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.
Sunday, January 27, 2008
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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