One of Frédéric Chopin‘s most beloved works, his Prelude in Db Major, Op. 28, No. 15 (1838) is often called the “Raindrop” prelude — the repeating patter of Ab/G#3 throughout the piece symbolizing raindrops. The piece is a large-scale ABA form, beginning and ending in Db Major, with the middle section in the parallel C# minor (the change to minor occurs at 1:35; the return to major at 4:05.) This piece has been on my mind over the last few weeks, as I think it presents as an interesting metaphor for the times we are living in: the first A section our lives before lockdown, the B section our darker present, and the final A section the light we will return to, with the incessant repetition of the Ab/G# our unyielding heartbeat, our humanity, staying consistent throughout. Performed here by the unparalleled Vladimir Horowitz.
Tag: classical
Wolfgang Amadeus Mozart | Fantasia in C Minor (K. 475)
A good example of a common-tone modulation is presented by Mozart’s Fantasia in C Minor, K. 475 (1785). A shift from B major to D major jumps out at 2:32 via a repeated F# in the melody as the accompaniment briefly pauses. French pianist Ismaël Margain, a graduate of Conservatoire Supérieur de Musique in Paris, is at the keyboard.
Gabriel Fauré | Élégie, Op. 24
Gabriel Fauré’s “Élégie”, Op. 24 for cello and piano has held a special place in my heart ever since I was first introduced to it and played it with a close friend in high school. Originally envisioned as the slow movement in an uncompleted cello sonata, Fauré published the piece as stand-alone work in 1883, and later orchestrated it as well.
Fauré scholar Jean-Michel Nectoux wrote that the Élégie was one of the last works in which the French composer allowed himself “such a direct expression of pathos,” noting further that he regards the piece as “one of the last manifestations of French musical Romanticism. From now on Fauré’s music was to be more introverted and discreet.”
A large scale ABA form begins and ends in C minor; Ab major is hinted at in the bass beginning at 2:24 before fully arriving when the piano takes the melody at 2:35. Performed here by Jacqueline du Pré and Gerald Moore, pianist.
Wolfgang Amadeus Mozart | Alla Turca, Sonata #11 in A Major (K. 331)
Wolfgang Mozart’s Alla Turca from Sonata #11 in A Major (K. 331) shifts back and forth between A minor and A major throughout. A piano sonata in three movements, the piece was likely written in Vienna or Salzburg around 1783. The first modulations are at 0:48 and 1:02.
Have You Seen a Child (from “Amahl + the Night Visitors”)
Weekend bonus mod: thanks to frequent contributor JB! Written by Gian Carlo Menotti, an Italian-American composer and librettist, Amahl and the Night Visitors first aired on NBC on Christmas Eve, 1951; it was the first opera written specifically for television and was intended to be children’s programming.
According to Opera Magazine, Menotti was challenged by deadlines; he was assisted by his composition colleague Samuel Barber in completing the orchestrations, which were first performed under the baton of NBC Symphony Orchestra conductor Arturo Toscanini. The production, later staged by many opera companies, was aired on national TV for eleven years straight; sporadic performances have continued over the years.
The main theme is repeated in several keys; the first modulation is at 0:33.
Frédéric Chopin | “Military” Polonaise in A Major
The tonality of the “Military” Polonaise in A Major by Frédéric Chopin, composed in 1838, pivots all over the place during the many repetitions of its regal main theme. Canadian/Israeli pianist Tzvi Erez‘s version includes several more interesting points about the piece in its captions.
Ignacy Paderewski | Minuet in G major, Op. 14 #1
Ignacy Paderewski (1860 – 1941) was a Polish composer and pianist who is likely just as well known for his work as a philanthropist and brief stint as Prime Minister of Poland in 1919. The composer has a star on the Hollywood Walk of Fame. The Irving Berlin song “I Love a Piano” (1916) includes the lyric “…and with the pedal, I love to meddle/When Paderewski comes this way/I’m so delighted, when I’m invited/To hear that long-haired genius play.”
Paderewski’s Minuet in G major (Op. 14 #1, 1887) is performed here by Polish pianist Michał Szymanowski. At 1:54, the piece transitions away from its overall key of G major, then reverts to its main theme at 2:38.
Antonin Dvořák | Humoresque No. 7 (Op. 101)
The “Humoresque No. 7” (Op. 101, 1894) by Antonín Dvořák was originally written as part of a cycle for solo piano. It was composed during a multi-year US visit by Dvorak during which the Czech composer also wrote his iconic “New World” Symphony.
Performed here by the legendary duo of violinist Itzhak Perlman and cellist Yo-Yo Ma, accompanied by the Boston Symphony Orchestra under the baton of Seiji Ozawa, the piece begins in Gb major, transitions to Gb minor at 1:35, and back to major again at 2:27.
Franz Schubert | Moment Musical #3 in F Minor (Vladimir Horowitz, piano)
Here’s a later performance by of Franz Peter Schubert‘s “Moment Musical #3 in F Minor” by legendary pianist Vladimir Horowitz. Limelight Magazine called Horowitz “a Russian-born pianist who left for the West at age 21, where he was described as a ‘tornado unleashed from the steppes’…Most famous for his performances of Romantic piano repertoire…”
There are several passing keys of the moment in the piece, but the main transition into F major is at 1:50.
Wolfgang Amadeus Mozart | Piano Sonata #16 (K. 545)
The Piano Sonata #16 (1788) is among the most familiar pieces from Wolfgang Amadeus Mozart‘s works. The piece was described by Mozart himself as having been written “for beginners” and it is sometimes known by the nickname “sonata facile.” The piece is well-known today but was not published during the composer’s lifetime, first appearing in print in 1805.
Starting in C major, the first movement (Allegro) transitions to G major by 0:22 and back to C at 0:47. At 1:32, the movement cycles through a few minor keys as well.
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