Dvořák - Piano Quintet No. 2 In A Major, Opus 81

Antonín Dvořák began his musical career as a violist in the National Theater Orchestra in Prague, and played in a concert of Richard Wagner's works that was conducted by Wagner himself. He began composing as a child, and his first documented composition as an adult was his string quintet written in 1861. After his marriage in 1873 he retired from the orchestra and took a position as a church organist in Prague. This new position gave him financial security and more time to devote to composing.

Included in the list of chamber works composed by Antonín Dvořák over a period of practically 30 years are two works for piano quintet. Both are for piano, two violins, viola and cello, and both are in the key of A major. Fifteen years separate the two works and it was Dvořák's intention to revise the first quintet as he had not been satisfied with it, but changed his mind and decided to write an entire new work.  The work was composed late in 1887 and premiered the following January.

Along with Smetana, Dvořák used his native Czech music as an inspiration for his compositions. He doesn't always use authentic Czech melodies, but he wrote in the style of Czech music and used Czech musical forms in his works, including the Piano Quintet No. 2. Dvořák  infused the rhythms of idealized peasant dancing throughout the work and has created one of the masterpieces for the combination of piano and string quartet.The quintet is in 4 movements:

I. Allegro ma non troppo - The work begins with a gentle, lyrical theme played by the cello, but the mood suddenly shifts with the passionate uttering of a violin. The lyricism reappears in the piano and is taken up by the violin.Another outburst, this time from the piano. New material is introduced by the cello,  taken up by the violin and piano in turn. The music turns more dramatic and passionate, and the entire sequence is taken from the beginning. After the repeat, the exposition of the movement in Dvořák's creative use of sonata form leads to the development section.  The previous material is varied and expanded and has a seamless flow to it that leads to the recapitulation and ending of the movement. The entire movement has a wealth of thematic material, alternates between drama and calmness, energy and lyricism. It is a masterpiece of compositional skill and artistry.

II. Dumka : Andante con moto -   Dumka is a type of dance, the name taken from the Ukrainian language and in music it originally means a piece in a melancholy mood. When Dvořák and other Slavic composers incorporated it into their compositions, its form changed to a melancholy tune interrupted by music of a more cheerful nature. It is essentially a rondo by a different name, at least in this case.

III. Scherzo (Furiant): Molto vivace - A Furiant is another type of dance that sometimes follows the Dumka. By its nature it is in contrast to the Dumka as a Furiant is a fast and furious dance with shifting accents. Dvořák uses the form of a scherzo for his Furiant. The middle section or trio of the piece is much slower in tempo than the first part of the movement, but it is made from the theme of the furiant itself.

IV. Finale: Allegro - Again Dvořák treats the listener to a wealth of themes, some of them similar in mood to another Slavic dance, The Polka. These themes are developed throughout the short movement and one is even given a fugal treatment. The music shifts from major to minor key, in mood from exuberant to calm, giving the movement a sense of tonal color. The music shifts the mood to slow and reserved before it grows in intensity with what could be thought of as an energetic stomping of dancing feet for a grand ending to the piece.

Gottshalk - The Banjo

In many ways American music has its roots in the rhythms and practices of black folk musicians.  The blacks who were sold into slavery from their native Africa brought their rhythmic folk music style along. From the Caribbean sugar plantations to the plantations of early America, the rhythms, tunes and (in the case of the Banjo) the instruments of the transplanted Africans influenced local music. The ragtime phenomenon of the late 19th century came from African American piano players that plied their trade in the only places they were allowed; black bars, saloons and houses of ill-repute. Eventually their music made its way to Europe where it influenced Debussy and other composers. In The United States, Antonín Dvořák was exposed to African music and wrote a string quartet and symphony that were inspired by it.

But the influence of African music began much earlier and is reflected in the music of Louis Moreau Gottschalk who was born in New Orleans to a Jewish father and creole mother, in 1829. He heard black musicians while a child, and as an adult traveled extensively as a virtuoso pianist in the United States, South America and the Caribbean countries. He observed and absorbed the local music wherever he traveled, and incorporated much of it in the music he composed and played on his tours. He composed The Banjo, A Grotesque Fantasy (the full title of the piece) around 1853 and it is arguably his most well-known piece.

Gottshalk may have based the work on a banjo player he heard in person. Some scholars have argued that Gottshalk's duplication of pre-Civil War banjo playing is an authentic representation of actual banjo technique, a point author Paul Ely Smith makes in his essay Gottshalk's 'The Banjo' op. 15, and the Banjo in the Nineteenth Century.

The piece begins with a short introduction that is actually a snippet taken from the tune at the very end of the piece. After this introduction, a short phrase is repeated in variation, the short introduction reappears in octaves and the section is repeated. After the repeat, the finale is played which consist of variations on the chorus of Stephen Foster's song Camptown Races, the tune that the introduction of the piece is taken from.

The Banjo is a short and quite serious in its difficulty, but its influence on American music is immense. Gottshalk's music in general and The Banjo in particular, was the forerunner of the quintessentially American musical idioms of jazz and ragtime.

Mozart - Piano Sonata No. 8 In A Minor K.310/300d

In the time of Mozart, most musicians were employed by  the church or by royalty.  Either way, musicians of the time were in the same class as servants, maids and butlers. Mozart's contemporary Haydn was employed by the royal Esterházy family at the court in Hungary on either a full time or part time basis from 1761 to 1802.

Mozart also worked for a royal employer, Prince-Archbishop Hieronymus Colloredo in Salzburg, Mozart's birthplace. Mozart spent his early childhood touring Europe as a child prodigy and spent some time in Italy studying music. When he returned to Salzburg he was hired as a court musician when he was seventeen years old.  Because of Mozart's strained relations with the Archbishop over salary and other matters, he resigned his position at court when he was twenty and planned to tour Europe once again in search of employment. Mozart ended up in Paris with his mother while Leopold stayed in Salzburg to try and find a better position for his son.

Mozart's trip to Paris produced no opportunities for employment. He performed little and composed little. He was reduced to pawning some of his personal effects for money to get by on.  To add to his miseries his mother became ill and after three weeks died in Paris in 1778. The Piano Sonata No. 8 was most likely a product of his sorrow over the loss of his mother.

Mozart wrote few major pieces that were in minor keys, only one other piano sonata besides this one is in a minor key. It is in three movements:

I. Allegro maestoso - The movement is in sonata form and begins straight away with a dotted theme accompanied by eighth note chords in the bass

The theme progresses at a restless pace until the second theme appears in the key of C, the relative major of the home key of A minor. While this theme is in a major key, the restlessness of the opening continues. After the obligatory repeat, the development section begins with the first theme being heard in C major. The music modulates and shifts to a minor key as the first theme is developed briefly. The recapitulation begins and after the restatement of the first theme along with transitional material, the second theme reappears, this time in the minor. There is a short coda that emphasizes the dotted rhythm of the opening that is punctuated by the bass moving in 16th notes until the final A minor chords.

II. Andante cantabile con espressione -  This movement is in F major and begins with simple elegance that stands in sharp contrast to the darkness of the first movement. But roughly half way through the movement the music returns to the restlessness of the first movement. The music returns to simple elegance as it sings its way to the end.

III. Presto - The finale is written in rondo form. A striking theme opens the movement that reflects the turmoil of the first movement, but by different means. The music is relentless in its pursuit of expression. There is a brighter section, but the music returns to the opening theme. The theme bounces into the bass momentarily, and after a few more comments the music ends as it began, in the key of A minor.

C.P.E. Bach - Keyboard Concerto In D Minor Wq. 23

The influence of C.P.E. Bach on composers of his own era and of other generations is large. Mozart said about him that "He is the father, we are the children".  Haydn acknowledged that Bach was a major influence to his instrumental music. After Bach's death in 1788 his reputation slipped somewhat, although Beethoven admired his music greatly and recommended Bach's book An Essay on the True Art of Playing Keyboard Instruments as a teaching tool.  Bach was eclipsed further after Mendelssohn helped revive popular interest in the music of his father, Johann Sebastian Bach in the late 1820's, and Schumann commented that as a creative musician Carl was far behind his father. His music was not entirely forgotten, as Brahms admired his music and edited some of it, but it wasn't until the late 1950's that Carl's music became more well known through recordings of some of the symphonies and keyboard sonatas.

Bach wrote in many different genres including nearly one hundred concertos with roughly half of those for keyboard instrument. As this was a period of transition not only in musical form and expression but of the instruments themselves, Bach labeled his concertos for keyboard, harpsichord or piano.

The Concerto in D Minor Wq.23 (the Wq is an abbreviation for the name of the musicologist who in 1906 assembled the first catalog of Bach's music, Alfred Wotquenne) is written for keyboard, strings and continuo and is in 3 movements:

I. Allegro -  The 1st movement is in a type of sonata form, and begins with an angular, quirky theme. This theme and other secondary ones that are related to the main theme are played by the orchestra alone. The piano then jumps in with the first theme. The piano takes center stage and is answered by the orchestra. These beginning themes are developed slightly, and this section can be thought of as the exposition. There follows a development section that expands upon the themes at length. The main theme keeps bouncing back into the picture until what amounts to a type of recapitulation begins. After further exploring of the themes, the orchestra has the final word and brings the movement to a close.

II. Poco andante - Music that strolls gently from the instruments in splendid contrast to the drama of the first movement.

III. Allegro assai - Bach returns to the mood of the first movement with a theme that leaps and then pauses after the leap, like the instruments need to catch their breathe. This leaping followed by a pause appears throughout the movement, along with brilliant passage work for the soloist. The soloist joins in the leaping and taking of a breath later in the movement as the music remains energetic throughout. After a leap shared by strings and soloist, there is a short cadenza for the piano and the strings have the last word with a sigh of exhaustion.

Brahms - Piano Quartet No. 1

Johannes Brahms composed his first piano quartet while still in his 20's. By this time he had been on concert tour with the Hungarian violinist Ede Reményi, and had met Franz Liszt and Robert Schumann. By contemporary accounts, the meeting with Liszt didn't go so well as Brahms fell asleep while Liszt was playing the piano (due to exhaustion from the concert tour according to Brahms) but the meeting with Schumann went much better. Schumann recognized Brahms' genius, and Brahms became like a family member to Schumann and his wife Clara.

The first piano quartet was premiered in Hamburg in 1861 with Clara Schumann at the piano. Brahms himself was at the piano at the Vienna premiere. The piece wasn't a resounding success with the critics, probably due to the complexity of the music. The first piano quartet is written for the traditional instruments of piano, violin, viola and cello.

I. Allegro - This first movement no doubt caused some of the negativity towards the piece at the premiere, because of Brahms stretching and manipulation of sonata form. Some of his music contemporaries considered him conservative and traditional, but the structure of this movement disproves that. Brahms loads up the first movement with (depending on who is doing the counting) 4 or 5 themes, all of them based on the opening stated in octaves in the piano alone. The movement contains many key changes from the home key of G minor, some closely related, others (as D major) quite distant from the home key. After all the themes are heard, the initial theme is heard again and is briefly developed. The exposition is not repeated. All of the themes are heard in the development. Modulations of key and variations of the themes are done, and Brahms keeps the listener off-kilter when he signals the recapitulation not with the initial theme but one of the others. There is a short coda that leads the music back to the desolation of the home key of G minor.

II. Intermezzo: Allegro - This movement serves the function of a scherzo, but for the first time Brahms uses the designation Intermezzo. It is in the same form as a scherzo, and is in the key of C minor, a closely related key to G minor. The music is agitated and somewhat reserved while the trio (which is in A-flat major) is at a slightly quicker tempo and more extroverted.  The opening material is repeated and a coda in C major repeats part of the trio section.

III. Andante con moto - This movement is also in ternary form with a lyrical first section in E-flat major. Brahms' change to C major for the march-like middle section is abrupt. C minor also makes an appearance before the repeat of the first section. This movement ends quietly.

IV. Rondo alla Zingarese: Presto -  The saving grace of this composition at both the premieres in Hamburg and Vienna was probably this movement, written in 'Gypsy Style'. Brahms had learned the style while touring with Reményi. The initial theme's feeling is achieved by Brahms writing phrases in irregular numbers of bars. Instead of more common 4-bar phrases he throws phrases of 3-bars (or 6-bars, depending how you count them) with 4-bar phrases mixed in. Brahms did this throughout his composing career, and it is one of the reasons why his music can sound so different, even to someone who knows nothing about phrasing in music. It creates a subtle difference in his music that can be sensed by the sensitive listener. The movement is no less complex than the music in the rest of the composition, but the rondo form seems to make it more accessible to the listener, not to mention the fire and panache Brahms writes into the movement.

The above description is brief in the extreme for such a complex work. But while the inner working of the quartet are interesting and can add to the enjoyment of it, I don't think Brahms expected all of his listeners to be able to give a detailed analysis of it. His purpose was musical expression, and while his compositions can be highly complex there must be an understanding or enjoyment of his works on a 'gut' or emotional level to remain popular. As with all great artists, Brahms manages to touch the audience. That in the end is what counts.

Mehul - Le Jeune Henri Overture

The composer Étienne Méhul has been called the most important opera composer in Revolutionary-era France. He followed the reforms of opera as instituted by Christoph Willibald Gluck and is considered one of the first Romantic composers.  He used the leitmotif, music that associates itself with a character or idea in the opera, a device made more well known by Richard Wagner years later.  Berlioz was influenced by Mehul's complete music aesthetic and wrote:

"...In truly dramatic music, when the importance of the situation deserves the sacrifice, the composer should not hesitate as between a pretty musical effect that is foreign to the scenic or dramatic character, and a series of accents that are true but do not yield any surface pleasure. Méhul was convinced that musical expressiveness is a lovely flower, delicate and rare, of exquisite fragrance, which does not bloom without culture, and which a breath can wither; that it does not dwell in melody alone, but that everything concurs either to create or destroy it..."

Méhul had a great feel for orchestral color and changed his orchestration to help convey the action or mood. In the Le Jeune Henri (Young King Henri) Overture he expanded the usual pair of horns in the orchestra to four to depict the young king out in the field hunting with his barking dogs and hunting horns. The overture was written in 1797 is taken from the opera of the same name that was based on an incident in the life of King Henri IV of France. While the opera itself was a failure, the overture was received very well and had to be encored at the first performance. The music depicts the hunt from its beginning in the early morning to the signaling of the horns and the chase of the stag. The overture is also known as La chasse du jeune Henri, Young Henri's Hunt.

Méhul's influence began to wane in the early years of the 19th century, and after years of intrigues against him and the failure of his latest operas, his popularity in France was over. He continued to compose with some of his operas becoming popular in Germany. But his health declined and he died of tuberculosis in 1817.

Paganini - Le Streghe

One of the first musical superstars, Niccolò Paganini not only was influential in advancing the art and technique of playing the violin, his compositions inspired other composers as well. While most of Paganini's compositions were written to showcase his enormous technical abilities, they also showed his lyrical and dramatic side.  Composers from the progressive Liszt to the more traditional Brahms (and many others) took inspiration from his music that combined brilliant technique with flashes of expressive musicality.

Although news of his tremendous abilities spread, Paganini didn't begin touring outside of his native Italy until1828. He toured all of Europe and Britain until 1834 when he retired from the concert platform due to poor health. Paganini died in Nice, France in 1840 but his last request to be buried in his birthplace of Genoa, Italy was refused by the Catholic church because he had refused the last rites and was thought to have been in league with the devil because of his musical abilities. His body laid in the hospital at Nice for a time, was sent to Genoa but was not allowed to be buried.  The body was finally laid to rest in Parma in 1876.

The rumors of Paganini being in league with the devil began early on. One of Paganini's early compositions helped create the rumor, Le Streghe or in English, The Witches. The composition is for solo violin and orchestra and is based on a tune that Paganini heard in a performance of a ballet in Milan in 1813. The ballet, Le nozze di Benevento was a revision of an earlier ballet written in 1803 with music by Franz Xaver Süssmayr, a composer most well known for having finished Mozart's Requiem. The tune announces the entrance of the witches in the ballet, hence the name given the piece by Paganini.

After an introduction by the orchestra, a tune is played by the soloist with a light accompaniment, a short cadenza for the soloist leads to Süssmayr's theme which is followed by three variations. The first variation has double and triple stops, the second variation pizzacatos, harmonics and wide leaps, a section in a minor key in octaves, and the third variation played on the G-string combined with double stopped harmonics.  The coda of the piece has Paganini round off the piece with yet more fireworks for the violin.