Brahms/Schoenberg - Piano Quartet No. 1

With this work there is the rare opportunity of listening to what is one master composer's opinion of another master composer's work. Schoenberg orchestrated the 1st Piano Quartet of Brahms in 1937 after he had moved to Los Angeles, California to escape Germany and the persecution of Jews.  Schoenberg had converted to Christianity early in his life but in 1933 he changed back to Judaism, partly out of protest against the Nazi regime. He was soon labeled a decadent composer. His works were no longer allowed in the concert hall and he was most likely a doomed man.

He wrote a letter to a music critic in 1939 and explained his reasons for arranging Brahms' work for orchestra:

"My reasons: I like the piece. It is seldom played. It is always very badly played, because, the better the pianist, the louder he plays and you hear nothing from the strings. I wanted once to hear everything, and this I achieved. My intentions: To remain strictly in the style of Brahms and not to go farther than he himself would have gone if he lived today. To watch carefully all the laws to which Brahms obeyed and not to violate them, which are only known to musicians educated in his environment."

Perhaps another reason he did it was that at this time Schoenberg had already developed his "method of composing with twelve tones which are related only with one another". His method shook the world of serious music so he may have been trying to add legitimacy as a composer by orchestrating Brahms' work. He also gave a lecture and wrote a subsequent essay called Brahms The Progressive.  Schoenberg's objective was “to prove that Brahms, the classicist, the academician, was a great innovator in the realm of musical language, that, in fact, he was a great progressive.” He considered Brahms his musical ancestor, along with Wagner, Beethoven and Mozart. His new method of composing was not so much revolutionary as evolutionary, at least to Schoenberg.

Schoenberg began his composing life as a Late Romantic, but his compositions showed signs of breaking with tonality early on. Even after he developed and used his method, he would lapse back into his earlier style, especially in his older years.  Schoenberg was in some ways a paradox, as he expanded upon what Wagner and Liszt had begun while at the same time he championed Brahms as a progressive composer.  In his own compositions Schoenberg could be conservative in form as in many instances he stuck with traditional forms used by Romantic composers.

Schoenberg was faithful to Brahms' original work in that he changed no notes. His brilliant orchestration is another matter. Brahms' orchestration was like his solo piano music; not outwardly brilliant and colorful, but complex and well written. Brahms' orchestration suited the character of his symphonic works perfectly. Schoenberg's orchestration of the work is radically different from what Brahms would have done.  My post of Brahms original version of this work can be found here.

I wouldn't say that Schoenberg's arrangement suits Brahms' music like a glove, but it does have its moments. Shoenberg begins with a rather straightforward arrangement of the first movement, but after that each movement gets stamped with Schoenberg's style more and more. It leads to the final movement, an absolutely wild rendition of Brahms' Rondo alla Zingarese. With more and more percussion and quirky orchestral techniques, Shoenberg  pulls out all the stops and makes music that is pretty wild in its original form completely over the top.  Schoenberg had a liking for and understanding of Brahms' music, that much shows in the arrangement. Schoenberg's orchestration doesn't cancel out the greatness of the original, but it is interesting. And frankly, Schoenberg's last movement is incredible.

Brahms - Studies For Pianoforte, Variations On A Theme Of Paganini Opus 35

Johannes Brahms' music for solo piano is not usually filled with brilliant effects or obvious virtuosity. The difficulties in Brahms music are covert, and many times not obvious to the listener.  But his music is not easy to play. It can be dense of texture and complicated in structure. It takes a great technician and fine musician to play Brahms and bring out all of the voices (he was a master of counterpoint) and details. After Robert Schumann heard the young Brahms play his early piano sonatas, he called them not sonatas but, "veiled symphonies".

Brahms himself was no slouch as a pianist. He had the technique and knowledge of the keyboard to write a brilliant virtuoso work. His Opus 35 set of variations prove it. He wrote them for the virtuoso Carl Tausig who was a student of Liszt and a pianist Brahms admired.  He wrote the variations on a theme of Paganini taken from the 24th Caprice For Solo Violin In A Minor, a work that Liszt had already written a transcription for piano for, and a work that was to inspire many other composers in the future.

Brahms had something different in mind, even in the title of the work. He called the work Studies For Pianoforte, Variations On A Theme Of Paganini, with the implication being that each of the variations are an etude that explores a particular aspect of piano playing.   The work is divided into two books of 14 variations, each one being an independent work in itself.  Many times both books are played in recitals. Brahms version of the theme is played to lead off both books, and most of the variations are in the original key of A Minor.

Book One
Theme - Brahms begins with the theme, but not in its original form. He adds grace notes to the melody in the right hand in the first section, adds grace notes to the left hand in the second section and, unlike the original, repeats the second section thus making the theme 24 bars long instead of the original 16:

Brahms keeps the general outline of the theme throughout the first thirteen variations, with all the variations being in the key of A minor except the 11th and 12th, which are in A major. But that is not to say that the variations are simple variants. The variations throw every kind of technical challenge at the pianist; intervals of all kinds, huge jumps, hand crossings, etc. The 13th variation is noteworthy for its use of octave glissandos in the right hand, quite difficult on the piano of Brahms day as well as the modern piano. The 14th variation is an extended section that goes beyond the 24-bar length of the theme and previous thirteen variations. Brahms introduces music that sounds like yet another variation before he adds a coda that rounds out and ends the first book.

Book Two
The theme is played again, all of the variations are in A minor, except for Variation 4 which is in A major and Variation 12 which is in F major. Again, Brahms writes variations of great difficulty but still stays within the same general outline of the theme. As with Book One, the 14th variation is an extended section that adds yet another two un-numbered variations that lead material that fully closes out Book Two.

Clara Schumann, widow of Robert Schumann called the piece Hexenvariationen (Witch's Variations) because they were so fiendishly difficult, and though she was one of the great pianists of the 19th century she could not play them. The piece remains one of the few examples of outwardly virtuosic piano music Brahms ever wrote. Along with the Goldberg Variations of J.S. Bach and the Diabelli Variations of Beethoven, Brahm's set is one of  the greatest variations written.

Rheinberger - Concerto For Organ In G Minor Op. 177

Joseph Rheinberger was born in 1839 and showed musical talent early on. By the time he was seven years old he was already playing the organ in the church of his hometown,  Vadus in Lichtenstein. He attended the Munich Conservatory, and after graduating served as professor of piano and composition who most notably taught Wilhelm Furtwängler, Englebert Humperdink and many others. His influences in composition were Brahms, Schubert and J.S. Bach.

Rheinberger was a prolific composer and composed from the age of 12 until his death in 1901. He wrote for all the genres of his time. Most of his works suffered from neglect after his death except for the pieces for solo organ. His sonatas for organ and other pieces were in the repertoire of organists from early on and remained the one link to the composer for many years.

Rheinberger wrote two concertos for organ and orchestra. After the success of Organ Concerto No. 1 In F Major (written in 1884) Rheinberger was requested by organists to compose another concerto. Organ Concerto No. 2 In G Minor was written in 1894. While the first concerto is for organ, strings and three horns, the second concerto adds trumpets and timpani to the mix. The concerto is in three movements:

I. Grave - The strings play a short descending figure that leads to the appearance of the organ. The strings repeat the descending figure, and the organ replies again. Another theme is begun in the strings while the organ accompanies. The first movement is chock full of themes that are played by the strings and commented on by the organ. This is the nature of the entire concerto, as the orchestra and organ seldom conflict but work to compliment each other. The organ helps to fill in the missing woodwind texture of the orchestra.  The opening reappears as a recapitulation, as there isn't a solid sense of a separate development section of the themes, but they are varied in the recapitulation. A short coda winds down the music with a flourish.

II.  Andante - Rheinberger breaks with the traditional scheme of three-movement concertos by having two slow movements back-to-back. The movement begins with the solo organ, but the full compliment of strings soon join the organ. An agitated section of music that includes the trumpets follows. The serene mood returns with the opening organ solo as the strings and organ trade off playing and commenting on the theme until the movement gently winds down.

III. Con moto - The tempo of the concerto finally speeds up as sharp chords are played in the orchestra. The organ enters, the chords repeat along with the organ entrance. This movement also is chock full of themes that are treated by orchestra and organ in ways unique to Rheinberger.  The accented chords of the beginning of the movement reappear as does the organ. Rheinberger varies themes somewhat as the music moves towards the conclusion. Trumpets act as an accent, the organ is mellow and anxious in turn. The chords appear once more as the organ and strings pull out all the stops for a grand ending.

Rheinberger was a conservative composer in the mold of Brahms, which was part of the reason his music fell into neglect after his death, but his music began to be noticed by more than just organists later in the 20th century. The late E.Power Biggs (1906 - 1977) almost single handedly revived the two organ concertos when he recorded them in the early 1970's. His recording was my first exposure to Rheinberger, and the organ concertos have been a favorite ever since.

Dvořák - Piano Concerto In G Minor

Out of the three concertos Dvořák wrote for solo instruments, one each for violin, cello and piano, it is the piano concerto that is least well known.  The piano concerto has fine melodies and is well crafted in all but the part for solo piano. At least that was the rap against it early on.  Dvořák's writing for the piano was called clumsy, ineffective, and unpianistic among other complaints. Once the piece got a bad reputation, it was pretty much neglected after its premiere in 1878 by the pianist who requested that Dvořák write a piano concerto, Karel Slavkovský.

A few years after Dvořák's death the Czech teacher and pianist Vilém Kurz tried to help the piece become part of the repertoire by revising the piano part (he left the orchestral part untouched). Sadly, this revision didn't endear the work to pianists much more than the original had. It wasn't until later in the 20th century when the piece came to be played occassionally. The concerto has since been published in score with both the original and Kurz's revision, giving the pianist their choice. No story of the concerto would be complete without mentioning the Czech pianist Rudolf Firkušný, who practically single handedly kept the work before the public for many years. Firkušný was a student of Kurz, and played the revision for many years, but later in his career he began playing the original version.

Vilem Kurz

Perhaps the biggest problem soloists have with the concerto is the lack of pianistic fireworks. There are two main styles of concerto; those that are vehicles for virtuoso display from the soloist who is just as much an adversary of the orchestra as a partner, and those that are more like a symphony for piano and orchestra where the virtuosity for the soloist is not so obvious. Dvořák's concerto is definitely one of the latter, and he knew it.  There are plenty of examples of both kinds of concerto in the repertoire, and Dvořák's is heard more often than it used to be.

The concerto is in three movements:

I. Allegro agitato - The first and main theme of the movement is heard straight away, a theme that is pure Dvořák (but showing a little influence of his friend Brahms' music also). The other two themes of the movement have more of a pastoral or folk song feeling.  The first theme reappears and leads to the first entrance of the piano. The piano and orchestra expand the first theme and the other two themes as well.  The first theme appears in the minor to begin the development section which concentrates on the first theme as a whole and in parts of it. All three themes are finally recapitulated and it is the first theme that leads to the cadenza.  The first theme also dominates the coda to the movement and leads to the end of it.

II. Andante sostenuto - The horn is prominent along with the piano in a finely crafted movement.

III. Allegro con fuoco - Dvořák seldom used authentic Czech folk music in his compositions, but he most certainly knew how to compose themes with the flavor of the real thing.  There are three themes in this movement that in form is a hybrid between sonata form and rondo. The first theme has a strong rhythmic element as does the second theme. The third theme is in contrast with the others as it is more laid back.

There is certainly more than one approach to writing a piano concerto. The approach that Dvořák used in this concerto shouldn't work against it as composers as diverse as Litolff, Liszt, and Brahms wrote concertos that were symphonies for piano and orchestra disguised as concertos. Perhaps the times in which Dvořák wrote the work, specifically in reference to the prejudice against Czech composers In Germany, played a part in the early neglect of this concerto. Thankfully, the concerto has overcome this neglect and is played and recorded more often, giving the listener a chance to hear and appreciate this work.

C.P.E. Bach - Symphony In G Major Wq 183/4

The word symphony is derived from two Greek words that roughly mean 'an agreeable, concerted and harmonious sound'. As far back as the 11th century it could be used as the name of an instrument, usually one that played more than one tone at once, as with the bagpipe or the medieval instrument called the hurdy gurdy. Later it came to mean music played by a group of instruments or even vocalists.

The words sinfonia and symphony were used for instrumental pieces in opera, concertos and sonatas all through the Baroque period in the 17th and early 18th centuries.  Soon the term symphony and overture were used interchangeably in Italian opera. The overture to many Italian operas followed a three-movement form that had the tempo scheme of fast-slow-fast. The evolution of the form was more or less standardized with the later symphonies of Haydn and Mozart in the late 18th century by the addition of a fourth movement.

Scholars have determined that C.P.E. Bach wrote his first documented symphony in 1741. It followed the fast-slow-fast form and was for strings and continuo, which makes Bach one of the first recognizable composers of compositions that were meant to be heard as stand-alone works not tied to the theater. There are 20 symphonies extant that can be confidently attributed to Bach, all of them follow the three movement form.

The other feature of the symphony is the presence of sonata form, usually found in the first movement, but it can be used for any of the movements. It was derived from binary form, a form that consists of two related sections that are repeated. An early style of sonata form was used by Bach in his symphonies, with Haydn and Mozart standardizing a model of the form in their symphonies and other works. As C.P.E. Bach uses it, sonata form utilizes two themes, the first being in the tonic key, the next in the dominant key (or other related key), that are played in succession after which a short section develops these themes by variations in key, phrasing, etc. The themes appear again (recapitulation) after the development with the first theme played as before, and the second theme modulating to the tonic (usually).

Bach's Symphony In G Major Wq. 183/4  is in three movements:
I. Allegro assai - An angular, down-beat stressed theme is played by the violins while the second theme is played by the flutes with comments by oboes and violins. The first theme reappears and goes directly to the development section where the second theme is commented upon after which the first theme modulates to the minor. This leads to the recapitulation that segues to the slow movement

II. Poco andante - A short movement in the minor that serves as a contrast in mood to the first movement.

III. Presto - A lively dance movement.

Weber - Andante And Hungarian Rondo For Bassoon And Orchestra

 The bassoon, along with the cello and string bass, is a primary part of the bass register in the modern symphony orchestra. The modern bassoon has evolved from earlier keyless forms of bass double reed instruments called dulcians. It was during the 19th century when increased demands for range, volume control and tone quality caused instrument makers to improve the instrument.

The bassoon also has a place in chamber music, and solo concertos have been written for it. One of the most played works for bassoon and orchestra is Weber's Andante And Hungarian Rondo For Bassoon And Orchestra, especially in a version for piano and bassoon that many students of the bassoon have had to struggle through.  The first version of this work was written in 1809 for his brother, who played the viola. The basoonist Georg Friedrich Brandt asked Weber to arrange it for the bassoon in 1813. Weber didn't make very many changes in the work as he knew full well the capabilities of Brandt, one of the leading players of the day.   Weber must have enjoyed the challenge of concerto writing, for he wrote over a dozen for various instruments, many of them being for wind instruments.

The work is in two sections:
I. Andante - A theme and short set of variations. The theme is in the mood and tempo of a siciliana, a slow dance with origins in Italy in the early Baroque period. There are three variations on this theme. The two bassoons in the accompanying orchestra join in with the soloist in a trio of bassoon-ness. After the last variation where the baassoon chatters away as the orchestra plays the theme, a short bridge section leads directly to the second movement.

II.  Hungarian Rondo - The bassoon plays the 'Hungarian' tune to begin the rondo. As  'Turkish' music of roughly the same period was not actually turkish tunes,  'Hungarian' music was not actually hungarian tunes. Both kinds of music were ways composers introduced different exotic rhythms and instruments to their music. Weber's music may resemble a form of hungarian dance called Verbunkos, but the resemblance is slight and as with most examples of Hungarian-styled music of the time, owes as much to music of the Romani (Gypsy) people who lived in Hungary as anything else. The tune is a skipping, rather light-hearted tune that brings out the humorous side of the bassoon. As in the first movement, Weber has the bassoons of the orchestra join in with the soloist for more examples of bassoon-ness. The theme is interlaced between episodes of differing material with the bassoon always in the forefront. The bassoon goes off on a tear of triplets near the end and finishes up with a scurry of notes to end the work.

Alkan - Sonate de Concert For Cello And Piano

The French composer Charles-Valentin Alkan is most often thought of as a composer for keyboard instruments, with most of his works being for piano solo, but he did compose two Concerto da Camera for piano and orchestra, and a few chamber music works. His Sonate de Concert For Cello And Piano In E Major was written about 1856.  The name itself gives some indication of what Alkan attempted to achieve with it; something larger and more substantial than music written to be played by amateurs in a 19th century drawing room.

The composers who wrote the most sucessful sonatas for cello and piano were Beethoven and Brahms. Other composers have written examples also, but for many it was a one-time endeavor.  Alkan wrote only one, as did his friend and sometime neighbor, Chopin.

As with most of Alkan's music, the technical (and musical) difficulties of the cello sonata are many for both instruments, not least of all keeping the proper balance between the two. It is in 4 movements, with each movement being in a differet key:
I. Allegro molto - This movement isi n the home key of E major and begins straight away with a theme, the first of three main themes of the exposition, although there is much of the material that connects the main themes that can be thought of as short secondary theme material. (The recording that I've linked to at the end of this article does not take the exposition repeat, which in my opinion is somewhat excusable in music that is more familiar, but in works that are heard but seldom, it would help the listener find their way a little better if the themes were placed in the ear more securely by a repitition of them.) The development section is extensive and begins with the development of the short pizacatto motive that ends the exposition along with other material. The first theme appears, plays for a few bars before going off in different keys. Other themes follow suit. The recapitulation proper begins with the first theme followed by other material from the exposition that has modulated to other keys. In a short coda that is marked brilliante, the movement ends.

II. Allegrettino - This movement is in A-flat major. In contrast to the opening movement, this has the feeling of a  gently swaying dance, but there are surprises as minor keys float into the mix giving a feeling of unrest to the middle section.

III. Adagio - This movement is in C major. Alkan was devoutly Jewish and an Old Testement scholar.  He prefaced the music with a quotation from the Old Testement book of Micah:

"As dew from the Lord how the Jewish people endure, awaiting help from God alone."

The movement begins with three-note motives on the cello followed by a harmonic as the piano lags slightly behind as it plays its own three-note motive. The music is mysterious, not least of all for the incessant pizacatto notes played in a seemingly random pattern by the cello as the piano gently plays sixteenth notes in both hands in the treble topped by a melody even higher in the right hand.  The music reaches ever higher until it comes to rest with a high C major chord in the piano while the cello plays a low C pizacatto.

IV. Finale alla Salterella - Prestissimo - A dance in the key of E minor that gets wilder and wilder as it goes. It's full of dotted rhythms and extremes in range of both instruments until a trill in both hands of the piano along with an arpeggiated chord in the cello lead to the final chord.