Tag: classical

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.

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.

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.

Franz Liszt‘s Nocturne #3 (“Liebestraum,” 1850) begins in Ab major and jumps to B major at 1:28. At 1:45, it begins a rapid cycle through other keys, starting with C major. Pianist Matyas Novac delivers this Romantic period gem with such mastery and reverence!

But don’t take our word for it: Pianotv has produced an insanely detailed description of the piece (second video) — by request, no less!

Here’s a live recording of pianist Eric Lu performing Franz Schubert‘s Impromptu in E-flat major (Op. 90, 1827). Gramophone describes this impromptu and its companions as “quintessential Schubert, because they speak in the intimate tone and idiom of the drawing-room rather than the concert hall.” The first of many modulations occurs at only 0:26.