Tag: Europe

Cardigans | Lovefool

“Lovefool” was the breakthrough hit (1996) for Swedish band Cardigans. The tune saw broad success, including reaching #15 (Swedish Pop), #5 in Finland, #1 in New Zealand and Scotland, and #1 on the US Mainstream Top 40 chart. Pitchfork Magazine ranked it #66 on its “Top 200 Tracks of the 1990s”.

According to Billboard, “The song’s upbeat feel wasn’t the band’s initial intention. ‘Before we recorded it, it was slower and more of a bossa nova,’ frontwoman Nina Persson says. ‘It’s quite a sad love song; the meaning of it is quite pathetic, really. But then when we were recording, by chance, our drummer started to play that kind of disco beat, and there was no way to get away from it after that.'” The verses are in A minor, shifting to A major for the choruses (0:44).

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.

Franz Liszt | Nocturne #3 (“Liebestraum”)

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!

Franz Schubert | Impromptu in E-flat Major (Op. 90) | Eric Lu, pianist

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.

Edvard Grieg | Peer Gynt Suite #1: Anitra’s Dream

Here is Edvard Grieg’s “Peer Gynt Suite #1: Anitra’s Dream“ (1876), accompanying the world-class hunting techniques of the Short-Eared Owl. The main theme, starting in minor as the piece begins, is re-stated briefly in a major key at 1:16, reverting back to minor at 1:25.

Jonah Nilsson | Coffee Break

Here’s a single by Jonah Nilsson, vocalist and keyboardist for powerhouse Swedish funk/pop band Dirty Loops, “Coffee Break.” Starting out with a minimalist rap, Nilsson rapidly shifts to singing supple yet rhythmically precise lines over his trademark wall-to-wall harmonic textures.

Key shifts hit at 0:53, 2:02, 2:10, 2:17, and 2:41, plus a few other quick keys-of-the-moment.

Ludwig van Beethoven | Choral Fantasy in C Minor, Op. 80

Thanks to George Fergus for contributing today’s post!

“The unprepared shift from C major to E flat major on the word ‘Kraft’ (‘Power’) at 17:38 signaled, to Beethoven, a fundamental shift in the relationship between text and music. The word is imbued with an extraordinary amount of power (pun intended) over the music itself, forcing an abrupt shift in tonality. This is a sort of prelude to Wagner’s Gesamtkunstwerk, or total unity of music, text, and action as a singular art (as opposed to three art forms combined).

Happens again at 18:23! This 1808 piece is also considered a ‘trial run’ for the Ninth Symphony! This same minor third motion (up a step, in D) is found in the larger, later work.”