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Frederic Chopin (1810 – 1849) – Sonata in B minor, Opus 58

The third sonata was written between 1844 and 1845. The first of four movements follows fairly strict sonata allegro form,though the opening theme is not restated in the recapitulation.

Chopin balances a stately first theme with a lyric second theme and weaves the movement into a lengthy and monumental work. The development section drives with thematic material from the first theme and fragments from transitional material. Chopin incorporates the newest tools of his age, including romantic period signatures like unusual chord progressions and chromaticism. The work is at times thick, rich and forward, yet at other moments it is tender and personal. These many sided expressions combine to form an unparalleled musical journey.

Both the second and third movements are in ABA form with the third movement being the sonata’s slow movement.

The ending octaves of the second movement pause, then the third movement begins with a descending pattern which modulates to the “A” section theme in B major. The middle section is lengthy and mood setting with a slow melodic soprano riding over descending arpeggios. The bass carries melodic movement which adds interest. In the end, when all is at peace, the final movement arrives! This multi-part rondo eventually mates with one of Chopin’s most successful and exciting codas.

Ludwig Von Beethoven (1750 – 1827) – Sonata, Opus 79

Although Beethoven’s Opus 79 was completed in 1809 during his “romantic” period, it has a classical air about it. The first movement is in classical sonata form, and is metered in the way of a fast German waltz. Its development section features a delightful crossover hand syncopation which is derived from the leaps in the exposition’s opening theme. The second movement is a short contrasting slow waltz which lulls one in 9/8 time. Although the last movement might seem to conform to an ABA pattern the “A” sections are made up of two contrasting themes, one in G and one in C. These themes alternate as in a rondo and are varied on each hearing.

Beethoven called this work a Sonatina. However, there are many elements which foreshadow the late sonatas in sound and spirit.

Ludwig Von Beethoven (1750 – 1827) – Moonlight Sonata

The “moonlight sonata” might well be the composer’s most popular work, though it is only the first movement that garners that fame.  One generally thinks of the first movement as a romantic night piece, although it may well hold another darker mood. The last movement is a generally quiet perpetual motion work with moments of impassioned outburst; and the middle movement is a minuet and trio.

Frederick Chopin (1810 – 1849) – Nocturnes Opus 15

 Chopin Nocturnes Opus 15

Chopin dedicated most of his musical creativity to compositions for the piano.  And the creation of the 21 Nocturnes spanned most of his creative life. Though John Field is credited with applying the term “nocturne” to the character piece some twenty years earlier, his “night” pieces are considerably less complex.

The F major and F# major nocturnes are the first of three Opus 15 nocturnes. Though probably written before his arrival in Paris in late 1831, they were not published until after his arrival.  They are both in ABA form with contrasting stormy middle sections, though no. 1 is considerably stormier.  Interestingly, the third nocturne in this set, written after his arrival in Paris is considerably different in tone, being loftier, more eclectic and in some respects more spiritual.

These “night pieces” set a generally peaceful mood leaving one to enjoy a restive more contemplative time.

Ludwig Van Beethoven (1770 – 1827) – Sonata No. 31 in Ab Major, Op. 110

Beethoven Sonata No. 31 in Ab Major, Op. 110

In the late sonatas Beethoven returned to forms found in the Baroque and Classic periods before him.  Classic sonata-allegro form was fairly strict with short succinct sections.  Beethoven eventually migrates to expanded forms with significantly longer sections.  A good example is his late sonata opus 106, a sonata which takes nearly an hour to perform. The last three of the 32 sonatas (of which 110 is number 31) return to a shorter simpler concept.

The first movement of opus 110 follows this more succinct pattern.  Beethoven’s genius allows a strict sonata-allegro form to become hidden in what appears to be quasi-fantasy.  The development section (middle section) is only 20 measures long.  The movement modulates and passes through various intriguing harmonic areas but ultimately finds the thematic material and harmonic levels required of classic sonata-allegro form.  The movement is generally quiet and lyric.  Beethoven uses the upper register to imbue a loftier more spiritual sense to the music.

Found in the first movement are some unusual harmonic progressions which might point some thinkers to the coming romantic period.  The second movement contrasts the first lyric movement with an energized “dance” of scherzo-like drive.

In the final movement, the composer uses baroque period forms including a free form recitative introductory section, an arioso section, a three part extended fugue, a return to the aria pattern, and then a return to an inverted fugue pattern based on the original fugue.

In a fugue, a simple theme is heard.  This theme is heard repeatedly in different voices in linear fashion. A counter-theme usually accompanies each theme statement.

In this fugue, the theme repeats six times, alternating between tonic (in this case Ab, 1st degree of scale) and dominant (Eb, 5th degree of scale) After the sixth statement, an extended development section begins, eventually leading into a second aria.

As in a sonata-allegro form, the form of the baroque fugue offers the listener a sense of completeness.  This is a three part fugue and therefore three voices enjoy the theme independently as time passes.

When the fugue pattern returns after the second aria, the theme is inverted, and as time passes it reverts and transforms from individual contrapuntal voices into a glorious uplifted homophonic finale full of joy and spiritual wealth.

In the department of mood swings, Beethoven’s final movement expresses a full helping of human sensation from despair, to hope, and finally shear joy.  As viewed from the perspective of composers of the next period, that being the “romantic” period, this wealth of mood and change in spirit caused the romantics Schumann, Liszt, and others to consider Beethoven the first of the romantic composers.  History describes him as an individualist and humanist. However, this composer came from a different time, and in a sense, he toys with man’s search for the spirit of God and not for the expression of the spirit of humans.

Johann Sebastian Bach (1685–1750) – Partita No. 1 in Bb major

Bach Partita No. 1 in Bb major

The Bb partita, as it’s called, begins with an introductory “Praeludium” then follows the suite form standardized by JS Bach himself.  In this case two minuets are included after the generally required Allemande, Corrente, Sarabande and before the ending Gigue.  These dances were common in suites written in the century before Bach.  And Bach wrote many suites including those English suites and French suites.

A corrente is used in this suite.  Suites in the French manner would generally have substituted a courante.  The courante is a slower more elegant dance preferred in the French court.

Note that each movement in this suite is in the key of Bb.  Baroque suites generally held to one key.  Interest between movements arises from the use of different dances with different spirit. These movements have contrast in energy, dynamics, rhythm and other qualities.  You will note the rhythmic energy, drive, forward motion, which abounds in this baroque music.  The tonal harmonic progressions which became firmly entrenched in the baroque period, and which are a paramount feature of this partita, are present in all of the music presented in this recital.

Franz Liszt (1811-1886) – Mephisto Waltz

Of Liszt’s four Mephistos, the first, programmed here, was written between 1859 and 1860 at the end of his prolific Weimer years.  Other Mephistos were written some years later between 1880 and 1885 when his music had become less physically challenging and more introspective.  As a result of the first Mephisto having been orchestrated, many consider the piano version a transcription.

Liszt wrote many works which displayed his keyboard prowess, and as a touring artist, his wondrous music and his pyrotechnical displays drew a strong following to his performances.  He is said to have been one of the greatest pianists of any age, and if his playing matched his music, this would have to be true.

Mephisto Waltz is a tone poem expressing a portion of the Faust tale.  Faust is believed to have been a real person who lived around 1500 in what is now Austria.  The devil Mephistopheles agreed to grant Faust a life of pleasure in return for his soul upon Faust’s death.  Liszt’s “Mephisto” may open with a scene in a moonlit clearing outside an inn at which Faust spent considerable time in drunken debauchery.

Legend describes the devil’s ability to waltz at a tempo considerably faster than mere mortals, and on this point the waltz begins at a frenzied pace.  Imagine Mephisto dancing in a clearing of trees beneath a full moon amidst a crowd of converts at the pace of Liszt’s music, and you will have a sense of the devil’s supernatural powers.

Quieter seemingly less frenzied passages where Faust might be imagined to reflect on his contract and perhaps plead for his soul, will be apparent as the piece progresses.  While Mephisto’s first theme is in the harsher key of A major, Faust’s first theme is in the more impassioned key of Db major.  Enjoy the imagery and decide for yourself whether Faust does indeed go to the devil!

Frederick Chopin (1810-1849) – Three Pieces

Frederick Chopin

Frederick Chopin

Chopin wrote many works for the piano.  His musical output was entirely directed towards this favored instrument.  He wrote two significant volumes of etudes to assist the pianist in training.  These sets are among the most focused and comprehensive studies ever written for the instrument.

Included in Chopin’s compositions are the following; three sonatas, two concertos, waltzes, nocturnes, mazurkas, preludes, ballades, scherzi, polonaises and other works.  Interestingly, Chopin’s “PIANO CONCERTO” no. 1 in E minor was written second.  It is probably No. 1 because it was published first.

Chopin wrote many individual works, some often played like the barcarole, berceuse, and fantasies, and others not so often played like the rondos, and smaller individual works.  As a young student, I particularly liked the insignificant tarantelle.

Of his seventeen waltzes, only eight were published during the composer’s lifetime.  The Opus 70 waltzes, though published posthumously, were written when Chopin was in his twenties. Number 1 in Db, programmed here, has a lively two part introduction, before settling into a more danceable pace.  It ends with a restatement of the opening section.  This concept of lively introduction and ending coda is common to a number of the waltzes.

Not all waltzes are lively dances, however, since a number of them carry a modest pace and moods can be quite somber.

The waltz programmed here is very short.  Not as short as the famous minute waltz (which length is a figurative “minute” not an actual minute.  In a real minute it becomes a musical disaster!  It’s a “minute” arising from someone saying, ”It’ll just be a minute.”)  Many of the other waltzes are quite lengthy with considerable drama.

This programmed waltz is generally ABA.  The introduction/A section, is fast and in two sections.  The B section is also in two parts with some repeating of material.  It swings in a more leisurely pace.  Here’s how it is played; as an introduction to the dance, the curtain comes up in section A! Then, when attention is drawn to the dance floor and the elegant dancers are readied, their more leisurely waltz begins!  Upon finishing, the speedy introduction returns with considerable flare and fanfare; but at the last, there is a moment of peaceful delight.

And how many nocturnes did Chopin write?  He wrote more mazurkas than you can shake a stick at!  But he wrote just twenty-one nocturnes; and he wrote them over the span of his lifetime.

Many know that John Field coined the term “nocturne” some twenty years earlier.  These quiet evening pieces set a peaceful days-end mood.  In the hands of Chopin, they become more introspective and more profound.  All Chopin is difficult to perform, but these nocturnes!  The expanded use of continually changing open harmony, the length of melodic lines riding above, the small but important changes that occur each time a theme or concept returns; in other words, the intricacy of the writing, and the demand to address significant detail, and to touch numerous and varied gradations of feeling and sensation, make these pieces some of the most difficult in the repertoire.

The two nocturnes of Opus 55 are prime examples of Chopin at his finest.  Each of these pieces has a rondo-like form in which a main theme is presented, a following section takes us away for a time, then the theme returns slightly modified with different emphasis and meaning.  The sections of interlude also develop their own persona.

The quiet beauty, the moments of subdued passion (yet sometimes not so subdued) the wrenching, piercing, sometimes contemplative melodies, all come together to form a magical moment in time for those who can allow themselves to dwell and open their hearts to this master’s outpouring.

Ludwig Van Beethoven (1770-1827) – Sonata, Opus 57

Ludwig Van Beethoven (1770-1827)
Sonata, Opus 57

about

Beethoven wrote his opus 57 sonata between the years of 1804 and 1805.  It was first published in 1807 in Vienna.  The name came about in an 1838 publication of the work.

Of the named sonatas, only Pathetique and Les Adieux have names considered by the composer before publication.  Beethoven’s roots in programmatic music as seen by the Romantics of the nineteenth century may have been part of his inner spirit, and part of his symphonic writing, but “programs” were probably not his intention in writing the piano sonatas. In any case, these names probably came about because of marketing considerations by his publishers.

During Beethoven’s middle period (1803-1812) the composer explored expansion of many classical forms.  With a complete underlying structure he incorporates a growing ingenuity and creative process, expanding and developing individual elements of the form causing the structure to be more hidden.

The first movement is a strict sonata-allegro, though it takes study to find the parts.  In the Appassionata, Beethoven’s ingenuity effectively pushes the structure into the background.  The listener suspects a strong order to events but focuses more on the musical ideas.  The ear is confused in many ways including form, key and with dramatic energy changes.

Classical sonata-allegro form has a first theme in the key of the piece.  A second theme is generally easily recognized in the exposition.  It will be in a related key and it will have a contrasting mood.  Though the second theme is required, it does not have to be contrasting.  For example, the last movement of the Appassionata is also in sonata-allegro form.  However the second theme is not contrasting.  If you listen for modulation and key change you will find the form.

The first movement has several interesting points.  The opening theme is immediately restated a half step higher.  This half step becomes a consistent motif throughout the movement.  In many instances the raised note has an altered use in the ongoing harmonic structure.  Another ongoing concept is the triplet pattern, which comes in many forms from repeated notes to, scale patterns, to alberti bass-like patterns.  These triplets add drive and motion.  Sometimes when Beethoven arrives to end a piece he decides to continue on.  He then seems to want a lot more. At the end of the recapitulation, Beethoven continues on to what might be considered a second development section.  After this second development section, he adds a robust coda which then ends in a quiet tone.

The second movement is another classical form: a theme and variations.  Each full thematic statement has two sections each with double bar and repeat.  The first section has thematic material surrounding the tonic while the second section has thematic material surrounding the dominant.  This Baroque period concept eventually transformed into what we now call sonata-allegro form.  The third and last variation has its repeats written out so Beethoven can enjoy some variation of the variation.  (Schubert does this in some of his variations) The movement changes mood in each variation while progressing to a rather lofty place: a place which becomes even loftier in the late sonatas.

The third movement emerges from the second without break.  It is a veritable whirlwind of perpetual motion.  This sort of final movement is common to many composers both before and after Beethoven.  Consider Schubert’s final variation in his Opus 142.

Unusual to this last movement sonata-allegro, is that the development and recapitulation are marked to be repeated as a single unit. A classical sonata-allegro generally repeats the exposition.  (Scarlatti’s K159 also repeats development and recapitulation as a unit)  Repeating the exposition allows the listener to be “exposed” to the musical ideas a first time with a more informed understanding during the repeat.  A brilliant coda ends the whole sonata.

Beethoven was one of the greatest pianists of his time.  He did some competing in the salons with his peers and wrote some of the most virtuosic piano music of any generation.  The Appassionata embodies much of Beethoven’s temperament, from brooding to dramatic outbursts, calm, wildness, beauty, peace, fury, a myriad of human concept and emotion: And all of this is built on a well defined structural base.