Multimedia Audio Collection Deluxe/Multimedia Audio Collection Deluxe.iso/pianist/memo0.txt

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@001 Beethoven's Bagatelle in a (Fuer Elise) was composed on April 27,
1810 as a leaf in an album. Ludwig Nohl, who discovered the manuscript
and published it in 1867, appears to have misread Beethoven's writing of
the name "Therese" (von Brunswick). She was the woman Beethoven
reputedly loved and it was in her papers that the manuscript of Fuer Elise
was discovered. It is one of the very best known and loved short works for
piano.

@002 Rustles of Spring (or Fruehlingsrauschen, composed 1896 and
published in 1909 as part of no. 1 of 6 pieces, opus 32) has been a popular
favorite and exists in many arrangements. Christian Sinding (1856-1941)
was a Norwegian composer and pianist who produced many compositions
ranging from songs to opera.

@003 Jesu Joy of Man's Desiring (Jesu, belibet meine Freude) from Canata
no. 147 is one of J.S. Bach's most famous chorale melodies. It was
originally composed for trumpet, oboe, strings and organ, but is perhaps
best known in this arrangement written by British pianist Dame Myra Hess
(1890-1965). In the early 1900's, Hess perservered with what was to
become the more modern style of performance which emphasized clarity,
balance, faithfulness to the written manuscript rather than the pianist's
personal display. She was outmuscled for many years by more flamboyant
pianists, but did not abandon her career, achieving world stature by the
1920's. Hess built her repertoire around composers such as Bach, Mozart,
Beethoven, Brahms and Schubert.

@004 Debussy's Clair de lune was once called the world's most famous
piano piece. It was published in May or June 1905 as the third piece in the
Suite bergamasque. It may have been composed as early as 1890. The title
recalls the poem by Paul Verlaine, which was set to music by Gabriel Faure
(also included in The Pianist). Listening to the dream-like melody, and
lilting rhythm, one can imagine a young couple waltzing in the moonlight.

@005 La fille aux cheveux de lin (The Girl with the Flaxen Hair) is from
Debussy's collection of Preludes for the piano. This lovely miniature has a
wistful, dream-like melody and gently persuasive harmonies. Debussy's
Preludes are made up of two books of short pieces, the first book composed
in 1910 and the second from 1910-13. They are fine examples of the
composer's ability to vividly describe things of both real and imaginary
worlds in music. Preludes were a popular type of piano composition from
the Romantic period onwards. Inspired by the Preludes and Fugues by J.S.
Bach, the Prelude became a complete piece (rather than an introduction to
something else). Composers such as Chopin, Debussy and Rachmaninov
wrote many examples of these descriptive gems.

@006 Published in 1888, Debussy's Deux Arabesques (Two Arabesques)
have grace and charm, reflecting the style of the Romantic salon piece.
Debussy's Arabesque No. 1 in E has an easy, flowing grace. It has been a
popular choice, and a rhythmic challenge, for many piano students.

@007 Published in 1888, Debussy's Deux Arabesques (Two Arabesques)
have grace and charm, reflecting the style of the Romantic salon piece.
Arabesque No. 2 in G is the more playful and brilliant of the two. The
rhythmic motif which opens and then dominates the music is quick,
incisive, and the right hand must scurry and hop about the keyboard with
lightness and clarity.

@008 Chopin's only Baracarolle, Opus 60, was written 1845-6 and is one
of his finest compositions. The Barcarolle, at the time, was supposed to be
reminiscent of the kind of songs that Venetian gondoliers sang to their
patrons as they taxied through through the city's canals. Those songs have
long disappeared, but one can imagine the feeling of ease and flowing
grace mixed into the opening of this great work.

@009 Chopin's Etude in G-flat, op. 10, no. 5 (the so-called "Black Note"
Etude) is played largely on the black keys of the piano. The music is fast
and brilliant, with an enthralling cascading effect in the right hand,
punctuated by rhythmic chords in the left, which rivets your attention from
beginning to end.
 The twelve etudes of Opus 10 were written 1829-32 (and completed when
Chopin was only 22 years old). They were published in 1833. The twelve
Opus 25 etudes were composed from 1832-6. They are all marvels of
composition and unique in the way Chopin has managed to parcel
exercises in specific technical difficulties into a fully integreted and artistic
miniature of music. They are such remarkable pieces of music that it is
impossible to think of theme as mere etudes.

@010 Chopin's Ballade No. 1. Chopin's four Ballades are very special
works for the piano. They blend poetry and brilliance, drama and
tenderness, and all the wonderful musical qualities that people have come
to love in Chopin. They also display a unique construction that pulls the
listener into the story and keeps him spellbound throughout.
 The first Ballade in g is one of the most frequently heard. From its
opening dramatic octaves, through its heart throb melodies, to its bravura
passages, the musical expression is direct and effective.

@011 In many ways, Chopin's treatment of the waltz is akin to the way
Baroque composers treated the court dances of their time. The layout of the
music is simple, the music elegant and charming, but the waltzes are not
intended to be great artistic statements.
 Also nicknamed the "Dog Waltz", Chopin's Waltz in D-flat, op. 64, no. 1
(the "Minute Waltz") is supposed to take only one minute to perform. This
animated waltz, despite its nickname, is longer than a minute. Composed
between 1846-7 and first published in 1847, this waltz is one of Chopin's
most famous compositions.

@012 Chopin's Etude in E, Op. 10, No. 3, was most likely modeled after a
vocal form of music. Its slow theme seems almost suitable for the human
voice, and is reminiscent of Italian opera. Curiously, the melody has found
its way into 20th century American pop music. When played with
simplicity and understatement, this etude is one of Chopin's most beautiful.
The lovely slow melody is interrupted by an animated and increasingly
chromatic forceful middle section.
 The twelve etudes of Opus 10 were written 1829-32 (and completed when
Chopin was only 22 years old). They were published in 1833. The twelve
Opus 25 etudes were composed from 1832-6. They are all marvels of
composition and unique in the way Chopin has managed to parcel
exercises in specific technical difficulties into a fully integreted and artistic
miniature of music. They are such remarkable pieces of music that it is
impossible to think of theme as mere etudes.

@013 Chopin's Nocturnes have a special beauty which comes from their
slow, elegantly expressive right melodies and the rich supporting left hand
accompaniment. Chopin's Irish contemporary John Field (1782-1837) was
actually the first composer to write a "nocturne" (a work conveying the
mood of evening) for piano solo. Chopin modelled his after Field's.
 In the Nocturne in F sharp, Op. 15, No. 2, Chopin begins with a Larghetto
melody whose simplicity is rippled with surprising twists of brilliance. The
middle section surges with increasing movement and sonority before the
languid opening melody returns.

@014 Edvard Grieg's most characteristic piano writing is found in his
many volumes of short works called Lyric Pieces. They reflect his strong
nationalism and one can find in them the folk music of Norway. They are
technically quite easy and also simply structured. To The Spring, Op. 43,
No. 6, was published in 1886. It is short and very straightforward in style.

@015 Edvard Grieg's most characteristic piano writing is found in his
many volumes of short works called Lyric Pieces. They reflect his strong
nationalism and one can find in them the folk music of Norway. They are
technically quite easy and also simply structured. March of the Dwarfs, Op.
54, No. 3 was published in 1891. It is an amusing and quite substantial
piece with a staccato bass line and exciting little swoops of melody in the
right hand.

@016 Edvard Grieg's most characteristic piano writing is found in his
many volumes of short works called Lyric Pieces. They reflect his strong
nationalism and one can find in them the folk music of Norway. They are
technically quite easy and also simply structured. Wedding Day at
Troldhaugen, Op. 65, No. 6 is probably the most well-known of all the
Lyric Pieces. It was published in 1897 and has a sparkling melody and
vigorous march-like rhythm. There is a wonderful climax with alternating
chords in both hands slowy building in loudness and reaching a series of
towering chordal bars before the opening theme returns.

@017 Chopin's Nocturnes have a special beauty which comes from their
slow, elegantly expressive right melodies and the rich supporting left hand
accompaniment. Chopin's Irish contemporary John Field (1782-1837) was
actually the first composer to write a "nocturne" (a work conveying the
mood of evening) for piano solo. Chopin modelled his after Field's.
 In the Nocturne in E-flat, op. 9, no. 2, Chopin repeats a melodic idea
several times. The intention of this repetition is to intensify the original
idea. Like many lyrical pieces of the time, this Nocturne is made up of
regular eight-bar periods.

@018 Chopin's Nocturnes have a special beauty which comes from their
slow, elegantly expressive right melodies and the rich supporting left hand
accompaniment. Chopin's Irish contemporary John Field (1782-1837) was
actually the first composer to write a "nocturne" (a work conveying the
mood of evening) for piano solo. Chopin modelled his after Field's.
 In the Nocturne in D flat, Op. 27, No. 2, Chopin states the melody
differently three times. Each time, Chopin uses musical colour to vary the
effect of the melody. This technique is known as chromatic variance.

@019 In many ways, Chopin's treatment of the waltz is akin to the way
Baroque composers treated the court dances of their time. The layout of the
music is simple, the music elegant and charming, but the waltzes are not
intended to be great artistic statements.
 The Waltz in C sharp minor, Op. 64, No. 2 is very popular. It's memorable
features include the sparkling right hand refrain that returns repeatedly,
and a particularly moving second melody. The overall musical effect is
more satisfying than most of his other waltzes. It was composed between
1846-7 and first published in 1847.

@020 Chopin's Waltz in E minor, Op. Posth. is a quick a capricious piece
of fluff. Its rhythmic grazioso opening theme is introduced by an arpeggio-
like pattern which begins low and quickly rises four octaves. There is a
lovely contrasting dolce melody before the opening theme returns and
scampers to the end.

 @021 Chopin's Impromptus are not considered to be his best work
because they can not match the substance of the Etudes and the Preludes.
However, of the four Impromptus written by Chopin, the Fantasie-
Impromptu in C sharp minor, Op. 66 is considered to be the most
passionate. It was composed in 1835 (when Chopin was 25 years old) and
first published 1855.

@022 Bach's Prelude No. 21 in B-flat (WTC BK 1) is a sparkling, toccata-
like work with a true improvisary feeling. The left hand punctuates the
beats while the right hand completes broken chords with almost tremolo
speed. It is a roller coaster ride from beginning to end, with but the
slightest hesitation before the final roll.
 Wohltemperiertes Klavier, or Well Tempered Clavier, was published by
Bach in two volumes of 24 Preludes and Fugues each. The first was
released in 1722, and the second around 1740. By using all major and
minor keys, this collection of works was taking advantage of a new
advance in keyboard technology: tempered tuning. A "tempered" keyboard
allowed performance in any key without retuning the instrument--
something that had previously been impossible.

@023 This matching Fugue to Bach's Prelude No. 21 in B-flat (WTC Bk.
1) is in three voices and carries itself with thoughtful elegance. It is not
technically difficult.

@024 Chopin's Nocturnes have a special beauty which comes from their
slow, elegantly expressive right melodies and the rich supporting left hand
accompaniment. Chopin's Irish contemporary John Field (1782-1837) was
actually the first composer to write a "nocturne" (a work conveying the
mood of evening) for piano solo. Chopin modelled his after Field's.
 The Nocturne in B, Op. 32, No. 1 is one the most beautiful of these works.
Its melody and harmony are filled with interesting inflections and mood
twists. It seems to tell a story which remains a mystery almost right up to
its quickly dramatic close.

@025 Chopin's Nocturnes have a special beauty which comes from their
slow, elegantly expressive right melodies and the rich supporting left hand
accompaniment. Chopin's Irish contemporary John Field (1782-1837) was
actually the first composer to write a "nocturne" (a work conveying the
mood of evening) for piano solo. Chopin modelled his after Field's.
 In the Nocturne in G minor, Op. 37, No. 1, Chopin's use of a dramatic
downward sweep at the beginning serves to increase the melancholy of the
piece, and sets a pensive mood.

@026 Chopin's Nocturnes have a special beauty which comes from their
slow, elegantly expressive right melodies and the rich supporting left hand
accompaniment. Chopin's Irish contemporary John Field (1782-1837) was
actually the first composer to write a "nocturne" (a work conveying the
mood of evening) for piano solo. Chopin modelled his after Field's.
 The Nocturne in E, Op. 62, No. 2 begins and ends with a slow sostenuto
melody, sandwiching an agitated middle section.

@027 The melody of Chopin's Etude in A flat, Op. 25, No. 1 is revealed in
a series of scintillating arpeggios. This demonstrates Chopin's talent for
creating melody out of harmonies.
 The twelve etudes of Opus 10 were written 1829-32 (and completed when
Chopin was only 22 years old). They were published in 1833. The twelve
Opus 25 etudes were composed from 1832-6. They are all marvels of
composition and unique in the way Chopin has managed to parcel
exercises in specific technical difficulties into a fully integreted and artistic
miniature of music. They are such remarkable pieces of music that it is
impossible to think of theme as mere etudes.

@028 Chopin's Etude in G sharp minor, Op. 25, No. 6 is considered by
most pianists to be very difficult because it contains liberal use of parallel
thirds.
 The twelve etudes of Opus 10 were written 1829-32 (and completed when
Chopin was only 22 years old). They were published in 1833. The twelve
Opus 25 etudes were composed from 1832-6. They are all marvels of
composition and unique in the way Chopin has managed to parcel
exercises in specific technical difficulties into a fully integreted and artistic
miniature of music. They are such remarkable pieces of music that it is
impossible to think of theme as mere etudes.

@029 The dramatic, surging scales of Chopin's Etude in C minor, Op. 10,
No. 12 (the "Revolutionary") are intended to incite revolutionary feelings.
It was written soon after the Russians took Poland in 1831. The study
expresses first Chopin's sadness, then his anger at the cature of his
homeland.
 The twelve etudes of Opus 10 were written 1829-32 (and completed when
Chopin was only 22 years old). They were published in 1833. The twelve
Opus 25 etudes were composed from 1832-6. They are all marvels of
composition and unique in the way Chopin has managed to parcel
exercises in specific technical difficulties into a fully integreted and artistic
miniature of music. They are such remarkable pieces of music that it is
impossible to think of theme as mere etudes.

@030 Chopin's Etude in C sharp minor, Op. 25, No. 7 is often referred to
as the "Cello Etude". The left hand plays a broad melody, while another
makes its entrance in the right hand. The effect of this is a beautiful
interplay between the two themes.
 The twelve etudes of Opus 10 were written 1829-32 (and completed when
Chopin was only 22 years old). They were published in 1833. The twelve
Opus 25 etudes were composed from 1832-6. They are all marvels of
composition and unique in the way Chopin has managed to parcel
exercises in specific technical difficulties into a fully integreted and artistic
miniature of music. They are such remarkable pieces of music that it is
impossible to think of theme as mere etudes.

@031 Some of the most moving works of Brahms' distinguished
composing career are the short piano works he wrote late in his life.  The
six pieces Opus 118 were composed  in 1892 when Brahms was 59 years
old. No. 2, the Intermezzo in A major has endearing sentiment, and a
feeling of sweet sadness. It has one of the composer's most memorable
singing melodies.

@032 Some of the most moving works of Brahms' distinguished
composing career are the short piano works he wrote late in his life.  The
six pieces Opus 118 were composed  in 1892 when Brahms was 59 years
old. No. 3, the Ballade in G minor has an exciting chordal opening theme
and a lovely duet-like middle section.

@033 Some of the most moving works of Brahms' distinguished
composing career are the short piano works he wrote late in his life.  The
six pieces Opus 118 were composed  in 1892 when Brahms was 59 years
old. No. 6, the Intermezzo in E flat minor is filled with mystery and
wonderful pianistic shadings. It builds to a powerful climax.

 @034 The Andante & Rondo Capriciosso, Op. 14, with its wide variety of
technical challenges is one of Mendelssohn's most familiar works. The
Rondo is in a scherzo style, and a barrage of staccatos in 6/8 time. It is an
excellent example of Mendelssohn's clear keyboard writing style. The work
was published in 1833 although likely composed much earlier.

@035 Of Erik Satie's Three Gymnopedies (1888), No. 1 seems to convey a
mood of innocent wonder, in spite of its performance indication of "slowly
and mournfully". All of the Gymnopedies are curiously calming. One
smiles at Satie's footnote to the title calling them "ceremonial choral
dances performed at ancient Greek festivals".
 Erik Satie (1866-1925) seems to have been as enigmatic as his music. A
contemporary of Debussy (who he met in 1890), his economical writing
style, featuring simple melody and often unresolved harmonies, became
trendy among young Parisian composers beginning around 1910. An
interesting listen is Debussy's orchestral arrangement of the Gymnopedies.

@036 The instructions for Erik Satie's Gymnopedie No. 2 are "slowly and
sadly", perhaps befitting the "ceremonial choral dances performed at
ancient Greek festivals" known as the Three Gymnopedies (1888).
 Erik Satie (1866-1925) seems to have been as enigmatic as his music. A
contemporary of Debussy (who he met in 1890), his economical writing
style, featuring simple melody and often unresolved harmonies, became
trendy among young Parisian composers beginning around 1910. An
interesting listen is Debussy's orchestral arrangement of the Gymnopedies.

@037 Of Erik Satie's Three Gymnopedies (1888),  No. 3 seems the purest
and simplest because of its lack of any sharps or flats. It is marked "slowly
and solemnly" and calming sings it way through the white keys of the
piano. Like the other Gymnopedies, it has a hypnotic, bare bones left hand
accompaniment.
 Erik Satie (1866-1925) seems to have been as enigmatic as his music. A
contemporary of Debussy (who he met in 1890), his economical writing
style, featuring simple melody and often unresolved harmonies, became
trendy among young Parisian composers beginning around 1910. An
interesting listen is Debussy's orchestral arrangement of the Gymnopedies.

@038 Aside from his Piano Concerto, little of Tchaikovsky's piano music
is heard these days. Unfortunately, the master of orchestral ballets never
garnered a reputation as a pianist and his output has been largely ignored
by performers. However, he did compose marvellous and charming little
pieces for children which offer the appealing qualities of his music without
the difficulty.
 The Album for the Young, Op. 39, made up of 24 little piano pieces, was
composed in 1878. Waltz (No. 8) is a moderately fast with momentum and
energy typical of some of his finer ballet waltzes.

@039 Aside from his Piano Concerto, little of Tchaikovsky's piano music
is heard these days. Unfortunately, the master of orchestral ballets never
garnered a reputation as a pianist and his output has been largely ignored
by performers. However, he did compose marvellous and charming little
pieces for children which offer the appealing qualities of his music without
the difficulty.
 The Album for the Young, Op. 39, made up of 24 little piano pieces, was
composed in 1878. Song of the Lark (No. 22) is characterized by a
scampering little triplet "trill" figure and bright staccatos in the right hand.
The harmonies and the music are happy.

@040 Aside from his Piano Concerto, little of Tchaikovsky's piano music
is heard these days. Unfortunately, the master of orchestral ballets never
garnered a reputation as a pianist and his output has been largely ignored
by performers. However, he did compose marvellous and charming little
pieces for children which offer the appealing qualities of his music without
the difficulty.
 The Album for the Young, Op. 39, made up of 24 little piano pieces, was
composed in 1878. Sweet Dream (No. 21) is marked with the indication
"with great feeling". The melody surges forward with insistent support
from the harmonies. There is a nice touch of that typical Russian bitter
sweetness.

@041 Aside from his Piano Concerto, little of Tchaikovsky's piano music
is heard these days. Unfortunately, the master of orchestral ballets never
garnered a reputation as a pianist and his output has been largely ignored
by performers. However, he did compose marvellous and charming little
pieces for children which offer the appealing qualities of his music without
the difficulty.
 The Album for the Young, Op. 39, made up of 24 little piano pieces, was
composed in 1878. Neapolitan Song (No. 18), with its carefree little left
hand staccato chord accompaniment, seems a little silly by modern tastes.
With the right attitude, you'll find it a sunny little charmer.

@042 Aside from his Piano Concerto, little of Tchaikovsky's piano music
is heard these days. Unfortunately, the master of orchestral ballets never
garnered a reputation as a pianist and his output has been largely ignored
by performers. However, he did compose marvellous and charming little
pieces for children which offer the appealing qualities of his music without
the difficulty.
 The Album for the Young, Op. 39, made up of 24 little piano pieces, was
composed in 1878. Old French Song (No. 16) is well known to students of
the Suzuki Method of music instruction. An arrangement of this lovely
melody is one of the first pieces any Suzuki student learns. There is a touch
of sadness to the music and some lovely counter melodies in the left hand.

@043 Aside from his Piano Concerto, little of Tchaikovsky's piano music
is heard these days. Unfortunately, the master of orchestral ballets never
garnered a reputation as a pianist and his output has been largely ignored
by performers. However, he did compose marvellous and charming little
pieces for children which offer the appealing qualities of his music without
the difficulty.
 The Album for the Young, Op. 39, made up of 24 little piano pieces, was
composed in 1878. Mazurka (No. 10) has the typical rhythm and touch of
sadness of the Polish dance.

@044 Serge Rachmaninov (1873-1843) is known today not only for his compositions but for his reputation as
one of the finest pianists of the 20th century. His music is in the tradition of the Romantic period. There are
clear, memorable melodies and chromatic yet accessible harmonies. His Prelude in C sharp minor, Op. 3, No.
2 is one of his most popular short works. Its dramatic opening and towering chords envelope exciting passage
work.

@045 Brahms' Waltz in A flat, Op. 3, No. 15, was published in September
1866 as part of Waltzer fuer das Pianoforte zu vier Haenden. The waltzes
were composed in 1865.

@046 La cathedrale engloutie (The Engulfed Cathedral), from Book One
of Debussy's Preludes, is drawn from the world of legend. It is probably
inspired by the story of the legendary kingdom of Ys, a tale which Edouard
Lalo expanded and turned into his opera Le Roi d'Ys. Debussy uses a series
of parallel fifths and octaves to give a mystical feeling. An undulating
motive in the piano's lower register suggests swirling waters. With a
mighty surge the cathedral rises out of the sea. Chantlike melody is heard
before the cathedral returns to its watery home.
 Debussy's Preludes are made up of two books of short pieces, the first book
composed in 1910 and the second from 1910-13. They are fine examples of
the composer's ability to vividly describe things of both real and imaginary
worlds in music. Preludes were a popular type of piano composition from
the Romantic period onwards. Inspired by the Preludes and Fugues by J.S.
Bach, the Prelude became a complete piece (rather than an introduction to
something else). Composers such as Chopin, Debussy and Rachmaninov
wrote many examples of these descriptive gems.

@047 Debussy was one of the finest composers of piano music. Reverie, written in 1890 when the composer
was 28 years old, is hardly one of his most serious works. But its beautiful and soothing melody has moved
many hearts. Many people are familiar with the orchestral arrangement.

@048 Edward MacDowell (1861-1908) was the first American composer to gain international recognition.
However, his compositions in the old German Romantic style (he lived in Germany for a time) was more
nostalgic than ground breaking. He is remembered mainly as a composer of small works. To a Wild Rose is
from his Ten Woodland Sketches, Op. 51 (1896). It has a simplicity and feeling of well-being that has made it
popular.
@049 The twenty-four Preludes were composed from 1836-9 and first
published in 1839. Like Bach's Preludes from the Well-Tempered Clavier
(upon which these were modelled), Chopin composed one in each major
and minor key. Often the prelude is based on a single idea, sometimes only
a motive. They are true romantic miniatures, each pointedly expressing a
feeling or idea. They work as individual pieces, but when played as a set,
they display a true, cohesive emotional spectrum of the highest artistry.
 The Prelude in A, op. 28, no. 7 is the shortest of the set, lasting only 16
short bars. Its very brevity makes it a challenge to interpret.

@050 The twenty-four Preludes were composed from 1836-9 and first
published in 1839. Like Bach's Preludes from the Well-Tempered Clavier
(upon which these were modelled), Chopin composed one in each major
and minor key. Often the prelude is based on a single idea, sometimes only
a motive. They are true romantic miniatures, each pointedly expressing a
feeling or idea. They work as individual pieces, but when played as a set,
they display a true, cohesive emotional spectrum of the highest artistry.
 The dripping of rain outside his study window is supposed to have given
Chopin the idea for the repeated notes in his Prelude in D flat, op. 28, no.
15 (the "Raindrop"). The repeated notes of this Prelude suggest the steady
drumming of raindrops on the roof. Listen for the passages representing
the storm's rolling thunder. The piece was written in Majorca in 1838.

@051 Mozart's Fantasy in D minor, K. 397 is considered one of the composer's finest works for piano. It is
not technically difficult to play. The beauty of this work is in the many contrasts of mood that Mozart
achieves.

@052 There have been many arrangements of The Flight of the Bumble
Bee, originally an orchestral interlude in Rimsky-Korsakov's opera The
Legend of Tsar Saltan (1900) but achieving more fame than the opera ever
did. Composers and performers have since relished its potential as a
virtuoso showpiece for all kinds of instruments. Rachmaninov wrote this
brilliant piano arrangement.

@053 Liszt composed three Liebestraum (or Dreams of Love) in 1850 when he was 39 years old. They are
nocturnes and have a dreamy, romantic mood appropriate to the title. Liebstraume No. 1 in A-flat is prefaced
by a poem by Uhland: "Within Love's arms to bliss invited; To ye life's sweet enjoyments call: On me one
glance alone has lighted, Yet I am rich beyond you all. I yield Earth's joys without resistance, And as a martyr,
gaze on high, For over me, in golden distance, There opens a celestial sky."

@054 Liszt composed three Liebestraum (or Dreams of Love) in 1850 when he was 39 years old. They are
nocturnes and have a dreamy, romantic mood appropriate to the title. Liebstraume No. 3 in A-flat major with
its familiar melody is the most popular of the set. The accompanying poem by F. Freiligrath begins: "O love! O
love, so long as e'er thou canst, or dost on love believe; The time shall come, when thou by graves shalt stand
and grieve...."

@055 The Arabeske, Op. 18, is one of Schumann's less difficult works to play, but it has a substantial length
and lovely flow. In the middle is a more rigidly rhythmic contrasting section.

@056 Liszt's Concert Etude No. 3 in D flat, more commonly known as Un Sospiro, features a beauty melody
which rides on the crest of rolling arpeggios. It was composed in 1848

@057 Liszt's Valse-Impromptu in A-flat is a light salon piece with no serious intentions other than to
entertain and delight. It was first published in 1853.

@058 Liszt's Au bord d'une source (On the Edge of a  Spring) is one of the finest works in Suisse, the first
book of Pilgrim Years (inspired by the composer's visits to Switzerland). It is a charming but difficult work.
The music seems to sparkle, with the melody notes plucked out of a delightful dance of notes. It was
composed in 1855.

@059 The Valse Oubliee was written between 1881-85 when composer Liszt was in his seventies! It is a light
salon piece that dances with a touch of delightful virtuosity. Liszt composed three other works with the same
name.

@060 Of his Jeux d'eau (Fountains), Ravel wrote: Inspired by the noise of water, cascades, springs, the Jeux
d'eau is based on two motives, in the manner of first-movement sonata form without, however, conforming to
the classic tonal scheme." A weighty description indeed! Perhaps the preface to the published music is more
descriptive: "The river god laughing from the water which is tickling him." Composed in 1901, Jeux d'eau is
considered one of Ravel's finest works for piano.
@061 Bach's Minuet in G is from the Anna Magdalena Notebook,
composed by Bach for his second wife to help her with her harpsichord
lessons. It remains very popular with keyboard students to this day.

@062 Bach's Minuet in G is from the Anna Magdalena Notebook,
composed by Bach for his second wife to help her with her harpsichord
lessons. Its lilting, tuneful melody has made it very popular with keyboard
students to this day.

 @063 Bach's March in D is from the Anna Magdalena Notebook,
composed by Bach for his second wife to help her with her harpsichord
lessons. The quarter notes in the left hand keep the time as the spritely
melody marches forward.

@064 Bach's Musette in D is from the Anna Magdalena Notebook,
composed by Bach for his second wife to help her with her harpsichord
lessons. Musette is what they used to call a bagpipe in France. The baroque
court dance of the same name always has a left hand "drone" (usually in
fifths or an octave) which imitates a bagpipe. Listen for the left hand
octaves and the surprising little jumps for both hands.

@065 Sibelius' Romance in D flat is one of Sibelius' more popular short salon pieces. It has a charm and
lightness which is not really representative of most of the composer's works.

@066 Ravel's Pavane, pour une infante defunte (Pavane for a Dead Infanta) is usually heard in the composer's
own orchestral arrangement. Ravel actually became increasingly unimpressed with this piece as he grew older,
and compared to his other fine works for the piano, it has no great formal or technical merit. It does, however,
have a captivating melody and harmonies which has moved many musical souls. It was composed in 1899.

@067 The Songs without Words (Lieder ohne Worte) continue the
Romantic tradition of writing short, lyrical pieces for the piano. Melodic or
lyric style is combined with harmonic, instrumental style. Mendelssohn
wrote a total of 48 Songs without Words, published in sets of six. Opus 19
was composed between 1830-32.
 In the very first Song without Words, Op. 19, No. 1, Mendelssohn floats a
simple cantabile melody above a gentle accompaniment of broken chords
and a bass line.

@068 The Songs without Words (Lieder ohne Worte) continue the
Romantic tradition of writing short, lyrical pieces for the piano. Melodic or
lyric style is combined with harmonic, instrumental style. Mendelssohn
wrote a total of 48 Songs without Words, published in sets of six. Opus 38
was published in 1837.
 The engaging melody and rhythmically pulsating accompaniment of the
Song without Words, Op. 38, No. 2 will captivate you.

@069 The Songs without Words (Lieder ohne Worte) continue the
Romantic tradition of writing short, lyrical pieces for the piano. Melodic or
lyric style is combined with harmonic, instrumental style. Mendelssohn
wrote a total of 48 Songs without Words, published in sets of six. Opus 67
was published in 1845.
 Composed in 1845, Mendelssohn's Spinner's Song (Spinnerlied) or Song
without Words, op. 67, no. 4 has also been nicknamed the "Bee's
Wedding". It begins with a Flight of the Bumblebees style swirl of
sixteenth notes and the energy continues throughout this substantial piece
of music.

@070 The Songs without Words (Lieder ohne Worte) continue the
Romantic tradition of writing short, lyrical pieces for the piano. Melodic or
lyric style is combined with harmonic, instrumental style. Mendelssohn
wrote a total of 48 Songs without Words, published in sets of six. Opus 62
was published in 1844.
 The Song without Words, Op. 62, No. 6 is entitled Song of Spring
(Fruehlingslied). It has an innocent charm which made it popular as the
background for cartoons (was that the loss of innocence?). You'll recognize
it immediately.

@071 The Songs without Words (Lieder ohne Worte) continue the
Romantic tradition of writing short, lyrical pieces for the piano. Melodic or
lyric style is combined with harmonic, instrumental style. Mendelssohn
wrote a total of 48 Songs without Words, published in sets of six. Opus 85
was published after the composer's death.
 The Song without Words, Op. 85, No. 1 has a gently rolling arpeggio
accompaniment with a simple, expressive melody.

@072 Grieg's Solvejg's Song, Op. 52, No. 4 is the story of Solvejg, a
beautiful village girl, and Peer Gynt. They declare their love for each other,
but he asks her to wait and goes off on his adventures. After many years,
he returns to her, ever faithful. She sings this tender song to him. "For to
whatever fate God's will may doom me, I love thee, dear, I love thee now
and for eternity."

@073 Edvard Grieg's most characteristic piano writing is found in his
many volumes of short works called Lyric Pieces. They reflect his strong
nationalism and one can find in them the folk music of Norway. They are
technically quite easy and also simply structured. The Nocturne, Op. 54,
No. 4 was published in 1891. It has mildly intriguing harmony and some
light syncopation in the accompaniment figures.

@074 The Romanze in F sharp, Op. 28, No. 2, is one of Schumann's more beautiful pieces. Its charming
melody has made it a favorite.

@075 Edvard Grieg's most characteristic piano writing is found in his
many volumes of short works called Lyric Pieces. They reflect his strong
nationalism and one can find in them the folk music of Norway. They are
technically quite easy and also simply structured. The Little Bird, Op. 43,
No. 4 has a cute little trill figure in both hands. This short piece was
published in 1886.

@076 I Love Thee is a song written for Grieg's wife to be, Nina, and
transcribed for piano. It is a genuine outpouring of emotion.

@077 Luigi Boccherini (1743-1805) was a contemporary of Haydn and his
music is tuneful with adventurous harmonies. The famous Minuet, heard
here in piano arrangement, is actually a movement from one of his string
quartets.

@078 Tango is a charming little piece from Isaac Albeniz's Album of
Eight Pieces.


@079 American rag-time composer and pianist Scott Joplin (1868-1917)
played in the brothels of St. Louis and Chicago before eventually settling in
New York city. His rags included the Maple Leaf Rag and the Wall Street
Rag, and he even wrote a rag-time opera (A Guest of Honour). Some credit
the revival of Joplin's music to American pianist/musicologist Joshua
Rifkin. It might have more to do with the 1973 hit movie The Sting, with
Robert Redford and Paul Newman, in which Joplin's The Entertainer
(1902) was featured.

@080 Ravel's Menuet on the name of Haydn is the second movement of his Sonatine (1905). There is a
warmth to the music which, combined with its simplicity, gives it undeniable charm.

 @081 Prelude in G minor, Op. 23, No. 5, is one of Rachmaninov's most popular pieces. Its repeated chords
create a huge range of sound on the piano.

@082 Reflets dans l'eau (Reflections in the Water) is one of Debussy's masterpieces for the piano. It is part of
his set of pieces called Images (book one), composed in 1905 when the composer was 43 years old. One can
imagine flecks of sunlight glittering on the waves. Beneath the surface, however, is a carefully crafted and
balanced gem of music.

@083 Edvard Grieg's most characteristic piano writing is found in his
many volumes of short works called Lyric Pieces. They reflect his strong
nationalism and one can find in them the folk music of Norway. They are
technically quite easy and also simply structured. The Butterfly, Op. 43,
No. 1 was published in 1886. The clever little melody makes lets you
imagine a butterfly soaring than dipping in the wind.

@084 Edvard Grieg's most characteristic piano writing is found in his
many volumes of short works called Lyric Pieces. They reflect his strong
nationalism and one can find in them the folk music of Norway. They are
technically quite easy and also simply structured. Arietta, Op. 12, No. 1 is
a very short, cantabile melody with a middle accompaniment split between
the hands. This very first Lyric Piece was published in 1867.

@085 Edvard Grieg's most characteristic piano writing is found in his
many volumes of short works called Lyric Pieces. They reflect his strong
nationalism and one can find in them the folk music of Norway. They are
technically quite easy and also simply structured. Elfin Dance, Op. 12, No.
4 alternates simple chords with a scampering eighth note melody. It was
published in 1867.

@086 Faure's Impromptu in F minor, Op. 31, No. 2

@087 Tchaikovsky's June, Op. 37, No. 6 is a Barcarolle for children. The
Barcarolle was a lilting, dance-like serenade that mimicked the songs of
Venetian gondoliers. This one is part of The Seasons, 12 characteristic
piano pieces for children that Tchaikovsky wrote between 1875-6. Each
piece represents a month of the year.

@088 Debussy's Danse is one of his finest early compositions. Its simple name hardly hints at the brilliance of
this difficult piece, filled with cross rhythms, fast repeated chords and an exciting climax. It was first
published in 1890.


@089 Although the Mazurka was a traditional Polish country dance,
Chopin stylized it into a refined concert piece with the essential rhythmic
spirit and elements of melody from the original.
 The Mazurka in F sharp minor, Op. 6, No. 1 has a wistful, almost
harmonically enigmatic style which is bewitching.

@090 Although the Mazurka was a traditional Polish country dance,
Chopin stylized it into a refined concert piece with the essential rhythmic
spirit and elements of melody from the original.
 The Mazurka in B flat, Op. 7, No. 1 has a lively, melodically soaring
opening theme, contrasting only briefly by a mysterious sotto voce section.

@091 Although the Mazurka was a traditional Polish country dance,
Chopin stylized it into a refined concert piece with the essential rhythmic
spirit and elements of melody from the original.
 The Mazurka in C sharp minor, Op. 63, No. 3 has a rhythmic simplicity
that makes it technically easier to play than many.

@092 Although the Mazurka was a traditional Polish country dance,
Chopin stylized it into a refined concert piece with the essential rhythmic
spirit and elements of melody from the original.
 The Mazurka in B minor, Op. 33, No. 4 is one of the easier ones to play.
However, Chopin offers the interpreter many emotional shades to play
with, and the haunting melody sits easily in one's memory.

@093 In his Polonaise in A flat, Op. 53, Chopin repeats a melodic idea
several times. The intention of this repetition is to intensify the original
idea. Like many lyrical pieces of the time, this Polonaise is made up of
regular eight-bar periods. Regardless, there is no denying the stirring
power of this magnificent, ever popular work. It grips you from its
magnificent opening upward surges, to the rivetting left hand staccato
octaves, to the sonorous climatic chords. It was composed in 1842 and first
published in 1843.

@094 Brahms' Rhapsody in G minor, Op. 79, No. 2 has been very popular over the years, and perhaps suffers
a bit from over-familiarity. Still, there is much drama and worth to be found in this decidedly German romantic
music.


@095 Some of the most moving works of Brahms' distinguished
composing career are the short piano works he wrote late in his life.  The
three pieces Opus 117 were composed  in 1892 when Brahms was 59 years
old. No. 1, the Intermezzo in E-flat  has a charming folk melody that must
be brought out from between a chordal accompaniment in both hands.

@096 Some of the most moving works of Brahms' distinguished
composing career are the short piano works he wrote late in his life.  The
three pieces Opus 117 were composed  in 1892 when Brahms was 59 years
old. No. 2 Intermezzo in B-flat has moving melody which takes harmonic
turns filled with serene emotional colorings.

@097 Some of the most moving works of Brahms' distinguished
composing career are the short piano works he wrote late in his life.  The
three pieces Opus 117 were composed  in 1892 when Brahms was 59 years
old. No. 3, the Intermezzo in C sharp minor moves from a solemn, octave
melody opening to a bitter sweet middle section that can brings tears to
your eye.

@098 The Sonata in C, L. 104 is one of the most frequently performed of
Scarlatti's sonatas. It has a Spanish influence, using the spirit of Spanish
popular dance forms and is similar in style to a Spanish jota.
 Domenico Scarlatti (1685-1657) wrote over 500 pieces for the
harpsichord. Most of these pieces were adapted from the individual dances
of the suite. He published only 30 of these pieces in 1738 in a portfolio
called Exercises for Harpsichord (Essercizi per Gravicembalo). The one
movement pieces each have the title of Sonata. They were conceived not as
mere technical exercises, but real Etudes, in the sense of Chopin's works of
the same name. Although he was Italian born, his harpsichord works were
mainly composed in Spain, where Scarlatti spent the latter part of his life
under the patronage of Queen María B rbara. Each sonata is in one
movement with two optionally repeated sections. They often have a single
theme but sometimes two or three, and these melodies are concise, clear
and strikingly elegant. They often display the Spanish influence, not in the
lively dance spirit, but also in the use of note repetition, a characteristic of
Spanish guitar music. He imitates the strumming of a guitar with broken
chords. He also likes to set his basic melody against a steady rhythm,
echoing the tune around the keyboard. Scarlatti also likes to have the
melody thrown around in imitation between the two hands. He makes the
hands cross and, although he doesn't use a lot of melodic ornaments, has a
special love for trills. Today, these sonatas appear as piano solos, although
they truly are conceived for the sound of a harpsichord.

@099 Domenico Scarlatti (1685-1657) wrote over 500 pieces for the
harpsichord. Most of these pieces were adapted from the individual dances
of the suite. He published only 30 of these pieces in 1738 in a portfolio
called Exercises for Harpsichord. The one movement pieces each have the
title of Sonata. They were conceived not as mere technical exercises, but
real Etudes, in the sense of Chopin's works of the same name. They often
have a single theme but sometimes two or three, and these melodies are
concise, clear and strikingly elegant. They often display the Spanish
influence, not in the lively dance spirit, but also in the use of note
repetition, a characteristic of Spanish guitar music. He imitates the
strumming of a guitar with broken chords. He also likes to set his basic
melody against a steady rhythm, echoing the tune around the keyboard.
Scarlatti also likes to have the melody thrown around in imitation between
the two hands. He makes the hands cross and, although he doesn't use a lot
of melodic ornaments, has a special love for trills.
 The Sonata in F is one of the composer's most charming, with little
imitative drum-like passages and a tuneful melody.

@100 Domenico Scarlatti (1685-1657) wrote over 500 pieces for the
harpsichord. Most of these pieces were adapted from the individual dances
of the suite. He published only 30 of these pieces in 1738 in a portfolio
called Exercises for Harpsichord. The one movement pieces each have the
title of Sonata. They were conceived not as mere technical exercises, but
real Etudes, in the sense of Chopin's works of the same name. They often
have a single theme but sometimes two or three, and these melodies are
concise, clear and strikingly elegant. They often display the Spanish
influence, not in the lively dance spirit, but also in the use of note
repetition, a characteristic of Spanish guitar music. He imitates the
strumming of a guitar with broken chords. He also likes to set his basic
melody against a steady rhythm, echoing the tune around the keyboard.
Scarlatti also likes to have the melody thrown around in imitation between
the two hands. He makes the hands cross and, although he doesn't use a lot
of melodic ornaments, has a special love for trills.
 The Sonata in D minor is one of the most popular with students. It has a
memorable melody and some charming upward scale runs in thirds.

@101 In one of his British Folk-Music Settings, Australian pianist Percy
Grainger did great justice to the Irish tune from County Derry we more
commonly know as Danny Boy. He wrote this arrangement between 1902-
11. His detailed performance notes on the printed music leave no doubt as
to his preferred interpretation.

@102 One of his British Folk-Music Settings, Percy Grainger calls
Shepherd's Hey an English Morris Dance Tune, taken "from the playing of
the fiddler of the Bidford Morris Dancers (1906)" set for piano by him
using four variants. It is a silly bit of fluff, sure to pick up anyone's spirits.

@103 Although Schubert had trouble with large scale works of music, he excelled in the creation of both
songs and short works for the piano, such as the Impromptus. His set of Impromptus, Op. 90 were composed
in 1828, just one year before Schubert's death. The Impromptu in E flat, Op. 90, No. 2 flows with a seemingly
continuous scale melody that rolls up and down the keyboard. It has vigorous contrasting middle section and
coda.

@104 Although Schubert had trouble with large scale works of music, he excelled in the creation of both
songs and short works for the piano, such as the Impromptus. His set of Impromptus, Op. 90 were composed
in 1828, just one year before his death. The Impromptu in G flat, Op. 90, No. 3, is a virtual song for the piano.
It is an exercise in sensitivity and tonal balance.

@105 Although Schubert had trouble with large scale works of music, he excelled in the creation of both
songs and short works for the piano, such as the Impromptus. His set of Impromptus, Op. 90 were composed
in 1828, just one year before his death. The Impromptu in A-flat minor, Op. 90, No. 4, maintains a background
of arpeggio-like chord patterns interspersed with singing melodies.

@106 Chopin's Polonaise in A, Op. 40, No. 1 is often referred to as the
"Military Polonaise" because of its brisk, march-like quality. Initially
bright and quick, it becomes broadly melodic toward the middle of the
piece. It was composed in 1838 and first published in 1840.

@107 Brahms' Four Ballades, Op. 10 (composed in 1856) were inspired by the Scotch Ballade "Edward". No.
1, the Ballade in D minor blends feelings of sad tragedy with heroism.


@108 Wohltemperiertes Klavier, or Well-Tempered Clavier, was
published by Bach in two volumes of 24 Preludes and Fugues each. The
first was released in 1722, and the second around 1740. By using all major
and minor keys, this collection of works was taking advantage of a new
advance in keyboard technology: tempered tuning. A "tempered" keyboard
allowed performance in any key without retuning the instrument--
something that had previously been impossible.
 Prelude No. 3 in C-sharp from Book 1 of the WTC is a sparkling little
gem that seems a continuous flow of sixteenth notes.

@109 The matching fugue to Prelude No. 3 (WTC Bk. 1) is in three voices
and is both rhymically vigorous and cheerful.

@110 Bach's Prelude from the Prelude and Fugue No. 5 (from Book 1 of
the Well-Tempered Clavier) is a masterpiece of contrast. The lilting
Prelude contrasts sharply with the dotted rhythms of the Fugue.
 Wohltemperiertes Klavier, or Well-Tempered Clavier, was published by
Bach in two volumes of 24 Preludes and Fugues each. The first was
released in 1722, and the second around 1740. By using all major and
minor keys, this collection of works was taking advantage of a new
advance in keyboard technology: tempered tuning. A "tempered" keyboard
allowed performance in any key without retuning the instrument--
something that had previously been impossible.

@111 The matching four voice Fugue to Bach's Prelude No. 5 (WTC, Bk.
1) has a rhythmically agressive, snapping theme which energizes then
whole thing.

@112 The Prelude No. 7 in E flat from Book 1 of the Well-Tempered
Clavier is both melodic and inspired. Its wide variety of textures include
both improvised-sounding and imitative passages.
 Wohltemperiertes Klavier, or Well-Tempered Clavier, was published by
Bach in two volumes of 24 Preludes and Fugues each. The first was
released in 1722, and the second around 1740. By using all major and
minor keys, this collection of works was taking advantage of a new
advance in keyboard technology: tempered tuning. A "tempered" keyboard
allowed performance in any key without retuning the instrument--
something that had previously been impossible.

@113 The Fugue from the Prelude and Fugue No. 7, Book 1 of the Well-
Tempered Clavier is cheerful and spritely. It is in three voices.

@114 Schumann used the term Fantasy Piece (Phantasiestueck) to describe the many little piano works that
portrayed his flights of fancy or flashes of inspiration. The eight Fantasy Pieces, Opus 12, were composed in
1837 and are a marvellous display of Schumann's imaginative best.
 The Song's End, Op. 12, No. 8, with its uplifting chords and happily rhythmic middle section, finishes the set
in good spirits.

@115 Froehlicher Landmann, von der Arbeit zurueckkehrend (The Happy Farmer Returning from Work) is
one of the most familiar and lively short pieces from Schumann's Album for the Young, Op. 68. All the pieces
are within the technical range of younger students but present mature musical problems.

@116 While Debussy's Claire de lune is considered one of the world's most famous piano pieces, the
composer was actually imitating a piece of the same name by Gabriel Faure. Faure's Claire de lune, Op. 46,
No. 2 is technically simple but has a lovely singing melody and sense of sadness.

@117 The opening of Prokofiev's Prelude, Op. 12, No. 7 has a child-like sense of wonder and charm. There is
a sparkling background of notes while a melody in thirds threads its way through it all. There is a mechanical
middle section which is characteristic of the composer.

@118 In many ways, Chopin's treatment of the waltz is akin to the way
Baroque composers treated the court dances of their time. The layout of the
music is simple, the music elegant and charming, but the waltzes are not
intended to be great artistic statements.
 The Waltz in E flat, Op. 18 opens with a trumpet-like fanfare and than
vigorously steps right into the swing of things. The leggieremente second
melody with its repeated notes is delightful. This one of the most brilliant
of all the waltzes.

@119 When Mendelssohn composed incidental music to Shakespeare's
Midsummer Night's Dream, I'm sure he had no idea that thousands of
future couples would be using the 6th number to run down the church aisle
after their weddings. Apparently the trend started in England in 1847 and
got a further boost when Queen Victoria's daughter used it at Windsor in
1858. This piano arrangement should lift your spirits.


@