The Prelude and Fugue No. 11 in F Major, BWV 880 comes from the second book of J.S. Bach’s Well-Tempered Clavier. These sublime etudes traverse all twenty four major and minor keys, and in Bach’s words, were conceived “for the use and profit of musical youth desirous of learning, as well as for the pastime of those already skilled in this study.” They are pieces characterized by a divine sense of order. The …
Robert Schumann’s Arabeske in C Major, Op. 18 for solo piano is dreamy and wistful. Its title evokes the intricate floral patterns of Arab architecture. In this ephemeral music, well-structured classical form is replaced by fluid fragments which combine to form a shimmering whole (Erika Reiman). The opening bars give us the sense that we are joining music already in progress. The atmosphere is simultaneously tender and majestic. Phrases develop with obsessive …
Composed between 1830 and 1833, Frédéric Chopin’s three Op. 15 Nocturnes for solo piano are haunting, dreamy, and intimate songs of the night. They unfold as bel canto arias without words, in which the piano becomes a singing voice. Chopin’s 21 Nocturnes popularized and expanded a form which was developed a generation earlier by the Irish pianist and composer, John Field (1782-1837). They feature daring harmonic innovations which influenced later composers. In …
In the Mists is a cycle of four solo piano pieces, written in 1912 by the Czech composer, Leoš Janáček (1854-1928). The pieces are intimate, fleeting, and tinged with melancholy. Vivid impressionistic colors blend with elements of Moravian folk music. They reveal psychological “mists,” perhaps of a composer who suffered the tragic death of his daughter. Harmonically, they inhabit distant, “misty” keys with five and six flats. Fluidly changing meters suggest music which …
Claude Debussy composed La plus que lente in 1910, shortly after the publication of his Préludes, Book I. The brief waltz for solo piano ventures into the sultry, atmospheric world of Parisian café music. Lazy and hauntingly melancholy, it is a dreamy evocation of the sounds of a Gypsy café ensemble. Additionally, at moments, the music anticipates the bluesy strains of jazz. The same year, Debussy visited Budapest and, in a letter, commented on …
In an 1806 treatise, Christian Schubart described D-sharp minor as a key which expresses “feelings of the anxiety of the soul’s deepest distress, of brooding despair, of blackest depression, of the most gloomy condition of the soul.” Schubart concluded with the chilling statement, “If ghosts could speak, their speech would approximate this key.” In the early twentieth century, expressive variations between keys became blurred following the adoption of equal temperament in tuning. …
The Greek name for the interval of the perfect fourth was diatessaron. Translating as “across four,” it is a word which brings to mind Pythagorean harmonic ratios. Wide open sonorities that suggest neither major nor minor, perfect fourths and fifths became prevalent in the early medieval polyphony of composers such as Léonin and Pérotin. In the piano pieces below, we hear twentieth century composers exploiting the perfect fourth for purely expressive reasons. Here are three …