The Associated Board of the Royal

Schools of Music

Licentiate of the Royal Schools of Music

(LRSM)

Piano Performance

Wong Hiu Wai

Programme Notes

17th August, 2017

Word Count: 1890


Programme

Prelude and Fugue No. 24 in B minor, BWV 893 J. S. Bach

(from Well-Tempered Clavier, Part II)

Sonata in D minor(“Tempest”), Op.31 No.2 L. v. Beethoven

Largo; Allegro
Adagio
Allegretto

Andante and Rondo Capriccioso in E major, Op. 14 F. Mendelssohn

Prelude in G minor, Op.23 No.5 S. Rachmaninoff


Prelude and Fugue No. 24 in B minor, BWV 893
(from Well-Tempered Clavier, Part II)

Johann Sebastian Bach (1685 - 1750)

History of harmonic series and the development of a new intonation,

leads to Bach writing the Well-Tempered Clavier. The 24 major and
minor keys of preludes and fugues in chromatic order, demonstrates
the possibilities of well temperament music, where preludes and
fugues of different keys have its own moods and colour. The Well-
Tempered Clavier divided into two book, the first composed in
Cöthen in 1722, the second in Leipzig between 1738 and 1742. Both
books are complied for the profit and use of musical youth desirous
of learning, and especially for the pastime of those already skilled in
this study.

The Well-Tempered Clavier, also known as “The Old Testament” of

music, includes the preludes fugues which are greatly expanded the
scope and the contrapuntal density of this form at that time. This set
of work proved that instruments which uses harmony tuning may
perform pieces in 24 keys, where complicated modulation are not
needed.

Twelve tone equal temperament took hold for a variety of reasons.

First, this system allows convenient fit for the existing keyboard
design, and permitted total harmonic freedom at the expense of just
a little impurity in every interval. Also, it allowed greater expressions
through enharmonic modulation, which became extremely important
in 18th century.

Prelude and fugue No.24 in B minor, BWV 893, is the last piece from
the Well-Tempered Clavier part two.The prelude was marked with
tempo marking Allegro, making the music a moving and high-spirited
tune. This is an unusual prelude since it is lie a two-part invention,
where the left hand and right hand have their own parts. The two-
part contrapuntal texture presented three motives: the eighth notes
at the first four bars, the swing of direct and inverted figures, and the
broad rising sequence.

With the spirited mood, the three-part fugue begins with the main
subject in upbeat. The first counter-subject with a trill is concluded in
diminuendo, which builds a contrast to the subject. The second
counter-subject with big jumps back and forth while a hidden two-
part structure comprises a descending baseline.
Sonata in D minor (‘Tempest’), Op.31 No.2
Largo; Allegro
Adagio
Allegretto

Ludwig van Beethoven (1770 - 1827)

The ideals of Romanticism were highly epitomised by Beethoven’s

music. He made great influence to the composers between the
classical and romantic period, and found a new path in his era, which
he stands as a historic turning point. His best-known works contain
his symphonies, violin concerto in D major, string quartets, Mass the
Missa solemnis, the opera Fidelio, and last but not least, his piano
works, which his thirty-two piano sonatas especially prominent.

Beethoven’s piano sonatas, also as known as “The New Testabment”

of music, did not use the same format and elements as Mozart and
Haydn used. He refused to inherit the old ways of composing.
Instead, the composer started to find new ways and used it in his
composing. The very typical example is ‘Pathétique’ from his Early
Sonatas, the first sonata to have two tempos in a movement, which
the very same things was also done in ‘The Tempest’ from the Middle
Sonatas.

The Piano Sonata No. 17 in D minor, also as known as “The Tempest”,

was composed in 1801/02. The title was given by Beethoven’s
associate Anton Schindler, which the title was inspired by the
Shakespeare play, that also inspired so much music in the nineteenth
century. Beethoven did not explain the specific aspects that should be
considered. By the time Beethoven wrote this piece, he was suffering
both physically and mentally from his deafness. Having suffered from
deafness for six years, Beethoven felt despair and contemplated
ending his life in 1802, according to the Heiligenstadt Testament, a
letter to his brother Carl and Johann.
Beethoven made some innovations in the sonata, especially in the
first movement, such as the three tempo change in the first few bars
in the first movement, or using motivic development instead of
thematic development. Beethoven revolutionarily modifies the sonata
form, transforming the piece into a multi-stage drama through the
innovative motivic development. He had done a major change
compared how Mozart and Haydn handled sonata composing, whose
sonatas were like musical analogues of the comedy of manners, while
Beethoven’s was the first who fully merged the tempestuous, conflict-
ridden heroic style with sonata principles.

The three movements of this piece are all in sonata form. The first
movement in D minor, has a beginning of altering phrases of
calmness and turmoil, then later expands a strong and fast
procession, which likely to be a haunting “storm”, after some
condensation and the calmness is lost. At the beginning of the
development, an expanded arpeggios appeared using the theorised
chord at the introduction, which gives the audience a question about
what it is leading to. The arpeggios reappears before the
recapitulation leads to an expressive recitative, which presents an
unsetting and mysterious mood, while a dramatic recapitulation and
coda end the movement.

The second movement, marked adagio, is in B flat major, which is in

sonata form without the development section. It resemble of the first
movement, begins the music with an arpeggio. Contrast to the first
movement, this movement is much broader, calmer and dignified,
and alleviates the tension and turmoil in the first movement. The
timbre of the piano are exploited in this movement so as to
demonstrate symphonic sound to the audience. Though this
movement is in sonata form, it lacks a significant development
section.
The third movement, allegretto, is a sonata-rondo in D minor, shows
outstanding and brilliant composing techniques and skills using
limited resources, which is the four sixteenth notes motive. It starts
with some flowing music and later reaches a climax, then brings out
the extended development section. The recapitulation, which is
preceded by an extensive cadenza-like passage of sixteenth notes for
the right hand, is followed by another transition and then another
statement of the primary theme. The refrain undergoes phrase
expansion to build tension for the climax of the movement at
measure 381, a fortissimo falling chromatic scale. The movement is a
graceful ending with moving force of sixteenth notes throughout
without any pause.



Andante and Rondo Capriccioso in E Major, Op. 14

Jakob Ludwig Felix Mendelssohn Bartholdy

Mendelssohn is one of the representatives of the Romantic era. His

best-known compositions includes the Italian Symphony, the Scottish
Symphony, the Hebrides, Violin Concerto in E minor, and Songs
Without Words. He is now among the most popular composers of the
Romantic era.

Rondo Capriccioso was completed in 1828, in its first version, that

still bore the title and had nothing in common with the work
published later except for its rondo theme. The piece was revised two
and a half years later in Munich(1830), where the stirring introductory
Adagio was added with some new melodies and passages.

The Andante introduction section in E major starts with three

measures of soft and resonant chords over a sturdy and strong bass.
It follows by a lyrical melody, which likely to draft above the rich
chordal underpinnings effortlessly. The peaceful atmosphere of the
introduction section is disturbed gradually. Sixteenth note figurations
overtake the lyrical tune and force the music through a dramatic
passage in C major. A climatic return to E major gives way to an aura
of mystery as diminished seventh chords slowly darken the whole
scene with the hues of the minor mode.

Following a close on the dominant of E, the Presto, and the Rondo

proper, launches forthwith. A vigorous melody in hushed tones forms
the Rondo’s principal theme. It is followed by a wholly Romantic tune
in G major, serving as the first episode. Assuming the structure of a
sonata-rondo, the movement’s development section is remarkably
brief and concerns itself entirely with the principal theme. The prior G
major melody reappears first, accompanying also a return to the key
of E major. However, the reprise of the sprightly first theme brings
with it the minor mode. Finally, a stormy passage in octaves, marked
fortissimo, announces the end of the piece. 

Prelude in G minor, Op.23 No.5

Sergei Rachmaninoff(1873 - 1943)

Sergei Rachmaninoff, was the last truly great composer in the Russian
Romantic tradition, and is one of the most formidable pianists of all
time. Rachmaninoff is well-known for his passionate, melodious
idiom. Some have dismissed his music as old-fashioned, but like
other composers of his generation, he sought a way to appeal to
listeners enamoured of the classics way offering something new and
individual yet steeped in tradition. Rather than introduce innovations
in harmony, as did Strauss, Debussy, and Scriabin - which would have
violated both his temperament and the demands of the audience for
touring virtuosos - he focused on other elements of the Romantic
tradition, creating melodies and textures that sound both fresh and
familiar. As in the best popular music, or long-standing traditions
such as Italian opera, Rachmaninoff made his mark not by stark
departures from convention but by doing the conventional in a way
no one had done before.

Rachmaninoff made his living primarily as a pianist, especially after

leaving Russia in 1917 in the wake of the Russian Revolution and
making his home in the United States. His notable works include
three symphonies, the symphonic poem The Isle of the Dead(1907),
and the choral symphony The Bells(1913). But his most characteristic
music is for piano, especially the twenty-four preludes (1892-1910)
and two sets of Etudes-Tableaux(1911 and 1916-1917) for piano
solo, four piano concertos, and his Rhapsody on a Theme of Paganini
for piano and orchestra (1934). His music combines influences from
Western composers, such as Mendelssohn and Chopin, with Russian
elements from Orthodox liturgical music to Tchaikovsky.

Rachmaninoff had showed his composing ability through the g minor

prelude, Op. 23, No. 5. The prelude illustrated innovative textures
and melodies within traditional harmonies and ABA form. The
opening measure is just a decorated arpeggiation of a G-minor triad,
but same kind of triad had never been presented exactly like this. The
pattern of rhythm and alternating registers is distinctive. This pattern
develops throughout the A sections, with constant small changes to
provide variety. The bass has the melody, modal and slightly
awkward, which is revealed in retrospect as a decorated descent to
the dominant.

A contrasting key is expected for the middle section, probably in

major, but instead Rachmaninoff dwells on the dominant seventh
chord, as if the major third were enough of a contrast. The melody
here sound Russian and characteristic of Rachmaninoff due to its
close intervals, straining to rise, then falling back, with a diminished
fourth for a mournful touch. The diminished fourth(bar 5 and 38),
and the rising figure in the middle voice(bar 3 and 37), are the echo
elements from the opening theme which links the two themes of the
two parts. The melodic character of the middle section is strongly
influenced by the harmonic context and the new, flowing
accompaniment figure. This melodic idea is developed through a
series of slight variations, typical of Rachmaninoff in that one cannot
predict the melody’s progress but it sounds right in retrospect.

Following the middle section, the Prelude transitions to a

recapitulation of the march section by gradual increases in tempo and
dynamics. The last section uses of chromatically upward moving
chords followed by ornamented diminished seventh figures. The piece
ends in a highly original way: a short arpeggiated run to a high G,
marked pianissimo.