I play the organ and many organists and enthusiasts will know the March Triumphale on Nun danket alle Gott. Fewer will know some of the other chorale-based pieces. The Sarabande on Freu dich sehr is one I regularly play whilst waiting for the action at weddings and funerals and it works well on our small parish church organ. I also like Schmucke dich. Maybe some of the progressions are a little tortuous but it does have some gorgeous moments. It needs some lingering and some moving on (ie. rubato) and it needs a more romantic organ to grade the crescendi and diminuendi.
There are few versions on youtube. Here’s one
The last one I’ll mention here is O Gott, du frommer Gott. A more funereal one and for some it will be music that gives organs and organists a bad name, but in the right setting with the right instrument is has something to say. Now I hear someone else playing it Howells D-flat Rhapsody comes to mind.
It’s taken me a long time to come to my main point. Radio 3 played Karg Elert’s Arabeske for piano the other morning and I thought ‘what a piece’ – typical romantic piano figuration and harmonies. A lollipop or encore piece. Here’s the score. There are very few recordings of it. Karg Elert Arabeske played by Piers Lane.
I happened to see Piers in Leicester last week playing Chopin Sonata no 2 and Stravinsky Petrushka. The first time I’d heard and seen the latter live. it was truly spectacular – how the fingers (and arms, of course) move so fast, so many notes to remember and so often the 2 hands would be managing 3 elements of the texture. However what I will remember most is the sheer beauty of Chopin’s D flat nocturne. Complete control of the tone and so many shades of quiet playing.
My other rarities are 2 piece by Adolph von Henselt – Voglein and Gondola. I was skimming through some old magazines before chucking them out and there was an artcle and von Henselt. Voglein appears to have been more regularly played by pianists of the past (including Rachmaninov and Eileen Joyce).
Yet again I’m thrilled to discover new pieces.
I have recently been learning a few pieces from Op. 116 – numbers 4-7. Very satisfying.
No 4 – beautiful
No 5 – very strange. Interesting how there seem to be 2 choices of tempo – a faster and a slower choice. i prefer the latter.
No 6 – In googling this one I came across the concept of rhythmic dissonance. I think this is what happens when the harmonic and melodic stresses disagree or interfere with one and another. Something I had sensed but could not put into words. Brahms clearly loved ambiguity and he will quite happily harmonise a few melodic notes in two different ways such that the stresses are not on the same beat.
No 7 – I’ve previously looked at page 1 and thought how exciting, turned to page 2 and totally failed to make sense of it. I’ve heard it on disc played by professionals and live by an amateur and it still didn’t make sense. However now I’ve learned the notes I find it compelling and who could not enjoy the powerful ending !
Though numbers 5 and 7 are not performance ready my teacher said why didn’t I learn something really big – such as the f minor sonata.
I have known the opening and the slow movement since I first became a big Brahms fan in my teenage years. It is the most recorded of the three, but last time I heard it I was not as ‘wowed’ as I thought I would be. But I was totally blown away by the first which I heard on Radio 3 from the Wigmore Hall (Boris Giltburg).
It could well be beyond me, but I’ve made a start. I don’t have particularly large hands so it may not be best suited to me. It is a fascinating work – all textbooks point out to nod to the Hammerklavier in the opening. The 1st time bar of the 1st movement is so exciting, as is the last page of that movement – Brahms was kind enough to provide an ossia which I shall use. The last movement has leaps which seem ridiculous but even in his op 1 Brahms is playing rhythmic tricks on us and shifting the stresses away from the first beat of a straightforward 9 8 in a hemiola-like fashion.
A pupil was working with me on Clementi Sonatina in D op 36 No 6, 1st movement.
I wanted her to play longer phrases and I noticed that she was more or less following the phrase marks in her edition. I then looked at my different edition and found the phrases even more chopped up into smaller units.
How then to get across my feeling that her playing was too broken up when she probably felt she was following the text?
Her edition also had a sforzando at the high point of a lyrical phrase – again a need to explain or demonstrate that sfz’s in forte and piano passages differ. I suppose it was put there to help an inexperienced player give the phrase some shape.
Finally fingering – one edition had a slightly cramped change of position to maintain use of the stronger pair of fingers 2 and 4, the other avoid this but used the weaker pair of 3 and 5. You pays your money and makes your choice.
Sophisticated as it is notation cannot convey everything we may want to do with the shaping, timing and articulation.
Next, I want this player to shape her semiquaver runs and quieten the LH for the second subject and improve to her phrase endings.
I will play her Diane Hidy’s version on youtube
The music of Brahms grabbed me in my late teens. I found a depth of emotion, from the heart, untainted by flashy keyboard antics. Maybe there’s a different kind of showing off in the way the pieces are constructed, the way motives are used, the way he can’t deny himself a cross-rhythm or two. He was a great craftsman and his music still holds great appeal for me, even though I also love practically all the piano repertoire.
I am revisiting this Capriccio which has defeated me at least twice in the past. I believe I now have the tools and guidance to do the job.
I write now merely to share a few observations – not to present a complete analysis. With greater experience I now find I spot points of interest that I missed years ago or I find them more quickly.
A few weeks ago I was struck by the similarity of a chord progression with one in Chopin’s 3rd Ballade. It’s not original. It just goes through the cycle of fifths. Technically having recently worked on the Chopin, the Brahms felt similar.
Brahms: see bar 3
This Capriccio opens in a stormy manner. There are 3 constituents – the top line steps upwards in crotchets as if in 3 4 fighting against the 2-beats per bar 6 8 bass stabs with a chromatic inner line worming its way around.
The mood relaxes in the middle, the feeling is much more lyrical. Is the material new? No, it’s those opening 3 crotchets turned upside so that they descend.
The last page features a long diminuendo and rall as one is spent from all the turbulence. There is a moment of silence and then a rush to a tragic, angry or violent end. I notice the final C major Capriccio of the set also ends with a winding down, silence, some slower bars and another rush to the finish – this time exultant.
I am also reminded of the G minor Rhapsody with its feeling of winding down as sextuplets become triplet crotchets then crotchets before closing with 2 brusque chords.
If you don’t know it. Here’s a performance on youtube.
Please excuse any infelicities of formatting and the lack of links for some pieces.
The ** column is my rating – which is not guaranteed to be the same the next time I look at this.
I am familiar with the Oboe in the symphony orchestra especially in the pre-clarinet times of the baroque and early classical orchestras. So when I was asked to play with an oboeist it was no surprise to be playing Albinoni and Cimarosa. Two unexpected pleasures were pieces by Hamilton Harty and Gabriel Grovlez (who coincidentally were almost exact contemporaries).
I knew Harty (1879-1941) as a conductor and arranger/re-orchestrator of Handel’s Water music. His Chansonette is one of a set of pieces dating from 1911.
I first came across Gabriel Grovlez (1879-1944) when one of his collection L’almanach aux images featured in the ABRSM syllabus. Since I’ve been teaching the Sarabande and the Petit Litanies have made an appearance. I haven’t taught either though I have played the latter and la berceuse d’une poupee about which I wrote here.
Here is the Sarabande with its trademark 2nd beat stresses very apparent.
The oboeist played very nicely and I was pleased with how the concert went. What’s not to like.
Controlling and being in charge of the texture is one of the things that makes piano playing so satisfying. We are one-person orchestras (if I may exaggerate a bit)
In my teaching, balance between the hands gets addressed when we have a piece with a tune in the Left Hand. Trinity Grade 2 had a fabulous exercise a few years ago called Manatee Parade.
At a higher level, we talk about it for the Satie Gymnopedie No 1, where we want a rich bass, quieter middle chords and the right level for the melody above.
Here’s a harder example from Prokofiev’s Romeo and Juliet.
And finally an example when it’s all within the one hand, Scriabin Nocturne for the left hand- the sighing melody, the harmony underneath and the chromatic ascent above which I wanted to call a descant – but that might conjure up sounds of a hymn where the descant may be the loudest part which is not what we want here.
I find balancing such textures and paying attention to voice leading the hardest thing in piano playing (I’m excluding virtuosic semiquavers and large leaps as I don’t play at that level). Yet it is immensely satisfying.