Schumann - Drei Romanzen, Op.28, No.2 - Einfach

Today's piece is a solo piano piece which I first learned during my junior year of high school, and relearned three years later as a sophomore in college. Schumann's Drei Romanzen, Op.28, No.2 - Einfach (Ger. 'simply' or 'homely') is a touching example of the romance form.

Here are a few renditions for you to listen to:

(1) Van Cliburn's interpretation is both gentle and emotionally powerful.

(2) Primavera Shima's use of rubato is lovely, and her voicings are crystal clear.

(3) Here's my own cell phone recording from March 2019. Listen at your own risk.

While romances (especially for solo piano) span a diverse range of styles, I feel that this one exemplifies the form (though Schumann took "romances" in general to mean something closer to "ballades" for other composers, which can be reserved or vigorous).

I especially love Van Cliburn's recording not only for its clarity (Shima's recording also is incredibly clear), but particularly for his tasteful phrasing. Though most of the phrases on paper music appear to last four bars, his sense of musical direction, achieved entirely without rushing the tempo, makes phrases seem far broader and more connected. (Of course, generous rubato might feel like rushing at first, but most times Cliburn 'exchanges' time within a single bar.)

Hope you enjoyed the piece! Leave your comments below and see you in the next post!

Medtner - Sonata-Ballade No.8, Op.27

I listen to Medtner's Sonata-Ballade No.8, Op.27 as a celebration of life, with all of its peaks and troughs. Especially given that today I am reminiscing on the good times I had with a good friend and also missing having him around a lot (during these strange times), this piece is especially fitting!

Rather than attempting a musical analysis today, I will once again point out my favorite passages with a click-by-click walkthrough. I really enjoy pianist Geoffrey Tozer's rendition of the piece; his Debussy recordings are fantastic as well.

I. Allegretto

(0:00) Warm opening theme in F# major that immediately draws in the listener.
(5:17) The entire remainder of the first movement (through 9:37) is one extended beautiful moment, with some of the following landmarks:
- (5:17-5:36) The reprise of the opening theme in A major.
- (5:36~6:32) Medtner recasts the original introduction in F# minor to haunting effect.
- (7:26-7:59) Long measure-by-measure sequential transition from F# major to f# minor!
- (7:59-end) Ridiculous extended passage with beautiful anger around 8:13 with the sudden slowdown from adirato (It. 'wrathful'), 8:21 with the stratospheric appassionato (It. 'passionate'), and another dramatic appassionato at 8:48 who energy does not dissipate until the end of the movement.

II. Introduzione e Finale

Introduzione: Mesto

(9:38) Theme of fugue to come and returning melodic motif first played here.
(10:46) Tempo picks up slightly at tenebroso (It. 'dark' or 'somber') with a subdued but driving rhythm. The pace continues to quicken through 11:12.
(11:12) Brilliant arpeggios and daring harmonies last for just a short few moments.
(12:04) The sudden rumbling and flashes of lightning (I'm not referring to any real symbolism here, this is just what I imagine) caught me by surprise. Tozer gives these lines a really compelling dynamic (volume) contour.
(12:14) This insane multiplication of tempo and the sheer volume of sound Tozer conjures out of the piano is fanatical. Contrast this with the delicacy of the opening of the finale!

Finale: Allegro

(12:45) The complete musical idea Medtner strings from 12:45 through 14:12 is completely addictive. Some awesome moments:
- (13:15) Melody stated once on all the offbeats of the inner voice of the right hand, and then immediately played in the inner voice of the left hand with echoes in the right hand continuing in triplets from 13:17 through 13:27. I love how the echo is at once distant and ethereal but also so resonant.
- (13:22) This expansive moment through 13:39 (and especially the 'bass drop' at 13:27) also gets me every time.
- (13:39) The ethereal echo of the left hand tenor-range melody in the right hand part through 14:02 is gorgeous (and the melody itself, which is so warm and comforting in its undulations).
(14:26) Replica of musical idea from 12:45 to 13:39, with shift to F minor at 14:57
- (14:56) Melody on offbeats
- (15:03) Expansive moment ('bass drop' at 15:09)
(15:29) Fugue begins here...
- (16:00) ...and again here...
- (16:25) ...and again here!
(18:32) Restart of original opening figure of the finale
(19:00) Divergence from that opening; novel restatements of the finale theme
(19:23) Canon of the melody from left to right hand (with dense triplet embellishments)!
(19:58) Canon ends here, with beautiful harmonic motion driven by chords in left hand; the chromaticism is so rich (especially at 20:03)!
(20:12) Fantastic scintillating closure to the finale!

Hope you enjoyed the piece with the walkthrough; leave your comments below and share it with your friends!

Bach - Italian Concerto, BWV 971, III. Presto

Just wanted to quickly share the third movement, III. Presto of Bach's Italian Concerto, BWV 971 (also Concerto nach Italienischen Gusto "Concerto in the Italian taste") for harpsichord, played on piano by Evgeni Koroliov. Energetic, upbeat, and unwavering in its drive, Koroliov's performance gives the piece a happy frantic energy that is irresistible. Enjoy!

Schumann - Piano Concerto in A minor, Op.54, III. Allegro vivace

The entire concerto is a fantastic listen -- if you have a half hour to spare! While the third movement in particular, III. Allegro vivace, of Schumann's Piano Concerto, Op.54 in A minor stands out to me today, be sure to listen to the whole thing!

Eventually, a harmonic analysis of the finale is seriously in order ... look out for a deeper exploration later!

Debussy - Mazurka

Though the most well-known mazurkas for piano come from Chopin, I really enjoy this short and sweet Debussyian take on the form. Rather than extensive commentary on the Mazurka, I'll leave you to enjoy the piece -- here are a few moments I particularly like:

(1:04) Lilting reprise of the melody, the following chromatic descent, and the richness of that last melodic statement together make for a beautiful closure of the A section.

(1:32) Sudden modulation to F major from D major darkens and warms the color instantly.

(1:52) Suspended chords (or densely voiced extended chords) and the irregular resolutions, along with subtle chromatic motions to change harmonic color are gorgeously rendered.

(2:31) Debussy hangs on to the E pedal tone for seven bars, finally giving way to the heart-melting D major (or D Lydian) chord...

(2:56) ...before running off to a simple and elegant ending.

Hindemith - Konzertmusik für Streichorchester und Blechbläser, Op.50

One of my favorite concert programs of all time, at the 2017 Grant Park Music Festival in Chicago, featured two fantastic orchestral pieces: Hindemith's Konzertmusik für Streichorchester und Blechbläser, Op.50 ("Concert Music for String Orchestra and Brass", also Konzertmusik for short) and Debussy's La Mer (I'll definitely be talking about this piece later ... how can I not?). Although Hindemith gave most of his works some of the blandest titles of all time (just "concert music"?), I really enjoy this piece. Both movements feature some very powerful musical gestures, make use of harmonies that are extremely difficult to parse, and stretch the musical imagination of the 20^th Century.

The instrumentation of the work, as scientifically indicated by the title, omits woodwinds (this makes me sad as a clarinettist, but what to do?). Hindemith employs a standard string orchestra (violins together, violas, cellos, and basses) and more-than-standard orchestral brass (four horns, four trumpets to the typical two or three, three trombones, and tuba). Again, consistent with the title, no percussion is included (not even a bass drum -- as you'll quickly hear, Hindemith doesn't need it).

Erster Teil (First Movement) - Mäßig schnell, mit Kraft

The first movement, cast in 3/2 time and marked at "moderately fast, with strength/vigor", begins with all the trumpets and trombones blaring octave C#s (two trumpets and trombones each continue to sustain) and all the strings entering likewise. The vigorous energy that starts off this movement does not subside for another five-and-a-half minutes of storminess, at times tonal and at times decidedly atonal.

First page of orchestral score

The strings frequently play several figurations: {1} rapid septuplet rising scalar figures, {2} 1(e+)a 2(e+)a 3(e+)a [nonfunctional harmonic progressions bounding along], and {3} series of eighth notes outlining arpeggios of highly dissonant chords, sometimes appearing to have little functional harmonic motion, like figuration {2}.

Rapid septuplet figures in many minor keys (figuration {1})

Excerpt of first page of Violin part,

consisting almost entirely of the three figurations

The first melodic segment of the first movement is stretched over nearly fifty seconds, carried by the two trumpets and two trombones that sustained the initial entrance.

First melodic segment, Trumpet I

The first melodic segment ends, giving way to the first statement of the "main theme" or motif from the first movement appears in the first two horns and first two trumpets, with harmonic and rhythmic support from the remaining brass.

First statement of main theme, Trumpet I

A short interlude played by brass only continues, introducing several new harmonic ideas and rhythmic figures.

Short brass-only interlude, in full score

The interlude gives way to a second repetition of the main theme by all four horns (Hr.).

Main theme restatement, Horns

The galloping rhythm used until now subsides into a dissonant brass chorale, signaled by an aggressive and menacing horn call:

Horn call signaling brief brass chorale, in full score

Once the chorale passes and the tempo resumes, the second melodic segment appears in the basses and cellos (also have septuplet scalar flourishes scattered throughout the melody)...

Second melodic segment, Bass

Second melodic segment, Violoncello

...while the violins (Vl.) and violas (Br.) continue "call-and-response" style with the three figurations mentioned earlier.

"Call-and-response" figures in Violin and Viola parts

The third and final melodic segment (enclosed in green) follows shortly after in the violins, violas, and cellos, all of which are split into divisi to cover both the melody and the continued "call-and-response" figurations while half the cellos double the basses.

Opening of third melodic segment and continued "call-and-response" figures

Third melodic segment in lower divisi,Violin

Once the melody has been completed across many sections of the ensemble, a total recapitulation of the earlier brass interlude appears, with doublings of ideas across several instrument groups.

Original brass-only interlude and recapitulation, in full score

[click to enlarge; scroll and listen along!]

After the recapitulation, the string figurations continue much like before, slowly reaching a stratospheric register (especially in the Violin part) and brashly interrupted by highly dissonant chords from the brass.

Stratospheric Violin part in atonal material, in full score

Hindemith suddenly forces the listener into a rapid descent of dense (nearly cluster) chords, signaling a definite transition from the original style:

Rapid tempo change: allargando ("verbreitern", "widen")

In the last two broad musical gestures of the first movement, Hindemith recombines the three segments of the melody across the ensemble in 4/4 time at "Sehr breit, aber stets fließend" ("very wide, but always flowing").

Beginning of second major section of the first movement

Here, the common points between the original iterations of the melodic segments and their corresponding points to the broad reprise in 4/4 are highlighted. Both iterations have the same pitches (no transposition between iterations) -- note that the second melodic segment appears in bass clef.

First melodic segment, both iterations, Violin/Violin

Second melodic segment, both iterations, Bass/Violin

Third melodic segment, both iterations, Violin/Violin

The complete first segment repeats, with horns joining the string melody in unison.

Entrance of horns in reprise of first segment

The final gesture, with glowing brass and a powerful statement with strings and horns together, closes the first movement -- ending on a bright C# major chord and, ultimately, an unwavering C#₄ unison.

Final measures of first movement

Zweiter Teil (Second Movement) - Lebhaft - Langsam - In ersten Zeitmaß (Lebhaft)

Rather than yet another analysis (of the second movement) here, I will just point out the subject of the fugue and leave a little exploration to you!

Fugue subject of second movement, Violin

I hope you enjoyed this in-depth post -- please comment and share it if you did!

All score excerpts taken from orchestral score published by B. Schott's Söhne (Mainz, 1931) or instrumental parts available at IMSLP.org.

Brahms - Violin Sonata No.2, Op.100, II. Andante tranquillo - Vivace

Brahms's chamber music is among the most iconic of the Romantic era, following almost entirely sonata form (sometimes opting for the theme-and-variations form that Brahms was so fond of) through most of the three violin sonatas, two cello sonatas, two clarinet sonatas, three string quartets, two string quintets, two string sextets, three piano trios, three piano quartets, a piano quintet, a clarinet trio, and a clarinet quintet!

However, Brahms would occasionally stray from sonata form. One example is the second movement of the Violin Sonata No.2, Op.100, II. Andante tranquillo - Vivace (7:59-14:16), following instead something of a binary form, in which the piece alternates between two different sections. The "A" section is marked as Andante tranquillo, featuring a sensual violin melody in 2/4 over a lyrical piano accompaniment.

Opening of "A" section in F major (mm. 1-4)*

Violinist Anne Sophie-Mutter renders the melody beautifully with her deeply emotional playing. Some listeners complain that her vibrato is too frantic or exaggerated in the first and third movements, but I really like her performance of the second movement regardless. 

The "B" section of the form, marked Vivace, returns two-and-a-half times (the "half" a time refers to the coda of the movement, which unexpectedly switches to Vivace), buoyant and fast-paced in 3/4 time. I personally love the energy; some performances turn it into a lilting waltz, but Sophie-Mutter really puts some gusto into it. Both Sophie-Mutter and pianist Lambert Orkis play the "B" section with a richness and a crispness at the same time, an extremely satisfying combination.

Opening of "B" section in D minor (mm. 16-21)*

The reprise of the "A" section is cast at first in D major, modulating into the home key of F major starting with a surprising B♭^M7 (♭VI⁴₂ in D) chord:
Chord names: A—B♭^M7—A—Gm/B♭—F/C—C⁷—F
Harmonic analysis: [in D:] V—♭VI⁴₂—V—iv⁶ [in F: ii⁶]—I⁶₄—V⁷—I

Reprise of the "A" section (mm. 72-79); modulation from D major to F major*

The reprise of the "B" section begins with pizzicato violin and syncopated piano part exchanging notes of the melody; Sophie-Mutter's aggressive chordal pizzicato is really well-placed here. The harmonic and melodic content of both iterations of the "B" section is the same; rhythmic and timbral ("color") changes account for essentially all of the musical differences. In the final measures of each "B" section (where the piano takes on a descending triplets figuration), the violin and piano swap some chordal tones, but the chords remain identical. See below comparisons for the first two systems of each "B" section iteration from the score:

Harmonic comparison of "B" sections (mm. 16-27; mm. 94-105)*

Harmonic comparison of "B" sections (mm. 28-39; mm. 106-117)*

To finish off the movement, Brahms brings back a short second reprise of the "A" section, once again reentering in D major (to resolve the A major chord which ends the "B" section reprise) and modulating into F major, this time by way of a tertiary dominant (D⁷) followed by a series of resolutions (D⁷—G⁷—C⁷) to F major. Although logical and harmonically satisfying, dominant (7^th or █⁷) chords in series is an unusual move by conservative Romantic standards.

Short second reprise of "A" section (mm. 150-154)*

To close out the movement, Brahms gives the listener almost no time to readjust to the "B" section meter and tempo before flying through the coda!

Coda in "B" section style (mm. 162-168)*

Hope you enjoyed this section-by-section overview of the piece! Leave a comment with your feedback and please share this post!

*All score excerpts taken from the C. F. Peters edition via IMSLP.org.