Study Piano Artistry Online with Google +

This slideshow requires JavaScript.

Toccata BWV 915 by Johann Sebastian Bach

This slideshow requires JavaScript.

Toccata BWV 915

The toccata an extensive piece intended primarily as a display of manual dexterity written for keyboard instruments reached its apex with Johann Sebastian Bach in the eighteenth century. Johann Sebastian Bach’s seven Toccatas incorporate rapid runs and arpeggios alternating with chordal passages, slow adagios and at least one or sometimes two fugues. The Toccatas have an improvisational feel to them analogous to the fantasia. Unlike the Well Tempered Clavier, English suites, French suites and other sets, Bach himself did not arrange them into a collection. When JS Bach left Weimar the Toccata at that time was out of fashion. They became in vogue again after his death and were organized into a collection. The g minor Toccata is one of the more obscure of the toccatas and has rarely been performed partially due to the extensive second fugue with its many thorny passages of the contrasting gigue rhythm. However, this Toccata has many fascinating effects. It is one of the only pieces by JS Bach that has dynamic markings of piano and forte.

The g minor Toccata opens with a flourish, which leads into an expressive adagio with an improvisational feel. The adagio is interrupted by a lively allegro in the relative major key of Bb which includes concerto-ritornello passages of imitation and solo/tutti passages. A deceptive cadence leads back into the adagio where it was interrupted and then closes the adagio with a perfect authentic cadence in Bb major. This aspect provides a unity to the different movements of the Toccata. The other striking example of unity between movements is the beginning flourish repeated at the end of the second fugue, which leads into a formal closing of the work.

The extended fugue in a gigue has a subject of an ascending sequence combined with a countersubject of driving triplets. The subject of the fugue has twelve expository entries followed by eleven entries. There are inversions, permutations, combinations of minor with major, which is varied by modulating to the subdominant, then to Eb major and then back to the g minor tonic. The vivacious counter subject of driving triplets provides a symmetrical balance.

To learn more about Fugues please read my other Hub: The Art of Fugue

http://jamilasahar.hubpages.com/hub/The-Art-of-Fugue

For More Information on Piano Lessons in Boca Raton or Via Skype:

http://about.me/jamila.sahar

Optimize Your Piano Practice Time

Practice Tips for Developing a Solid Technique in Piano Performance

Practicing is both an art and a science. Every student of piano performance must remember that their achievement on the instrument will be the direct result of the amount of time and the quality of their practicing.

The art and science of practicing is not just time spent at the instrument but time spent listening to the music the student is working on, studying and understanding the harmonic analysis of the music as well as researching the time period and technical characteristics of the composer of the piece you are working on.

In addition to this, it is advisable for the student to prepare a weekly plan outlining the time spent on specific techniques, repertoire, sight-reading and review of old or previously learned repertoire.

Technique

The purpose of technique is to serve the pianist’s imagination and realize his/her interpretive ideas on the instrument. The pianist should be able to have complete control of their fingers. In order to achieve this we have to train them so they will do whatever we want them to do to serve the pianists imagination. Technique and interpretation are interwoven.

Listening

Just as technique and interpretation are interwoven, reading musical scores and listening to music are equally important and interwoven. The art of listening to one’s own playing can be acquired first by listening to other pianists. Piano students need to learn to listen to other performances on a deeper level, following musical ideas and subtle nuances which the student may or may not incorporate in their own performances.

Music Theory

Just as technique and interpretation are interwoven and listening and reading are interwoven, understanding music scientifically or music theory and memorization are deeply interwoven. The human mind can best retain things it understands, things that ‘make sense’. If we understand something musically, understand the musical structure of the piece the student is well on the way to memorizing and a solid performance. With this being accomplished the pianist is then able to use their technique to serve their imagination and deliver an inspired performance.

http://about.me/jamila.saharImage

Piano Lessons in Boca Raton

Piano Performance in Boca Raton
Piano Performance in Boca Raton

The Art of Piano Performance

http://www.theartofpianoperformance.com/

Flag Counter

‘St Francois de Paule marchant sur le Flots’ Franz Liszt

‘Among the numerous miracles of St. Francis of Paola, the legend celebrates that which he performed in crossing the Straits of Messina. The boatmen refused to burden their barque with such an insignificant looking person, but he paying no attention to this, walked across the sea with a firm tread’…Franz Liszt

The story is beautifully captured in Liszt’s music. The calm strength of the opening hymn-like music is throughout the piece pitted against the roaring and crashing of the waves (represented by rushing scales and tremolos), finally emerging victorious in a glorious fortissimo restatement at the end of the piece.

Franz Liszt: Legend No.2 “St. Francois de Paule marchant sur le flots”

This slideshow requires JavaScript.

‘St. Frances of Paola Walking on the Water’ 

‘Among the numerous miracles of St. Francis of Paola, the legend celebrates that which he performed in crossing the Straits of Messina.  The boatmen refused to burden their barque with such an insignificant looking person, but he paying no attention to this, walked across the sea with a firm tread’Franz Liszt

The story is beautifully captured in Liszt’s music.  The calm strength of the opening hymn-like music is throughout the piece pitted against the roaring and crashing of the waves (represented by rushing scales and tremolos), finally emerging victorious in a glorious fortissimo restatement at the end of the piece.

Many of Franz Liszt’s compositions sprang from religious inspirations. In 1863, he composed his 2 Légendes, a duo of programmatic pieces based on the legends of St. Frances of Assisi and St. Frances of Paolo. The work is among Liszt’s forward-looking composition and considered by some to be the roots of Impressionism.

The second piece of the set depicts the legend of St. Frances of Paolo who, not having any money to the fee, was denied passage on a ferry across the Straits of Messina. Mocked by the ferryman, he throws his cloak in the water and stands on it. Using his staff to guide his way across the Straits, St. Frances arrives ahead of the ferry and its passengers. Though this story served as Liszt’s inspiration of the piece, the end result is a magnificent universal depiction of struggle and triumph. The principal theme is announced immediately at the outset in unadorned octaves, and its emphasis upon the key of the mediant minor foreshadows the impending struggles. Stated again in the tonic key of E major above rippling tremolos in the bass, the theme is presented regally and in full glory. However, as the music progresses, the harmonic underpinnings become more violent and clash against the theme. Throughout the middle portion of the piece, the theme is nearly overwhelmed by the torrent of chords and surging chromatic lines. Following the harshest part of the struggle where unrelenting octaves build to their dramatic outcome, the theme returns in and triumphal splendor. Finally, a brief coda turns the mood solemn, like a prayer of thanksgiving. The principal melody then returns for a final statement in the bass and the piece concludes with heroic ascensions through the tonic triad.

Quejas, o la Maja y el Ruiseñor

Alicia de Larrocha’s mesmerizing performance of Granados beloved
Quejas, o la Maja y el Ruiseñor (aka The Maiden and the Nightingale)

Beethoven’s Tempest

Image
Ludwig van Beethoven’s Seventeenth Piano Sonata
The Tempest
In 1800-1802 Ludwig van Beethoven experienced devastating internal turmoil in trying to come to terms with his hearing loss. To the outside world, his life seemed to be ideal, with his success as a virtuoso pianist and as a successful, sought after composer in Vienna. He gradually began to withdraw from society and friends, however, as he felt it would be detrimental to his successful career as a musician if people found out he was going deaf. People felt he was being misanthropic, yet it was quite the opposite. Beethoven lived in a great deal of solitude and loneliness due to his impending and eventual complete deafness, which would eventually have a profound effect on his spiritual and creative growth as a composer and a musician. The years of 1800-1802 were a transformative period in Beethoven’s life, and marked the beginning of his second stylistic period. As Beethoven’s outer hearing deteriorated, his inner hearing continued to grow.
Beethoven sought treatment in the village of Heilgenstadt in the late spring of 1802 until October of that year. Full of despair over the unsuccessful treatment, he considered ending his life. In a famous letter known as the Heilgenstadt Testament written to his brothers, he wrote “Thanks…to my art I did not end my life by suicide.”
Over and over in Beethoven’s music themes of victory over tragedy abound. In the internal struggle he faced, although his music showed the greatest despair and sorrow, it always transcended into triumphant victory. With that same inner struggle, Beethoven learned to transcend deafness and still be victorious in creating greater and greater masterpieces. During the late 1790s, Beethoven’s music began to show changes, as well as enlargement of form. After the Heilgenstadt Testament, Beethoven expressed dissatisfaction with his compositions and according to Czerny was “determined to take a new path.” [1] The changes included strong links between sonata movements, intensified drama, harmonic instability, motivic elements affecting the larger form, twelve measure structures, registral gaps, recitative and pedal effects.
Beethoven’s “Tempest” Sonata no. 17 Opus 31 No. 2, written in the somber key of d minor, is reminiscent of a violent storm with periods of calm and peacefulness. This Sonata is based on three different motives, which are then developed and used in different variations throughout the entire first movement, and continue throughout the entire sonata. The Sonata begins with a slow rolling arpeggio marked Largo on a dominant chord of A Major. This ascending arpeggio is the basic idea and the antecedent phrase of the exposition. This arpeggio is the dominant motive of this entire Sonata with an arpeggiated chord beginning the second movement and arpeggiated chords dominating the third movement as well.
Beethoven inner turmoil is clearly exposed in the tumultuous first movement, as well as the striving for inner peace in the impressionistic recitatives. The strong links between sonata movements is shown again as Beethoven uses the idea of the recitatives for the lugubrious second movement. Although the adagio illuminates the composer’s feelings of despair, at the same time shows transcendent spiritual growth with the beautiful lyricism in the second theme group of the Adagio.
Beethoven pushes the boundaries of harmonic instability by delaying resolution in the sonata to the very end of the finale. Beethoven has used the sonata form to support his creative demands instead of him conforming to the sonata form. It is as though the first movement is an introduction and transition for the upcoming finale which will take up in d minor where the first movement left off with the rolling arpeggios on the d minor tonic.
The finale gives way to a feeling of equilibrium with the principal motive of the arpeggio fading away on the d minor tonic. It is in the magnificent finale of the “Tempest” sonata where Beethoven shows victory over the funereal overtones of the Adagio which could be interpreted as a spiritual death and rebirth.
This sonata could be interpreted as Beethoven beginning to come to terms with his impending eventual deafness. The anguish and despair of the Adagio, the rage of the stormy moments of the first movement, contrasting with moments of calmness with inserted recitatives, the ferocious cadences and rhythms of the finale were his way of expressing how he felt about this affliction of deafness while writing the most extraordinary music and not being able to hear it.
Beethoven would live most of his life in a great deal of loneliness and despair with most of his life devoted to the development of his art and creativity. As this sonata was written towards the beginning of his second stylistic period many masterpieces would follow the “Tempest” sonata.

[1] Timothy Jones, BEETHOVEN The “Moonlight” and other Sonatas, Op 27 and Op 31, p. 15
Follow Me on Pinterest