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    MUS 301 9a@0

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    ChristianMalo
    This document provides an overview of 19th century piano music. It discusses the importance and popularity of the piano during this time period, driven by a growing middle class and expectations for women's accomplishments. It then profiles several important composers of the era like Mendelssohn, Schumann, and Liszt. For Mendelssohn, it analyzes his "Songs Without Words." For Schumann, it examines his character pieces and "Carnival." For Liszt, it discusses his virtuosic style and innovation in concert etudes like "Un Sospiro."

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    MUS 301 9a@0

    Uploaded by

    ChristianMalo
    36 views22 pages
    This document provides an overview of 19th century piano music. It discusses the importance and popularity of the piano during this time period, driven by a growing middle class and expectations for women's accomplishments. It then profiles several important composers of the era like Mendelssohn, Schumann, and Liszt. For Mendelssohn, it analyzes his "Songs Without Words." For Schumann, it examines his character pieces and "Carnival." For Liszt, it discusses his virtuosic style and innovation in concert etudes like "Un Sospiro."

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    This document provides an overview of 19th century piano music. It discusses the importance and popularity of the piano during this time period, driven by a growing middle class and expectations for women's accomplishments. It then profiles several important composers of the era like Mendelssohn, Schumann, and Liszt. For Mendelssohn, it analyzes his "Songs Without Words." For Schumann, it examines his character pieces and "Carnival." For Liszt, it discusses his virtuosic style and innovation in concert etudes like "Un Sospiro."

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    36 views22 pages

    MUS 301 9a@0

    Uploaded by

    ChristianMalo
    This document provides an overview of 19th century piano music. It discusses the importance and popularity of the piano during this time period, driven by a growing middle class and expectations for women's accomplishments. It then profiles several important composers of the era like Mendelssohn, Schumann, and Liszt. For Mendelssohn, it analyzes his "Songs Without Words." For Schumann, it examines his character pieces and "Carnival." For Liszt, it discusses his virtuosic style and innovation in concert etudes like "Un Sospiro."

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    of 22

    19 -Century Piano Music

    th

    MUS 301 9A

    Objectives
    Understand the

    importance of and
    market for/purposes of
    piano music in the 19th
    century
    Know some of the main
    composers and be able to
    articulate individual
    stylistic traits

    Importance
    Piano was a close second in popularity after song in

    the 19th century


    Piano was the center of the homeinnovations greatly
    increased accessibility of pianos and lowered costs
    Women in particular played the instrument.it was
    an accomplishment that made them more
    marriageable and allowed them to entertain
    family/friends
    All these amateurs needed music to play and created a
    huge demand for publications

    Types of pieces/Purpose
    Teaching--etudes
    Amateur Enjoyment

    dances, lyrical pieces,


    sonatas, character
    sketches
    Public Performance
    bravura pieces for
    virtuosi

    Important Composers
    Franz Schubert
    Felix Mendelssohn
    Robert Schumann
    Franz Liszt
    Fryderyk Chopin

    Character Piece
    Short piano piece embodying the character or spirit

    of a person of occasion

    Felix Mendelssohn (1809-1847)


    Renowned pianist, organist, and composer
    Grandson of philosopher Moses Mendelssohn
    A child prodigy who wrote astounding music as a youth
    Born Jewish, but converted to Protestantism
    Blended influences from Bach, Handel, Mozart,

    Beethoven, and Contemporaries


    Result: contrapuntal clarity, formal concision, and
    romantic expression combined into lyrical pieces for piano
    Best known pieces for piano: Lieder ohne Worte (songs
    without words)

    Mendelssohn, Lieder ohne Worte


    48 short pieces grouped

    in 8 books
    Pieces written like lieder
    in stylebut without
    words (absolute music):
    Written in 3 parts (bass,
    arpeggiations, melody)
    Mendelssohn believed
    absolute tones could be
    more expressive and
    specific than words

    Felix Mendelssohn on the Meaning of Music from the


    Letter of dated Oct. 15, 1842 to Marc-Andr Souchay.
    People usually complain that music is so

    ambiguous, and what they are supposed to think


    when they hear it is so unclear, while words are
    understood by everyone. But for me, it is exactly
    the oppositeand not just with entire discourses,
    but also with individual words; these too, seem to
    be so ambiguous, so indefinite in comparison with
    good music, which fills ones soul with a thousand
    better things than words.
    http://www.youtube.com/watch?v=RIU70B6K7Ls

    Robert Schumann
    His publications up to 1840 were all for solo piano.

    Most of his compositions are short piano character


    sketches, often grouped together with colorful
    literary namesPapillons, Carnaval,
    Fantasiestcke, Kinderscenen, Kreisleriana.

    Schumanns titles are evocative and meant to

    conjure up the imagination of the listener. The titles


    were often added after the pieces were composed
    and are not meant to impose narrative or explicit
    programs in relation to the music. Rather, they are
    suggestive pieces that can represent the character of
    the person or event named in the title.

    Schumann, Carnaval, op. 9 (1840)


    Schumann conjures up a masquerade ball in

    carnaval season through 20 short pieces in dance


    rhythms.
    Among the guests are characters from his writing to
    embody different aspects of his personality:
    Florestan named after the hero of Beethovens
    Fidelio, and a visionary dreamer
    Eusebius, named after a 4th century pope. Eusebius
    is a dreamy fantasy with a slow chromatic bass line.
    Piece unified through recurring motives

    Eusebius of Ceasarea

    No. 5: Eusebius
    The dreamiest and least dance-like among the

    movements
    Bass line almost entirely chromatic in even quarter
    notes
    Right hand plays undulating patterns in oddnumbered collections of notes (5, 7, etc.)
    Formally regular, based on two alternating 4-bar
    phrases (AABABABA)

    No. 6: Florestan
    Fast Waltz in G Minor with sforzandos on off-beats
    Rarely cadences on G minor
    Movement contains several contrasting ideas

    No. 7: Coquette
    Flirtatious attitude suggested by lilting dotted

    rhythm in a fast tempo


    Harmony never settling on the tonic (flirting through
    many key areas)
    http://www.youtube.com/watch?v=puBXxZits3M
    7:30/9:25/10:23

    Franz Liszt (1811-1886)


    Most astounding virtuoso pianist of his era and an

    important composer
    Child prodigy
    First to give solo concert with side profile to audience.
    Invented the master-class
    An advocate of program/descriptive music
    First to play a range from Bach to the present, first to
    play concerts entirely from memoryhe incited a
    hysteria now afforded only to rock stars.
    Gave over 1000 solo concerts between 1839 and 1847

    Etude
    Instructional Piece
    Liszt and Chopin melded the expressivity of the

    character piece with the virtuosity of the etude to


    create concert etudes, such as Un Sospiro

    Liszt, Un Sospiro (A Sigh) from Three Concert Etudes, (18451849)

    Technical Etude (study) in how to project a slower

    moving melody within and around rapid chord


    arpeggiations (and also in hand-crossings, leaps,
    arpeggios, and runs)
    BUT ALSO Musically expressivelong melodic line,
    poignant chromatic harmonies

    Compositional Innovations
    Extension of chromatic harmonies (harmonies

    without immediate resolution


    Modulation by thirds (D-flat, F, A, D-flat)
    http://www.youtube.com/watch?v=zSHwX2O7j2w
    http://www.youtube.com/watch?v=zSHwX2O7j2w

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