Brahms Sonata #3

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.

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.