Franz Schubert (1797 -1828) was an Austrian composer who died when he was 31 years of age. He was a musical prodigy and played the violin, viola, piano, guitar and had a fine singing voice. Despite his early death, Schubert composed a large amount of music, some 600 lieder, 9 symphonies, operas, much
chamber music and many pieces for piano.
Schubert's 14th Quartet got its name 'Death and The Maiden' from the fact that he had composed a song to a poem of the same name in 1817 and he based the second movement variations on the piano accompaniment to the song. The quartet was written in 1824 while Schubert was trying to recover from a serious illness that ended up being the later stages of syphilis, the disease that finally killed him. It was first performed in a private home in 1826 , but wasn't published until after Schubert's death.
The gloom of death haunts all four movements of the quartet, from the driving pace and frantic dynamics of the first movement, to the haunting variations of the second movement based on the song 'Death and The Maiden', to the short and ominous Scherzo of the 3rd movement and finally to the dizzying tarantella, a dance of death, that closes the work.
The song 'Death And The Maiden' was set to words from a poem by the German poet Matthias Claudius. A few lines of the poem translated to English:
The Maiden:
Pass me by! Oh, pass me by!
Go, fierce man of bones!
I am still young! Go, rather,
And do not touch me.
And do not touch me.
Death:
Give me your hand, you beautiful and tender form!
I am a friend, and come not to punish.
Be of good cheer! I am not fierce,
Softly shall you sleep in my arms!
The last three piano sonatas of Franz Schubert were written during the last months of his life. Schubert had been suffering from the effects of syphilis for some time, but he coped with the symptoms and even put on a concert of his own works in March of 1828 that was a success with the public and critics. Music publishers were beginning to show more interest in his works, and for a very short time Schubert was free from financial worries.
Despite his illness, Schubert continued to compose one work after the other. Starting in the spring of 1828 he composed many works, among them a Mass, various piano pieces, many songs that were printed posthumously in a collection titled Schwanengesang, as well as the three final piano sonatas. In September of 1828 his health took a turn for the worse and his doctor advised him move out of the city, so he moved into his brother Ferdinand's house which was in the suburbs of Vienna. Up until the very last weeks of his life Schubert continued to compose until he no longer was able. Schubert finished his last piano sonata on September 26, 1828. He died November 19, 1828. He was but 31 years old.
The last three piano sonatas were not published until ten years after Schubert's death. Schubert's piano sonatas were neglected during most of the 19th century. His other music came to be revered, but the common opinion about his piano sonatas were that they were inferior to his other works. Even Robert Schumann, to whom the publisher of the last sonatas dedicated the works, was of this opinion:
Whether they were written from his sickbed or not, I have been unable to determine. The
music would suggest that they were. And yet it is possible that one imagines things when
the portentous designation, ‘last works,’ crowds one’s fantasy with thoughts of
impending death. Be that as may, these sonatas strike me as differing conspicuously from
his others, particularly in a much greater simplicity of invention, in a voluntary
renunciation of brilliant novelty—an area in which he otherwise made heavy demands
upon himself—and in the spinning out of certain general musical ideas instead of adding
new threads to them from phrase to phrase, as was otherwise his custom. It is as though
there could be no ending, nor any embarrassment about what should come next. Even
musically and melodically it ripples along from page to page, interrupted here and there
by single more abrupt impulses—which quickly subside.
An exception to this 19th century opinion was Brahms, who was fond of the sonatas and studied them intensely. The sonatas continued to be neglected until early in the 20th century when a handful of pianists like Artur Schnabel championed the works and played them in recitals. The last piano sonata is in 4 movements:
I. Molto moderato - No doubt one of the reasons for the negative attitudes about this piano sonata is the inordinate length of the first movement. This first movement averages about twenty minutes if the exposition repeat is taken, which is as long as many complete sonatas. Because of the length of this movement some pianists do not take the exposition repeat, thus shortening the work. The exposition repeat became somewhat of an option with later composers, but with Schubert it is essential. There are many things that differentiate the later sonatas from the earlier ones, one of which is the long, lyrical themes that take time to unfold, which contribute to the length of movements. The first theme of this movement begins with a theme that is calm and lyrical. This theme is interrupted by a trill on G-flat, a most unusual interruption that sounds foreign harmonically, almost sinister. The theme resumes after this intrusion and is then slightly developed by means of a key change to G-flat. Schubert modulates back to the tonal center of B-flat for the rest of the theme. Schubert then introduces what amounts to a long transition to the second main theme of the movement. He begins this transition material in the key of F-sharp minor, moves the home key and then the second theme makes its appearance in the key of F major. More transition material appears before the music of the first ending of the exposition appears, music that is unique and not heard again in the movement. The exposition is repeated verbatim, except for new transition material that leads to the development section. The development section is extensive and modulates quite often to many different keys. The development section comes to an end with the repeat of the mysterious trill on G-flat. The recapitulation repeats the exposition material with the obligatory changes in key to the home key of B-flat major. A short coda brings back the first theme along with the trill on G-flat and the movement ends in B-flat major. II. Andante sustenuto - Schubert has more harmonic surprises in the second movement. It begins in C-sharp minor, a key that played a role in the development section of the previous movement. The theme is a sad one that is intensified by the accompaniment that covers the bottom, middle and top of the keyboard. A contrasting middle section begins in A major and does its share of harmonic roaming. The first theme returns with some slight alterations. The mood is still sad, but the alterations in the accompaniment have given it an added tension. The theme modulates and finally comes to rest in C-sharp major and the movement ends quietly. III. Scherzo: Allegro vivace con delicatezza - The scherzo is in B-flat major and lightens up the mood of two preceding brooding movements. The trio section is in B-flat minor and Schubert creates rhythmic instability by tying notes over the bar line and accenting notes in the left hand, sometimes on the beat, sometimes off the beat. The scherzo is repeated and with a very short coda it comes to a close. IV. Allegro ma non troppo – Presto -A movement in sonata form with three main themes. The first is in B-flat major and begins with an octave on G. This is repeated each time the first subject is played. The second theme is more mobile and in F major. The third theme begins with a sharp double forte outburst in F minor. After the third theme is played through, material from the first theme leads directly to the development as the exposition is not repeated. The development section deals with the first theme only. The three themes are repeated in the recapitulation, and the work ends with a coda that is marked presto.
The political climate in the second decade of the 19th century in France was precarious at best. Napoleon had been exiled to Elba in 1814 after his abdication as Emperor, and the house of Bourbon was restored to power with King Louis XVIII, younger brother of King Louis XVI (who had been executed during the French Revolution of 1789-1799).
But with Napoleon's escape from Elba and return to France in February of 1815, the new King had to go into hiding. Napoleon ruled for a period called The Hundred Days before he was defeated for good. King XVIII came out of hiding and ruled until 1824 when he died. Yet another Bourbon brother then came into power, Charles X. He was to rule until 1830 when the July Revolution forced him to abdicate. Yet another monarch was brought into power, this time a cousin of the Bourbon family, Louis Philippe I. His reign was known as the July Monarchy and lasted until 1848, when he also became another member of French royalty that was forced to abdicate on France's long and convoluted evolution to a more democratic form of government.
It was in 1837 during the reign of Louis Philippe I when the Minister Of The Interior Adrien de Gasparin approached Hector Berlioz with a request to compose a Requiem Mass in honor of those who died in the 1830 Revolution, but after Berlioz had composed the work and hired copyists, an official informed him that the ceremony was to be held without music (possibly at the instigation of one of Berlioz's enemies). For the next few months Berlioz pestered and complained to the authorities until the news came that the Battle Of Constantine in Algiers had been won by the French, but that General Damrémont had been killed in the battle. Plans were then changed once again, and the Requiem was to be performed at a memorial concert in the church of Les Invalides for the General and soldiers that died in the battle.
Dome of Les Invalides
Berlioz's Requiem reflects the contemporary improvements of intonation and mechanics of the woodwind and brass. Older versions of these instruments could be notoriously difficult to keep in tune and play. Berlioz uses a huge complement of instruments and makes great demands of the entire ensemble. Berlioz had already shown his proclivity for using large forces in his Symphonie Fantastique of 1830, but he went even further with the orchestration of his Requiem. In the score he called for over 100 stringed instruments alone. All the other sections of the orchestra show the same use of large forces, especially the brass. Twenty brass instruments are called for, plus another 38 brass instruments divided into 4 brass choirs, with one placed on the four corners of the stage. In the premiere of the work, over 400 singers and instrumentalists participated, but Berlioz encouraged the use of even more performers if they could be utilized and suggested that all parts should be adjusted accordingly. Berlioz made two revisions to the work over the years, the final one in 1867.
The church of Les Invalides, where the premiere was given is part of a complex of buildings relating to the military history of France. The acoustics of the large dome of the church had an influence on the Requiem. Berlioz was always concerned with orchestral color and his imagination would run the range of delicate and soft to incredibly robust and loud. The dome of the church was to be Berlioz's soundboard for his musical forces. The premiere of the work was met with success, but for most of Berlioz's career he remained on the periphery of French musical life, although his works were more appreciated in other countries.
The Requiem is in ten sections:
1) Requiem et Kyrie
Berlioz was not a particularly religious man, so his Requiem is not what could be called pious, but it certainly is dramatic. He begins with a stark theme played in unison. The choir enters with a short fugal section, and then the key turns to major for a brief respite. The fugal texture resumes with interludes of differing moods. The music changes mood and grows quiet, until the Kyrie enters in a hush. The subdued dynamics are maintained until a crescendo brings the music to a climax. After a dissonance, the choir ends their singing and the orchestra ends the movement in quiet poignancy.
Grant them eternal rest, O Lord,
and may perpetual light shine on them
You, O God, are praised in Zion
and unto You shall the vow be
performed in Jerusalem. Hear my
prayer, unto You shall all flesh come.
Hear my prayer,
all flesh comes to you.
Lord have mercy.
Christ have mercy.
Lord have mercy.
2) Dies Irae - Tuba Mirum
The ancient dies iraeis sung in counterpoint by the choir and is interrupted twice by the orchestra as it plays an upward sweeping chromatic scale. After each orchestral interruption. the choir becomes more dramatic, until another orchestra interruption brings on the tuba mirum.
All four of the brass choirs, joining in one by one, blare out in a tremendous wall of sound that must have shook the church of Les Invalides, but then Berlioz summons the choir as well as 16 timpani, 4 tam-tams, and two bass drums in a section that no recording can do justice to. After this tremendous barrage of sound, the choir continues the text that is set to eerie, otherworldly themes. The fanfares of the beginning of the section return as well as the massed percussion as the choir roars out the remaining text. The music grows quiet as the choir continues in muffled tones. The movement ends as the first movement did, quietly.
In his Memoirs, Berlioz described the playing of the tuba mirum section at the premiere, and the steps Berlioz himself took to ensure that it came off properly:
François Habeneck
"Because of my habitual suspicion, I had posted myself behind [conductor François] Habeneck. With my back to his, I was watching the group of timpani players, which he could not see, as the moment approached when they were to take part in the general mêlée. There are perhaps a thousand bars in my Requiem. At precisely the point I have been speaking of, when the tempo broadens and the brass instruments launch their awesome fanfare, in the one bar where the role of the conductor is absolutely indispensable, Habeneck lowered his baton, quietly pulled out his snuff box and started to take a pinch of snuff. I was still looking in his direction. Immediately I pivoted on my heels, rushed in front of him, stretched out my arms and indicated the four main beats of the new tempo. The orchestras followed me, everything went off as planned, I continued to conduct to the end of the piece, and the effect I had dreamed of was achieved. When at the last words of the chorus Habeneck saw that the Tuba mirum was saved: "What a cold sweat I had, "he said, "without you we were lost!" Yes, I know very well," I replied, looking straight at him. I did not add a word … Did he do it on purpose?… "
Day of wrath, that day
the earth will dissolve in ashes,
as witness David and the Sibyl.
What dread there will be,
when the Judge shall come
to strictly judge all things.
A trumpet, spreading a wondrous sound
Through the graves of all lands,
Will drive mankind before the throne.
Death and Nature shall be astonished
When all creation rises again
To answer to the Judge.
A book that is written in will be brought forth
In which is contained everything that is,
Out of which the world shall be judged.
When the judge takes his seat
Whatever is hidden will reveal itself.
Nothing will remain unavenged.
3) Quid Sum Miser
A short movement that conjures up the after effects of Judgement Day by including fragments of the dies irae that sound in the orchestra as the choir sings the text.
What then shall I say, wretch that I am,
What advocate will entreat to speak for me,
When even the righteous may hardly be secure?
Remember, blessed Jesu,
That I am the cause of Your pilgrimage.
Do not forsake me on that day.
I pray in supplication on my knees.
My heart contrite as the dust,
Take care of my end.
4) Rex Tremendae
The music begins by sounding majestic, and then changes to pleading. This alternation of moods runs throughout the movement. The movement ends with one last plea for saving from the abyss.
King of awful majesty.
Who freely saves the redeemed,
Save me, O fount of goodness.
Remember, blessed Jesu,
That I am the cause of Your pilgrimage.
Do not forsake me on that day.
When the accursed have been confounded (Jesu)
And given over to the bitter flames.
Call me...
And from the bottomless pit.
Deliver me from the lion's mouth.
Lest I fall into darkness
And the black abyss swallow me up.
5) Quaerens Me
This movement is performed by the choir without orchestra. A middle section is in multiple part counterpoint. The music ends gently.
Seeking me You did sit down weary
You did redeem me, suffering death on the cross.
Let no such toil be in vain.
Just and avenging Judge.
Grant remission
Before the day of reckoning.
I groan like a guilty man.
Spare a suppliant, O God.
My prayers are not worthy,
But You in Your merciful goodness grant
That I burn not in everlasting fire.
You who did absolve Mary Magdalen
And hearken to the thief,
To me also has given hope.
Place me among Your sheep
And separate me from the goats.
Setting me on your right hand.
6) Lacrymosa
A restless rhythmic pulse begins the movement, and the texture of the music grows in density, passion and volume until the 4 brass choirs join in (for the last time in the work) near the end of the movement for a climax that fades to silence to end the movement.
Mournful that day
When from the dust shall rise
Guilty man to be judged
Merciful Jesu, Lord
Grant them eternal rest.
7) Domine Jesu Christe
The chorus sings a three-note motive throughout the movement that consists of but two different notes- A, B-flat, A. Berlioz added a subtitle to this movement in the second edition of the Requiem -Choeur des âmes
du purgatoire (chorus of the souls in purgatory) which was removed from the third edition. The orchestra plays various themes in counterpoint over the chorus' mournful chanting. This movement struck many of Berlioz's contemporaries with its form and the effect of the chorus' incessant chant. The movement winds down with the mood of the music changing as the choir finally changes their chant to a different theme. The three-note motive returns, except this time the notes are A, B natural, A, and are sung to an amen.
Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the bottomless pit. And let St. Michael Your standard bearer lead them into the holy light which once You did promise to Abraham and his seed, Lord Jesus Christ. Amen.
8) Hostias
An example of Berlioz's feel for orchestral color is in the scoring of this short movement for male voices, flutes, trombones and strings. The ending of this movement has some of the most unique sounds heard in the orchestra as the trombones play very low notes that alternate with the high notes of the flute.
We offer unto You this sacrifice of prayer and praise. Receive it for those souls whom today we commemorate.
9) Sanctus
This movement features a solo tenor that begins the movement and is answered by the female voices of the choir until the choir sings a fugue on Hosanna. The tenor returns along with the women's choir. The Hosanna fugue returns and ends the movement.
Holy, holy, holy, God of Hosts. Heaven and earth are full of Your glory. Hosanna in the highest.
10) Angus Dei
Woodwind chords that are repeated by the violas begin this movement. Berlioz brings back themes and orchestral effects heard in the other movements, with an extended repeat (with some variations) of much of the first movement. The movement ends with a series of peaceful amens from the choir and gentle taps from the timpani.
Lamb of God, who takes away the sins of the world, grant them eternal rest. You, O God, are praised in Zion and unto You shall the vow be performed in Jerusalem. Hear my prayer, unto You shall all flesh come. Grant the dead eternal rest, O Lord, and may perpetual light shine on them, with Your saints for ever, Lord, because You are merciful. Amen.
As if Mozart's documented abilities as a musician were not enough, there have been all manner of astounding attributes and feats concocted about him through the years. For example, there has been much made of Mozart's methods of composing, that he made no sketches but composed works in his head and when he put pen to paper wrote them out complete. Modern research has discovered that Mozart indeed make sketches of works in progress. There is also evidence that he composed with the assistance of a keyboard, contrary to what has been written for years.
But as myths continue to be perpetuated by some, the pendulum seldom stays exclusively on one side. Some now err on the opposite side by saying that Mozart was nothing but a slight musical talent, a hack that stole music from his contemporaries. There is enough existing proof to debunk such nonsense, but the opinion persists, specifically with an author that has written an article titled Exploding The Myth Of Mozart. I offer no link, nor do I deem it necessary to include the author's name. A quick Internet search will bring up the article, if anyone wants to see it for themselves. Evidently the same author has promised a book on the subject for quite a few years, but there is no sign it will ever be published. Extreme views, whether on the side of turning Mozart into a God or a dunce, do nothing but create confusion, lies and nonsense.
And in the end, does it matter? Whether he used a keyboard to compose or not, whether he worked out his compositions on paper or not doesn't matter. It is the legacy of his music that matters, and over 200 years after his death, Mozart's music is still being played and enjoyed.
Musicologists suggest that Mozart was most famous during his life as an improviser. The art of improvisation in Mozart's time was used as a measurement of the abilities of a musician. Many of the composers of the 18th and 19th centuries were also masters of improvising at the keyboard. With Mozart's documented abilities in improvisation at the keyboard, it is no wonder that many of his compositions were for solo keyboard or included the keyboard in the ensemble. He was evidently a composer that thought musically through his fingers.
The Rondo In A Minor was the third and last Mozart wrote for solo piano. It was written in 1787, apparently not as a commissioned work. Mozart wrote many short stand alone pieces for keyboard throughout his life, but this rondo is rather long (about ten minutes) compared to others he wrote. Mozart made more instruction to the performer in the way of dynamic and phrasing marks than usual, so perhaps this piece was written for a student. The rondo is in a melancholy mood that is lightened by the major mode in the episode sections, and Mozart varies the rondo theme slightly each time it returns. It resembles the slower rondos of C.P.E. Bach in its ornamentation and style, and Mozart does not resolve minor key to major key in the ending, but ends the piece in the hushed home key of A minor. Mozart
Sergei Rachmaninoff completed his last major work, the Symphonic Dances, in 1940. It had a good reception at the time of its premiere in 1941 with Eugene Ormandy and the Philadelphia Orchestra. But subsequent performances were received lukewarmly, and Ormandy showed no interest in recording the work.
It was the time of the modernists like Schoenberg and Stravinsky, who each in their own style changed the world of classical music for composers and audiences. Rachmaninoff's music looked backwards instead of forwards. Indeed, his previous composition, the Third Symphony, was akin to the Symphonic Dances as it reflected his past. Rachmaninoff himself knew this better than anyone else. Interviewed in 1939, he admitted:
I feel like a ghost wandering in a world grown alien. I cannot cast out the old way of writing and I cannot acquire the new. I have made an intense effort to feel the musical manner of today, but it will not come to me.
After leaving Russia at a time of great political and cultural upheaval in 1917, Rachmaninoff eventually made his way to the United States and relied on his incredible piano technique and conducting skills to make a living for himself and family. He grew to become financially well-off, so much so that he could afford another home in Lucerne, Switzerland, where he would spend time during the concert off season. It was there that he composed most of his later works. Symphonic Dances was the only major work that was composed in The United States.
I. Non allegro -The music begins quietly with the ticking of strings and the commentary of solo woodwinds in turn. The music turns loud with drums punctuating a rhythmic drive that continues throughout the first section. A piano joins in as the rhythmic dance continues. instruments in turn enter and make their comments, almost like the music is a concerto for orchestra. The first section winds down as the oboe and clarinet herald the beginning of the middle section which is carried by a solo saxophone. The saxophone makes few appearances in the symphony orchestra, but Rachmaninoff's use of it makes a listener wonder why. The tone of the instrument blends nicely with the rest of the woodwinds. Rachmaninoff may have written in a less than modern style for the time, but there is no doubting his skill and talent for orchestration and melody.
The first section returns with brilliance as Rachmaninoff continues to showcase the differing timbres of the orchestral instruments. As the movement begins to wind down, a new theme is played by the strings and accompanied by piano, glockenspiel, and harp. This theme is a reworking of a theme from his 1st Symphony, which was heard only once in 1897 in Russia. The work had a disastrous premiere, and Rachmaninoff abandoned it. After the reminiscence of the theme, the movement quietly ends with short snippets of the beginning.
II. Andante con moto (Tempo di valse) - It is indeed a waltz as Rachmaninoff designates, but it begins in 6/8 time rather than the usual 3/4 time of a waltz. Rachmaninoff visits the waltz form with ingenuity, a continuation of instrument spotlighting and nostalgia, with some eerie sounds thrown in, like the sounds of muted horns and trumpets. There is a solo for violin that leads the proceedings. There is an atmosphere of haunted dreaminess in the music. The pace quickens near the end, as the instruments (or dancers) scurry off the dance floor.
III. Lento assai - Allegro vivace - After the poor reception of his Third Symphony in 1936, Rachmaninoff vowed to cease composing. His career of concert pianist and conductor were taking up most of his time, and felt underappreciated as a composer. But it wasn't the first time that he had tried to give up composing. After the disaster of his First Symphony, he stopped composing for three years. And like so many years ago, the inner drive for creative work returned to him in 1940 when he wrote the Symphonic Dances. The final movement has the same basic A-B-A form as the other two, and it shares the brilliance in orchestration as well. A section from his setting of the Russian Orthodox All Night Vigil is used, along with what was a somewhat ubiquitous theme for Rachmaninoff, the Latin hymn Dies irae. The Dies irae theme was referenced in many of his compositions.
The movement begins with a reworking of snippets of the Dies irae, punctuated by bells and other percussion. The Dies irae continues with syncopations until a climax is reached. A different, more laid-back version of the theme is heard in low strings with the glissandos of harps. parts of the Russian Orthodox litany is also heard. The middle section is in contrast to the two turbulent outer sections, with parts of it vaguely similar to the Dies irae theme that are more tranquil. The final section brings back the Dies irae theme, but this time it is in competition with a Russian chant Blessed Is The Lord. The Russian chant wins out, and a new theme, Allilyua, taken from his 1915 work for chorus All-Night Vigil. The work ends in a blaze of rhythmic percussion and full orchestra.
Rachmaninoff was 67 years old when he wrote Symphonic Dances, and his many years of extensive traveling, piano playing (piano players are prone to bad backs and arthritis), and cigarette smoking took a toll on his health. The concert season of 1939 was especially tiring for him, and he himself said after writing the work, "It must have been my final spark". He was a deeply religious man, and at the end of the manuscript he wrote, "I thank thee, Lord."
When Franz Liszt (1811 - 1886) gave up the life of a traveling piano virtuoso to devote himself to composition in 1847 it was with the encouragement of the woman in his life, Princess Carolyne zu Sayn-Wittgenstein. He spent one winter with the Princess before he accepted a long-standing offer to go to Wiemar as Kapellmeister at the court there. It was during his tenure there that he wrote many of his most well known compositions for orchestra.
While Liszt had a total command of the piano, he knew little about orchestration and instrumentation. He learned quickly, and became a master of the orchestra as well as the piano. He hired musicians that knew how to orchestrate and would have them orchestrate his piano versions of works. He would then use them as examples and then re-orchestrate the piece himself, using what he had learned. A Faust Symphony was the first work the Liszt orchestrated without any help, and even felt well versed enough to write out the 'Gretchen' movement of the work straight out into full score without a piano sketch. He completed the score in 1854.
The legend of Faust dealing with Mephistopheles for knowledge at the price of his soul, and of the love he had for Gretchen, attracted many Romantic era composers. Berlioz wrote a cantata/opera on the theme, Wagner an Overture, and the popular opera by Gounod . Liszt had sketched some ideas for a piece of his own based on Goethe's story as early as 1840 while he was still a traveling virtuoso.
Liszt used a technique in this, as well as most of his other large works, called thematic transformation or metamorphosis. Simply put, it is basing an entire work on a theme or themes that appear at various times in the composition and are changed for dramatic effect. It is essentially a type of theme variation as used by many composers earlier, but it is done with more freedom and the altered theme no longer has a connection with the original, but has a life of its own.
The complete title for this work is A Faust Symphony In Three Character Portraits (after Goethe) . The three 'characters' Liszt portrays are Faust, Gretchen, and Mephistopheles. In the opening movement Liszt uses 4 primary themes to portray Faust. The very opening notes of the movement is the first Faust theme, stated in cellos and violas. The theme itself is tonally ambiguous as it uses all 12 notes of the chromatic scale. This ambiguity lends a great amount of flexibility to this theme within the movement, within the Gretchen movement where the love and purity of Gretchen transforms the themes into warm and tender music, and also in the Mephistopheles movement where Liszt turns the themes into the sarcastic, sardonic themes of Mephistopheles himself.
In Liszt's musical telling of the tale, Faust is a combination of the other two characters. He has a warm loving side and a dark, satanic side that is willing to do anything for knowledge, including selling his soul to the devil. In some ways, the piece can be looked at as autobiographical. Liszt himself was a very complex personality. A great artist not above showboating for the crowd to please them, a pious and deeply religious man that lived the bohemian life, a man who late in life took minor orders in the Catholic church that also enjoyed the luxuries of good food, drink and cigars, an exceedingly generous man with so many others that could also be selfish and self-serving. The complexity of Liszt's personality mixed with his rare talent and genius make him one of the most interesting and original of the Romantic era composers.
Paris in 1837 attracted artists of all persuasions, not least of all some of the most well known names in classical music. Franz Liszt and Frédéric Chopin lived in the city, along with Charles Alkan. Alkan was a personal friend and neighbor of Chopin and the two composer/pianists spent much time together.
The majority of both composer's compositions are for piano solo or include the piano in ensemble. Each wrote a handful of chamber music pieces early on in their careers which included a piano trio each. Chopin's Piano Trio In G Minor Opus 8 was published in 1829, Alkan's Piano Trio In G Minor Opus 30 was published in 1841 but may have been written earlier. Both are written for the same combination of violin, cello and piano.
Alkan's Piano Trio is in 4 movements:
I. Assez largement (Rather widely) - There is no doubt which instrument is the dominant one in Chopin's piano trio. Alkan also has the piano play a large role, but the two stringed instruments are closer to being active partners in music making. The first movement is in sonata form, but Alkan segues the sections almost imperceptibly. The piano begins the movement with a terse motive that the strings mimic after a few bars:
This plays out rather rapidly and leads to a short section of piano solo that leads into the second theme in B-flat major that is played by the violin with piano accompaniment:
This second theme is also taken up by the cello and the two stringed instruments have a short dialogue while the the piano plays a counter melody in the bass and continues to accompany in the right hand. Then piano and violin join in a staccato flurry of sixteenth notes as the cello plays a fragment of the first theme:
This short section concludes the exposition of the movement and leads seamlessly to the development section. The two themes are played against each other until the development section and recapitulation merge into a type of hybrid with no clear delineation. A short coda has all three instruments pound out the note of G in triple forte. II. Très vite (Very quickly) -A Beethovenian scherzo in G minor, the three instruments enter one at a time, all of them playing the note D, the piano in short staccatos, strings in pizzicato. The violin and piano join in a short motive while the cello plunks out an accompaniment:
Another eight bar phrase completes the section, which is repeated. The second part of the scherzo begins with the cello repeating the bare octave D's of the beginning while the piano plays running eighth notes. The violin takes turns with the cello playing octaves as the piano continues. The opening of the scherzo returns and is finished up by a short section with alternating octaves in the piano before the scherzo ends in a flurry. The trio section begins with the piano playing a short fugal section until the violin changes the mood with a melody in E-flat. The key changes to a short section in C minor until the scherzo is repeated. A short coda brings back the opening of the trio until a brilliant triple forte section is cut short by the quiet hint of a G minor chord. III. Lentement (Slowly) - Written in G major, the movement begins with the violin playing in double stops along with the cello. The theme is introspective, and continues until the piano interrupts with a section in G minor that is more agitated. The piano goes silent again as the strings bring back the calm of the opening. The piano interrupts again, but not for as long. Slowly the three instruments start to blend together. The dialogue increases until the piano relents and joins in a chorale in tremolos with the strings. The transfiguration is complete, the piano grows calm and then quiet as the movement ends in a whisper in the strings.
IV. Vite (Quickly) -The piano part is as a perpetuum mobile as flurries of sixteenth notes spill out from the keyboard through most of the movement. The strings carry motives through the thicket of the piano until the key shifts to G major and the strings join in the scurry of sixteenth notes.
