Mozart composed his D Major Sonata, K. 311 in 1777 when he was twenty-one
years old. He seemed to have hit his stride as a composer of keyboard sonatas,
assimilating into this piece artistically fulfilling juxtapositions of brilliant virtuosity and
subdued lyricism, humor and heartfelt expression. The first movement begins in a spirited
manner, then gives way to a lyrical second theme. As the movement draws to a close in
pure joy, the contrast of the pleasant and soothing second movement is all the more
striking���Mozart���s niche as an opera composer proves evident by the beautiful singing
melodic line. The third movement rounds out the sonata, providing yet another contrast in
mood; a humorous character is implied by sudden changes in dynamics, stops and starts,
and musical surprises. Mozart incorporates aspects of symphonic composition with a
concerto-like lead in before the return of the theme.
<br>Composer Nancy Galbraith provided her own program notes for her Piano Sonata
No. 1. ���Piano Sonata No. 1��� begins with an animated Fugue, a restless internal dialog
that twists and turns to triumphant resolve. The nearly motionless Religioso lingers in
still, prayerful meditation, slowly arcs to an anguished ���miserere���, then comes to rest in
an emotionally spent, yet peaceful surrender. Allegro begins and ends in jubilant song
and dance surrounding a serene, dreamy landscape.
<br>The syncopated Fugue subject of movement I is treated in a traditional manner in
the opening and is transformed into a more lyrical statement in the development. The
movement closes with a dramatic statement of the subject in octaves in the low register.
Movement II begins with a simple chant-like melody, which gradually becomes more
intense and is finally stated with large cluster chords. The movement ends peacefully as it
began. The sonata closes with a perpetual motion movement III, which makes use of
minimalistic techniques.
<br>���Jeux d���eau��� by Maurice Ravel translates to ���fountains,��� or ���water games.��� Ravel
composed the piece when he was a student of Gabriel Faur��, to whom the piece is
dedicated. Ravel explained his piece in the following way: ���Jeux d���eau, appearing in
1901, is at the origin of the pianistic novelties which one would notice in my work. This
piece, inspired by the noise of the water and by the musical sounds which make one hear
the sprays, the cascades, the brooks, is based on two motives in the manner of a sonata���
without, however, subjecting itself to the classical tonal plan.��� Ravel included an
inscription on the top of his manuscript of a quote by Henri de R��gnier from his Cit�� des
eaux: ���Dieu fluvial riant de l���eau qui le chatouille������ which translates to ���River god
laughing as the water tickles him������
<br>The pianist must create the illusion of waterfalls, water sprays, calm puddles, and
exciting water movement. From scintillating, pianissimo arpeggios to brilliant fortissimo
glissandos, Ravel utilizes the entire keyboard to evoke a myriad of water images.
Rachmaninoff was only 23 when he composed his B Minor Moment musical, Op.
16, No. 3 in 1896, but even so early in his life, he had established his compositional
voice. He composed his G Minor Etude-tableau, Op. 33, No. 7 in 1911, and premiered
the set later that year. The Moment musical possesses a dark mood, in the character of a
funeral march. He coined the title, ���picture etudes,��� (etudes-tableaux) although the
concept was not original; he most likely drew inspiration from the Transcendental Etudes
of Liszt and the Symphonic Etudes of Schumann. Each etude suggests a picture, an extramusical
idea, in addition to a pianistic problem it presents in the tradition of the etude. He
said of his inspiration, ���in the process of creating music, I am greatly aided by the books
or poems I have read as well as by superb paintings. I often try to express a definite idea
or event in my work without referring to the direct source of the inspiration.���
Rachmaninoff did not share with his performers the imagery the pieces were meant to
conjure. He stated, ���I do not believe in the artist disclosing too much of his images. Let
them paint for themselves what it most suggests.���
<br>Bach���s original partita in E Major for solo violin serves as a staple in the violin
repertoire, so it seems logical that Rachmaninoff heard the piece performed by his touring
recital partner, violinist Fritz Kreisler. Rachmaninoff created transcriptions not only to
increase his own concert repertoire, but also to serve as a preliminary exercise to foster
creativity for other compositional projects. Some of his transcriptions are faithful to the
original score, some contain considerable embellishments, and others use the original score as merely a guide. In this piece, Rachmaninoff chose three of the movements of
<br>Bach���s partita and crafted them beautifully for piano, remaining faithful to Bach���s
original intent while weaving in his own counterpoint, melodic lines, and rich, colorful
harmonies. He captures the pure essence of Bach while adding just the right amount of
his own compositional voice: ���Rach-ing���out. / Mary Pappert School of Music; / Music Performance / MM; / Recital;
| Identifer | oai:union.ndltd.org:DUQUESNE/oai:digital.library.duq.edu:etd/154231 |
| Date | 13 September 2012 |
| Creators | Merlino, Josiane |
| Contributors | David Allen Wehr, Kenneth Burky, Sr. Marie Agatha Ozah, Dr. Stephen Benham, Edward Kocher |
| Source Sets | Duquesne University |
| Detected Language | English |
| Rights | Worldwide Access; |
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