#CHOPIN SCHERZO 2 WIKI FULL#

Granted, IвЂ™m not following a score norВ am I using his suggested recording. To be honest, I find it hard to follow HansenвЂ™s play by play, so incredibly detailed, with the nicknames given to each of the themes or gestures. It reminds me almost of some of the sounds in the first Mephisto waltz. It seems this theme is what Hansen refers to in his analysis as the вЂhammeredвЂ™ gesture or theme, a very handsome, rich, almost Liszt-like grandeur and virtuosity. It quickly builds, with a hypnotically strong rhythm, and a soft melody appears over all the skittishness that becomes louder and more pronounced. The piece begins quietly but with an almost menacing, diabolical (evil?) вЂњskittishвЂќ (per Hansen) fast triple meter rhythm, one that captivates with a kind of dramatic quiet from the very outset. Two trios certainly help to break up the triple-meter-ness of the piece.

#CHOPIN SCHERZO 2 WIKI FULL#

So Brahms obviously wasnвЂ™t the first to do this (since Chopin alone had written four), but itвЂ™s a testament to good writing that a solo piano scherzo can hold, grip, the listenerвЂ™s attention for a full ten minutes. As Hansen states,В вЂњIt is this double-trio model that makes it so much more substantial than the ones in the piano sonatas, since it requires three full playings of the main scherzo section (the third with some variation).вЂќ It is obviously a far heftier scherzo than that found in yesterdayвЂ™s sonata (or any of them, for that matter), as mentioned above, due to the two trios in the work. By that time, Chopin had been dead for a number of years. What is noticeable here is that the work doesnвЂ™t scream Beethoven as much as it feels like Chopin, who also wrote independent scherzos for piano, four of them, although Brahms denied knowing of the existence of these works at the time of composition. Regardless, it is obvious that it comes from the same period in the same composerвЂ™s life. I find it much more engaging, somehow, than the opus one sonata, perhaps due to its relative brevity. ItвЂ™s only ten minutes long, but it really is quiteвЂ¦ mesmerizing. Interestingly, Hansen notes that вЂњThe very fast triple meter, combined with the fully written-out second scherzo reprise, results in the highest measure count of any Brahms vocal or instrumental movement (except the cantata Rinaldo).вЂќ That seems an odd mark to reach in one of your earliest published works. The work is a standalone scherzo with not one but two trios.

As with many of BrahmsвЂ™ works, there is a fantastic, almost overwhelmingly detailed analysis available at Kelly Dean HansenвЂ™s websiteВ that proves very useful if not a bit too thorough. The piece is in the difficult (obscure?) key of E flat minor, a key hey would many years later finish his last solo piano piece in.

This is BrahmsвЂ™ earliest work to have an opus number, completed a few years before the sonatas, and therefore also included among the works the young composer showed the Schumanns when he appeared on their doorstep with a letter of recommendation from his future lifelong friend Joseph Joachim. Today we will discuss his opus 4, an independent scherzo, completed in 1851. His first piano sonata and his first symphony, among other works, show clear influence from Beethoven, and a great admiration for the man, as he should have. Yesterday we spoke at some length about the early history of Brahms and his classical, traditional bent.

Chopin scherzo 2 wiki