes to triplet quarters to eighths to sixteenth notes. Similarly the dynamics and register becomes more extreme. I really feel let down every time I listen to the last Grave section. I feel like no pianist can really play this part loud enough, convincingly more intense then the rest of the variations in this movement. If only the piano could imitate an orchestra better. It's not Mossorsky's fault, this ending is logical, the only way a pianist can make this part somewhat more dramatic is with the allargando. Only with rythmic inflection can there be more intensity.
One of my favorite movements is the Oxen (The Oxcart). It is heavy, repetitive, and simple, but it is so perfect. Similar to the third movement of Chopin's 2nd sonata, the alternating inversion of tonic have this weighty prodding along. Here it is a struggle: I can just feel the drudgery, the stress behind every step. But slowly and surely he pushes forward through every obsticle which is essentially the same. And there is a slight hint of weariness: the two-slurs represent a sigh, a bit of disdain and gloom.
The Gnome is the most bizzare movement of the set. Even the title hints at something unreal and obscure. There is a definite quirkiness about the music. Sudden outburst or unexpected dynamics, unpredictable entrances because of fermatas, and unusual texture changes (heavy low stuff and then high octave jumping. There is a whimsical character in this gnome and a hint of silliness (grace-note octaves). The chromatic minor thirds in the first meno mosso section has this cyber, surreal feel, which messes with my sense of being grounded, rooted in a tonal framework. There is something in this movement that reminds me of Ravel's Ondine. Perhaps the supernatural sounds and programatic element creates this fantastic scene. The The swirly unstable bass in the accelerando part has a magical intoxicating mood. The dazzling speed of the velocissimo is unwordly.
There is no way I cannot mention the Unhatched Chicks. This movement is hilarious. Mossorsky once again uses fast grace-notes for a silly purpose. The lightness and the quickness beautifully contrasts with the previous oxen part. The gaity and slightly unpredictable rythmic emphasis (pick to the third measure breaks the otherwise straight accent system). The trills also serve as an allusion to the fiesty anxious chicks. The bouncing energy and the cute ending make this a successful representation of chicks.
One of my favorite movements is the Oxen (The Oxcart). It is heavy, repetitive, and simple, but it is so perfect. Similar to the third movement of Chopin's 2nd sonata, the alternating inversion of tonic have this weighty prodding along. Here it is a struggle: I can just feel the drudgery, the stress behind every step. But slowly and surely he pushes forward through every obsticle which is essentially the same. And there is a slight hint of weariness: the two-slurs represent a sigh, a bit of disdain and gloom.
The Gnome is the most bizzare movement of the set. Even the title hints at something unreal and obscure. There is a definite quirkiness about the music. Sudden outburst or unexpected dynamics, unpredictable entrances because of fermatas, and unusual texture changes (heavy low stuff and then high octave jumping. There is a whimsical character in this gnome and a hint of silliness (grace-note octaves). The chromatic minor thirds in the first meno mosso section has this cyber, surreal feel, which messes with my sense of being grounded, rooted in a tonal framework. There is something in this movement that reminds me of Ravel's Ondine. Perhaps the supernatural sounds and programatic element creates this fantastic scene. The The swirly unstable bass in the accelerando part has a magical intoxicating mood. The dazzling speed of the velocissimo is unwordly.
There is no way I cannot mention the Unhatched Chicks. This movement is hilarious. Mossorsky once again uses fast grace-notes for a silly purpose. The lightness and the quickness beautifully contrasts with the previous oxen part. The gaity and slightly unpredictable rythmic emphasis (pick to the third measure breaks the otherwise straight accent system). The trills also serve as an allusion to the fiesty anxious chicks. The bouncing energy and the cute ending make this a successful representation of chicks.
Sunday, February 24, 2008
Liszt Funerailles
This piece opens with ominous dissonant bell sounds: low Db and C. It's really innovative in that Liszt asks the performer to capture octave C's in the opening for seventeen measures. The rhythm in the right-hand is it's is paired with the left is quite unusual, almost too intellectual. He builds this idea with the following structural plan: motive a, motive a, Extend ended motive a. He does this two more times rising the relative pitch level up a step. He continues the idea increasing intensity by using tremolos and extra chords in the left-hand. Liszt seems to do what he always does when he has to expand a section: repeat it again in octaves. After a transitional unwinding section, Liszt moves into a dark scary melody. Mysterious and without hope, this chromatic theme is again repeated in octaves (surprise) and drifts into a poor Chopin imitation theme. As is typical of a Chopin melody, the phrases are sentences (a, a, a continuation 4 +4+8. He also uses this weaving motion to move from one a motive to another: Fb, Eb, Ab, Bb, C. He also uses a typical Chopin melodic embellishment: C, Db, C, B, C, G, F. The left-hand chordal spacing is also reminiscent of a nocturne. He continues this idea. In order to avoid boredom, Liszt uses his famous textures: He adds a harmonic upper voice and puts it back in octaves with eighth-note inner chords. He rambles the phrase on preparing for the ultimate rip-off section. Although it is quite clear that Liszt is not trying to hide the Ab polonaise influence from Chopin, he could have at least made it sound as descent. The melodic line appears either too boring with constant Ab repetitions or it resembles 'I've been working on the Railroad' song. The passage gets a little more interesting on the repetition when the left-hand shifts to chromatic up and down octaves. The coolest part of this piece is the section after this. Liszt repeats the mysterious scary theme now with, guess what, octaves and big chords. After this basic insertion, Liszt dies away one last time. It is unusual that the melodic has been transposed by an augmented fourth. Just when we expect the piece to die away (morendo) Liszt decides to put in a one-more-time Chopin rip-off coda. Then it dies away and stops.
Liszt Hungarian Rhapsody 12
From the beginning of the piece, Liszt is introducing all sorts of different pianistic textures. Textures which unfortunately are all too familiar to listeners. First we have the typical lone octaves (each note embellished with a repeated octave). Then we have the sudden crescendo tremolo figure. The drama is intense, but the effect is cliche since we find it many times. The variety of pianistic textures in these first few pages seems to fragment the line. All the fermatas and rests seem to chop up the music. A lot of times, his form of structure is solely based on antecedent consequent phrases. After this he immediately abandons the idea and does something new. He does, however, repeat the same kinds of figurations, here, the repeated embellishment, extended fast note ornaments, and double dotted figures. It is quite humorous how Liszt moves away from this serious over dramatic into this light shallow melody based on four note scale. The melody is long winded. Liszt is constantly delaying cadence points, something that Wagner would take even further. On the second appearance Liszt subdivides the accompaniment part into eighth notes which successfully increases the relative intensity. At the end of this first variation Liszt does something quite awesome. He sets up a faster texture in sixteenth-notes. There is no doubt in my mind that Liszt knows how to stir up a crowd. By setting up this variation system, the audience is beginning to expect another variation. This logical step from quarter-note, to eighth-note, to sixteenth-note is a simple expected progression. These four measures of lead-in material is obviously there to create anticipation and excitement in the listeners who know what is coming next. He further creates a mood / textural change at the expense of musical continuity. This very expressive Italian singing style section is so beautiful that despite the existing stereotype, the part defies any sense of overuse. The phrase length is simple: 4 and 4 antecedent consequent, followed by a a varied repetition now in octaves. The return of the first tempo and the reappearance of low left-hand chromatic octaves and right-hand tremolos signifies the serious mood. Sure enough Liszt presents the first real melodic figuration from the beginning this time in a different texture. The right-hand is now in octaves and the left-hand is a series of sixteenths tied to eighth notes. Earlier the texture was rolled chords. Liszt moves back to the giojoso (silly) section by including the same lead-in used earlier to create anticipation. This time he simplifies the already simple shallow melody. This time he adds a continuous right-hand trill and includes occasional full keyboard sweeps (chromatic, pentatonic, scalar). He keeps an element of the earlier theme variation idea going by immediately moving to a more complex section (double thirds) with similar harmonic and phrase structure. From there on out things get more and more difficult to play. Liszt asks for an increased tempo (stretta vivace) and makes the left-hand more difficult (now fast abduction and adduction rotations). The right-hand moves to thirty second-notes and then the left-hand takes the melody and then the left-hand has the thirty-second notes. There's the chromatic descending left-hand octaves, the grand repeat of the giojoso section and the typical adagio right before the end. No one can argue that this piece is not exciting.
Friday, February 15, 2008
Transcendental Etude no. 10
Although I find much of Liszt's music over the top and quite repulsive, he does have movements of musical genius. In this etude at the second appearance of his melodic octave section accentato ed appassionato, Liszt has a simply beautiful four bar fragmentation followed by another four bar fragmentation. The melody itself is quite plain: C C C C B B C D E C A and then: C C C C B C Db Eb F Db Ab. The corresponding harmonies are am, B7, G#dim7, am, adim7, Cdim7 (same thing), and resolves to DbM. The possibilities of color change in this passage are incredible. Liszt does not stop here. Like Wagner, the melody never seems to end; we are always presented with new unexpected harmonies. And as you can see, his use of diminished chords allows him to easily shift from one tonal center to the next. The melodic and rhythmic motives make the extended period coherent ( quarter followed by dotted eighth sixteenth note). Like many of Liszt's other works (especially the Dante Fantasy), the use of chromaticism dominates his melodic lines. Even from the beginning, Liszt begins exploring these two-note chromatic slurs (mm. 3 and 6 B to c and Db to C). At m. 7 he elaborates these fragments with an added C Ab F and the end. It's as if we are peering into Liszt's compositional process. It's interesting to note the textural contrasts he sets up and uses throughout the piece. The opening interlocking hand figurations has a diatonic function. There is no real melodic significance to it, it is merely a textural effect. The two-note slur idea mixed with the 2/4 time signature remind me of a barcarole. Unlike Chopin and his etudes, Liszt does not use the same techniques throughout the study. He does often; however, create the illusion of continuous techniques. For example, on the second page of the etude, he writes out a RH sixteenth note triplet part: F G F F G F F G F (in higher and higher octaves). The music is supposed to be a simplified version of the interlocking hand figuration, which appears in the measure before and after it. The illusion figuration not only allows for a break, but also for the extra lH part. The natural assumption of associating the previous measure with the simplified measure increases the illusion of super-virtuosity. It is not until the third page that Liszt actually presents a lasting stable melody. This sense of dramatic opening larger stems from the tradition of Beethoven. Likewise the sense of organic growth and unity of motive comes from the man. What separates Liszt from Beethoven here, is that Liszt is constantly using those motives and shaping them and sequencing them in bizarre keys. For example Fm to Abm in this stable section. Unlike other pieces by Chopin, including his rhapsodies and concert etudes, this work has a clear binary type of form: introduction, Fragmentation section of half-steps, stable theme built from these half-steps, return of end of fragmentation section, exciting pure half-steps in both hands, return of fragmentation section of half-steps, stable theme built from these half-steps, return of end of fragmentation section, extended exciting suggest based purely on the organic fragments. This is basically (intro)ABCA'D ABCA'D' --a two part form. There is one interesting chord progression i wish to observe right before the Stretta section. This patterns turns out to be a series of fully diminished chords strengthened by contrary motion (as the hands reach the extremes of the piano. The chromatic descent in the list line of piece is also very exciting.
Sunday, February 10, 2008
Chopin Ballade #1
The form of this ballade is quite interesting. I call mm 8-31 A, 32-66 B, 67-93 C, 94-105 A, 106-117 B, 118-165 D, 166-193 B, 194-205 A, 206-264 coda(E). This is an overall ABC ABDB AE form with three reappearances of the opening melodic theme and three repetitions of the B theme (m. 32). Of course most of the excitement of the piece has to occur in the coda which, like all the other sections, is blurred into the preceding sections. This blurring forces performers to gauge, in advance how they are going to change the tempo and style: dramatically or gradually. Performance of this piece demands an understanding of coloristic varieties. Since Chopin blends sections together it is the performers task to smoothly shift between lyrical nocturne styles and fast, sparkling, brillant styles. There are several areas in the A and B sections that demand phrase variety due to repeated melodic figures. For example, observing how a performer might differentiate m. 8 and m. 16 is important. Do they create changes, or repeat exactly the same? Also how do performers change the tempo between sections A and B? Considering the expanse of the form, do the performers create long term lines or are they caught up in overemphasising melodic fragments. Important harmonic changes that seem unusual in the context of a section should also be observed. For example m. 91 suddenly reaches a G minor chord. How do pianists shape at the microscopic level?
Listening on the microscopic level the opening five bars are absolutely essential to understanding how these pianists are going to play the whole piece. #1 rushed through the opening eliminating any sense of anticipation or grandness although, he (or she), like the others, had moments of hesitation crucial to this style. #2 was the most clear and articulate. He had some nice hesitations, particularly in the third measure. Perhaps this artist was striving for a polonaise style, more than a legato dreamy mood. The third performer revealed, from the start a variety of color changes and subtlties and balanced the time of the three measures perfectly. The time spent on the quarter-note G in the third measure made up for the time taken away in the second measure.
On a larger scale it is interesting to see how these performers move out of the A section into the B. #3 is the best in terms of tempo smoothness, however he sacrifices a little bit of musicality. All three pianists play m. 8 and m. 16 the same. #1 hesitates on the second chord of m. 10 and exactly the same on m. 18. #2 has this instant fade away effect: the high D in m. 9 is instantly dimmed into the C in m. 10 (he does this exactly the same on the repeat). Between m. 20 and m. 35, #1 and #2 have moments of rubato. #2, as he did in the beginning, has somewhat abrupt moments of rubato. #1 uses more dynamic overloading but has some rubato also. All three performers successfully gauge the tempo change, slowly increase speed at m.36. #1 seems to push ahead quite rapidly at m. 48 (sounds like Rachmaninoff).
m. 180 is another highly exciting moment in this piece. How are the performers to deal with the simple repetition? Performer #1 is my favorite. He (she) has a subtle diminuendo into the end of the first phrase (m. 184). He contrasts the repeated phrases in m. 184-186 by initiating the soft pedal at m. 186. He also dissolves the left hand in order to stress a stronger diminuendo at m. 187. #2 has a very articulate approach with very little variety. #3 is the most expressive, and unfortunately the most speratic. Each figuration is emphasised (overly so). There is a huge rubato in m. 187 and an amazing pause between m. 189 and 190 to emphasize the minor triad. He clearly emphasizes this the most.
The coda is another interesting spot to see a variety of interepretations. #1 is the most dramatic in mm. 206-207. He pounds out the melody slowly. #2 is slightly faster, and #3 has the most logical natural pulse. This also the case throughout the remaining piece. #1 lingers starting at m. 231 to emphasize the cresendo. #2 Has some problems and has substancial slow downs between mm. 225-226. This pianist however has the fastest right hand in m. 246! #2 has very clean pedal changes even at the end where I believe Chopin desires more of an effect than a clearly articulated chromatic line. #2 however, does create the best contrast between the virtuosic parts and the p chords at mm. 252 and 256.
Listening on the microscopic level the opening five bars are absolutely essential to understanding how these pianists are going to play the whole piece. #1 rushed through the opening eliminating any sense of anticipation or grandness although, he (or she), like the others, had moments of hesitation crucial to this style. #2 was the most clear and articulate. He had some nice hesitations, particularly in the third measure. Perhaps this artist was striving for a polonaise style, more than a legato dreamy mood. The third performer revealed, from the start a variety of color changes and subtlties and balanced the time of the three measures perfectly. The time spent on the quarter-note G in the third measure made up for the time taken away in the second measure.
On a larger scale it is interesting to see how these performers move out of the A section into the B. #3 is the best in terms of tempo smoothness, however he sacrifices a little bit of musicality. All three pianists play m. 8 and m. 16 the same. #1 hesitates on the second chord of m. 10 and exactly the same on m. 18. #2 has this instant fade away effect: the high D in m. 9 is instantly dimmed into the C in m. 10 (he does this exactly the same on the repeat). Between m. 20 and m. 35, #1 and #2 have moments of rubato. #2, as he did in the beginning, has somewhat abrupt moments of rubato. #1 uses more dynamic overloading but has some rubato also. All three performers successfully gauge the tempo change, slowly increase speed at m.36. #1 seems to push ahead quite rapidly at m. 48 (sounds like Rachmaninoff).
m. 180 is another highly exciting moment in this piece. How are the performers to deal with the simple repetition? Performer #1 is my favorite. He (she) has a subtle diminuendo into the end of the first phrase (m. 184). He contrasts the repeated phrases in m. 184-186 by initiating the soft pedal at m. 186. He also dissolves the left hand in order to stress a stronger diminuendo at m. 187. #2 has a very articulate approach with very little variety. #3 is the most expressive, and unfortunately the most speratic. Each figuration is emphasised (overly so). There is a huge rubato in m. 187 and an amazing pause between m. 189 and 190 to emphasize the minor triad. He clearly emphasizes this the most.
The coda is another interesting spot to see a variety of interepretations. #1 is the most dramatic in mm. 206-207. He pounds out the melody slowly. #2 is slightly faster, and #3 has the most logical natural pulse. This also the case throughout the remaining piece. #1 lingers starting at m. 231 to emphasize the cresendo. #2 Has some problems and has substancial slow downs between mm. 225-226. This pianist however has the fastest right hand in m. 246! #2 has very clean pedal changes even at the end where I believe Chopin desires more of an effect than a clearly articulated chromatic line. #2 however, does create the best contrast between the virtuosic parts and the p chords at mm. 252 and 256.
Saturday, February 9, 2008
Chopin Sonata op. 35
This week I gave a presentation on Chopin: his life and his second sonata. I did quite alot of prepartion for this assignment. The more I learn, the more I don't know. At first I had a conception that he wrote the whole sonata at one point. Later I realized The funeral march was written two years before the rest of the sonata. Then I read that in 1837, there were at least three different french editions of the march. Apparently Chopin did not know what he wanted out of this piece. Then I learned that in a letter to his publisher Juljan Fontana in Paris he discussed his plans for writting a Sonata. Deduced from the letter, Chopin might have written the second movement even earlier then previously assumed. To make things even less clear, I read that the second part of the funeral march (the lyrical section) was actually written as a four-hand piano piece. Also the presence of an Autograph of the lyrical section of the funeral march suggests this part was perhaps to be a seperate complete piece.
It almost seems too perfect when considering the motivation and purpose to Chopin's writting of this composition. His engagement to Maria Wodzinski was concelled by her mother in 1837. The previous August he had fallen in love with her while staying with the family in Dresden. People have speculated about way the engagement was cancelled. Most researchers say it was because of his health. Everything, as the mother Teresa said "depended on his health." Because he was always sickly, perhaps the family was uncomfortable with the notion of early death and Maria becoming a widow. Others speculate that his life was very unstable. As a musician, Chopin was always traveling, unsure about his plans. Obviously the Wodzinski's would be looking for someone he was healthy and predictable. In any case, Chopin recieved the sorrowful letter while he was in London talking to Pleyel (the piano maker). It is very frustrating trying to read Chopin's letters. He is very good at hiding his feelings even in the letter to Teresa right after she sent the bad news. The only evidence that he even recieved that letter is from this statement "Your last letter reached me in London, where I spent last month dawdling about. I had thought of going from there to Germany through Holland--I came back here, as it is getting late, and in my room it will probably be altogether too late for me. I hope for a less sad letter from you than the last. Perhaps my next one will be only a postscript to one from Antos." What is really sad about the whole situation is that Chopin was pretty excited about going back to the Wodzinski's that summer of 1837. Even though, as I have said, Chopin hides feelings, the anticipation is clear: "And is the summer beatiful at Sluzew? Is there much shade? Can one sit under the trees and paint? Has Teresa still a good place for her cheese-making? Does she not miss Panna Josefa's of Mlle Malet's heop with it? Shan't you see them soom? I could ask a thousand questions. The silly happiness in the tone is rather depressing when compared to the following emotionless one, which lacks any sense of personality, just facts.
I have always wondered why Chopin's music sounds so fragile, dark, and beautiful. It is so interesting how close Chopin is to his music. His whole life is full of sorrow, disappointment, and sickness. His music is always so painful. Even in the most beautiful moments their is a certain amount of poignancy. Even in his teens, when he was studying at the conservatory, tuberculosis was effecting his health: "[my head has] been aching, I don't know why, for the last four days. They have put leeches on my throat because the glands have swelled, and our Roemer says it's a catarrhal affection." Catarrhal is basically a swelling of the throat, a symptom of TB. His famous trip to Majorca is another period of intense pain and sickness. I wonder if his music would have just as good if he had not been a victim of constant suffering. He did write most of his preludes while he was there. I strongly believe that in order to convey a genuine emotion in music, one has to experience it in their life. Beethoven suffered greatly, and so his music has this deep real meaning to it. Any attempt to reproduce an emotion that one has never experienced is going to yield a certain amount of artificiality. Chopin had many friends die from disease in Poland. He knew death and he knew suffering. The whole second sonata is full of grim moods and suggests. Even the Doppio Movimento is full of painfull dissonance and exciting macabre moments.
Speaking of dark pieces, Chopin's polonaise in F-sharp minor is full of power and emotion. Like Chopin's other later pieces, this piece is full of chromaticism. Even the opening introduction is built on half-step ominous motives. Following a general ternary form A B A, the A is built on repeated variation. The first appearance is a single melody line that quickly becomes thirds and then octaves. In its reapearance the whole melodic passage becomes octaves, and by the third iteration the left-hand adds this sweeping gesture which adds to the drama. The B section is basically vamp material. This section keeps the listener waiting, waiting for a melody or something to come on top of this accompainment passagework which is solely connected by ryhthmic continuity. What keeps this passage from boredom is the suddenly harmonic intensification. Instead of returning to the A section, as listener's might expect, Chopin includes an italian style mazurka in the middle (how unusual!). The beautiful rather light section is almost comical in relation to the rather serious A part. With the help of creepy loud irregular scale patterns, Chopin transitions back into the darker stormy polonaise.
Friday, February 1, 2008
Comparing Felix and Clara's Variations
Mendelssohn’s Variations Serieuses and Clara Schumann’s Variations on a theme by Robert Schumann are completely different pieces. To start out, Clara Schuman’s piece starts with a relatively unimaginative theme, which is not a bad thing. However, she does little to alter these themes throughout the piece. The main eight measure parallel period contains many repetitions of C#. The second or B section is in a sentence structure—meaning a lot of repetitious fragments here “C# B# C# E C#”. The first variation basically fills in the harmony with broken chords and interesting chromatic neighboring tones. The second features sixteenth-note chords which hide the melodic line fairly well. Only in the return of the A section does the original theme appear. The third variation is interesting that the key changes from F# minor to F# major. Besides that, there is not a lot of difference. The following variation contrasts greatly: Schumann returns to F# minor and adds a brilliant style with rapid right-hand scales and broken arpeggio figures. Once again it sounds impress, but there is nothing about it that stands out. There is nothing abnormal and that is its greatest fault.
Mendelssohn however starts off with an unusual theme filled with chromatic pitches. The basic form is binary, so, unlike Schumann’s piece, Variation Serieuses has eliminated a possible problem: redundancy. Theme and variation form, in itself, implies a substantial amount of repetition. There is nothing wrong with a rounded binary theme; however composers should be cautious in how they use it. The first variation is similar to Clara’s in that Mendelssohn creates a faster chromatic voice in-between the theme and the base. He creates variety in his texturing: the bass consists of sparse dry octaves. Unlike Schumann’s piece, Mendelssohn paces the intensity of the piece through several variations. This intention is clearly delineated by the expressive markings: “Un poco piu animato….piu animato…” Although the rhythmic division increases only from var. 1 to var. 2, the increase in texture in var. 3 (left-hand octaves) justifies another aspect of intensification. Unlike Clara’s piece, Mendelssohn loses the theme almost immediately. It is not too hard to see where Mendelssohn is getting his ideas from. Beethoven is well known for his use of variations: Diabelli, and in his late sonatas (for example op. 111). His use of grotesque melodies and harmonies as well as experimental textures reflects Beethoven’s style.
I enjoy Schuman’s last variations (5-7) because there is more of a sense of interconnectedness. For some reason, she decides to place the end of her third variation in the middle of the seventh. This is probably the most interesting aspect of her use of form. It is also interesting that this last variation is, along with var. 3, in F# major. Is there a symbolic purpose in having this key end the piece? Perhaps she recognizes the problems in her life: the struggle between Robert and her father, his mental sickness. But perhaps in the middle of all these thoughts, these painful experiences, she remembers her love. She remembers that she wrote this piece for him, that the memory of him allows her to push through the darkness in her life. The fifth variation seems to reflect a Liszt technique: maintaining a simple melody but with complementary left-hand octaves. The effect is dazzling but the value, the deep intrinsic musical expression is somewhat shallow. But variation six is full of sensitive colors beautiful ninth sonorities. It is simple yet, full of surprising suspensions.
Mendelssohn continues to develop his variation in a Beethoven obsessed way. His discipline to stick to organic elements within each variation suggests Beethoven ideals. Perhaps he has a more universal goal in terms of human expression. Clara, however, portrays a more personal form of expression.
Mendelssohn however starts off with an unusual theme filled with chromatic pitches. The basic form is binary, so, unlike Schumann’s piece, Variation Serieuses has eliminated a possible problem: redundancy. Theme and variation form, in itself, implies a substantial amount of repetition. There is nothing wrong with a rounded binary theme; however composers should be cautious in how they use it. The first variation is similar to Clara’s in that Mendelssohn creates a faster chromatic voice in-between the theme and the base. He creates variety in his texturing: the bass consists of sparse dry octaves. Unlike Schumann’s piece, Mendelssohn paces the intensity of the piece through several variations. This intention is clearly delineated by the expressive markings: “Un poco piu animato….piu animato…” Although the rhythmic division increases only from var. 1 to var. 2, the increase in texture in var. 3 (left-hand octaves) justifies another aspect of intensification. Unlike Clara’s piece, Mendelssohn loses the theme almost immediately. It is not too hard to see where Mendelssohn is getting his ideas from. Beethoven is well known for his use of variations: Diabelli, and in his late sonatas (for example op. 111). His use of grotesque melodies and harmonies as well as experimental textures reflects Beethoven’s style.
I enjoy Schuman’s last variations (5-7) because there is more of a sense of interconnectedness. For some reason, she decides to place the end of her third variation in the middle of the seventh. This is probably the most interesting aspect of her use of form. It is also interesting that this last variation is, along with var. 3, in F# major. Is there a symbolic purpose in having this key end the piece? Perhaps she recognizes the problems in her life: the struggle between Robert and her father, his mental sickness. But perhaps in the middle of all these thoughts, these painful experiences, she remembers her love. She remembers that she wrote this piece for him, that the memory of him allows her to push through the darkness in her life. The fifth variation seems to reflect a Liszt technique: maintaining a simple melody but with complementary left-hand octaves. The effect is dazzling but the value, the deep intrinsic musical expression is somewhat shallow. But variation six is full of sensitive colors beautiful ninth sonorities. It is simple yet, full of surprising suspensions.
Mendelssohn continues to develop his variation in a Beethoven obsessed way. His discipline to stick to organic elements within each variation suggests Beethoven ideals. Perhaps he has a more universal goal in terms of human expression. Clara, however, portrays a more personal form of expression.
Chopin Preludes
Chopin's first prelude is welcoming. Being in a Major key (c)and having a simple form suggests a certain amount of accessibility. The The two-note melodic gestures that make up this piece make me think of a visual welcoming gesture. It reminds me specifically of the wrist movement that people use when they are trying to signal someone to 'come here'.Here's a diagram of showing Chopin's use of up-gestures (first note is lower than the second represented as |) and down-gestures (first note is higher than the second -).
Phrase 1: | | | | - - - -
Phrase 2: | | | | | | - | | | | | - - - -
Phrase 3: | - | - - - - -
He uses the up-gestures to increase the intensity and make the melodic line ascend. He uses the down-gestures to decrease the intensity and make the melody descend. The second phrase is the most intense do the the ryhthmic dimunition and length.
Like Chopin's first prelude, I think his fourth one is tied to human emotion and movement. The piece has this repetive two-note motion, which is hardly interesting in itself. This groups hint at the sighing gesture seen in a lot of sad vocal music. This lamentation is fuller seen a a physical, yet subtle, collapse of the body. In this prelude I imagine a sad person lost in this cycle of confusion saying the same thing over and over. Here and there, their is a coherent thought, but the mind inevitably returns to the wandering. Meanwhile, something from the inside is building up. The non-functional chords of the piece represent the chemistry of the body. The slow chromatic descent suggests deepening despair and anguish. Finally it explodes and anger. Once the pain has been realised..suddenly C major! Something is different; something has changed. Yet, the pain is never completely gone.
I find the eighth prelude pretty impressive. Not only because the performer has to play eight notes on every beat, but because of how Chopin tightly constructed the piece. The piece follows a simple rounded binary form.
The first phrase 1-4 is a sentence structure --fragment, repeated fragment, fragment with continuation and cadence.
The second phrase 5-8 has a similar idea but the range is increased to heighten the tension. The developmental phrases consisting of the next ten measures 9-18 is harder to descern. What makes this part exciting is the fact that the performer can decide where to start new phrases. For example, a performer might clearly articulate M. 15 as the start of two two-measure phrases. The performer might not want to suggest anything at all. The return (19-26) increases the intensity of the beginning by reaching an even higher climax into the phrase starting at M. 23. What I find particulary exciting about this piece is the coda 27-34 which is a longer sentence structure: 2 measure fragment, 2 measure fragment, 4 measure fragment and continuation. I love how Chopin plays on tonality in this section. Although the melodic contour has basically vanished, the interesting harmonic surprises make up for any bland qualities. These include the Major quality swith in M. 30 and the minor shift in M. 32.
Prelude 12 is obviously organic in the sense that the same figuration dominates throughout the melodic line. This figuration is built of two-note slurs. They are linked. The second note of each group is generally the same note as the beginning of the next group. This line is textured with bombastic low octaves creating this irape attitude. The speed suggests the rampaging fury. Similar to the prelude previously discussed, the form is rounded binary form. The developmental, unstable section elaborates the two-note slurs into double-thirds and octaves. The prelude is very repetitive: the opening chromatic ascending figure shows up six times. Similar to the previous studied preludes, this piece has a mini-tag on codetta built on featured motives, here fragmented into shorter phrases.
Prelude 18 is a sharp acerbic piece mostly unison arpegiated/ scalar figures with ocassional supported harmonies. The acidic quality is due to the constant use of half-steps, whether it is in the melody or harmony. The eighth-note harmony chords-frequently seen at the end of measures (M. 1-2 for example), have a richly sonorous minor ninth interval. If placed as a minor second the sound would be totally different. The interval and placement on the keyboard (the lower middle-section) allow for that dark, deep resonant sound which Chopin loves to exploit. Here, once again, Chopin shows his close connection to classical forms. Like his other preludes he strives for motific organicism. The whole point of a prelude is to create this effect--take the audience to another world just to catch a glimpse. The mystery and awe of the pieces is enhanced by the brevity. To only show a part, is to allow others to imagine. The creativity of the human mind far surpasses the reality of the mundane.
Prelude 22 is not my favorite. To stick to the pattern, I forced myself to write about this piece. The substance is in short quantity: the left-hand maintains the melody throughout. It is interesting how in the second half (M.18), the two main phrases are broken up (M.24). Chopin achieves this by switching the function of the left-hand part. Now the pattern is harmonic rather than melodic (circle of fifths progression). The form is again rounded-binary. The right-hand serves to establish the harmony and fill in the gaps when the left-hand does not play. The form is boringly classical with no particularly exciting features. I guess Chopin cannot be perfect every time-although you have to give his credit for his craftsmenship.
Just to close things off, though I have to break the pattern, the last Prelude (24) is exotic and grand. The ostinato bass sets up this vehicle for movement. It makes me think of a desert carvan or one of those royal processions: perhaps a king is being carried in a cart, while slaves hold up with two parallel beams. Perhaps a parade of people with a nationalistic unity, this heroic couragous melody. Layering above this is the king looking around. Relatively speaking he is moving with the rest of the procession, yet he is free on his own plane. The slow singing style of the melody suggests this. The unusual switch from B natural to Bb at the end of the first section also hints at exoticism. Perhaps the scene is really a prince on a elephant. The grand sweeping gestures might be the lifting of his hands in a symbolic royal gesture: powerful and purposeful. The last three notes might be the trunk of the elephant smashing the ground. The whole piece is majestic and big; whatever one imagines the mood is clear. This is the end. Lets go out with a bang.
Phrase 1: | | | | - - - -
Phrase 2: | | | | | | - | | | | | - - - -
Phrase 3: | - | - - - - -
He uses the up-gestures to increase the intensity and make the melodic line ascend. He uses the down-gestures to decrease the intensity and make the melody descend. The second phrase is the most intense do the the ryhthmic dimunition and length.
Like Chopin's first prelude, I think his fourth one is tied to human emotion and movement. The piece has this repetive two-note motion, which is hardly interesting in itself. This groups hint at the sighing gesture seen in a lot of sad vocal music. This lamentation is fuller seen a a physical, yet subtle, collapse of the body. In this prelude I imagine a sad person lost in this cycle of confusion saying the same thing over and over. Here and there, their is a coherent thought, but the mind inevitably returns to the wandering. Meanwhile, something from the inside is building up. The non-functional chords of the piece represent the chemistry of the body. The slow chromatic descent suggests deepening despair and anguish. Finally it explodes and anger. Once the pain has been realised..suddenly C major! Something is different; something has changed. Yet, the pain is never completely gone.
I find the eighth prelude pretty impressive. Not only because the performer has to play eight notes on every beat, but because of how Chopin tightly constructed the piece. The piece follows a simple rounded binary form.
The first phrase 1-4 is a sentence structure --fragment, repeated fragment, fragment with continuation and cadence.
The second phrase 5-8 has a similar idea but the range is increased to heighten the tension. The developmental phrases consisting of the next ten measures 9-18 is harder to descern. What makes this part exciting is the fact that the performer can decide where to start new phrases. For example, a performer might clearly articulate M. 15 as the start of two two-measure phrases. The performer might not want to suggest anything at all. The return (19-26) increases the intensity of the beginning by reaching an even higher climax into the phrase starting at M. 23. What I find particulary exciting about this piece is the coda 27-34 which is a longer sentence structure: 2 measure fragment, 2 measure fragment, 4 measure fragment and continuation. I love how Chopin plays on tonality in this section. Although the melodic contour has basically vanished, the interesting harmonic surprises make up for any bland qualities. These include the Major quality swith in M. 30 and the minor shift in M. 32.
Prelude 12 is obviously organic in the sense that the same figuration dominates throughout the melodic line. This figuration is built of two-note slurs. They are linked. The second note of each group is generally the same note as the beginning of the next group. This line is textured with bombastic low octaves creating this irape attitude. The speed suggests the rampaging fury. Similar to the prelude previously discussed, the form is rounded binary form. The developmental, unstable section elaborates the two-note slurs into double-thirds and octaves. The prelude is very repetitive: the opening chromatic ascending figure shows up six times. Similar to the previous studied preludes, this piece has a mini-tag on codetta built on featured motives, here fragmented into shorter phrases.
Prelude 18 is a sharp acerbic piece mostly unison arpegiated/ scalar figures with ocassional supported harmonies. The acidic quality is due to the constant use of half-steps, whether it is in the melody or harmony. The eighth-note harmony chords-frequently seen at the end of measures (M. 1-2 for example), have a richly sonorous minor ninth interval. If placed as a minor second the sound would be totally different. The interval and placement on the keyboard (the lower middle-section) allow for that dark, deep resonant sound which Chopin loves to exploit. Here, once again, Chopin shows his close connection to classical forms. Like his other preludes he strives for motific organicism. The whole point of a prelude is to create this effect--take the audience to another world just to catch a glimpse. The mystery and awe of the pieces is enhanced by the brevity. To only show a part, is to allow others to imagine. The creativity of the human mind far surpasses the reality of the mundane.
Prelude 22 is not my favorite. To stick to the pattern, I forced myself to write about this piece. The substance is in short quantity: the left-hand maintains the melody throughout. It is interesting how in the second half (M.18), the two main phrases are broken up (M.24). Chopin achieves this by switching the function of the left-hand part. Now the pattern is harmonic rather than melodic (circle of fifths progression). The form is again rounded-binary. The right-hand serves to establish the harmony and fill in the gaps when the left-hand does not play. The form is boringly classical with no particularly exciting features. I guess Chopin cannot be perfect every time-although you have to give his credit for his craftsmenship.
Just to close things off, though I have to break the pattern, the last Prelude (24) is exotic and grand. The ostinato bass sets up this vehicle for movement. It makes me think of a desert carvan or one of those royal processions: perhaps a king is being carried in a cart, while slaves hold up with two parallel beams. Perhaps a parade of people with a nationalistic unity, this heroic couragous melody. Layering above this is the king looking around. Relatively speaking he is moving with the rest of the procession, yet he is free on his own plane. The slow singing style of the melody suggests this. The unusual switch from B natural to Bb at the end of the first section also hints at exoticism. Perhaps the scene is really a prince on a elephant. The grand sweeping gestures might be the lifting of his hands in a symbolic royal gesture: powerful and purposeful. The last three notes might be the trunk of the elephant smashing the ground. The whole piece is majestic and big; whatever one imagines the mood is clear. This is the end. Lets go out with a bang.
Sunday, January 27, 2008
Mendelssohn Songs Without Words #35
I chose this piece because it has many style changes throughout. The technique is simple; however, the creative musical possibilities are endless. I also enjoy the fact that this piece has not descriptive title to ruin the imaginative imagery of the student. If I was to instruct a student on this piece I would focus on phrasing and on the different ways of expanding color (pianistic sound variety).
This little piece features three sections/ styles structured in a reflective form.
A (mm. 1-5) B (mm. 6-13) C (mm. 14-22) B (mm. 23-33) A (mm. 34-38)
The A idea is basically one phrase which swells toward the third measure. To balance this crescendo with the rest of the piece, I suggest the peak of the phrase should not be above a mp. Despite the misleading double-bar line in m5, the student should not accent the notes that immediately follow this but lead into the 6Th measure. Section B serves as a transition between A and C. Keeping this in mind, the student should resist the urge to crescendo too much into the peak of the first phrase of B. Mendelssohn clearly shows this peak is at m.8 because of the ascending line to F#. Section C is logically the loudest part of the piece,although the intensity of the following B section is subjective. Since the C section is based on the simple antecedent consequent phrase (like the previous section), the performer should realize the need to differentiate the two. The standard procedure is to make the second phrase louder (obviously because it is marked), but also utilize agogic possibilities (perhaps slightly delay to time between the 2ND and third beat of m. 18). M. 19 is another important spot because of the revealing major/ minor switch. One could argue that diminuendo marking and the mode change, suggest a crucial point where the music begins to transition back into B. I recommend students try to emphasize this important harmonic change, agogically or dynamically to draw attention to this foreshadowing. Because of the ritardando in m. 32, slowing down at the end seems to redundant. For the most part, this piece is rather fluid: the use of pedal point (either sustained or articulated) and the use of moderately repetitive motives creates a sense of constant movement.
The style of this piece is closely attached to imagery. To the student, I would suggest the A section has this mysterious quality to it. Perhaps someone is lost and alone in the woods or the dessert.The p marking and the half-step bass movement supports this hazy, confused character. I think the student should be free to use an ample amount of pedal in this section.I would suggest experimenting with quarter-note pedals.
The B section features a duo at the interval of a tenth between the voices. I think the student should try and hear both parts while maintaining a passionate yet reserved style. Rubato is important (perhaps a slight rit. into m. 10). Playing hands separate is an important way in established voice independence.
The C section features the most dramatic style change in the piece. It reminds me of a polonaise-grand, heroic, dotted-rhythms, dance-like. The use of the relative major is also an important contrast. For experimentation, I would ask the student to change the pedal more frequently. The rapid chord changes demand this. Again m. 19 can be an important point to start changing styles. Although the tempo does not slow until the end of the first page, I think the student can create a sense of lingering (perhaps tenuto the staccato notes or add a deeper pedal.
In order to create musical interest in the return of the B section, I think the student should explore the possibility of disrupting the balance between the two parallel voices. Due to the slight harmonic changes(mm. 25,29), the second B section becomes more poignant then the first. Because of this, and increased left-hands chords and dynamics, Mendelssohn shows that he wants the returning B to be more emotional. Without creating a loud sound, the performer can create a heavier style by emphasising the bottom voice. In order to perform this as a cohesive piece, the student should think of the piece as an overall three part form. They might imagine some sort of epic journey through a dark forest. First confronted by loneliness, than enchanted by observing melancholic lovers, then part of some dance at a bizarre spot in a foreign land. Perhaps the student could imagine the enjoyment turned sour at the sight of the stranger. Perhaps the soul eventually finds themselves lost, as if in a dream. Lost as they were in the beginning of the journey.
This little piece features three sections/ styles structured in a reflective form.
A (mm. 1-5) B (mm. 6-13) C (mm. 14-22) B (mm. 23-33) A (mm. 34-38)
The A idea is basically one phrase which swells toward the third measure. To balance this crescendo with the rest of the piece, I suggest the peak of the phrase should not be above a mp. Despite the misleading double-bar line in m5, the student should not accent the notes that immediately follow this but lead into the 6Th measure. Section B serves as a transition between A and C. Keeping this in mind, the student should resist the urge to crescendo too much into the peak of the first phrase of B. Mendelssohn clearly shows this peak is at m.8 because of the ascending line to F#. Section C is logically the loudest part of the piece,although the intensity of the following B section is subjective. Since the C section is based on the simple antecedent consequent phrase (like the previous section), the performer should realize the need to differentiate the two. The standard procedure is to make the second phrase louder (obviously because it is marked), but also utilize agogic possibilities (perhaps slightly delay to time between the 2ND and third beat of m. 18). M. 19 is another important spot because of the revealing major/ minor switch. One could argue that diminuendo marking and the mode change, suggest a crucial point where the music begins to transition back into B. I recommend students try to emphasize this important harmonic change, agogically or dynamically to draw attention to this foreshadowing. Because of the ritardando in m. 32, slowing down at the end seems to redundant. For the most part, this piece is rather fluid: the use of pedal point (either sustained or articulated) and the use of moderately repetitive motives creates a sense of constant movement.
The style of this piece is closely attached to imagery. To the student, I would suggest the A section has this mysterious quality to it. Perhaps someone is lost and alone in the woods or the dessert.The p marking and the half-step bass movement supports this hazy, confused character. I think the student should be free to use an ample amount of pedal in this section.I would suggest experimenting with quarter-note pedals.
The B section features a duo at the interval of a tenth between the voices. I think the student should try and hear both parts while maintaining a passionate yet reserved style. Rubato is important (perhaps a slight rit. into m. 10). Playing hands separate is an important way in established voice independence.
The C section features the most dramatic style change in the piece. It reminds me of a polonaise-grand, heroic, dotted-rhythms, dance-like. The use of the relative major is also an important contrast. For experimentation, I would ask the student to change the pedal more frequently. The rapid chord changes demand this. Again m. 19 can be an important point to start changing styles. Although the tempo does not slow until the end of the first page, I think the student can create a sense of lingering (perhaps tenuto the staccato notes or add a deeper pedal.
In order to create musical interest in the return of the B section, I think the student should explore the possibility of disrupting the balance between the two parallel voices. Due to the slight harmonic changes(mm. 25,29), the second B section becomes more poignant then the first. Because of this, and increased left-hands chords and dynamics, Mendelssohn shows that he wants the returning B to be more emotional. Without creating a loud sound, the performer can create a heavier style by emphasising the bottom voice. In order to perform this as a cohesive piece, the student should think of the piece as an overall three part form. They might imagine some sort of epic journey through a dark forest. First confronted by loneliness, than enchanted by observing melancholic lovers, then part of some dance at a bizarre spot in a foreign land. Perhaps the student could imagine the enjoyment turned sour at the sight of the stranger. Perhaps the soul eventually finds themselves lost, as if in a dream. Lost as they were in the beginning of the journey.
Friday, January 25, 2008
Mendelssohn's Rondo Capriccioso
I listened to an enjoyable performance of Mendelssohn’s Rondo Capriccioso on Naxos. The performer was Jane Coop. She was not particularly creative in the introduction, but her tempos in the presto section were exciting. Her lyricism was simple yet beautiful. I liked the surprise she gave at the end: her octave oscillations were exciting and successfully pedaled.
The piece itself is full of different styles and textures. The introduction reminds me of some of Mendelssohn’s songs without words. It features the traditional three-part
Scoring strategy: singing style melody, slowly changing pedal bass, and rhythmic chords in the middle voice. This set up allows for a lot of expression. The right is hand free to control the dynamic and flexible melody while the left hand has a lot of room for expressive shading and directional crescendos and decrescendos. The constant eighth-note figures allows the performing to control, support, and shape the melodic line. The constantly changing articulations and ornamental figuration reminds me of Chopin and the empfindsamar stile (sensitive unpredictable melodic line, having a lament or melancholic character).
The presto section (the rondo statement) features rapid imitation between the hands. They frequently swap this sixteen-note mordent figure. The excitement of this section comes from the rhythmic drive, alternating articulations (two-note slurs and staccato), and the contrary motion of the parts. I love how Mendelssohn inserts this melodic dance in the middle of this brilliant style passage. On repetition of this dance, he changes the texture completely. He places the melody in the left hand two octaves lower, he adds a P dynamic, and includes these sweeping right-hand arpeggios. He cleverly juxtaposes the two contrasting styles into one section later in the piece. Here the right-hand features chords with melodic implications. The left-hand sustains the traditional slow bass changes with the mordent figure from the presto section constantly being reiterated. After a section that repeats this brilliant style (characterized by rapid right-hand motion), Mendelssohn once again plays around with the contrast between the lyrical and the rhythmic. He states a rhythmic fragmentation from the main rondo theme twice. After this he creates contrast by immediately inserting a conjunct lyrical line. He overlaps this with another fragment of the rhythmic motive and continues this cycle a couple times.
So we have seen a few ways in which Mendelssohn has worked with two basic motivic ideas and transformed them from individual entities, to combined entities, to conversational entities (alternating dialogue between hands). The section after the brilliant passage work slowly decrescendos and brings down the excitement of the piece. Here the texture becomes increasingly thin and the length of any one idea shortens until only the rhythmic motive, virtually functioning as a bass pedal with embellishment leads to a surprise ending. Mendelssohn ends with an exciting, non-melodic, non-structural textural effect, which draws the piece to a close.
The piece itself is full of different styles and textures. The introduction reminds me of some of Mendelssohn’s songs without words. It features the traditional three-part
Scoring strategy: singing style melody, slowly changing pedal bass, and rhythmic chords in the middle voice. This set up allows for a lot of expression. The right is hand free to control the dynamic and flexible melody while the left hand has a lot of room for expressive shading and directional crescendos and decrescendos. The constant eighth-note figures allows the performing to control, support, and shape the melodic line. The constantly changing articulations and ornamental figuration reminds me of Chopin and the empfindsamar stile (sensitive unpredictable melodic line, having a lament or melancholic character).
The presto section (the rondo statement) features rapid imitation between the hands. They frequently swap this sixteen-note mordent figure. The excitement of this section comes from the rhythmic drive, alternating articulations (two-note slurs and staccato), and the contrary motion of the parts. I love how Mendelssohn inserts this melodic dance in the middle of this brilliant style passage. On repetition of this dance, he changes the texture completely. He places the melody in the left hand two octaves lower, he adds a P dynamic, and includes these sweeping right-hand arpeggios. He cleverly juxtaposes the two contrasting styles into one section later in the piece. Here the right-hand features chords with melodic implications. The left-hand sustains the traditional slow bass changes with the mordent figure from the presto section constantly being reiterated. After a section that repeats this brilliant style (characterized by rapid right-hand motion), Mendelssohn once again plays around with the contrast between the lyrical and the rhythmic. He states a rhythmic fragmentation from the main rondo theme twice. After this he creates contrast by immediately inserting a conjunct lyrical line. He overlaps this with another fragment of the rhythmic motive and continues this cycle a couple times.
So we have seen a few ways in which Mendelssohn has worked with two basic motivic ideas and transformed them from individual entities, to combined entities, to conversational entities (alternating dialogue between hands). The section after the brilliant passage work slowly decrescendos and brings down the excitement of the piece. Here the texture becomes increasingly thin and the length of any one idea shortens until only the rhythmic motive, virtually functioning as a bass pedal with embellishment leads to a surprise ending. Mendelssohn ends with an exciting, non-melodic, non-structural textural effect, which draws the piece to a close.
Thursday, January 17, 2008
Schumann Sonata no. 2 Op. 22
This piece is very passionate. Characteristic of Schumann's style, the mood is always changing and the texture and color vary considerably throughout.
The first movement is full of this driving descending melodic figure which is placed in various textures: as a single melody, in octaves and chords, with rolling sixteenth notes, and as a duet with the bass. My favorite part of this movement begins in measure 24. Schumann hints at the driving melodic idea, however, the texture overwhelms the line. The choked melody is like a human trying to speak, and yet they cannot because they are consumed by the chaos, their emotions. From this chaos, order is restored in measure 48, in the style of a grand march. The second theme begins with a simple syncopated gesture in the relative major of the home key (g minor) which is quickly clouded by outburst of uncontrollable feelings (m. 71). In the development, Schumann includes a bass and soprano conversation. The last two pages of this movement are full of textural effects. Alot of notes, with but one purpose-to suggests passion,anger, and pure emotion. Similar to Beethoven's Appassionata sonata, Schumann is using running sixteenth notes to create a harmonic effect which instills this powerful feeling of chaos and raw intensity (mm.268-294).
The second movement, Andantino reminds me of Chopin's 4th prelude: the left hand moves chromatically through nonfunctional harmony. The mood is bizarre and foreign; the melody is timid, shy, and scared. The music wanders both harmonically and melodically. This suggests surprise and unexpected turns as though someone is lost in a distant land searching for a familar face. This is reminiscent of the Empfindersamar style. The textural style starting at measure 22 suggests some kind of bizarre undulations. Although the hands initially do this figuration in unisions, the correlation between the hands slowly disintegrates. Measure 27 has strange intervals (m6,aug4, m3, aug4, m3). These and other dissonant intervals dominate throughout (especially in mm. 36-37). M. 57 is surprising in that it begins to resemble something 'normal' so to speak. The harmony actually spells a real D7 chord. The ascending hope (possibly the lost person sees a familiar face)is soon gone. The deceptive cadence suggests perhaps the familiarity was an illusion. But then the melody raises a half-step. Perhaps there is still a chance of hope (m. 58)! Wait! The person finds a friend or loved one.
The scherzo movement is full of fluctuating down beats: syncopation is awkwardly followed by non syncopation. This, along with many style changes, creates a since of unbalance and instability which accounts for the humorous character.
The last movement (second version) is easy to listen to. Even though the melody is stuck in the middle of complex textures, the simplicity of the melody keeps itself apparent (scale degrees 1,2,3,4,5,1,6,1,5). The movement is a hybrid rondo/ sonata form. The second theme in E flat major is exceptionally beautiful. The melody is simple. The descending five notes is unmistakably a reference to Clara. I love the transition between the second theme and the return of the theme fragments (m. 93). The quickened excitement in m. 60 presents a natural flow into the passionate section. One could argue the transition is ingenious in that it captures the ever changing moods of a human. The peaceful countenance becomes excited,then agitated, and finally impassioned. The most humorous and surprising event occurs in measure 296
when the cadence is evaded by a dominant functioning harmony. The last two pages are a wash of sound, intended to create pure excitement without substance. The piece ends with fragments of the g minor theme.
The first movement is full of this driving descending melodic figure which is placed in various textures: as a single melody, in octaves and chords, with rolling sixteenth notes, and as a duet with the bass. My favorite part of this movement begins in measure 24. Schumann hints at the driving melodic idea, however, the texture overwhelms the line. The choked melody is like a human trying to speak, and yet they cannot because they are consumed by the chaos, their emotions. From this chaos, order is restored in measure 48, in the style of a grand march. The second theme begins with a simple syncopated gesture in the relative major of the home key (g minor) which is quickly clouded by outburst of uncontrollable feelings (m. 71). In the development, Schumann includes a bass and soprano conversation. The last two pages of this movement are full of textural effects. Alot of notes, with but one purpose-to suggests passion,anger, and pure emotion. Similar to Beethoven's Appassionata sonata, Schumann is using running sixteenth notes to create a harmonic effect which instills this powerful feeling of chaos and raw intensity (mm.268-294).
The second movement, Andantino reminds me of Chopin's 4th prelude: the left hand moves chromatically through nonfunctional harmony. The mood is bizarre and foreign; the melody is timid, shy, and scared. The music wanders both harmonically and melodically. This suggests surprise and unexpected turns as though someone is lost in a distant land searching for a familar face. This is reminiscent of the Empfindersamar style. The textural style starting at measure 22 suggests some kind of bizarre undulations. Although the hands initially do this figuration in unisions, the correlation between the hands slowly disintegrates. Measure 27 has strange intervals (m6,aug4, m3, aug4, m3). These and other dissonant intervals dominate throughout (especially in mm. 36-37). M. 57 is surprising in that it begins to resemble something 'normal' so to speak. The harmony actually spells a real D7 chord. The ascending hope (possibly the lost person sees a familiar face)is soon gone. The deceptive cadence suggests perhaps the familiarity was an illusion. But then the melody raises a half-step. Perhaps there is still a chance of hope (m. 58)! Wait! The person finds a friend or loved one.
The scherzo movement is full of fluctuating down beats: syncopation is awkwardly followed by non syncopation. This, along with many style changes, creates a since of unbalance and instability which accounts for the humorous character.
The last movement (second version) is easy to listen to. Even though the melody is stuck in the middle of complex textures, the simplicity of the melody keeps itself apparent (scale degrees 1,2,3,4,5,1,6,1,5). The movement is a hybrid rondo/ sonata form. The second theme in E flat major is exceptionally beautiful. The melody is simple. The descending five notes is unmistakably a reference to Clara. I love the transition between the second theme and the return of the theme fragments (m. 93). The quickened excitement in m. 60 presents a natural flow into the passionate section. One could argue the transition is ingenious in that it captures the ever changing moods of a human. The peaceful countenance becomes excited,then agitated, and finally impassioned. The most humorous and surprising event occurs in measure 296
when the cadence is evaded by a dominant functioning harmony. The last two pages are a wash of sound, intended to create pure excitement without substance. The piece ends with fragments of the g minor theme.
Social Order and Music
Today I read an introduction to a book by Riedel. The article was entitled “the social order and music.” Most of the article gives us the historical background of the nineteenth century. Everything relates to this idea of continuous expansion. Riedel discusses the influence of the French revolution and how the concept of government 'for the people' is shaping other nations. Inventors and inventions were multiplying. The cotton gin, electricity, the railroad, the telephone...All this mechanistic growth inevitably leads to continuous expansion: people are traveling further, communicating over wide distances, mass producing all sorts of new technologies. Mass education is a natural response to the need for specialized labor. It also embodies the ideals of the democratic system. Equality means equal opportunity to learn. Another hugely important innovation was in the field of medicine. Scientists eliminated diseases with vaccinations, public health improvements (including the use of soap), and with the addition of nursing and pharmaceutical professions.
Riedel finally connects this historical information with music. The most direct increase in music awareness comes from the increased middle class. With the wealth and the education, this class begins to attend the concerts. Originally for a small group of aristocrats, classical music begins to find a much larger body of supporters. Naturally, with the increase in concerts, comes the increase in performers. Publishing flourishes and the number of keyboard instruments grows. Music reviews, articles, newspaper appearances, and periodicals also increase the public’s awareness of classical music. The demand for more teachers and performers resulted in the construction of music conservatories.
I find that the discussion on the content of romantic music was the most interesting part of this introduction. The composers are trying to take people away from the world they live in. The mechanical ugly environment is not very appealing. Composers create this dream world full of nostalgia, wonder for nature, and personal expression. Wagner set Lohengrin, for example, in a castle (romantic image). The effect was to escape reality to confront the technical age with the natural: emotions of love, the rural folklore image, and the concept of exoticism.
There was also a significant change in the patronage system. Although the system was still around, it was quite different from how it worked in the Baroque and Classical eras. As in the previous periods, the aristocracy had a lot of control over the composing. The artists were restricted by the patrons stipulations—form, occasion, instrumentation—are sometimes out of the hands of the composer to decide. The patron says write a rondo for a brass choir at a royal party, and you do it. Because the patrons are now the middle class, there was a certainly a great deal of artistic freedom. Composers without patrons, however, had a hard time keeping a steady job, hence the cliché of the struggling, starving musician.
Nationalism was on the rise in the romantic period. Composers such as Grieg, Dvorak, and the Russian five, utilized characteristics of folk music in their works. Certain scales, melodies, melody types, and folklore forms, allowed these composers to differentiate their countries styles and therefore, promote nationalism.
Riedel finally connects this historical information with music. The most direct increase in music awareness comes from the increased middle class. With the wealth and the education, this class begins to attend the concerts. Originally for a small group of aristocrats, classical music begins to find a much larger body of supporters. Naturally, with the increase in concerts, comes the increase in performers. Publishing flourishes and the number of keyboard instruments grows. Music reviews, articles, newspaper appearances, and periodicals also increase the public’s awareness of classical music. The demand for more teachers and performers resulted in the construction of music conservatories.
I find that the discussion on the content of romantic music was the most interesting part of this introduction. The composers are trying to take people away from the world they live in. The mechanical ugly environment is not very appealing. Composers create this dream world full of nostalgia, wonder for nature, and personal expression. Wagner set Lohengrin, for example, in a castle (romantic image). The effect was to escape reality to confront the technical age with the natural: emotions of love, the rural folklore image, and the concept of exoticism.
There was also a significant change in the patronage system. Although the system was still around, it was quite different from how it worked in the Baroque and Classical eras. As in the previous periods, the aristocracy had a lot of control over the composing. The artists were restricted by the patrons stipulations—form, occasion, instrumentation—are sometimes out of the hands of the composer to decide. The patron says write a rondo for a brass choir at a royal party, and you do it. Because the patrons are now the middle class, there was a certainly a great deal of artistic freedom. Composers without patrons, however, had a hard time keeping a steady job, hence the cliché of the struggling, starving musician.
Nationalism was on the rise in the romantic period. Composers such as Grieg, Dvorak, and the Russian five, utilized characteristics of folk music in their works. Certain scales, melodies, melody types, and folklore forms, allowed these composers to differentiate their countries styles and therefore, promote nationalism.
Sunday, January 13, 2008
Friday, January 11, 2008
Papillons
Even though Schumann clearly connects this work to the last scene in Jean Paul's Flegeljahre, I think this piece beckons imagination. This piece is obviously programmatic; however, as Schumann claimed, "I allocated the text to the music and not vice versa." This leaves the doors open for all sorts of programmatic ideas and personal creativity. Music is characterized by individual perception. Despite the composers attempts to make associations between specific texts and the music, we, the listeners, are free to interpret away. The beauty of this piece inspired me to write this poem.
It falls and feels
the warmth,
the heavenly glow.....
floating,
floating in the breeze
sailing the current
riding the invisible path
to destinations unknown...
to places assured
peace
live
careless
free
free to feel the effortless ascent
and the assured fall
and rise, and fall..again
Danger..
no a friend above
soaring
soaring, brilliant
flying confident, bold
Danger..
no,
below,
across, with weight he moves... strong
each step...decisive
Anger, irritation
they swarm
Sharp wings they hover
darting towards the intruder
flee, fly, leave, go------------------------
gone
return
to the dream
drift like the leaves
yet flow
go and return
know,
then do not
drift
It falls and feels
the warmth,
the heavenly glow.....
floating,
floating in the breeze
sailing the current
riding the invisible path
to destinations unknown...
to places assured
peace
live
careless
free
free to feel the effortless ascent
and the assured fall
and rise, and fall..again
Danger..
no a friend above
soaring
soaring, brilliant
flying confident, bold
Danger..
no,
below,
across, with weight he moves... strong
each step...decisive
Anger, irritation
they swarm
Sharp wings they hover
darting towards the intruder
flee, fly, leave, go------------------------
gone
return
to the dream
drift like the leaves
yet flow
go and return
know,
then do not
drift
Perceptions and Absolutes
-"Sound waves--molecules of air vibrating at various frequencies--do not themselves have pitch. Their motion and oscillations can be measured, but it takes a human (or animal) brain to map them to that internal quality we call pitch."
-Daniel J. Levitin
This quotation sparked a heated, yet unusually deep, discussion between my roommate and I. I was attempting to define sound in terms of a three stage process which the quotation implies:
The initiator-------The medium of travel---------The receiver
Without anyone one of these components sound cannot exist.
- -------adequate medium-----------adequate receiver
Result: No sound
Adequate initiator----------- ----------Adequate receiver
Result: No sound
-Daniel J. Levitin
This quotation sparked a heated, yet unusually deep, discussion between my roommate and I. I was attempting to define sound in terms of a three stage process which the quotation implies:
The initiator-------The medium of travel---------The receiver
Without anyone one of these components sound cannot exist.
1. A guitar sits quietly in the corner without an initiator, yet a pitiful character is sitting close by in anticipation.
- -------adequate medium-----------adequate receiver
Result: No sound
2. A guitar is played in space by an alien who does not have to breath and another pitiful alien is waiting to be entertained (also does not have to breath).
Adequate initiator----------- ----------Adequate receiver
Result: No sound
3. In an uninhabited forest a possessed wild guitar begins to play Born to be Wild
Adequate initiator-------Adequate Medium------ --
Result (scientifically speaking): No sound
This last point did not make sense to my roommate. He claimed "sound is sound, whether you hear it or not it still exists. You can not deny its existence."
Well, something definitely exists, for example, as in the third scenario above; however, what exactly is this something? If it does fit under the classification of sound then what is it?
This answer is in the quotation:
"Sound waves--molecules of air vibrating at various frequencies."
The conversation from this point on got incredibly complex. We attempted to distinguish sound waves from sound. Inevitably we came down to an argument between absolutes and perceptions.
Can something intrinsic exist without the perception of the mind, or does something exist only through the minds perception?
We concluded there are definite absolutes in terms of the physical properties of sound and other sensory waves; However, every absolute property is perceived differently by each individual. Do to a complex set of factors including learned behaviors, synaptic associations, and instinctive programing, every individual will see the same thing differently.
The Balinese Gamelan features many pairs of instruments: one slightly larger than the other. These pairs are tuned purposely slightly out of tune because the Balinese enjoy the shimmering effect. In Western culture intonation discrepancies are frowned down upon. Obviously, in terms of perception, there cannot be any absolutes. Each mind is unique.
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