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as piano glissandos in the right hand the bass plays a dotted rhythm while trumpets and low strings are added the drama increases as the piano plays glissandos in both hands as the woodwinds and strings lend accompaniment this leads to variation iii molto vivace the soloist goes back to the deep bass for an agitated section that eventually climbs into the high treble a full stop comes upon a d minor chord that leads to variation iv lento for piano solo this gentle canon gives some rest after the preceding drama after it has played out a cadenza in b major the only section of any length in a major key in the piece gives repose the music then goes back to the minor with a solo clarinet playing a simple variant of the melody with a light piano accompaniment another section of transformation begins abruptly with the piano increasing the tempo to presto with octaves in each hand leading to variation v vivace the first part of the theme is rendered contrapuntally by solo piano in a fugue with repeated notes the orchestra joins the soloist and the music goes somewhat a field to different keys there is a section of the piano part that has the directive strepitoso meaning clamorous impetuous the section ends in a long cadenza for the soloist and leads to variation vi semper allegro ma non troppo this is a mini set of variations itself 1 the horns play a figure in triplets while the orchestra minus the other brass accompany 2 the piano enters and plays a variant with pizzicato low strings flute and triangle 3 oboes piano strings and the triangle play a variant 4 the piano imitates hands as the woodwinds and strings fill out the harmonies 5 the figure is played in the bass of the piano with chords in the right hand woodwinds fill in harmonies while the strings play col legno 6 the piano plays a variant that is marked piacevole that is punctuated by chromatic runs played by both hands a third apart that venture high into the treble 7 the piano accompanies with chords and octave runs while the orchestra plays another variant this mini set of variants ends when there is another cadenza that has the dies irate played low in the bass while a tremendous minor scale is played that covers the rest of the keyboard the glissandos appear again as the music leads up to a raucous closing there is no written part for the piano in the score but it is not out of place for a soloist to play along with the orchestra there is a tradition for the soloist to play in contrary motion to the orchestra with the final chromatic run and final chords the modern way in which liszt treated the piano in the middle of the 19 th century was ahead of its time his percussive treatment of the instrument was a big influence on a 20 th century fellow hungarian composer bela bartok posted by alan beggerow at 2 03 am 0 comments email this blogthis share to x share to facebook share to pinterest labels liszt tuesday march 17 2026 chopin ballade no 1 in g minor opus 23 the history of the term ballad begins with a type of french medieval narrative song which was generally danced to ballet derives from the same base word in french so both words have the action of dance in common while the etymology of the word may be french the ballad was a narrative song or poem that has been historically found across europe and england and was associated with minstrels for centuries this cursory description of an historical ballad has a direct bearing on the term as used in the instrumental form the historical ballad tells a story in verse with or without music while the romantic era ballad is an instrumental work more specifically in the case of chopin s use of the term it is a musical composition for solo piano that tells a story in purely musical terms when the first ballade was published in 1836 it was considered somewhat of a novelty at the time for no composer had used the term for a work for solo piano before chopin chopin wrote four ballades the spelling he used derives from french during his lifetime from 1831 to 1842 during his second trip to vienna in 1831 he began to write the first ballade he completed it in 1835 after he had moved to paris each of the 4 ballades are singular works there are a few purely technical similarities between them but musically and emotionally they are separate pieces they contain some of the most difficult technical and interpretive challenges of any pieces for solo piano in the repertoire lento the ballade begins with seven bars of slow arpeggios in common time that serves as a recitative introduction to the work moderato the short introduction blends into the first of two primary themes a gently pensive theme in 6 4 time and the home key of g minor after this theme is repeated and slightly expanded a motive is heard and passage work leads to the second major theme with the indication meno mosso this theme is in e flat major this theme gets a proper hearing and elaboration and leads up to the next section what has gone on before may be considered as the exposition of a piece in chopin s personal use of sonata form as the first theme reappears it gradually leads to the reappearance of the second theme in a more powerful rendering in a different key another motive is heard and leads to what can be considered as a recapitulation although the themes appear in reverse order than they did in the exposition a stunning coda begins complete with powerful runs in both hands alternating with solemnly quiet chords until a thunder of octaves brings the piece to a close in the end no amount of analysis slight or detailed will convey the strength of chopin s artistry in this ballade or is there anything of much value to trying to tie the ballade with any kind of literary work chopin made no reference to any outside inspiration it is as chopin intended a story told in purely musical terms to be understood by emotions and feelings brought on by the music in that aspect chopin is one of the most romantic of all romantic era composers posted by alan beggerow at 3 34 pm 4 comments email this blogthis share to x share to facebook share to pinterest labels chopin thursday february 12 2026 mozart fantasia in d minor for piano for any piece of music there is only so much that can be notated on the page it is of course the same way with language in a stage play stage direction can take it only so far and to merely recite the words without the proper inflection or emotion would make for a pretty boring evening at the theater or concert hall of course that s where the skill art and experience of the interpreter or performer of a piece comes into play within the directions given by the author or composer there exists an interpretive leeway that can make or break a performance there has been a slow and steady trend in music by composers to be very specific as to their intentions whether this is an all together good thing or not depends on the music in question and of course the listener s taste but the music of history could be very sparse as to performing directions even the most basic tempo directions can be very sparse in the music of bach and here is one of the mysteries of mozart s fantasia in d minor it has very little performing directions outside of tempo indications and the last ten bars are missing mozart evidently never got around to writing out the ending of the work or to notate more detailed dynamics or phrasing scholars believe that someone else besides mozart wrote the last few bars of the work the piece has three unbarred cadenzas numerous fermatas and changes tempo often the name fantasia does mean a certain amount of freedom in performance and with the lack of direction in the piece it assures a variety of performances will happen and they have but to the player that is also a scholar there are indications as to a proper performance by the time period it was written in the composer who wrote it and the traditions of the time the circumstances that have made freedom of expression so prevalent for this piece have also added to the degree of difficulty of it if the performer doesn t have the ability to blend the sections into a whole the seams can be heard and it becomes a string of loosely connected musical ideas that no matter how attractive some of them may be by themselves the overall piece will suffer from sectionalization the notes themselves are not difficult bringing them together and making music with them is but that can be said for many of mozart s works but this particular piece is somewhat of an enigma and remains an interpretive challenge for any pianist who chooses to tackle it for a more in depth analysis of the piece i recommend the essay w a mozart fantasia in d minor for piano paradoxes of style and interpretation or fantasies about the fantasia by sophia gorlin the essay can be found at her website mozart posted by alan beggerow at 4 00 pm 3 comments email this blogthis share to x share to facebook share to pinterest labels mozart saturday january 3 2026 dvořák string quintet no 3 in e flat major opus 97 dvořák s string quintet in e flat major was a product of his stay in the united states as the director of the national conservatory of music in new york city from 1892 to 1895 during the summer of 1893 he stayed in spillville iowa where there was a community of czech immigrants dvořák was a man with deep roots in his homeland and the few months he spent in spillville helped to aleve some of his homesickness he wrote a letter to a czech friend and described spillvile spillville is a purely czech settlement founded by a certain bavarian german spielmann who christened the place spillville he died four years ago and in the morning when i went to church my way took me past his grave and strange thoughts always fill my mind at the sight of it as of the graves of many other czech countrymen who sleep their last sleep here these people came to this place about 40 years ago mostly from the neighbourhood of pisek tabor and budejovice all the poorest of the poor and after great hardships and struggle they are very well off here i liked to go among the people and they too were all fond of me and especially the grandmas and gran dads were pleased when i played to them in church god before thy majesty and a thousand times we greet thee it is very strange here few people and a great deal of empty space a farmer s nearest neighbour is often 4 miles off especially in the farms i call them the sahara there are only endless acres of field and meadow and that is all you see you don t meet a soul here they only ride on horseback and you are glad to see in the woods and meadows the huge herds of cattle which summer and winter are out at pasture in the broad fields men go to the woods and meadows where the cows graze to milk them and so it is very wild here and sometimes very sad sad to despair he wrote the string quartet no 12 in f major american as well as his 3rd string quintet and other chamber music during his stay in spillville the quintet was first performed in new york city in january of 1894 and is in 4 movements i allegro non tanto dvořák s quintet is a viola quintet that is to say it has an extra viola added to a standard string quartet the viola was dvořák s instrument and the first movement opens with a short theme for solo viola this theme is picked up by the cello and played in the minor mode this is all by way of introduction to the actual beginning of the movement with the playing of the first theme by the violin while dvořák was in spillville he saw a troupe of native american indians that were passing through he heard their songs and dances and was inspired to use some of the rhythms as in the second drum theme of this movement the exposition is repeated the drum rhythm is used in the development section along with the other themes the recapitulation leads to a coda that has a reference to the material heard in the introduction before the movement ends quietly ii allegro vivo a solo viola begins the second movement which is in b major more rhythms reminiscent of drum beats punctuate this scherzo as the themes are played the trio section is in b minor and is a long rather sad melody played by the viola iii larghetto the third movement is a set of variations on two themes the first in a flat minor and the second in a flat major this double variation movement has 5 variations for each theme with the themes ending the movement in their original form iv finale allegro giusto the last movement is a rondo filled with attractive melodies and more examples of how american music influenced dvořák and no doubt reminded him of his own beloved native music with the common factor in each being the pentatonic scale posted by alan beggerow at 12 39 pm 0 comments email this blogthis share to x share to facebook share to pinterest labels dvorak older posts home subscribe to posts atom melody stocking and bibs a selection of one of a kind christmas stockings and baby 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