Dvořák - Cello Concerto

 In 19th century musical life, the region of Germany and Austria reigned supreme.  For those ambitious enough to want international recognition as a composer, the best way was to be acknowledged in Germany. All of the master composers of the 19th century had connections with Germany, if not by birth by other connections such as studying there, living there, or knowing the right people there.

Fortunately for many composers, there were famous men of the time that helped otherwise unknown composers get their foot in the door. Perhaps the most magnanimous was Liszt, who met, encouraged and promoted many younger composers of his time. Liszt used his fame (and in many cases his fortune) to help many composers, the most famous being Wagner.  One name that is not thought of as a promoter of another composer's works is Johannes Brahms.

The most prevalent impression of Brahms is an acerbic bachelor that had little use for any of his contemporaries, especially the leaders and followers of the 'New Music' movement led by Liszt and Wagner. Even when Brahms had something good to say about someone else, as a contemporary once said of him, "His compliments sting like salt in the eyes." Brahms once visited an acquaintance that was a minor composer. Brahms got there and saw the man playing outside with his children. His wife apologized, saying that her husband composed so much that he had little time to stop. Brahms replied, "Thank God, it should happen more often."

Brahms could be a cantankerous personality, and there's been much speculation about his childhood and early adulthood and how it formed his personality. But the truth is that Brahms actually did acknowledge the genius of Wagner and thought that his opera 'The Mastersingers Of Nuremburg' as a high point in German art. That he disliked what he thought was the undue influence of these composers with younger composers is to be expected, given Brahms conservative nature.

But Brahms could be a devoted friend, and there is at least one example of his giving his help to an up and coming composer. Brahms was on a panel that was to select a gifted composer in the Hapsburg Empire to grant a stipend to help them keep composing. It was then that Brahms was amazed at the huge volume of music Dvořák entered in the competition. Brahms was instrumental in seeing that the stipend was awarded Dvořák not only that year, but the next two years also. Brahms sent letters to his publisher Simrock about Dvořák's music and even worked as a copyist and editor of the music to help speed up its publication. That Dvořák was appreciative is an understatement. They remained very good friends until Brahms death.

Dvořák wrote the Cello Concerto near the end of his time in New York City in 1894-1895.  It had its premiere in 1896 in London, England, which was conducted by Dvořák.

I. Allegro - The first movement begins quietly with clarinets and low strings. The orchestra reaches fortissimo and the theme continues in a robust manner. The orchestra gradually calms until the gentle and lyrical second theme is played by the horns. A rousing third theme rounds out the orchestral part of the exposition. Dvořák labels the cello entry with its version of the first theme quasi improvisando, like an improvisation. The cello’s version is punctuated by triple stops. A long section of trills by the soloist lead to a quickening of the first theme that leads to the cello’s version of the second lyrical theme.

The development section begins with a section for orchestra that expands the first theme until the cello plays a more lyrical version of it. The music quickens as the cello plays accompanying figures in sixteenth notes as the woodwinds continue to develop themes. The cello becomes more animated and complex with rapid double stops, and a climax is reached when the cello plays in chromatic octaves until the second lyrical theme is played in a louder version. The cello soon takes it back up and returns it to its gentleness. The cello plays rapid arpeggios and leads to the first theme once again, which after an increase in tempo brings the movement to an end in B major.  

The last piece of music of Dvořák’s that Brahms worked on was the Cello Concerto. He corrected the proofs and played the piano reduction of the orchestra with a cellist and is reported as saying, "If I had known that it was possible to compose such a concerto for the cello, I would have tried it myself!" No doubt this vast, virtuosic, and complex movement had a lot to do with that comment.

II. Adagio ma non troppo - Dvořák’s sister-in-law who he was very fond of inspired the second movement. He was in love with her but it didn't work out so he ended up marrying her sister. In the movement Dvořák quotes one of his own compositions, a song that he wrote that was one of his sister-in-law's favorites.  She had been taken ill while Dvořák was composing the score. The woodwinds begin the movement, and the cello enters with a theme in G major.  A more spirited middle section leads to the return of the initial theme with a version played and elaborated by the horns before the cello plays a solo that involves playing with the bow while accompanying itself with pizzicato notes on an open string. The movement gently ends as it begins.

III.  Allegro moderato - Andante - Allegro vivo - A theme that seems related to the first movement first theme is played by the horns. The music turns ever more rhythmic with a call and response section for cello and orchestra. A new theme enters and is developed. The opening theme returns and leads to another episode a few times. Themes from the first and second movements reappear. After Dvořák came back to his homeland from New York, his sis-in-law died, and he added this slow, quiet section to the concerto as a tribute. After this is played through, the orchestra ends the movement with a flourish in B major.

Waxman - The Bride Of Frankenstein - The Bride's Creation

 The 1935 film The Bride Of Frankenstein is a rarity in the movie world; a sequel that actually has been regarded by many as superior to the original Frankenstein of 1931. That is a matter of opinion for the most part. The original Frankenstein made by Universal Pictures followed their first foray into sound horror films with Dracula, which has it's own proponents and critics. It is difficult to realize how much these early sound horror films actually terrified some in the audience. My Mother was a teenager in High School in 1931 when Frankenstein came to theaters. When I was a kid and Frankenstein was going to be shown on Saturday night television, she told me that she saw it with her girlfriend, and she remembered the scene where the monster is first seen, when it backs into the room and there are two jump shot close-ups of his cadaverous face. She said there was a collective shriek of various intensity in the theater, it was so startling. And by the time the movie let out, it was dark outside and that she and her friend ran all the way home!

The most acknowledged first sound feature was The Jazz Singer with Al Jolson on 1927,  but it was far from the first sound film (and only half of it was sound.)  Sound had been synchronized with film in an exhibition in 1900 in Paris, France, and even earlier, but did not become viable until the mid 1920's with Warner Brothers Vitaphone system producing a series of short subjects. This system used large acetate records that had to be synced by hand to the film, and was the first really successful sound film technology that lasted until 1931.  1931 was an important year for sound, as there were over 1,000 sound feature films made in the U.S.A. alone. In 1927, a little over 2% of all movies contained sound; by 1930 that number had jumped to over 96%! When technology was introduced that recorded the sound right on  the same film as the pictures is when the sound film industry really took off. But it's good to remember that silent movies were not really silent-there was usually a piano playing appropriate snippets of classical music to fit the action. In the larger theaters there were large pipe organs with all kinds of imitative stops (some of which still survive and are used for silent film revivals), and the really high quality movies would have scores written for them  to be played by an orchestra. So the idea of music playing along with the film wasn't  a new idea, but it had to wait for audio technology to catch up.

Dracula only had music in the opening and closing credits as well as a short scene at the opera, while Frankenstein had no music within the movie itself, only the credits. Some have given this as one example that helped set the mood of the films. For one, I have heard Dracula with music written by Philip Glass, and I see no advantage to having a score. Granted, it's a score for string quartet, and no doubt after seeing the movie so many times in the original version  I don't think I could ever enjoy it as much with a score. I just listened to the Overture of the music for the film Frankenstein by Michael Shapiro, who has taken a much different direction than Glass did for Dracula! Strange sounds, perhaps noises would be better, but still somewhat traditional. I would really like to watch the film with the entire score being played. He has conducted it many times with the film playing, and as a coincidental piece of trivia, Shapiro scored it for a chamber group of 22 players, the exact same number of core players Waxman had for The Bride Of Frankenstein!

By 1935 film music was being utilized more often by filmmakers to help set the mood and enhance the overall effect. The score for The Bride Of Frankenstein set in motion the necessity of having music for a horror movie. Franz Waxman's score is iconic, not only enhanced James Whale's direction (he had insisted on having Waxman write the music), but created some of the most time-honored music cliches in horror music history. 

Franz Waxman was born in Germany, was educated at the Dresden Music Academy He put himself through school by playing popular music, and after his schooling was over, worked as an orchestrator for the German film industry. He was severely beaten by Nazi sympathizers in Berlin in 1934, and he joined many other Jews in leaving Germany. He first went to Paris, and soon after to Hollywood. 

Waxman met the director James Whale in Hollywood, who knew some of his film music and was impressed. He had Waxman hired by Universal to compose the music for the upcoming Frankenstein sequel.

Waxman's resources were limited as to the number of musicians he had. His basic core orchestra was 22 players, but for certain scenes he had as many as 40. It's not known exactly how many of each instrument he had access to, but roughly he used:

• 3 flutes, with one doubling on piccolo
• 2 oboes, with one doubling English horn
• 3 clarinets including a bass clarinet
• 2 bassoons, one doubling on contra-bassoon
• 4 horns
• 3 trumpets
• 3 trombones
• 1 tuba
• 1 timpani player
• 3 percussionists
• 1 Harp
• 1-2 keyboard players for piano, celeste, and the essential pipe organ used to fill out the harmonies
• A greatly reduced string section, exact numbers unknown.

Musicians would come and go as needed for recording specific scenes. Waxman used many techniques to help compensate for the low number of players. In the strings, he had them play double stops, even with tremolos, woodwinds and brass he used flutter-tonguing.

Waxman uses the technique of lietmotif, a musical phrase that is consistently used for a character, mood, or place. He uses them throughout the score, with 5 major ones:

• The Monster's lietmotif - Played by the brass, a 5-note phrase containing dissonant minor 2nds to make it harsh, and flutter-tonguing to imitate  growling. Waxman varies the speed and volume according to the situation.
• Agitation lietmotif - played by the strings at a high speed and frantic in mood, represents the monster in flight or anger.
• The Bride's lietmotif - A short 3-note phrase, usually delicate and played by strings and woodwinds with harp glissandos, but it can also be dissonant, foreshadowing the fate of the bride.  
• Dr. Pretorius's lietmotif- It's in a minor key, stepping downward, played in the woodwinds especially the bassoon, and a celeste. 
• Creation lietmotif - A steady, driving beat by the timpani, along with high ghostly strings and bells, plays in the creation. 

The creation of the bride is the key scene in the picture, and it is best to listen to the original sound track from the movie, even with its less than pristine sound:

It begins with deep rumbling in the strings, with the monster's theme played over it with sweeps of the harp. The woodwinds along with a muted trumpet lead to the agitation theme in the violins. Dissonant soft chords are played under the theme and the incessant thump of the timpani begins. More agitation from the strings leads to a short playing of the bride's theme. The themes appear, reappear, until an extended and developed section of the bride's theme. The timpani beats all alone, with a slightly varying rhythm until it is joined by woodwinds. The agitated strings create the mood of excited energy of Dr. Frankenstein and Dr. Pretorius as they work on the bride. The Bride's theme is heard on the pipe organ, then in the strings. The beating timpani beats alone again, until a descending figure enters to bass clarinets playing a low theme sustained by string tremolos. Then there is a motif that is repeated in different speeds and textures that leads to a sweeping section for brass. Then the brass play the bride's motif in dissonant minor seconds until it returns in it's usual form. I then transforms into a glittering, shimmering repeat that is interrupted by the monster's theme. Continual agitation leads to a final dissonance, and the bride's theme resounds, with the the timpani playing a two note motive as the section leads to:

The exposure of the bride's alive eyes after bandages are removed! She is presented with the ringing of bells. The monster theme is heard as the monster approaches. He tries to get close to her, the bride's theme is heard. He takes her hand, but she is repelled by him! The monster tells Henry Frankenstein and his wife to leave, and the monster pulls the lever that destroys him and Dr. Pretorius.

 I've included all of the final 16 minutes of the film, as the entire scene is needed to resolve the music.

 What is also heard is an orchestration of the scene done by the conductor Charles Gerhardt, which is below. There is also an orchestration by Kenneth Alwyn. 

 

 The Gerhardt orchestration runs a little over 7 minutes. It's a good representation of the original and uses a synthesizer for some of the sounds. It has the advantage of having clear sound and the score to follow (when you can). I'm assuming Gerhardt kept most of the techniques used by Waxman, and the double stops in the strings can be seen here.  Contrary to what has been written about the original film score, Waxman did not use the Ondes Martenot, an early type of synthesizer, in his score. Waxman did use it in other films before and after Bride Of Frankenstein, but not in that film. All of his effects were done by masterful use of his limited resources. Gerhardt takes the creation scene through most of what the original did, from when the start of the timpani heartbeat begins up until the mock wedding bells begin. 

For the sake of completeness, the orchestration by Kenneth Alwyn is below.

His orchestration is for 60 players, and also includes a synthesizer. It's longer than Gebhardts, goes from the beginning of the timpani heartbeat to a short coda of the bride's theme in a loud finish. 

Both of these orchestrations are very well done in modern sound, but there's still much to be said for Waxman's original score used in the film. Hollywood was an assembly line of movie making, so most composers like Waxman did not orchestrate their work. He was more than capable, but thestudios always had projects that needed creative composers to write the music, and give an extended outline and instructions to the orchestrator to get it all down on paper for the musicians. And I'm sure that Waxman kept an eye on things when he could. 

Waxman went on to compose many more film scores, and was acknowledged a master by all after his score for Alfred Hitchcock's 1940 film Rebecca. He was allowed to write a full orchestral score for the film, and the ethereal music was hailed as a 'soundboard for the subconscious' by the film director Jack Sullivan. Waxman also composed music for the concert hall. 

Waxman was considered at the peak of his talent when he died of cancer in 1967 at the age of 60. 

Part of the creation scene as seen in the film:

Prokofiev - Piano Concerto No. 3

Prokofiev wrote a set of variations for piano in 1913, and over the years continued to expand on it until it took form as his 3^rd piano concerto in 1921. The work is now one of Prokofiev’s most popular, but that wasn’t the case after its premiere. It took a few years for the concerto to develop in popularity until it became one of the mainstays of piano concerto literature in general, and one of the best concertos of the 20^th century.

I. Andante - Allegro - The work begins with a soft rendition of a theme, first by a solo clarinet that is joined by another. The orchestra takes up the theme, but briskly whisks it away as it builds in speed and volume. The soloist enters with a different theme, and this builds to a climax, after which the soloist plays a short cadenza that fades away as another theme is played by the winds accompanied by the strings and the clicking of castanets.

The piano and orchestra comment on some of the material heard until the orchestra takes up the opening clarinet theme. The soloist plays an expansive variant of the theme. After tremolo strings softly play in accompaniment to the piano, the piano descends in a delicate figure that ends with the orchestra beginning to chug out the opening of the fat-paced material heard in the beginning, and orchestra and soloist rapidly bring the themes back from the exposition.  The whirlwind of piano and orchestra returns one more time and brings the movement to a close with a bang.

II.  Tema con variazioni -  The theme is played by flute and clarinet, and is followed by 5 variations:

1.      The piano broadens the theme and is joined by the orchestra that repeats the theme, as the soloist plays high in the treble.

2.      A trumpet plays the theme as soloist and orchestra play a rapid accompaniment.

3.      The theme is barely recognizable as it is torn asunder by the soloist as the orchestra tried to get things back on track, but not for long.

4.      The theme has transformed to an ethereal dream as the orchestra and soloist slowly unwind the mystery.

5.   The music quickens as orchestra and soloist pound out parts of the theme, as it builds to a climax that quickly dissolves into a more recognizable appearance of the theme. A coda helps the music wind down further, until a low E minor chord ends the movement.

III.  Allegro ma non troppo - Bassoons and pizzicato strings play the A minor first theme while the soloist interrupts periodically with a theme of its own. These two themes are developed until the tempo and dynamics slacken with the second theme in C-sharp minor. The piano interrupts this theme as well with another of its own before the C-sharp minor theme returns with the mood taking a late Romantic turn as it is developed. Shifting harmonies change the theme as the soloist plays rippling scales. A climax is reached, and the quiet return of the first theme begins.

The soloist’s part becomes a virtuosic tour deforce as the pace is quicked, along with very difficult maneuvers such as double-note glissandos for each hand. Prokofiev’s piano technique must have beene impressive, for he premiered the work in Chicago in 1921 as soloist.  The piano and orchestra continue to battle each other until the final C major chord. 

Rimsky-Korsakov - Russian Easter Overture

This composition was based on Russian Orthodox liturgical themes found by Rimsky-Korsakov in an old book. His idea was to highlight the pagan origins of the Easter Festival and how the more modern Orthodox festival and tradition had its roots in the old pagan ways. Rimsky-Korsakov was a non believer but he seems to have had an interest in the music of the church.Rimsky-Korsakov wrote his own program notes for the work, as written in his autobiography:

"This legendary and heathen side of the holiday, this transition from the gloomy and mysterious evening of Passion Saturday to the unbridled pagan-religious merry-making of Easter Sunday, is what I was eager to reproduce in my overture. . . . The rather lengthy slow introduction . . . on the theme “Let God arise” [woodwinds], alternating with the ecclesiastical melody “An angel cried out” [solo cello], appeared to me, in the beginning, as it were, the ancient prophecy of Isaiah of the Resurrection of Christ. The gloomy colors of the Andante lugubre seemed to depict the Holy Sepulchre that had shone with ineffable light at the moment of the Resurrection—in the transition to the Allegro of the overture. The beginning of the Allegro —the theme “Let them also that hate Him flee before Him”—led to the holiday mood of the Greek Orthodox service on Christ's matins; the solemn trumpet voice of the Archangel was replaced by a tonal reproduction of the joyous, almost dancelike tolling of bells, alternating now with the sexton's rapid reading and now with the conventional chant of the priest's reading the glad tidings of the Evangel. The Obikhod theme, “Christ is arisen,” which forms a sort of subsidiary part of the overture, appears amid the trumpet blasts and the bell-tolling, constituting a triumphant coda."

The work was composed in 1887-1888 and the premiere was lead by the composer late in 1888. It was one of his last works for orchestra as he devoted his time almost exclusively to writing opera. The work is full of orchestral color and shows Rimsky-Korsakov a master of the orchestra.  It opens with the very different time signature of 5/2, and in the last section of the work time signatures of 3/1 and 2/1 are used.

Liszt - Totentanz (Dance Of Death)

 Franz Liszt began planning the work as early as 1838 after he saw The Triumph Of Death fresco by Francesco Traini in the Campo Santo in Pisa, Italy. But until he dedicated himself to composing over traveling Europe as the most famous virtuoso of his day, the first version was not completed until 1853.  Liszt revisited the work in 1859 and completed the 2^nd version, the version most often heard, in 1864.

The Romantic era in general had a certain amount of interest in the subject of death, but Liszt took it even farther. He composed a number of pieces that dwelled on the subject to the point of morbidity.

Totendanz is a set of variations (or as Liszt put it, a paraphrase) on the Gregorian chant Dies Irae, or day of wrath, words that were taken from the Bible that depicted the day of final judgement. The original Latin text and music for Dies Irae date back to the 13^th century. The chant is most frequently heard in the Catholic Requiem Mass, and Liszt is just one of many composers that used the melody in their compositions.

The Triumph Of Death fresco by Francesco Traini

Opening theme ‘Dies irae - The music begins with the soloist playing deep in the bass of the piano in marked tone clusters while the orchestra plays the theme.  The piano then plays the first of three cadenzas that span the compass of the keyboard with the orchestra contributes short chords after each. The orchestra then takes up the theme while the piano hammers out chords in the treble range of the piano in rapid tempo that makes it sound like a huge 8-note tremolo. A climax is reached and the music grows quiet. The piano has a solo that leads to -

Variation I (Allegro moderato) - The bassoon and violas play a variant of the melody, and the piano repeats it. Clarinets and bassoon play the second part of the melody and the piano repeats it, and leads to  -

Variation II - The left hand of the piano plays a variant of the theme low in the bass as the right hand plays runs higher in the bass. A horn and pizzicato strings add to the texture.  The next part of the variation has 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.

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.

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

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