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The Piano Music of Chopin, Brahms and Grieg

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The Piano Music of Chopin, Brahms and Grieg AQA Music A Level Area of Study 1: Western Classical Music Strand 3: The Piano Music of Chopin, Brahms and Grieg NAME: TEACHER: 1 Contents Page Contents Page What you are studying 3 Romantic music context 3 Fryderyk Chopin 4 Nocturne in E minor Op.72 No.1 4 Ballade No.2 in F major Op.38 7 Johannes Brahms 9 Intermezzo in A major op.118, no.2 10 Ballade in G minor Op.118, No.3 14 Edvard Grieg 18 Norwegian March Op.54, No.2 19 Notturno Op.54, No.4 22 Essay Questions 26 2 You must study the following pieces: Chopin: Brahms: Grieg: • Ballade no.2 in F major op.38 • Intermezzo in A major op.118 • Norwegian March op.54 no.2 • Nocturne in E minor op.72 no.2 • Notturno op.54 no.4 no.1 • Ballade in G minor op.118 no.3 Context: A brief introduction to Romanticism The Classical style of Mozart was very much suited to the splendour of the Habsburg court and civic life in Vienna at the end of the 18th century. It encapsulated proportion, order and elegance. The 19th century, perhaps inevitably, brought new ideas to music and the arts in general. These fall under the umbrella of an aesthetic called Romanticism. Among the ideas and influences on music in the 19th century were: • Exploration and expression of the emotions • The influence of the natural world • The rise of virtuosity and celebrity among instrumentalists epitomised by the violinist Paganini and Liszt the pianist. • Improvements in instrument design and manufacture • Programmatic music – music that tells a story (e.g. Berlioz’s Symphonie Fantastique) • Extremes of size from gargantuan pieces to intimate minatures • Nationalism – expressing a country’s identity through music, perhaps with folk influences • Increased complexity of musical language seen in greater chromaticism, more elaborate textures and new ideas on structural principles. • The rise of a wealthy middle class who embraced concert-going and were entranced by musical showmanship and precociousness Many of these ideas were set in motion by Beethoven, who learned his craft in the Vienna of Mozart and Haydn, b7t took a new direction with the Eroica Symphony in 1803. He was also a pioneer in writing for piano with works of considerable diversity ranging from the mighty Hammerklavier Sonata to the six Bagatelles Op.126 The piano in the 19th century After the harpsichord of the Baroque era, the Classical era had embraced a new instrument: the fortepiano. This allowed for greater dynamic range, b7t limited resonance and range of tone colour. The early years of the 19th century saw some important developments that made the instrument more like the piano that we know today (though there was still a long way to go). Its role was changing: it was a concert instrument rather than a domestic one. Composers were encouraged to see new potential for how they could write for it - the piano was a vehicle for pyrotechnics and social impact; yet their imaginations developed faster than instrument-makers oils match - Liszt was known to break pianos in performance. Compared to the fortepiano, the piano of the 19th century was an instrument of far richer tone, with more potential for sustaining sound and varying sonority. The sustaining pedal was more useful in producing rich texture and harmonic colour, and the instrument was more reliable across a wider range of pitch. This encouraged new ideas in how to compose for the instrument, for example the filigree flourishes that frequent Chopin’s works, Brahms weaving the melody into a middle register often shared between the hands, or Grieg’s open textures with ringing 5ths derived from mimicry of the Norwegian folk riddle from Hardanger. 3 Fryderyk Chopin (1810-1849) Context Chopin was popular with high society from an early age, both in his native Poland and subsequently in Paris for much of his life after 1831. He wrote almost exclusively for the piano and played in salons - venues for the wealthy aristocracy. Although he wrote some large-scale pieces - three sonatas and two concertos - most of his pieces are single- movement pieces of a few minutes’ duration. These come in various genres: preludes, waltzes, etudes, polonaises and mazurkas (both Polish dance forms) and nocturnes - a ‘night piece’ invented by the Irish composer John Field and taken up by Chopin to much acclaim. These shorter pieces proved fertile ground for his music, which is often characterised by delicacy, elegance and intimacy. Their relative brevity dilutes the focus on structure and provides an appropriate timeframe for a more improvisatory approach to composition; many of his works were written down subsequent to performance in the salon. Listening to Chopin: Chopin’s music is central to the piano repertoire. There are, therefore, many recordings, but a good way to hear it would be to ask pianists you know to play some for you and ask them about what makes his music so suited to the instrument and enjoyable to play. Analysis: Nocturne in E minor Op.72, No.1 https://www.youtube.com/watch?v=HYOMXc2Zlok Chopin wrote 21 nocturnes, which are modelled on John Field’s Nocturne. The Nocturne in E minor was first published in 1855, after the composer’s death, but it was written quite early in his career, perhaps in 1829, and was Chopin’s first attempt at a nocturne. The tranquil mood of this reflective night piece is immediately set by the accompaniment pattern that is heard by itself for the first bar and continues throughout the piece with very little change of character to its flowing triplet quavers. These, in essence, form harmony through broken chords, but in the contour of the broken 4 chord (with a mix of upward and downward leaps) and the frequent feature of the fifth note in the pattern being an upper appoggiatura to the sixth note, there is considerable beauty in the detail: The structure of this Nocturne is not dissimilar to abridged sonata form (i.e. sonata form without a development): Bars 2-22 A section (= first subject?) E minor (Exposition?) Bars 23-30 B section (= second subject?) B major (dominant major) Bars 31-46 A section E minor (Recapitulation?) Bars 47-54 B section E major (tonic major) Bars 55-57 Coda However, as we shall explore, it doesn’t sound like the sonata-form-dominated style of the Classical period, and this seems unimportant; instead there is a focus on sustaining the mood in a highly emotion-centred, Romantic manner. Bars 2-22: A Section The A section begins with an 8-bar phrase which clearly comes in two 4-bar sub-phrases, and is – up to a point – immediately played twice: 5 However, there are various ways in which this is not a standard example of Classical periodic phrasing: • The second 4-bar sub-phrase is very unlike the first • The second phrase, instead of balancing the original 8-bar phrase, extends in a rather relaxed way to 13 bars • Neither phrase cadences in the tonic • The first half of the second phrase is a rather intricate variation of the first phrase These traits point clearly to a more 19th-century aesthetic. Other Romantic factors include: • The prefatory acciaccatura to the melody that leaps upwards by a 6th to the main melodic note • Duplet quavers in the RH against the continuous triplets in the LH in bars 2 and 45 • Stretching of the beat at bar 34 through having the semiquaver that completes the dotted quaver in the right hand after the third triplet in the left hand • Chromatic harmony used early in the piece: diminished 7th chords at bar 52 and 73-4, and an augmented 6th chord at bar 62 which is further spiced by a false relation between E# and E natural. The second half of the second phrase, in bars 14-22, is essentially in B minor, but the harmonic progression is very chromatic, including substantial use of the Neapolitan chord (C major) in root position and with its dominant 7th (G7) in bars 143–154: before the 19th century, the Neapolitan chord was nearly always used in first inversion. The ending of the A section on a tierce de Picardie in B minor sets up the potential for what happens next. Bars 23-30: B section This section offers a different melodic idea, which starts with simple minims in parallel 3rds, the second of which becomes a long, unadorned accented passing note. There is some sense of the tonality being B major, though the whole section is over a B pedal, and it can be seen as eight bars that decorate the dominant, not least due to moments suggesting E minor harmony at bars 254 and 293-4. Although this section has some of the properties of a second subject (new idea in a dominant-related key), it does not feel like it makes for a sonata exposition: • It is disproportionately short compared with the ‘first subject’ • Its effect with the pedal note is more one of tranquil codetta than contrasting structural counterbalance Bars 31-46: A section The prolonged B major harmonies of the B section lead back to E minor and the return of the A section theme. One might conclude that this is a recapitulation, but its character is something else: it is altogether an intensification of the musical mood. This is achieved through: • The f dynamic • Considerable elaboration of the melodic line using ornaments, fioritura (including sextuplets and demisemiquavers) and extremely high register The restatement of the second A section phrase is less elaborate, but takes a different direction to stay in E minor, which – as before – it completes with a tierce de Picardie.
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