My LRSM Programme Notes
J.S.Bach (1685 – 1750)
Prelude and Fugue in C sharp major,
No. 3 from ‘The Well Tempered Clavier’, Book 1
Johann Sebastian Bach and his music form one of the most important chapters in
musical history. Generations of composers have looked back to Bach’s music in a
search for that ideal that made his music “so right”. His 48 preludes and
fugues are stunning explorations into the individual character and colour of
each chromatic key. They have influenced and shaped the styles of practically
every great composer, from Beethoven to Chopin. The latter paid homage to Bach
with his own 24 preludes.
The first book of ‘The Well Tempered Clavier’ was completed around 1722, while
Bach was musical director to Prince Leopold of Anhalt Cothen. Like his
inventions the work was partly written for the instruction of his children
(four of whom became eminent composers themselves). However, its principal
intention was to exhibit the merits of the, then novel, tuning practice of
equal temperament. Although early performances would almost certainly have been
on the clavichord or harpsichord, the term “Clavier” did not refer to any
explicit keyboard instrument. It is interesting how well the modern pianoforte
(a “Clavier” Bach never heard himself) corresponds to the idiom of ‘The Well
Tempered Clavier’.
The toccata like prelude is built upon a series of explorations through C sharp
major. The opening phrase is a harmonic progression through the tonic key –
rising and falling as if to feel it entirely. This is sequentially repeated in
the dominant, the supertonic minor and the relative minor. If this opening
section explores the harmonic qualities and relations of C sharp major, the
next section scrutinizes the melodic and textural possibilities of a chromatic
keyboard. The hands engage in a contrapuntal ‘question and answer’ session
while traversing the keys. In the final section, Bach revels in rhythmic
complexity, balancing upon the black keys.
The fugue is in three voices, entering in descending order with the nimbly
rhythmic subject. It is uniquely non-technical – it has no stretti, nor does it
contain common fugal devices such as augmentation, diminution, inversion and
pedal point. Bach relies solely on shape, form and some very original keyboard
writing to create what is an amazingly lively, even dramatic piece. As in the
prelude, Bach uses sequences to create movement and tension, especially in the
episodes between the utterances of the subject. He also uses voices in
Bradenburgian instrumental roles: a flute in the soprano, above a tenor cello,
for example. Interestingly, the form of the fugue bares a surprising similarity
to sonata form. The final section is almost a recapitulation of the exposition,
while the unusually long episode that precedes it is uncannily developmental.
Beethoven (1770-1827)
Sonata in F minor (‘Appassionata’), Op. 57
Allegro assai
Andante con moto
Allegro ma non troppo
Ludwig van Beethoven’s 32 piano sonatas epitomize a personal voyage, both
musical and spiritual. They revolutionized pianoforte repertoire by
demonstrating its orchestral power. They also reveal the boundless flexibility
with which Beethoven expanded the sonata as a musical structure. Being highly
representative of Beethoven’s own turbulent character and existence, and
spanning a period of 26 years, they symbolize, what is for many people, the
autobiography of the greatest composer ever.
Op. 57, set in the dark key of F minor, grew out of the most tempestual episode
of Beethoven’s life. It depicts the violent inner struggle with which Beethoven
confronted his crippling deafness and recall the many moments of utter despair
that frustrated his epic search for inner peace. The sonata was published in
1807 (sketches date back as late as 1803) and was dedicated to Beethoven’s
friend and patron, Count Franz von Brunswick. The title ‘Appassionata’ was the
invention of the publisher Kranz, who later published a transcription of the
original masterpiece for four-hands.
The first movement Allegro assai opens with a short characteristic theme based
on the tonic triad. The doubling of the melody two octaves apart reveals
Beethoven’s almost prophetic insight into the sonorities of the piano. This
also creates a sinister intensity that is only heightened by the innocuous
trill and the silence that follows. The ‘quick- quick- quick - slow’ motive
that follows is strikingly similar to the immortal ‘fate’ motive of Beethoven’s
Fifth Symphony (first performed an year after Op. 57 was published). The
lyrical theme of the second subject beautifully extracts the piano’s almost
orchestral sonorities and idiomatically anticipates Beethoven’s later melodic
writing. Interestingly, this is based on an inversion of the sinister opening
theme –forecasting the idée fixe of Berlioz and the leitmotiv of Wagner.
Revolutionary as it may seem, Beethoven did use a similar device in his very
first sonata (Op. 2 No. 1), coincidentally in the same F minor. The
recapitulation begins with repeated quavers on the dominant below the opening
theme, not unlike the opening of Schubert’s song Erlking. Like Goethe’s poem of
the supernatural, upon which the song is based, the effect is indeed menacing.
The over 50 bar long coda, is almost a second development. A dramatic rally of
kaleidoscopic arpeggios lead to the Piu allegro section, that for the first
time quotes the lyrical second subject theme in an agitated minor. Pressing
syncopated chords follow in conclusion, before dying away suddenly. The first
movement is the perfect example for the manner in which Beethoven fused drama
into a classical form, while flawlessly preserving its almost Mozartian
contour.
Sheltered between the two stormy Allegros is the Andante with its variations.
It is highly spiritual and organic, rising from simple origins to plane
heavenly proportions. The theme, a simple harmonic progression, set in a
solemn, low register, conveys both harmonic and melodic overtones. It resembles
soft wind instruments softly singing out a peacefully nocturnal air. The three
variations induce a process of rhythmic division. The first variation
contemplates in a simple walk like meditation, with the left hand following the
right hand half a beat later. In the second, the left hand sings a cello like
melody below peaceful semi-quaver broken chords in the right. The third
variation cascades in demi-semi-quavers and builds to a divine high before
leading to an echoing recollection of the theme, scattered between two
registers. After almost dying away, the final Allegro ma non troppo is embarked
upon, furiously.
Beginning with a succession of diminished sevenths and characterized by violent
agitation throughout, the Allegro ma non troppo is arguably the most
impassioned movement in the ‘Appassionata’. It is almost completely based on a
single theme of a gyrating, cyclonic nature, and consequently pursues a single
mood from start to finish. It is heard in various transforms: between melodic
echoes, as a principal melody and in canonic counterpoint. The rising and
falling nature of the storm manifests in scalic passages, sequential fragments
and revolving octaves. The superhuman determination that was so distinctive of
Beethoven’s character manifests throughout, but particularly in the frenzied
coda with its stubborn repetition and repetitive perfect cadences.
Chopin (1810-1849)
Etude in E major, Op.10 No. 3
Etude in G flat major (‘Black Keys’), Op.10 No. 5
To Frederic Chopin, the pianoforte was more than a musical instrument. A
vehicle for expressing his most inner feelings and thoughts, it was as much an
ear as it was a voice. Born into an age when the virtuoso was king and the
piano his sword, Chopin succeeded in unifying virtuosity with individuality and
poetism to an extent few have since emulated. Being principally technical works
and yet perfect examples of the pianistic miniature that Chopin perfected so
well, his 27 etudes are perhaps some of the best examples of this unity. Each
emphasizes some particular aspect of pianoforte technique and are as innovative
as they are instructive.
The 12 etudes of Op.10 were completed in 1833. Unlike many volumes of ‘finger
exercises’ that were abundantly available in Chopin’s day, they belonged more
to the concert hall than to the classroom. A more flamboyant composer such as
Liszt would have certainly titled Op.10 as Etudes de concert (Concert Studies).
Interestingly, the set was indeed dedicated to Franz Liszt, who described them
as ‘Marvellous’. Chopin returned the compliment by wishing that he could
execute them as Liszt did.
Finished in mid 1833, the Etude in E major was among the last etudes of Op.10
to be completed. Its opening section is a study of cantabile, legato and shape.
Arch like and irregular in phrase structure, the bar by bar building of melody
is narrative and adds to its story like lyricism. The opening theme was one of
Chopin’s personal favourites. He once confessed, “Never have I written a more
beautiful melody.”. On another occasion, when his pupil Gutman was studying it,
the master is said to have clasped his hands and cried passionately, “O, my
fatherland!”. The more animated middle section is a study of sixths and
trichords. It relies on texture and shape, rather than harmony for character.
It is also surprisingly futuristic, even to the extent of foreseeing the
dissonant colours of Wagner. It is also a reflection on Bach, with its
long-range resolutions and dissonant counterpoint.
The Etude in G flat major, appropriately nicknamed the ‘Black Keys’ or the
‘Black Note Etude’, emphasizes balancing the right hand on the black keys.
Completed around 1830, it was one of the first in the set to be completed. Like
many of Chopin’s bravura works, it possesses a novel flow, punctuated by the
novel fingering technique that the composer pioneered, or at least revived. It
personifies brilliance in every possible way – from its bouncing opening, right
through to the pentatonic descent at the end. It is full of cross rhythms and
dialogues evocative of the Italian opera that Chopin delighted in. The hands
have individual and contrasting characters that help create the momentum and
colour, characterized in the vivace marking. Like No.3, many aspects of No.5,
especially its moto perpetua (perpetual movement) and harmonic style, seem to
have been influenced by Bach’s keyboard writing. Unlike No. 3, No. 5 was not
one of Chopin’s personal favourites. He thought it ‘The least interesting of
the set..’. It is, however, one of his most popular works. Essentially as it is
elegant, witty and as Von Bulow aptly described it, ‘A Salón Piece’.
Ginastera (1916-1983)
Danza del gaucho matrero from Danzas Argentinas
Inspired by nationalistic trends and his native Argentine folklore, Alberto
Ginastera is arguably one of the true great nationalistic composers. The Danzas
Argentinas composed in 1937, when the composer was 21, effectively communicates
this. The three dances, Danza del viejo boyero, Danza de la moza donosa and
Danza del gaucho matrero, set in the Argentine Pampas, depict the spirit of
three pastoral characters: an oxen herder, a melancholy country maiden and a
renegade cowboy, respectively.
Danza del gaucho matrero, like many of Ginastera’s toccata like dances, is
based on the Malambo, a rapid, energetic gaucho dance in compound-duple time.
Its highly programmatic nature is characterized by some very colourful
pianistic effects. For example, in the opening, Ginastera uses chromaticism and
parallel effects to create a vivid picture of pounding hooves punctuated with
metallic pulses. Soon after, he uses irregular chord clusters to mimic wild
gunshots. He then depicts frenzied leaps with glissandos. Many aspects of
gaucho dance manifest in the shape of percussive foot tapping and guitar
effects. Ginastera’s parallel major triad melodies also bear a striking
resemblance to panpipe tunes that lay at the core of Amerindian music.
(Coincidentally, gauchos were of mixed ancestry – European and native
Amerindian)
Like many 20th Century composers, Ginastera was strongly influenced by many of
the modern ‘isms’ that characterized the music of the period. The serialistic
sequences in, especially the dramatically climaxing sections, paint a vibrant
picture of the violent surroundings of the gaucho matrero. Bitonality,
expressionism and time signature changes, themselves once considered
sacrilegious, enhance the rebellious nature of the dance. The extreme and
sudden dynamics, not least the savage fortissississimo that concludes the
dance, firmly imprint in the listener’s mind the truly renegade spirit, that
Ginastera wishes to portray.
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