Drozdov - Au tombeau de Rachmaninoff

Today, I'm sharing a short cycle of piano pieces paying homage to the life and legacy of legendary Russian classical composer Sergei Rachmaninov. Written by Russian-American pianist Vladimir Drozdov, Au tombeau de Rachmaninoff (Fr. "At Rachmaninov's Tomb") is written in three parts:

I. Dies Irae — Composed on the day of Rachmaninov's death, this piece is built around the dies irae theme originating from Gregorian chat and found in the works of many influential composers, most famously in Liszt's Totentanz (concert piece for piano and orchestra). Tender and somber in its expressiveness, the first piece is a mourning song.

II. Epitaphe — The second movement is exactly as the title indicates; Drozdov has written the metaphorical musical epitaph for Rachmaninov's tombstone. Rachmaninov's fondness for polyrhythm, superposing chords, and rapid flourishes are all present in this simultaneously violent and delicate writing.

III. Psalmodie du printemps (Fr. "Chant of the Spring") — The last piece of the cycle feels like a canzone, a simple song that (to me) symbolizes the acceptance of loss and celebration of Rachmaninov's life, as the person, the pianist, the conductor, and the composer. Drozdov again imitates the characteristics of Rachamaninov's own compositions, especially the Preludes, the Etudes-Tableaux, and the slow movement of his Piano Concerto No.3.

Hope you enjoy these pieces and leave your thoughts below!

Crumb - Makrokosmos IV - Celestial Mechanics

In the past I have not really enjoyed experimental contemporary piano music, but I was really intrigued by some of the sound effects and novel textures George Crumb created in writing Makrokosmos. The title is derived from a cycle of piano pieces (Mikrokosmos) by Béla Bartók, a 20th-Century composer Crumb deeply admired.

The four volumes of Makrokosmos are scored for amplified piano, which is similar to the prepared piano by John Cage (inserting items into strings like screws, bolts, etc. to create various timbral effects). The amplified piano instead requires the performer to use all aspects of the instrument. That is, rather than be limited by playing the piano using just its keyboard, Crumb calls for direct pizzicato (It. 'plucking') of the piano strings (capable on a grand piano by opening up the cover), muting the strings, producing artificial harmonics (by pressing lightly on the strings to change the available length for vibration), dropping various objects on the strings (e.g. metal rulers), scraping the strings with the fingernails, "ghost notes" (I don't know the actual name for this technique, but I have played around with this myself; playing some keys of the piano silently and allowing their sympathetic vibrations to impact the music played normally with other keys), and other extended techniques.

Though the first two volumes call for a single performer on solo amplified piano, but Makrokosmos IV (the fourth volume, Celestial Mechanics: Cosmic Dances for Amplified Piano, Four-Hands) calls for two performers on a single amplified piano (and at one point even calls for the page turner to participate in the music making). A wonderful program note has been written by Steven Bruns regarding especially the first two volumes of Makrokosmos (themselves masterworks of piano literature, augmenting the possibilities of the instrument and seriously shaping the direction of contemporary piano music). Rather than quoting the entire thing here — though I highly encourage you to go read the program notes — I will share some of the things Bruns has written for some context for these pieces.

As is true of most of Crumb’s music, the rhapsodic, quasi-improvisatory impression of many passages in Makrokosmos belies an extremely precise compositional design. The voluminous compositional sketches for the work reveal the composer’s meticulous planning, from the large-scale formal shape of each volume down to the smallest details. Chopin’s manuscripts confirm that the apparently “free” filigree* in certain passages is in fact the result of painstaking revisions. Crumb’s sketches illustrate a similar concern for a perfectly balanced musical conception. Just as pianists come to appreciate the intricate architecture of Makrokosmos in the process of rehearsal and performance, the design of each piece and of the whole crystallizes for listeners after repeated hearings. [1]

*Examples of the 'filigree' Bruns writes about include some of his Études: Op.10 No.4, No.5, No.7, No.8 or Op.25 No.1, No.2, No.6, No.11.

Makrokosmos IV is split into four pieces, each of which I've written a quick description of here:

I. Alpha Centauri — The opening piece of the cycle focuses predominantly on interlocking rhythms with atonal cluster chords and repeating notes. While Crumb begins to incorporate components of the amplified piano in this piece (such as string striking, etc.), they are used relatively sparingly; you can think of the opener as a sampler for these techniques. As the closest star to the Solar System, 'Alpha Centauri' represents the closest relationship to conventional piano playing.

II. Beta Cygni — One of the stars of Cygnus the Swan, this gentler movement makes particularly enthusiastic use of artificial harmonics on piano strings. This requires the players to lightly place their fingers at different points along the strings in order to change what length of the string actually vibrates and produces a note. These notes are typically dynamically muted and have a softer texture or 'timbre.' The effect is that notes played on the piano (especially in the higher range) sound like natural harmonics on the harp. Explorations of the timbre of artificial harmonics with trills (alternating with sopra or full-tone notes) and harmonic glissandi (where the placement of the muting hand slides over the strings) also characterize this movement.

III. Gamma Draconis — From Draco the Dragon, this movement is far more violent than the two preceding it. Dropping metal rulers on the strings with haunting glissandi by strumming wide swaths of the piano strings directly, low artificial harmonics with lopsided 'time signatures' (rather, impressions of lopsided time signatures), rapid and brusque textures and rhythms, and polytonal imitations with half-step dissonances and divergent key centers make this movement particularly hair-raising.

IV. Delta Orionis — Orion the Hunter is the symbol of this final cosmic dance. Frequent pizzicato repetition, "ghost notes" as I described earlier (with changing combinations of silently depressed keys), artificial harmonic trilling from Beta Cygni, forearm cluster chords (literally whacking the keyboard with the forearm), knocking on different parts of the piano (also known as frappe), etc. are used throughout the movement. The "Cosmic Canons" combine conventional playing (on the keys), frappe, artificial harmonic glissandi, and string pizzicato across the soundboard. The surreal textures makes for an ethereal texture that is so hard to pinpoint — precisely Crumb's intention by expanding the scope of the piano's instrumental faculties.

I knew nothing about George Crumb to start with when I first heard his music, so I hope this provides some context! Leave your thoughts on the pieces below and see you in the next one!

[1] Bruns, Steven. "Makrokosmos I & II". Program note on DRAM. <https://www.dramonline.org/albums/george-crumb-makrokosmos-i-ii/notes>

Bolcom - The Garden of Eden - III. The Serpent's Kiss

Today, I'd like to share a piece by a living composer, William Bolcom! Bolcom is an American pianist and composer, and one of my favorite cycles of piano pieces is his The Garden of Eden, a set of four piano rags (ragtime style).

By far the most entertaining of the four pieces is III. The Serpent's Kiss, a rag fantasy with huge contrasts in mood and style from start to finish. Bolcom's surprising use of hand percussion (knocking or tapping the key fall or piano frame), heel stomping, and other surprises livens up the piece. Bolcom includes the following performance notes before the score, which are very insightful:

I really love this spectacular live performance by South Korean classical pianist Yeol-Eum Son (손열음). Even though she is classically trained, her rendition "crackles" with excitement and the secco (It. 'dry') articulations are right on. I don't want to spoil it; just go watch it! Enjoy!

If you enjoyed this piece, share this post and leave your comments below!

Scriabin - Two Preludes, Op.27

Thought I would share a couple more short piano pieces. Scriabin wrote many preludes during his lifetime, including a set of twenty-four preludes (Op.11). Today, I've enjoyed listening to a shorter opus of just two preludes.

Two Preludes, Op.27
I. Patetico (g)
II. Andante (B)

Scriabin's later works are characterized by extremely complex rhythmic and harmonic ideas, many of which are difficult to describe with the typical Roman numeral analysis used commonly to understand Classical and Romantic era music.

Before his ventures into atonality along with mystic themes, Scriabin's works (like this set of preludes) were much more driven by existing musical conventions, though it is clear from just these two works, that he pushed the limits within this harmonic language early on.

Hope you enjoy these two short pieces and see you next time!

Couperin - Le Tic-Toc-Choc, ou les Maillotins

Today, I've just got a short piece I'd like to share! It's a miniature by Francois Couperin called Le Tic-Toc-Choc, ou les Maillotins for piano. Its hand-crossings (more like the two parts are intertwined), the fast pace, the light touch, and the rapid rearticulation of notes are all really impressive. Sokolov's performance is so much fun to listen to. Hope you enjoy it!

Mendelssohn - Lieder ohne Worte, Op.30, No.6 - Venetianisches Gondellied

*This post is part of a series on a cycle of short piano works by Felix Mendelssohn. Feel free to read the other posts, linked below!*

Lieder ohne Worte (Book 2), Op.30

1. Andante espressivo (E♭) (post)

2. Allegro di molto (b♭) (post)

3. Adagio non troppo (E) (post)

4. Agitato e con fuoco (b) (post)

5. Andante grazioso (D) (post)

6. Venetianisches Gondellied ("Venetian Gondola Song"), Allegretto tranquillo (f#)

To finish off his second cycle of Lieder ohne Worte, Mendelssohn wrote a swaying barcarolle (or 'barcarole') in f# minor entitled Venetianisches Gondellied or "Venetian Gondola Song." The swaying feeling arises from the juxtaposition of offbeat rhythmic accents and the musical structure of a bar of ⁶/₈, the time signature of the piece.

Typically, a measure of ⁶/₈ has accents on beats 1 and 4. However, Mendelssohn puts two pitches together on beats 3 and 5, creating the feeling of ³/₄. While the rhythmic accents fall on beats 1, 3, and 5, the contour of the left hand line produces natural accents on the usual beats 1 and 4 in ⁶/₈.

Accompaniment figure with implied accents (m. 1)

The result is a figure which blurs the two time signatures, which opens the piece at a comfortable Allegretto tranquillo.

Opening (mm. 1-6)

A singing melody (aptly marked cantabile, It. "as if singing") rings over the accompaniment, beginning in m. 7 with pickups (m. [6]). The melody occurs in two eight-bar phrases, the second of which reappears in the repeated section. Each phrase is given its own system of music below:

First section (mm. [6]-[22])

The second eight-bar phrase actually stretches over the repeat sign and into the middle section of the piece, which contains an eight-bar phrase, two bars of accompaniment, and a four-bar phrase in b minor.

Repeated section (mm. 21-42)

The eight-bar phrase beginning at the pickups to m. 23 through m. 30 gets me every time, starting melancholy and growing brighter. The dynamic push towards the ff at m. 29 (and, critically, the marking of più f in m. 26-27 [in the original score, it is spread over both bars]) makes the emotion even more potent.

After Mendelssohn modulates from b minor back to f# minor, he writes the same melody as the second phrase of the first section (highlighted). However, it does not feel like an eight-bar phrase.

Rather, it feels like two bars of accompaniment (mm. 37-38) and a four-bar phrase, due to the bass note being C# rather than F#, leading to a perfect authentic cadence (i64—V—i) that creates the closure felt in m. 39 (rather than where the returning melody starts at m. 37). The top of the repeat sounds again like it begins just with two bars of accompaniment before the eight-bar phrase picks up at m. 23.

Coda (mm. 43-55)

The end of the repeat bleeds right into the heart-rending coda. The change in the rhythm of the accompaniment figure, and the fact that it plays an essential role in the melody (which is really just a series of chords) changes the mood of the piece entirely.

The downward linear motion initiated by the melody, followed by the bass, and the dynamic arc reaching its height at the lowest point in the bass line (marked with crescendos both times, adding sfz the second time) makes the coda the emotional epicenter of the piece. Considering it is the last of the cycle, it is a pretty powerful musical device for a piece that starts so plainly (just by visually comparing this analysis to the other pieces, it's harmonically much more straightforward).

After the twice-repeated descent, a simple ending with a tonic f# minor arpeggio (m. 51) over the opening accompaniment figure brings the piece full circle as the accompaniment slows to a stop and the melody evaporates into silence.

Thanks for following this series of posts on Mendelssohn's Lieder ohne Worte, Op.30! Share the posts and leave your thoughts in the comments below.

All score excerpts taken from the Breitkopf & Härtel edition (Leipzig) via IMSLP.org.

Mendelssohn - Lieder ohne Worte, Op.30, No.5 - Andante grazioso

*This post is part of a series on a cycle of short piano works by Felix Mendelssohn. Feel free to read the other posts, linked below!*

Lieder ohne Worte (Book 2), Op.30

1. Andante espressivo (E♭) (post)

2. Allegro di molto (b♭) (post)

3. Adagio non troppo (E) (post)

4. Agitato e con fuoco (b) (post)

5. Andante grazioso (D)

6. Venetianisches Gondellied ("Venetian Gondola Song"), Allegretto tranquillo (f#) (post)

Before beginning this series of posts, I did not originally find this Lied as appealing as the others. But, in listening to it repeatedly to understand the structure and harmony of the piece and write this post, I've grown to really enjoy it! Let's jump right in.

A section (mm. 1-12)

The piece is in song form, roughly A—A—B—A, with a coda. The A section is marked off with repeats, and contains two clearly identifiable phrases which appear in the A section reprise. Marked at Andante grazioso ("gracefully, at a walking pace"), one might initially expect to hear quite relaxing music. However, a constant "filigree" of thirty-second notes underlines the entire piece. These 'runs' often indicate where the harmonic direction lies.

B section (mm. [12]-23)

Developmental material appears in the B section, which sees a transition from one tonic to another (as indicated by the harmonic analysis). Two short phrases, each appearing in repetition, occur in nearby keys. The first short phrase appears in e minor (centering on V⁷ = B⁷) and then f# minor (centering on V⁷ = C#⁷), while the second short phrase appears in b minor and then in f# minor (note the parallelisms in the harmonic analysis). These two phrases lead to a repeating figure (mm. [20]-23), ultimately reducing to the left-hand run.

I really enjoy the B section of this piece. The B section modulates several times, pushing the functional tonic further into "sharps" territory on the circle of fifths (b minor → f# minor) with plenty of V's, adding even more sharps (V⁴₂/V/III in f#, m. 19). The B section's much faster harmonic rhythm also brightens it. The second short phrase's interweaving counterpoint is very pleasing even as it rapidly shifts tonal centers (all nearby on the circle of fifths, but restless nonetheless) and the repeating figure (VI—iv⁶₄—i⁶₄, m. [20]-23) is really bold.

A section reprise (mm. [24]-37)

After the f# minor chord ending the B section fades, the A section reprise begins. The reprise modifies the melodies of the original A section, highlighted with the same color scheme as the original A section above. Mendelssohn's extension of the A section with a modified second segment of the melody allows for an alternate conclusion to the reprise (mm. 36-37, which I quite like for its warmth), leading to the coda, marked dolce (It. "sweet", "tender").

Coda (mm. 38-46)

Unlike the B section, the coda takes harmony closer to the "flats" on the circle of fifths (D major → G major). The use of the root D as a dominant D⁷ (I—V⁷/IV) to resolve to G major with repeated plagal cadences (IV—I) establishes a warmer feeling to the coda than before, as C# is sometimes altered to C♮. In fact, only in the coda do we see any flats anywhere — Mendelssohn uses a ♭9 (A^7♭9) to darken the harmony. I also enjoy the last repeated phrase (mm. [40]-44; the only harmonic deviation between the instances is in m. 43). The piece floats upwards and dissipates with a sparkly D major arpeggio.

Hope you enjoyed listening to and learning about this Lied! Check back for the last post on this cycle of Lieder ohne Worte soon. Share this post and comment below!

All score excerpts taken from the Breitkopf & Härtel edition (Leipzig) via IMSLP.org.

Mendelssohn - Lieder ohne Worte, Op.30, No.4 - Agitato e con fuoco

*This post is part of a series on a cycle of short piano works by Felix Mendelssohn. Feel free to read the other posts, linked below!*

Lieder ohne Worte (Book 2), Op.30

1. Andante espressivo (E♭) (post)

2. Allegro di molto (b♭) (post)

3. Adagio non troppo (E) (post)

4. Agitato e con fuoco (b)

5. Andante grazioso (D)

6. Venetianisches Gondellied ("Venetian Gondola Song"), Allegretto tranquillo (f#)

This was the first piece of the cycle that I heard several years back (on YouTube), and I later found the others in my recommendations. This fast-paced scherzo is closer to sonata form than the other Lieder. The complete sonata form is comprised of an introduction (usually tonic), an exposition (usually dominant), a development, a recapitulation (usually tonic), and a coda.

Introduction and exposition (mm. 1-35)

The introduction is less than two bars of straight sixteenth notes in ³/₈, and the exposition begins at Agitato e con fuoco ("agitated and with fire") immediately setting the tone. While the melody plays, staccato sixteenth notes provide rhythmic energy, interspersed with bass notes on the downbeats. 

Mendelssohn modulates pretty quickly, first into f# minor for a short phrase (mm. 12-23), and then into D major for the recapitulated phrase (mm. 24-33; we'll see it again later). I especially like Mendelssohn's clever use of the G-B third (mm. 34-35) to modulate from D major back to b minor smoothly in the first ending.

The start of each phrase is marked with a red arrow, while the middle of each phrase is marked with a maroon arrow. The first phrase is eight bars (mm. 3-10), where the first half (mm. 3-6) is imitated in the second eight-bar phrase (mm. 11-14 [4 bars] of mm. 11-18  [8 bars]).

Development (mm. 36-73)

The development, starting at the second ending (m. 36), is marked off by a phrase in parallel motion. The eight-bar phrase has two "mini-phrases." The first (marked by a red arrow, m. 36) seems to lean into a minor, and the second (marked by a maroon arrow, m. 40) leans into b minor. Note the chord progression in each indicates the exact same harmonic relationships.

The next eight bars have a similar structure, the same phrase in two keys (four bars each) in parallel motion and followed by a two-bar link. The first mini-phrase starts in e minor (V—V⁷—i⁶ in e) and the second on C major (VI—V⁷/VI—VI⁶ in e or I—V⁷—I⁶ in C). There are several ways to interpret this, but the parallelism is apparent from the visual similarity and the identical rhythms.

A series of descending arpeggios takes us from e minor to b minor via the Neapolitan sixth (N⁶ = C in b minor). A German augmented sixth (Ger⁺⁶ = "VI^♭7" = G⁷ [G/B/D/F] written as G with an E# [G/B/D/E#] in b minor) precedes the dominant F#, which alternates with ii^⌀4₂ to raise the tension as the notes travel higher and higher. The tension swirls with undulating scales on F#^7♭9 (V^7♭9 = F#/A#/C#/E/G) with three key dissonances: between the root and ♭9 (F#/G), the first tritone (A#/E), and the second tritone (C#/G).

Recapitulation (mm. [73]-103)

The extended F#7♭9 marks the end of the development, transitioning right into the recapitulation, which starts with two instances of the yellow melody back-to-back. Mendelssohn introduces some new material into the recapitulation as well (imperfect sonata form). Three two-bar segments of alternating chords (dominant-tonic function) circling around b minor bridge the first part of the recapitulation to the second. The green melody reappears, ending the recapitulation with a seamless blend to the coda.

Coda, part 1 (mm. 103-132)

The coda begins with another eight-bar phrase, made up of two copies of a four-bar "mini-phrase." The next six bars (in two-bar "mini-phrases") lead to the climax of the piece, admittedly almost at the end of the piece. The dynamic height and tension of the d#^°7 and F#^7♭9 following it, and the relentless hammering of octave F#s underlining it, build straight to the last phrase of the piece.

Coda, part 2 (mm. 131-147)

A smattering of quickly alternating chords, usually dominant-tonic function pairs (implied functions open to interpretation are marked in parentheses), quickly flutters to the last strain of the opening motif. Hanging onto a tenuto third in the melody, the remaining staccato chords decrescendo as the melody fades out, closing out the final "fast" Lied of this cycle.

Hope you enjoyed reading and listening! Check back for more on the other Lieder in future posts, leave your comments below, and share this post!

All score excerpts taken from the Breitkopf & Härtel edition (Leipzig) via IMSLP.org.

Mendelssohn - Lieder ohne Worte, Op.30, No.3 - Adagio non troppo

*This post is part of a series on a cycle of short piano works by Felix Mendelssohn. Feel free to read the other posts, linked below!*

Lieder ohne Worte (Book 2), Op.30

1. Andante espressivo (E♭) (post)

2. Allegro di molto (b♭) (post)

3. Adagio non troppo (E)

4. Agitato e con fuoco (b) (post)

5. Andante grazioso (D) (post)

6. Venetianisches Gondellied ("Venetian Gondola Song"), Allegretto tranquillo (f#) (post)

This delicate intermezzo in E major provides major contrast to the swiftly galloping Lied in b♭ minor which precedes it. Though there are only two main themes, Mendelssohn uses large dynamic ranges and suspensions to motivate the melodies. A large responsibility is placed on the performer to sculpt the piece carefully, as there isn't a large volume of music to work with — and, unlike most of the other Lieder, much of the material in this piece is only heard once. Let's have a look.

The pieces opens with three presumably quiet E major arpeggios, "presumably" because Mendelssohn actually provides no dynamic marking at the opening.

Opening measures (mm. 1-[3])

What does recur is a four-bar melody (or three and two-halves bars, as the melody opens on a half-bar pickup) in two parts. The first part is sometimes replaced or altered (I love the sparkle of c# minor with the third in octaves), while the second fragment always appears as first written. Note the difference in dynamics between the two instances of the second fragment.

Corresponding four-bar melodies (mm. [3]-[11])

The middle of the Lied modulates to B major temporarily, resting on a pedal F# and reaching the height of its dynamic intensity with two sfz ("sforzando," suddenly with force) markings. Note the linear motion in the bass at the start of this segment, growing louder until the climax.

Climactic phrase in B major (mm. [11]-14);

new melody and modulation (mm. 15-[17])

I really like Mendelssohn's use of sequential motion with chords (rather than just one voice) to produce successive suspensions (especially mm. 13-14), something he does frequently in this book of Lieder ohne Worte (see post on No.2).

The closure of the climactic phrase ties leads to a repeated bar of heartwarming melody before modulating back to E major to repeat the corresponding four-bar melodies. Note the musical effect of specifically marking tranquillo (It. "tranquil," "peaceful") for the second instance second melodic fragment (m. 23), compared to just p the first time around in m. 9.

Corresponding four-bar melodies, second time (mm. [17]-[25])

Mendelssohn writes a repeated call in e minor and a repeat of the second fragment of the four-bar melody before wrapping up the Lied just as it started.

Closing measures (mm. 25-27)

Hope you enjoyed this short and sweet Lied, and check in soon to explore the other Lieder! Share this post and leave your comments below.

All score excerpts taken from the Breitkopf & Härtel edition (Leipzig) via IMSLP.org.

Mendelssohn - Lieder ohne Worte, Op.30, No.2 - Allegro di molto

*This post is part of a series on a cycle of short piano works by Felix Mendelssohn. Feel free to read the other posts, linked below!*

Lieder ohne Worte (Book 2), Op.30

1. Andante espressivo (E♭) (post)

2. Allegro di molto (b♭)

3. Adagio non troppo (E) (post)

4. Agitato e con fuoco (b) (post)

5. Andante grazioso (D) (post)

6. Venetianisches Gondellied ("Venetian Gondola Song"), Allegretto tranquillo (f#) (post)

Road map: Like No.1 of this "book," this piece is a condensed ternary form with a coda. The first theme ("A") constitutes the first repeat, and the second theme ("B") starts at the second ending. A modified theme A (modulated phrase ending) bridges the two appearances of theme B. The coda is appended to the end of theme B's second appearance and swiftly concludes this short piece.

Theme A (mm. 1-18)

The opening figure is interesting for a couple of reasons. The first melody that the ear latches on to isn't a conventional melody -- it's really just a rhythmic figure that happens to be melodic. However, at m. 3, a brief interruption from a middle voice of the piano keys the listener into where the real melody appears in m. 5. The bouncing bass line in m. 5 also changes the intensity of the music — keep looking out for the bass motion as you listen (marked in important spots in the score).

The second strain of the melody begins the same way in m. 9, but a modulation to the relative major (D♭) changes the function of the b♭ in m. 10. The staccato triplets morph into swinging triplets, relaxing the tone. A typical progression around the circle of fifths [vi—ii⁹—(I⁶₄)—V—I], plagal cadence [IV—I], and an authentic cadence with suspension [V⁹—I] lead right to the repeat as the staccato triplet rhythm picks back up.

The harmonic analysis from mm. 14-17 oversimplifies the action in the music — the lighter red lines indicate where the chord change could either be perceived as two different chords, or just a chord in suspension that is resolved on the upbeat of the triplet. The analysis assumes the first case, but if we apply the second, those four bars can be interpreted with two suspended notes (in thirds) resolving on the third sixteenth note (𝅘𝅥𝅮𝅘𝅥𝅯┋𝅘𝅥𝅮𝅘𝅥𝅯) in mm. 14-16. Note the doubling in the left hand.

Suspensions and resolutions in mm. 14-17

The B section begins at the second bar of the second ending (m. 20) with a swinging rhythm (𝅘𝅥𝅮𝅘𝅥𝅯┋𝅘𝅥𝅮𝅘𝅥𝅯) indicated by the articulations, even though the notes change on beats 2 and 5 (𝅘𝅥𝅯𝅘𝅥𝅯𝅘𝅥𝅯┋𝅘𝅥𝅯𝅘𝅥𝅯𝅘𝅥𝅯). A temporary tonic (e♭) holds from mm. 19-22, and the motif from those bars repeats in the relative major G♭. The melody switches between the same few chords (V⁶—V—ii^⌀4₂—vii^°7/V—V) several times, hovering around the dominant of F, before we reach the modified theme A. The successive suspensions occur always on the swinging (𝅘𝅥𝅮𝅘𝅥𝅯┋𝅘𝅥𝅮𝅘𝅥𝅯) rhythm noted earlier.

Theme B (mm. 19-36)

The first half of the modified theme A is identical to that of the opening of the piece; while the rhythms and voicings of the second half are nearly the same (slightly sparser voicing without thirds on all the suspensions), the chords are cast in the tonic of b♭ minor rather than the relative major D♭. The left hand also doubles the right in the series of suspensions with the swinging (𝅘𝅥𝅮𝅘𝅥𝅯┋𝅘𝅥𝅮𝅘𝅥𝅯) rhythm.  The original theme A is shown in relief for comparison — the harmony is not linearly translated from one key to another, but the general flow is the same.

Modified theme A (mm. 36-54) and

original theme A (mm. 9-18) in relief

Theme B returns identically, and theme A seems to return identically ... until Mendelssohn foreshadows a modulation to B♭ major using the ♭6 of b♭ minor (G♭ = F#) as the augmented #2 for E♭ major (IV in B♭). The chromatic motion is unlike other material found elsewhere in the piece (the use of accidentals in the analysis was rarely needed before this point).

Coda (mm. 80-108)

This sets the piece off on the coda, which has mostly standard cadences with a couple of unusual ones. Mendelssohn makes use of C7, the secondary dominant of F, but rather than a V⁷/V—V⁷—I cadence, he quickly brings C⁷ (V⁷/V) back to c^m7 (ii) via B♭ (I⁶₄). He ultimately "resolves" with ii⁷—V⁴₂—I⁶ (m. 86-87), but the choice use of inversions delays the feeling of resolution (none of these are perfect cadences with chords in root position).

I personally like the tension of the augmented #5 in m. 88 — the combination of the closed voicing in the tenor register and the dissonance between the #5 and ♭7 is exciting at such a fast pace.

Finally, a resolution in m. 93 brings us a perfect authentic cadence, while the bass line bounds away alternating between V and I and the right hand gallops along with triplets. A series of brightly scored suspensions, with octaves in the upper voice, leads to a scalar cascade extending the dominant. Mendelssohn writes a series of resonant B♭ chords to close the second piece. The Picardy ending (major ending to a minor piece) releases the tension built up in the earlier themes.

Thanks for reading, and check back for new posts on the other Lieder soon! Leave your thoughts in the comments below and share this post!

All score excerpts taken from the Breitkopf & Härtel edition (Leipzig) via IMSLP.org.