Romantic Period

Galina Vishnevskaya Sings Tchaikovsky: “Iolanta’s Aria” and “Lullaby”

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Composed in 1891, Iolanta, Op. 69 was Tchaikovsky’s eleventh and last completed opera. On the evening of December 18, 1892, it shared a double premiere with the ballet, The Nutcracker, at Saint Petersburg’s Mariinsky Theatre. Mahler conducted the Vienna premiere in 1900. Then, the work fell into relative obscurity. Set in one act, Iolanta is based on a story by the Danish writer, Henrik Hertz (1798–1870). Iolanta is a fifteenth century French …

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Chopin’s Mazurka in A Minor Op. 17, No 4: Evgeny Kissin

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Frédéric Chopin’s Mazurka in A minor, Op. 17, No. 4 inhabits the ephemeral world of dreams. Emerging out of silence, the opening bars are hazy and harmonically ambiguous. They contain a rising three-note cell which searches for the “right” note and soon spins into a melody. It is music which seems to be composing itself in realtime. Traditionally, the mazurka is a lively Polish folk dance in triple meter, with strong accents …

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Wagner’s “Götterdämmerung”: Siegfried’s Rhine Journey

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Completed in 1874, Götterdämmerung (“Twilight of the Gods”) is the fourth and final opera in Richard Wagner’s epic Ring cycle. Wagner composed the Ring cycle, which is based on Norse mythology, over the course of 25 years. Its themes include the conflict between love and the pursuit of power, the violation of nature, self-sacrifice, annihilation, and rebirth. Dramatic orchestral sequences occur throughout Götterdämmerung. In these moments, we move beyond the literal meaning of the …

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Fauré’s Élégie: Jacqueline du Pré

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In 1880, immediately following the completion of his First Piano Quartet, Gabriel Fauré began work on a sonata for cello and piano. Often, when composing a new chamber work, Fauré began with the slow movement. Ultimately, the sonata failed to materialize, but the intended slow movement was published as a stand-alone piece—the solemn and lamenting Élégie, Op. 24. As with the First Piano Quartet, the Élégie is set in C minor. Its …

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Weber’s “Euryanthe”: Two Excerpts from a “Grand Heroic-Romantic Opera”

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Listen to the music of Carl Maria von Weber (1786-1826), and you will hear the seeds of Wagner. A contemporary of Beethoven and Schubert, Weber was one of the great innovators at the dawn of the Romantic period.  In contrast to the prevailing Italian bel canto operas of Donizetti and Rossini, he developed a style of opera which was distinctly German. As music director in the opera houses of Prague and Dresden, Weber was …

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Brahms’ Piano Trio No. 2 in C Major: A Conversation Between Opposites

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Following the completion of his Piano Trio No. 2 in C Major, the often self-critical Johannes Brahms wrote to his publisher, “You have not yet had such a beautiful trio from me and very likely have not published its equal in the last ten years.” By the time Brahms started work on the Trio in 1880, he had become a well-established, mature composer. For two years, he set the score aside to …

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Liszt’s Csárdás Macabre: Alfred Brendel

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Among Franz Liszt’s final works for solo piano is the Csárdás macabre, composed in 1881. The piece is a ghoulish joyride, filled with convention-defying parallel fifths and intimations of the Dies irae. Its innovative harmonies anticipate the twentieth century music of Béla Bartók and others. Above the title on the manuscript, Liszt inscribed the words, “May one write or listen to such a thing?” The csárdás is a Hungarian folk dance in 2/4 or 4/4 …

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